Editing Scottish country dance (section)

==Dances==
===General===
[[File:Scottish country dancing (Source).webm|alt=Scottish country dancing|thumb|366x366px|Scottish country dancing]]
Scottish country dances are categorised as [[reel (dance)|reels]] (including [[hornpipe]]s), [[jig]]s, and [[strathspey (dance)|strathspeys]] according to the type of music to which they are danced.<ref name="Types of Dance">{{cite web |url=https://www.scottish-country-dancing-dictionary.com/types-of-dance.html |website=Scottish Dance Dictionary |access-date=5 August 2024 |title=Types of Dance in Scottish Country Dancing Dictionary }}</ref> The first two types (also called ''quick-time dances'') feature fast tempos, quick movements and a lively feel. The third type (strathspey) has a much slower tempo and a more tempered, stately feel. Although general guidelines are given below almost all elements of SCD have exceptions through the playfulness of the dance writers to the wide variety of influences and interpretations over the years; some exceptions include the Eightsome Reel (has two parts repeated as ABBBBBBBBA and is thus considerably longer than most other dances), The Wee Cooper of Fife (ten bar phrases—with music to match), The Willowtree (often only repeated four times despite having eight couples because the dance is mirrored from both ends of the set).

===Dancers and sets===
Scottish country dancing is generally danced in organised formations referred to as "sets". Sets consist of three or more couples, usually four but sometimes as many as eight. A couple is formed of two dancers referred to as the "man" and the "lady"; however, this is rarely restricted to the dancer's actual gender. Due to the much larger number of women dancing SCD compared to men, women often dance "as the man" (often the more experienced woman will dance as the man or, all else being equal, the taller woman will dance as the man as some figures are easier this way). 

The usual set shape is "longwise" – each dancer opposite their partner with all the women in one line facing a similar line of men. The couple closest to the band (or other music source) are called the "first" or "top" couple. Other shapes of sets include triangular sets (three couples on the sides of a triangle, this is rare), square sets (four couples on the sides of a square) or square sets with extra couple(s) in the centre; these are much less common. However, some of the most popular dances in Scotland use these formations. When the set is not longwise, then the dancers stand beside their partner, with the woman on the right.

===Phrasing and formations===
Scottish country dances are made up of figures of varying length to suit the phrasing of Scottish country dance tunes. For the most part figures are 2, 4, or 8 bars of music long. There are various kinds of figures ranging from the very simple (e.g. a couple changing places across the set giving right hands) to fairly intricate convolutions involving three or four couples at the same time (e.g. three-couple rights and lefts). Dances are generally made up of eight bar phrases with a single "time through" lasting between 24 and 64 bars and repeated as many times as there are couples in the set. Some dances are only performed a single time through however these normally last between 96 and 160 bars (e.g. Bonnie Anne, MacDonald of Sleat).

Dances are described by their music type, length and number of repetitions. A strathspey which has a "time through" of 32 bars and is danced 8 times will be described as "an eight by thirty-two Strathspey", the written form will often be shortened to 8x32 S to fit on a dance card or programme.

===Steps and technique===
Unlike [[Cèilidh]] dancing or [[English country dance|English country dancing]], which are usually done using walking or running steps, Scottish country dancing uses different steps according to a dance's choreography. ''Travelling steps'' include the ''skip-change of step'' in quick-time dances and the ''Strathspey travelling step'' in strathspey time, while ''setting steps'' include the ''pas de basque'' in quick time and the ''common schottische''/''Strathspey setting step'' in strathspey time. Some dances also involve setting steps from [[Scottish Highland dance|Highland dancing]], such as the ''rocking step'', ''high cuts'', or ''Highland schottische''. In quick time, there is also the ''slip step'' for quick sideways movement, e.g. in circles.

In SCD classes there is often a certain focus on "correct technique", this applies especially to footwork and the positions of the feet at various points during the steps. Well-executed steps improve the look of a dance greatly, however their mastery involves quite some time and dedication and also a certain level of physical fitness.  This does not mean a segregation of dancers is necessary, though segregation can emerge due to the social nature of the dance. In many places the main object of SCD is having fun, with or without the requirement for good footwork, in other places there is a preference for only those dancers with better footwork to join the dance.  This is most prevalent in demonstration level classes and performances where the goal is to impress the audience.

A much more important aspect of good SCD technique is for a dancer to ensure that they are at the proper location at the proper time. This is important because the figures often require many of the participants to be correctly positioned; it is difficult for the whole set to achieve the dance if some dancers are mislocated. "Phrasing" is the execution of figures appropriately timed to the music. "Covering", another common term, calls for moving dancers to progress in unison; this briefly forms lines, squares etc. which are clearly visible to the audience watching a dance (and often to the dancers themselves). Many SCD groups like putting on demonstrations to display the best dancing ability of the group.

Principally SCD is a [[social dance]] and very much a team effort. Interaction with a partner and the other dancers (e.g. smiling, verbal cues, giving hands, encouragement) is an essential part of SCD. The importance of couples within this framework, the practice for correcting mistakes, the acceptance of embellishments, and the tolerance for differing choreography varies by SCD community and occasion.  These differences are largely viewed as generating a healthy dialogue between communities.

===Progression===
Most Scottish country dances are "progressive", i.e., after one repetition of the figure sequence the couples end up in a different place in the set. This serves to let every couple have a go as "top couple" (normally the active couple), and the number of repetitions is adjusted accordingly. For example, in a four-couple dance the order of couples at the beginning of each turn could be 1234, 2341, 3412, 4123, 1234 at which point the dance would stop. The most common arrangements are dances involving two or three couples dancing in four-couple sets for eight repetitions – this means that during some times through couples may be "standing out" to watch and have a rest. For example, the order of couples in a three-couple dance would be 1234 (top three couples dancing), 2134 (bottom three couples dancing), 2341 (top three couples dancing) etc. eight times through. There are also "set dances" which go through only once that often consist of a sequence of non-repeating figures that last much longer than normal times through (e.g. Bonnie Anne (96 bars), MacDonald of Sleat (128 bars)).

In fact, the figures and arrangement of modern Scottish country dances, while derived from a 300-year tradition, make it difficult to generalise.  Many newer dances feature new ideas such as partner changes (you dance with a new partner on each new time through the dance, as in "Nighean Donn" (by Peter Hastings) or "Caddam Wood" (by John Mitchell)), palindromic structure (the sequence of figures is similar seen from the end to the beginning as it is seen from the beginning to the end, as in "The White Heather Jig" by Cosh), fugues (the sequence of figures for each couple is intricately intertwined to resemble the structure of a musical [[fugue]]), canons (a new couple begins their time through even though the couple before have not finished theirs yet) and others, such as John Drewry's "Crossing the Line", where the bottom of the set becomes the top for the next time through. Dance devisers seem to enjoy blending new ideas with the traditional though the results vary in popularity.