1- 8 1s cast 1 place, cross RH, cast below 3s and dance up middle to 2nd place BtoB in centre for Double Triangles
9-16 1s dance Double Triangles and end facing 2nd corners
17-24 1s dance diagonal reels of 4 with 2nd corners, pass partner LSh to face 1st corners
25-32 1s dance reels of 4 with 1st corners, pass partner LSh to end in 2nd place facing out to start next sequence
(MINICRIB, Dance Crib compiled by Charles Upton, Deeside Caledonian Society, and his successors)
1-8 1s cast, cross by the right, cast below 3s, take nearer hands and lead up to finish back to back in 2nd position on opposite sides, facing out;
9-16 2s1s3s double triangles, 1s finishing facing second corners;
17-24 1s with second corners, diagonal reel of 4, finishing by passing left shoulders to face first corners;
25-32 1s with first corners, diagonal reel of 4, finishing facing out in 2nd place on own sides (except on the final repeat when they face in).
(MAXICRIB, Scottish country dancing instructions compiled by Reuben Freemantle)
1-2 2s step up.
5-6 3s do not step up.
-32 On the 1st, 3rd, 5th and 7th repeats, 1s finish in 2nd place, facing out, ready to dance as 1st couple again.
On the 2nd, 4th and 6th repeats, 1s also finish in 2nd place, facing out, ready to cast to 4th place of the full set in bars 1-2 of the next repeat WHILE the new 3s step up.
On the last repeat, 1s finish in 2nd place of the active set (3rd place of the full set), facing in.
These early "hunting" horns were originally played on a hunt, often while mounted, and the sound they produced was called a recheat. Change of pitch was effected entirely by the lips (the horn not being equipped with valves until the 19th century). Without valves, only the notes within the harmonic series are available.
The horn was used, among other reasons, to call hounds on a hunt and created a sound most like a human voice, but carried much farther.