1- 8 1s ½ turn RH moving down and face up nearer hands joined while 2s dance up and in to face 1s nearer hands joined. 1s+2s set, circle 4H round to Left to end on sides. 2(1)34
9-12 2s+1s+3s set. 2s+3s cross RH, 2s face down, 3s up while 1s turn RH to 2nd place opposite sides facing out. (2)(1)(3)
13-16 1s cast (wide) as 3s+2s set to each other on sides. 1s dance down behind 3s, meet and dance up nearer hands joined to 2nd place while 2s+3s change places on sides (Men RH, Ladies LH). 3s (at top) face out, 1s up, 2s in
17-19 3L+1L+2L dance LH across on Men's side while 3M+1M+2M dance RH across on Ladies' side
20-24 Each couple, on meeting, crosses (1s then 2s, then 3s - Ladies dancing in front of partner) to join hands across on own side. End 1s dancing up middle to 1st place, 2s to 2nd place, 3s dancing down sides to 3rd place, ready for...
25-32 1s+2s+3s promenade (3s dance in to meet partner bar 25). Bars 31-32 1s cast to 2nd place as 2s dance up to top
Note: Bars 20-24 dancers should maintain shapes of hands across while crossing from one side to other. Hands are joined for promenade on bar 25
(MINICRIB, Dance Crib compiled by Charles Upton, Deeside Caledonian Society, and his successors)
Published and claimed by Niel Gow (1727-1806) in his Fourth Collection of 1800 however, the tune is actually a composition of William Marshall's called "Miss Dallas's Reel" (published in his First Collection, 1781) presented in a different key with a few notes altered.
The identity problem is charitably thought by some to be not one of outright plagiarism, but perhaps arises from the fact that many of both Gow's and Marshall's tunes were in general circulation long before they were published by each of them. Others believe the plagiarism despicable. Marshall undoubtedly knew of the usurpation of his melody, but there is no record of his pursuing whatever grievances he might have had, if any.