12: Trenchmore
	longways for only (?) [8?]
	mms pages 18 to 21
	Playford version: from 2nd to 18th editions
Music:
Intro, Part A
1:	Lead up [a double]
2:	[Fall back a double]
3-4:	Lead up [a double and fall back a double] again
Intro, Part B
1-2:	Set [and turn single, left]
3-4:	Set [and turn single, right]
Figure 1, Intro A
1-2:	Turn your partner as long as you please to the left
3-4:	Turn your partner the other way
Figure 1, Part A
1:	Man 1 sets to man 2 while woman 2 follows him (does a double to come up behind/beside him?)
2:	Woman 1 turns back and goes away [a double, probably just a short distance], man 1 following
Continue:
	This pattern continues, man 1 setting to each next man, his partner following him, then the woman goes "back"/away, and the man follows her.  When possible, the next man at the top and his partner starts the same pattern, and it continues until everyone has done the figure to the bottom of the line, and it has reformed below them.
Figure 1, Intro B
1-2:	Turn your partner as long as you please to the left
3-4:	Turn your partner the other way
Figure 1, Part B
	The women lead through the same figure:
1:	Woman 1 sets to woman 2 while man 1 follows her
2:	Man 1 turns back and goes away, woman 1 following
Continue:
	Keep doing this until you get to the bottom of the line, and let the line reform below you.
Figure 2, Intro A
1-2:	Turn your partner as long as you please to the left
3-4:	Turn your partner the other way
Figure 2, Part A
1:	Man 1 turns man 2 [by left arm, to the right]
2:	Man 1 turns his partner [by right arm, to the left], ending up in a position to turn the next man
Continue:
	The pattern continues, man 1 turning each other man, then his partner, then the next man, etc.  When possible, the next man at the top of the set begins the pattern.  Each leader stops at the bottom of the set, with the rest of the line forming up below him.
Figure 2, Intro B
1-2:	Turn your partner as long as you please to the left
3-4:	Turn your partner the other way
Figure 2, Part B
1:	Woman 1 turns woman 2 [by left arm, to the right]
2:	Woman 1 turns man 1 [by right arm, to the left], ending up ready to turn the next woman
Continue:
	Finish the pattern as the men did before.
Figure 3, Intro A
1-2:	Turn your partner as long as you please to the left
3-4:	Turn your partner the other way
Figure 3, Part A
1:	Couple 1 will circle around man 2 [going between man 2 and man 3, going behind man 2, coming back in above man 2, and heading for the gap between woman 2 and woman 3]
2:	Couple 1 will circle around woman 2 [below, behind, above, aiming for the below gap with man 3]
Continue:
	The pattern continues with ONLY couple 1 weaving their way to the bottom of the set
Figure 3, Intro B
1-2:	JUST couple 1 alone turn one way
3-4:	JUST couple 1 alone turn the other way
Figure 3, Part B
1:	Couple 1 circles the bottom woman
2:	Couple 1 circles the bottom man and gets ready to circle the next woman up.
Continue:
	Couple 1 weaves back up the line until they are first again.
Coda:
1-2:	Turn your partner as long as you please to the left
3-4:	Turn your partner the other way
Comparison to the Playford version (2nd to 18th editions)
	Trenchmore is another very popular, long-lived dance.  It seems to have Irish roots, and it was one of those dances whose name (and tune?) was known well before Playford's time.  It seems to actually have become more than just a dance - Trenchmore is a style/type of dance as well!
	For whatever reason, Playford waited until his 2nd edition to include this popular favorite in his books.  Our friend Pattricke (or Lovelace, or Dunn) wrote it down before him, but the dance in this manuscript is only a cousin to the Playford version - not quite closely enough related to be a direct ancestor of it.
	While they both share some basic patterns (the setting, and then the turning, down the line), there are elements in this dance that have vanished from Playford's version (turning your partner, the final weaving element).  They share similarities beyond the name, but aren't quite the same dance.
Conclusions:
	There is one very interesting instruction in this dance, and I'm not at all sure how it would be implemented.  In the intro/interlude figures, where everyone is turning their partner, the instruction is "then every man shall turne his mayde as long as he please".
	Were the musicians intended to just keep vamping the strain on and on until the dancers were sufficiently dizzy to need to stop?  Or does it refer to speed - turning your partner faster means turning her "longer", or at least, more times.  It is certainly another of those loose, unregimented instructions that these dances seem to favor.