📽Part I: Starting outside feet, run three steps (1, 2, 3) and hop (4) along LOD. Then repeat with inside feet (5, 6, 7, 8) [RC88, MG90, PD95b, JL95, HS95, PA98, JS98, TL99, BB12, FN14]. Some sources specify that the free foot is raised in front on the hop [RC88, JL95, HS95, PA98, TL99].
OR: Starting outside feet, slide (1), cut (2), leap (3), hop (4) along LOD. Then repeat with inside feet (5, 6, 7, 8) [AD88, ES92, GW98, AD00, AW02, PW04]. Some sources specify that the free foot raised in front on the hop [ES92, AW02, PW04].
📽OR: Starting outside feet, slide (1), close (2), slide (3), hop (4) along LOD. Then repeat with inside feet (5, 6, 7, 8) [JL94, EB95, PD95a, AN03]. Most sources specify that the free foot raised in front on the hop [JL94, EB95, PD95a].
OR: Starting outside feet, slide (1), close (2), leap (3), hop (4) along LOD. Then repeat with inside feet (5, 6, 7, 8) [MG90, MW99, WL03]. All sources specify that the free foot is raised in front on the hop [MG90, MW99, WL03].
📽Part II: Two full clockwise rotations as a couple using four hopped 180° pivot steps: step-hop (Lead backing), step-hop (Follow backing), step-hop (Lead backing), step-hop (Follow backing) (1-2, 3-4, 5-6, 7-8) [RC88, AD88, MG90, ES92, EB95, PD95a, PD95b, PA98, JS98, GW98, TL99, MW99, AD00, AW02, PW04, FN14]. Some source specifies that the free foot is raised behind the hopping foot, close to the ankle, toe pointing the floor [AW02, PW04].
Several sources provide variations that can be added to the dance:
Continuous Pivots: "There are some who only use the motions of the second phrase throughout the entire dance," meaning continuous pivots [AD88, GW98, AD00]. As a more reasonable variation, one iteration of the first half can be replaced with extra pivots, for 12 continuous pivots.
Reverse Pivots: The pivots in the second part can also be danced counterclockwise, with the Follow backing around first [AD88, GW98, AD00].
Pursuit: The second part can also be danced backing the Lead (or backing the Follow) [AD88, AD00].
Underarm Turn: Holding inside hands, the Follow turns under the arm on Part II, while the Lead travels forward. The number of turns is unspecified, but two full turns (as she usually does) is logical [MG13].
Rollaway: On Part II, both partners turn away from partner, spinning solo. The number of turns is unspecified, but two full turns (as they usually do) is logical [MG13].
Casting: From crossed hands (right-in-right and left-in-left), the Follow crosses in front of the Lead, passing to the inside lane. "Repeat to regain places," which could mean either that the Follow goes in front to the outside lane, or the Lead goes in front to the inside lane [MG13].
Double It: One source has both parts doubled, i.e., do Part I twice, then Part II twice [RC88].
Despite the existence of these variations, one source notes that "the original figure is the only one ever danced in society" [ES92].
The Music
Schottische music, usually specified at 76 bpm [AD88, MG90, AD00, WL03].
The dance's various nicknames (Pas de Quatre, Dancing in the Barn, Barn Dance, Kentucky Jubilee) come from songs that it was popularly danced to at the time.
Sources
RC88 — R. M. Crompton (dance), Meyer Lutz (music). (1888). Pas de Quatre, The Enormously Successful Dance from Opera Burlesque "Faust Up to Date." London.
See Original Description
AD88 — Allen Dodworth. (1888). Dancing and Its Relations to Education and Social Life (New and Enlarged Edition). New York.
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MG90 — M. B. Gilbert. (1890). Round Dancing. Portland, ME.
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ES92 — Edward Scott. (1892). Dancing as an Art and Pastime. London.
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JL94 — J. Lagus (dance), Paul Chabeaux (music), C. Léon (history). (c. 1894). Biarritz Pas de Quatre. Paris.
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EB95 — E. Beïsson. (1895). Pas de Quatre pour Piano. Paris.
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PD95a — Paul Dedieu-Petérs. (1895). La Chasse, Pas de Quatre avec la Théorie. Paris.
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PD95b — Paul Dedieu-Petérs. (1895). Royal-Gardénia, Pas de Quatre pour le Piano. Paris.
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JL95 — J. Lagus. (1895). Reglas Para Los Bailes De Salon. Barcelona.
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HS95 — Henri de Soria Fils. (c. 1895). Manuel Du Maintien Et De La Danse (Deuxième Édition). Paris.
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PA98 — Paul André. (1898). Royalty, Pas de Quatre. Paris.
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JS98 — J. Scott Skinner (ed.). (c. 1898). The People's Ball Room Guide and Manual of Dancing. Dundee.
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GW98 — George E. Wilson. (1898). The Little Dancing Master. New York. [Abbreviated copy of AD88.]
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TL99 — T. Ledgett-Byrne (1899). Terpsichore, Her Votaries and Fashions. Dublin.
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MW99 — Marguerite Wilson. (1899). Dancing. A Complete Guide to all Dances, with a Full List of Calls, the Music for each Figure, Etiquette of the Dances, and One Hundred Figures for the German. Philadelphia.
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AD00 — Allen Dodworth, T. George Dodworth. (1900). Dancing and Its Relations to Education and Social Life (New and Enlarged Edition). New York. [Copy of AD88.]
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AW02 — Prof. A. C. Wirth. (1902). Complete Quadrille Call Book and Dancing Master. Chicago.
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WL03 — Washington Lopp. (1903). La Danse. Paris.
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AN03 — Albert W. Newman. (1903). A Complete Practical Guide to Modern Society Dancing. Philadelphia.
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PW04 — Professor Wilkinson. (1904). Dancing without an Instructor. Philadelphia. [Abbreviated copy of AW02.]
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BB12 — Prof. B. Bottallo. (1912). Guide du Bon Danseur. Paris.
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MG13 — M. B. Gilbert, Susan Hoffman Gilman (ed.). (1913). School Dances. New York.
See Original Description
FN14 — Frank H. Norman, Sr. (1914). Complete Dance Instructor. Montreal.