CALLERLAB ADVANCED 1 DEFINITIONS

March 29, 2023
Copyright 1982, 1986-1988, 1995, 2001-2023. Bill Davis, John Sybalsky, and CALLERLAB Inc., The International Association of Square Dance Callers. Permission to reprint, republish, and create derivative works without royalty is hereby granted, provided this notice appears. Publication on the Internet of derivative works without royalty is hereby granted provided this notice appears. Permission to quote parts or this entire document without royalty is hereby granted, provided this notice is included. Information contained herein shall not be changed nor revised in any derivation or publication.

## Read this First

This set of definitions is an attempt to capture the real meaning for each call on the Advanced list. It is intended to serve as the referee for disputes about exactly what a call means, and as a basis for teaching the calls properly. Whenever the technical definition of a call is too long or complicated to do a first teach from, we have provided a teaching definition or teaching hints. This way, the definitions can meet both sets of needs. Naturally, dancers should be introduced to the full definition of each call as soon as your judgment dictates.
Before you use these definitions, you should be familiar with the latest versions of the CALLERLAB Basic, Mainstream, and Plus Definitions, and the CALLERLAB Formation names. These documents can be downloaded from the CALLERLAB website at
https://www.callerlab.org/dance-programs/
Where possible, we have used calls and formations defined in those documents. This has let us make the definitions shorter and clearer.

### Regional Styling Differences

CALLERLAB recommends that calls such as Swing Thru and Spin the Top be danced using the hands-up position and the palm star handhold. Many areas of the square dance world continue to use forearm turns for all turning actions. In order to eliminate the controversy over the use of forearm turns, the CALLERLAB membership approved a 1992 resolution recognizing that regional differences in styling exists.

## General Rules

All of the general rules which apply to the Mainstream and Plus definitions also apply at Advanced.

Facing Dancers: Facing dancers, unless otherwise specified, may be any combination of men and women.

Couples: Couples, unless otherwise specified, may be any combination of men and women.

Facing Couples Rule: Some calls that normally start from an ocean wave can also be done from facing couples. In that case, the dancers first step into a momentary right-hand ocean wave and complete the call - unless the caller specifically directs a left-hand call (e.g., Left Swing Thru), in which case the dancers step into a momentary left-hand ocean wave and complete the call. This rule may also apply when calls that require parallel waves are called with the dancers in an eight chain thru formation.

The Facing Couples rule applies only to the Advanced calls Swing and Mix, Fractional Tops and Spin the Windmill.

Ocean Wave Rule: Some calls that normally start from Facing Couples can be done from a Wave. In that case, the dancers have already stepped forward toward each other and are ready to complete the remaining action of the call. This rule also applies when calls that start from a single Eight Chain Thru formation (for example, Pass and Roll) are called from a Right-Hand Box Circulate formation.

The Ocean Wave Rule applies only to these Advanced calls; the required handedness of the wave is shown for each call: Cross Trail Thru [R], Brace Thru [R], Pass and Roll [R], Pass and Roll Your Neighbor [R], Pass In [R], Pass Out [R], Pass the Sea [R], Split Square Thru [R], Split Square Chain Thru [R], Square Chain Thru [R], Left Square Chain Thru [L].

Right-Shoulder Rule: Whenever two dancers are moving toward each other and would otherwise collide, they pass right shoulders instead. If two dancers facing opposite directions must occupy the same spot on the floor at the same time, they step to form a right-hand mini-wave instead. You may not have two dancers who are facing the same direction, or at right angles, try to occupy the same spot.

Split versus Box: There are two versions of many calls: Split Circulate and Box Circulate; Split Transfer and Box Transfer; Split Counter Rotate and Box Counter Rotate. The Split version of a call is used when an 8-dancer formation is to be split into groups of 4 to do the call. Box is used when:

- there is only a single box circulate formation which can do the call (e.g., the center 4 of parallel two-faced lines doing a Box Transfer), --or--

- when the center 4 dancers are to do the call (e.g., from parallel waves, Centers Box Transfer while the ends Zig Zag).

It is not good practice to simply call "Box Circulate" from columns or parallel waves. Instead, use it to distinguish between Centers Box Circulate (they stay in the center) and Centers Split Circulate (they stay in their own half of the square). Either way, you must tell the centers to do the call.

### How We Name Dancers

For purposes of the definitions, we often had to identify specific dancers--say, the ends of a wave. There are a lot of ways to name people, and we tried to use the ones that are common at Advanced. For reference, we've listed them here:

#1, #2, #3, #4: The dancers in a column are sometimes identified by number. The very lead dancer is called #1; the one behind him is #2, and so on. For example, here's how the dancers below would be named:

Points and Centers: In diamonds and hourglasses, there are points and centers. The points in the diagrams below are marked "P" and the centers are marked "C":

Box, Wave, and Diamond Dancers: In parallel diamonds, hourglasses, and galaxies, you can identify dancers by what part of the formation they're in. In parallel diamonds there is a wave inside a box of dancers; in an hourglass there is a diamond inside a box; in a galaxy there is a box inside a diamond.

In the diagrams below, Wave Dancers are marked "W", Diamond Dancers are marked "D", and Box Dancers are marked "B":

Centers and Ends: All line-type and column-type formations have ends and centers. The dancers who are nearest the center of the formation are centers, and the others are ends--regardless of their facing direction. In the diagram below, the centers are marked "C" and the ends are marked "E".

Adjacent: Two dancers are said to be adjacent if they are close to each other, with no intervening space or other dancers. This is true regardless of the dancers' facing directions. In the diamond and hourglass diagrams below, the dancers marked A are all adjacent to each other; the others aren't adjacent to anyone. In the box diagram, dancers "B" and "C" are both adjacent to dancer "A", but not to each other.

Leads (or Leaders) and Trailers: In any 1x2 formation (e.g., facing dancers, a tandem, dancers back-to-back), those facing out of the 1x2 formation are called leaders, and those facing into the 1x2 formation are called trailers. A dancer who has one shoulder directly toward the center of the 1x2 formation is neither. In the pictures below, the dancers marked "L" are leaders, and the dancers marked "T" are trailers. Those not marked are neither.

Centers and Outsides: Those dancers who are close to the center of the formation are centers; the others are outsides. In lines and columns, end and outside are the same; in the other formations below, the centers are marked with "C" and the outsides with "O".

Very Centers: The two dancers closest to the flagpole center of the set are called the very centers or the very center two. This term is only used when exactly two people are closest to the center. They are marked with V's in the pictures below:

Starting Formations

Each call's definition includes a list of possible starting formations for that call. Since there's no way to list every formation a call can start from, we don't mean to restrict you to those formations. However, this isn't a license to shoehorn a definition into an oddball formation. Following the guidelines below will lead you to other legitimate starting formations; anything else should be avoided.

- The formations listed are usually the smallest from which the call can be done. Larger formations may be made of these smaller units. For example, Switch to a Diamond is defined to start from a single ocean wave, so it can also be done from parallel waves [ending in parallel diamonds], or from a tidal wave [ending in point-to-point diamonds].
- Where they apply, you can use the general rules (Facing Couples, Ocean Wave) to find other starting formations. For instance, Pass and Roll can start from a right-hand box circulate formation even though that formation doesn't appear in the definition's list: The Ocean Wave rule applies.
- If the word "only" appears in the list, then only the formations listed may be used. You may not apply the Facing Couples or Ocean Wave rules. One call like this is Recycle--the facing-couples definition is not applicable from an ocean wave.
- If the way you plan to use a call requires that two conflicting rules apply, your usage is improper. For example, using the call Cast a Shadow from lines back to back causes a conflict for the ends -- they are both leads, and each must meet the other with his inside hand. At the same time, the right-shoulder rule applies. Because of this conflict, that use of Cast a Shadow is improper.
- If the formation you call the call from, can be broken into two different starting formations for the call, you have to specify which you mean. For example, the call Dixie Style to a Wave can start either from facing couples or from facing tandems. If it is called when the dancers are in a double pass thru formation, they don't know which formation to start the call from--it could be done either way. In cases like this, you must tell the dancers which one you want: either "Centers Dixie Style to a Wave", or "On the double track, Dixie Style to a Wave".

### Glossary of Descriptive Terms Used in the Definitions

All the terms from Appendix B: Descriptive Terminology of the Basic and Mainstream Definitions apply to these definitions. We have also used some terms which haven't been formally defined before but are commonly used within the Advanced program:

Face In: Means "Turn ¼ in place, turning toward the center of the set."

Face Out: Means "Turn ¼ in place, turning away from the center of the set."

Line: Unless otherwise specified, the term line means any kind of 4-dancer line -- one-faced, two-faced, three-and-one, inverted, etc.

Touch: This is the same as saying step to an ocean wave: The dancers step forward to join right hands, making a right-hand mini-wave.

Touch ½, ¾: Fractions other than ¼ are allowed with Touch. For example, the call "Touch ½" is the same as "Touch and Trade." In the same way, "Touch ¾" is "Touch and Cast Off ¾:"

Cast Off ¼, ½: Fractions other than ¾ are allowed with Cast Off. The rule is the same as for Cast Off ¾, but the dancers move ¼ or ½ instead of going the full ¾.

Left: The modifier "Left" applies to calls and interchanges right with left and, if also applicable, belle with beau (and also clockwise and counterclockwise). Left should only be used to modify calls where a right hand turn or shoulder pass is clearly part of the definition. The Left modifier is usually used with calls that start with one of the following:
a) Right Pull By (e.g. Left Square Chain Thru, Left Split Square Thru)
b) Pass Thru or passing action (e.g. Left Dosado, Left Pass and Roll, Left Track II, Left Wheel and Deal from a One-Faced Line)
c) Tag The Line (e.g. Left 3/4 Tag, Left Turn and Deal)
d) Right Arm Turn (e.g. Left Swing Thru, Left Turn Thru)
e) Turn [a fraction] by the Right (e.g. Left 1/4 Thru, Left Remake)
f) Touch (e.g. Left Touch 1/4, Left Spin the Windmill)
g) Turn to the right (e.g. Left Wheel Thru, Left Roll to a Wave, Left Chase)

To apply the Facing Couples Rule to a "Left" call, dancers first Step To A Left-Hand Wave (e.g., Left Swing Thru, Left Relay the Deucey, Left 3/4 Top).

If a different modifier can perform the same function as the Left modifier (e.g., Wrong Way Promenade, Reverse Flutterwheel), then Left should not be used. Also see "Reverse", below.

The Left modifier does not affect other directions that are explicitly given. E.g., in Left Spin the Windmill Right, the outsides go right. (The Left only applies to the centers; this use of Left is only necessary for Facing Couples.)

At Advanced, the left versions of the calls are part of the program even when they are not explicitly listed.

Reverse: The modifier "Reverse" applies to certain calls and interchanges Beau and Belle and the directions of clockwise and counterclockwise (and also right and left). At Advanced, dancers are expected to apply Reverse to the calls listed below, and other applications of Reverse should be workshopped or avoided.
a) Rollaway
b) Half Sashay
c) Wheel Around
d) Courtesy Turn
e) Flutterwheel
f) Dixie Style to an Ocean Wave
g) Circle to a Line
h) Single Circle to a Wave
i) Swap Around
j) Recycle (from Facing Couples)

### When the Formation Isn't There

Sometimes the definitions call for a dancer to do "his part of" some call--even when the formation he's working in exists only in the mind's eye. For example, in the call Switch to a Diamond, the ends of the wave Diamond Circulate even though there's no diamond. Similarly, in Flip the Hourglass, the points Run as though they were in parallel lines. The cases we used are shown below; in each diagram, the corresponding positions in the corresponding formations are labeled alike. Unlabeled dancers have no corresponding places.

The ends of parallel lines or waves may act like the points of an hourglass. Similarly, the points of an hourglass may act as though they were the ends of parallel lines:

The points of a diamond may act like the ends of a line, or vice versa. The centers of a diamond may act like the centers of a line, or vice versa:

The very center two in any formation may act like the centers of an hourglass, and vice versa. Any outsides who are on a center line may act as the other centers of an hourglass, and vice versa:

A wave between vertical mini-waves may be treated as a thar:

Doing your part: At Advanced, the caller can have dancers do their part of a call—even when the complete starting formation isn't there. The caller doesn't have to say "do your part"—it can be implied.

### How Calls Are Extended at Advanced

## Some calls at Mainstream and Plus have restrictions in their starting formations that do not apply at Advanced. The definitions of these calls can be found at Mainstream (Hinge, Recycle) or Plus (Coordinate, Explode and (Anything), Linear Cycle).

## Hinge: At Mainstream and Plus, this call is proper only from a Mini-Wave. At Advanced, this call is proper as well from a Couple or a Mini-Wave. Also see the A-1 call Partner Hinge, below.

## Recycle: At Mainstream and Plus, this call is proper only from a Wave. At Advanced, this call is also proper from Facing Couples. See see the A-2 call Recycle, below.

## Coordinate: At Plus, this call is proper only from Columns. At Advanced, this call is proper from any formation that meets the definition.

## Explode and (Anything): At Plus, this call is proper only from a Wave. At Advanced, this call is also proper from a general line with both Centers facing the same direction. See
Explode and (Anything), below.

## Linear Cycle: At Plus, this call is proper only from a Wave. At Advanced, this call is proper from a general line.

## A-1 Definitions

### Any Hand (anything)

Any Hand is typically used with an (anything) call that starts with the right hand and is defined to consist of, or begin with, a series of one or more Turn actions (examples: Swing Thru, Quarter Thru, Remake). The parts of the (anything) call are all done in the same order, and for each Turn the same fraction is used, but the hand used may be different and the dance action may be modified.

Starting formation: Inverted Line(s), Inverted Box(es), Diamond(s). Every partner pair must be in a Right-Hand or Left-Hand Mini-Wave.

Dance Action: The first Turn in the series is performed by each pair of partners, who become active and Turn the appropriate amount by whichever hand (Right or Left) connects them. For every Turn in the series after the first, if a dancer was active on the previous Turn and can now use the other hand to hold the hand of a different dancer, then both those dancers become connected and active for the current Turn (and it doesn’t matter whether that other dancer was active on the previous Turn). If two dancers who connect in this way are in a Mini-Wave, they Turn by the appropriate amount; but if they are in a Couple, the turn is modified as follows:

- Turn 1/4: if in a couple, use Cast Off 1/4.
- Turn 1/2: if in a couple, use Partner Trade.
- Turn 3/4: if in a couple, use Cast Off 3/4.

All other dancers become inactive for the current Turn.

After the last Turn in the series, all dancers become active for the remaining parts of the call (if any).

Comments

: The call Any Hand (anything) is proper only if there are at least two dancers active for each Turn in the series.

If the (anything) call is a 4-dancer call, then Any Hand (anything) is a 4-dancer call (example: Any Hand Quarter Thru). If the (anything) call is an 8-dancer call, then Any Hand (anything) is an 8-dancer call (example: Any Hand Grand Quarter Thru).

Example #5: from Left-Hand Point-to-Point Diamonds, the call Any Hand Three-Quarter Thru has the centers of each diamond Turn 3/4 by the Left — the very centers do not Turn 3/4 by the Right because this is a 4-dancer call — then all Partner Trade to end in a Right-Hand Tidal Two-Faced Line.

If any dancers use Cast Off to replace a Turn because they are in a Couple, all the usual rules for Cast Off apply, including how it is danced from a Tidal Line or Line of 6.

The Facing Couples Rule does not apply with to Any Hand (anything), regardless of whether that rule applies to the (anything) call itself.

If the Ocean Wave Rule applies to (anything), then Any Hand (anything) is proper if and only if:
(a) the definition of the (anything) call begins with Step to a Wave, then a Turn by the right, and
(b) all dancers are already in Mini-Waves.

Any Hand is sometimes used with an (anything) call that can start with either hand, to alert dancers that some will start with the right hand and some will start with the left hand. In such cases the use of Any Hand does not actually alter the dance action. For example, from an Inverted Line, Any Hand Hinge has exactly the same dance action as Hinge. (Compare this to the occasional use of Left Hinge from a Left-Hand Wave: it has the same dance action as Hinge, but reminds all dancers to use the left hand.)

(Anything) and Cross Timing: call + 2

From any appropriate formation: All do the "Anything" call. The trailers then diagonally Pull By with each other, using the outside hand. For example, Touch ¼ and Cross:

The "Anything" call must end in a 2x2 formation with two leaders, and two trailers who are facing each other on a diagonal (e.g., box circulate).

(Named Dancers) Cross

Timing: 2

Any formation in which the designated dancers are facing on a diagonal: The named dancers then diagonally Pull By with each other, using their outside hands. Ending formation: various. For example, Wheel And Deal, Beaus Cross:

As Couples Concept Timing: --

From any formation composed only of couples, for example double pass thru, facing lines, or parallel two-faced lines: This is used to modify a call, e.g., As Couples Walk and Dodge from parallel two-faced lines. Each couple acts as though it were a single dancer, and does the part of the call appropriate to its position in the starting formation.

For example, the diagrams below show As Couples Walk and Dodge. Each couple (left diagram) works as a unit, and the dancers act as though they were in a box circulate formation (center diagram). The couples facing in, take the part of single dancers facing in, and the couples facing out, take the part of single dancers facing out. The result is as shown:

For Teaching: No one should let go of his partner during an As Couples call.

Belles and Beaus (to name dancers)

Dancers whose partners are on their left are Belles, and dancers whose partners are on their right are Beaus. In particular, for a Couple, the dancer on the right is the "Belle", and the dancer on the left is the "Beau".

Brace Thru (formerly Half Breed Thru) Timing: 6, SS 8

From facing couples, each composed of a man and a woman: All Right Pull By. Those dancers (if any) in a normal couple Courtesy Turn to end facing the other couple. Those in a half sashayed couple U-Turn Back, turning toward each other. Ends in normal facing couples.

Cast a Shadow Timing: 10

From the following formations only:

- 2x4 with the ends forming a tandem.
- Promenade or Wro ng way promende.

From a 2x4 formation with the ends forming a tandem: ends ½ Zoom, Arm Turn ¾, and Spread, to become the ends of ta 2x4. Meanwhile the centers facing out Cloverleaf and centers facing in Extend, Arm Turn 1/4, and Extend. The centers finish as centers of a 2x4 by stepping in betweem ends who spread apart. In the case in which all the centers are facing in, they Pass In and Pass Thru; if all centers are facing out, they Cloverleaf.

From Promenade or Wrong Way Promenade: The caller must designate two couples, e.g., Heads Cast a Shadow. Everyone acts as though the formation were two-faced lines, with the designated couples as the leads. Thus, the outsides do a ½ Zoom (with the designated outside acting as the lead), Arm Turn ¾, and Spread, while the designated centers Cloverleaf, and the other centers Hinge and Extend. Ends in parallel waves.

Note: Cast A Shadow is not proper from Columns because the ends are not in tandem with each other.

Chain Reaction Timing: 12

From any quarter tag or quarter line formation in which each very center can Pass Thru with an outside dancer. [At Advanced, this call is restricted to starting from right- or left-hand quarter tag formations only.]: The very centers Pass Thru with the dancers they are facing, while the ends of the center line/wave Promenade ¼ around the outside of the set. The original very centers and the dancers they are next to, Hinge. The centers Star (or Diamond Circulate) one spot, while the outsides Trade. Those who meet now Cast Off ¾, while the others move up (very centers along an outward diagonal, and very ends along a quarter circle) to become the ends of parallel waves.

Example:

Or:

Clover and (Anything) Timing: Greater of 4 or the call

From any formation in which 2 couples are facing out and can do a Cloverleaf (e.g., trade by formation): Those facing out Cloverleaf, while the others do the Anything call (after moving to the center, if necessary).

Cross Clover and (Anything) Timing: Greater of 10 or the call

From any formation in which 2 couples are facing out and can do a Cloverleaf (e.g., trade by formation): Those facing out Half Sashay blending into a Cloverleaf, while the others do the Anything call.

Cross Over Circulate Timing: 6

From general lines only: Each dancer moves forward one spot along the circulate path shown below: A lead end Circulates to the far center spot in the same line; a lead center Circulates to the far end spot in the same line; a trailing end Circulates to the near center spot in the other line, and a trailing center Circulates to the near end spot in the other line. If two dancers are about to collide and they are facing the same direction, the belle goes in front of the beau; if they are facing each other, they pass right shoulders.

Examples:

For Teaching: You can describe this as: Leads Cross Run as trailers (do their part of) Couples Circulate and Half Sashay as they go. However, it is far more effective to re-introduce the idea of circulate paths (already used at Basic), and use it to describe the call.

Cross Trail Thru Timing: 6, SS 6.

From facing couples: As one smooth motion, Pass Thru and Half Sashay. Ends in couples back-to-back.

Note: When one hears "Cross Trail Thru To Your Corner; Allemande Left", the Cross Trail Thru is danced, as one smooth motion, Pass Thru and left-shoulder Partner Tag.

Cycle and Wheel Timing: 4

From a 3-and-1 line: The dancers in the mini-wave do a Recycle while the couple does a Wheel And Deal. If the ends of the line are facing opposite directions, this will end in couples facing. If the ends are both facing the same direction, the right end must pass in front, to end in tandem couples.

Double Star Thru Timing: 6

From any appropriate formation (e.g. Normal Facing Couples): Those who can Star Thru. Those who can do the mirror image of a Star Thru (an arch is made with the man's left hand and the woman's right hand; the man goes around the arch while the lady goes under). In each part of the call, some dancers must be active. Normal facing couples will end as sashayed couples back-to-back.

For Teaching: The lady always goes under the arch.

Triple Star Thru Timing: 10

From any appropriate formation (e.g., Double Pass Thru with normal couples in the center and outsides sashayed): Those who can Star Thru. Those who can do the mirror image of a Star Thru (as in Double Star Thru). Those who can Star Thru. In each part of the call, some dancers must be active.

Ends Bend Timing: 2

From any formation with the ends in a line: The ends do their part of a Bend the Line. Note that dancers can Roll after this call.

For Teaching: This can be described as half of a Run.

Explode and (Anything) Timing: 2 + call

From a wave: All Step Thru (giving couples back-to-back), Quarter In, and do the "anything" call.

From a general line with both centers facing the same direction: The centers step ahead as the ends slide together. All Quarter In to make facing couples and do the anything call.

Note: The call Explode is not meant to be used alone; only as the preface in this call. It is not used as short-hand for Explode the Line or Explode the Wave. After Explode And, every dancer is able to Roll.

Explode the Line Timing: 6

From a general line with the centers facing the same way: The centers step forward as the ends slide together. Then all Quarter In and Right Pull By. Ends in couples back-to-back.

Fractional Tops Timing: 4-6-8

From a Thar or Wrong-Way Thar: All Arm Turn ½, then the centers turn their star, as the outsides move forward around their circle, and for--

Quarter Top: end upon meeting the first dancer.

Half a Top: end upon meeting the second dancer.

Three Quarter Top: end upon meeting the third dancer.

Ends in a thar or wrong-way thar.

Grand Follow your Neighbor. Timing: 6

From Columns: The #1 dancer in each column does the leaders’ part of Follow Your Neighbor (tight 3/4 circle towards partner). The #2, #3, and #4 dancers do the trailers’ part of Follow Your Neighbor (Extend and Arm Turn 3/4). Ends in a Tidal Wave.

You can also do Grand Follow Your Neighbor and Spread:

Horseshoe Turn Timing: 6

From anywhere the outsides can Cloverleaf and the centers can Partner Tag (e.g., completed double pass thru): Clover and the centers Partner Tag.

Lock It Timing: 4

From a general line or diamond, with the centers in a mini-wave only: Centers Arm Turn ¼, while the ends move up around a quarter circle, as in Fan the Top.

Mix Timing: 6

From a general line: Centers Cross Run, then the new centers Trade. If both centers are facing the same way at the start of the call, they Half Sashay, blending into a Run around the original far end.

Pair Off Timing: 2, SS 4

From facing dancers, neither of whom is facing the flagpole center of the set only. Dancers face out, to end as a couple.

From a static square: the designated dancers will first step forward into the center.

Partner Hinge Timing: 2

From a couples only, Hinge, finiching in a right-hand mini-wave at right angles to the original couple, with the new handhold centered on the original handhold.

Partner Tag Timing: 3

From a couple or mini-wave, dancers turn to face each other and pass thru.

Pass In Timing: 4

From facing dancers (e.g., facing lines, or eight chain thru): All Pass Thru and Face In.

Note that the dancers shown below cannot Face In after the Pass Thru, and so cannot Pass In.

Pass Out Timing: 4

From facing dancers (e.g., facing lines, or eight chain thru): All Pass Thru and Face Out.

Note that the people in the bottom diagram shown under Pass In (those who could not do the Pass In) also cannot Pass Out.

Pass the Sea Timing: 6

From facing couples: All Pass Thru, Quarter In, and Left Touch.

Quarter In Timing: 2

From anywhere partner is defined, or the call Face In can be done: Turn ¼ in place to face your partner. If you have no partner (as in a diamond), then Face In toward the center of your half of the set.

Quarter Out Timing: 2

From anywhere partner is defined or the call Face Out can be done: Turn ¼ in place, turning away from your partner. If you have no partner (as in single file promenade), then Face Out from the center of your half of the set.

Quarter Thru Timing: 6

From any appropriate 4-dancer formation (e.g., right-hand box circulate, left-hand facing diamonds): Those who can Turn ¼ by the Right, then those who can Turn 1/2 by the Left.

There must be dancers who can do both part the call. The call is not proper rom an Inverted Box.

If there are two side-by-side formations each of which can do the call, dancers don't move from one to the other. From right-hand columns, for example, each of the two box circulate formations does the call independently.

Three-Quarter Thru Timing: 8

From any appropriate 4-dancer formation (e.g., right-hand box circulate, left-hand facing diamond): Those who can, Turn 3/4 by the Right, then those who can, Turn 1/2 by the Left.

See the notes under Quarter Thru.

Grand Quarter Thru Timing: 6

From right-hand columns (of 6 or 8): Those who can Turn ¼ by the Right, and those who can Turn 1/2 by the Left.

There must be dancers who can do both parts of the call. The call is not proper from Magic Columns.

Grand Three-Quarter Thru Timing: 8

From right-hand columns (of 6 or 8): Those who can Turn 3/4 by the Right, and those who can Turn 1/2 by the Left.

There must be dancers who can do both parts of the call. The call is not proper from Magic Columns.

Right (Left) Roll to a Wave Timing: 4 & 2

From a tandem, dancers back-to-back, or facing dancers: The leads right (left)-face U-Turn Back, and all (left) Touch.

Scoot and Dodge Timing: 8

From box circulate only: The trailers Scoot Back, while the leaders Dodge (as in Walk and Dodge).

Six-Two Acey Deucey Timing: 4

From anywhere with a very center two, and an outside 6: The very centers Trade, while the outside six Circulate in their formation.

For common formations, the circulate paths for the outside six are shown below:

Split Square Chain Thru Timing: 12

From a static square, or T-bone. (From a static square, those designated step forward, to form two side-by-side T-bones.): Those facing Right Pull By, Quarter In (to face those who didn't pull by), all Left Swing Thru, and Left Turn Thru. Finishes in couples back-to-back.

Split Square Thru Timing: 6-8-10, SS 8-10-12

From a static square, or T-bone. (From a static square, those designated step forward, to form two side-by-side T-bones.): Those facing Right Pull By, Quarter In (to face those who didn't pull by), and all Left Square Thru ¾.

Can also be done fractionally, or for a given number of hands. In these cases, the fraction applies to those who start the call, e.g., for a Split Square Thru ¾, the dancers who start facing do a total of 3 Pull Bys, and the other two dancers do 2 Pull Bys.

Square Chain Thru Timing: 14

From facing couples: All Right Pull By, Quarter In, Left Swing Thru, and Left Turn Thru, to end in couples back to back.

Left Square Chain Thru Timing: 14

From facing couples: All Left Pull By, Quarter In, Swing Thru, and Turn Thru, to end in couples back to back.

Step and Slide Timing: 4

From a general line: Centers step forward, while the ends slide sideways until they are adjacent.

Swap Around Timing: 4

From facing couples: The belle in each couple walks straight forward without turning, to take the spot of the dancer s/he was facing. At the same time, the beau in each couple Runs (passing behind his starting partner) into the spot being vacated. Ends as couples back to back.

Reverse Swap Around Timing: 4

From facing couples, the beaus walk (as in Walk and Dodge) while the belles run to the left.

Transfer the Column Timing: 10

From columns: The #1 and #2 dancers Circulate 3 spots working slightly wider than usual, to give the centers room, and Facing In (to become a Couple). Meanwhile, the #3 and #4 dancers Circulate and Arm Turn ¾. From the momentary right-hand or left-hand 1/4 Tag, all Extend to form parallel waves.

Triple Cross / Double Cross Timing: 4

Triple Cross:
From columns (4): The 6 dancers who can, will pull by on a diagonal, usng outside hands.

Double Cross:
From columns (3): The 4 dancers who can, will pull by on a diagonal, usng outside hands.

Triple Trade Timing: 4

From tidal waves, tidal two-faced lines, point-to-point diamonds, six-dancer ocean wave, or any 3 pairs of adjacent dancers: The two end dancers remain in place as the three adjacent pairs of dancers (the six in the center) Trade with each other.

Turn and Deal Timing: 4

From a general line: As one smooth motion, all Half Tag, then turn individually another quarter in the same direction you turned to start the Half Tag. This call is considered to have a single part; it cannot be fractionalized.

Wheel Thru Timing: 4, SS 6

From facing couples: Similar to Couples Lead Right, except that the dancers drop hands and the beaus pass right shoulders with each other on the way. Ends in couples back-to back.

Left Wheel Thru Timing: 4, SS 6

From facing couples: Similar to Couples Lead Left, except that the dancers drop hands with each other, and the belles pass left shoulders with each other on the way. Ends in couples back-to back.