The Compleat Country Dancing-Master, Containing Great Variety of Dances, both Old and New; particularly those perform'd at Court, the Theatres, Masquerades, Assemblies and Public Balls. With proper Tunes, and Directions to each Dance, fitted to the Violin, Hoboy or German Flute (Walsh, London 1740, single-volume omnibus edition)

Dance manual/reference by Printed for I. Walsh, in Catherine-Street in the Strand, London, [1740]. Price Bound 7s 6d. Source: Library of Dance ABBYY-OCR'd IMSLP scan (1740-Walsh-Complete_(IMSLP).pdf + ABBYY TXT 1740-Walsh-Complete_(IMSLP).txt, 1561 lines, 148KB). The CULMINATING SINGLE-VOLUME EDITION of the Walsh country-dance project — drawing together two decades of Walsh and (post-1734) Walsh-junior issues into one alphabetically organized 200-dance corpus, organized as a working ballroom reference rather than a periodical. EXPLANATION-OF-CHARACTERS preface defines the abbreviations (D=Double, S=Single, Wo=Woman, We=Women, Cu=Couple, Co=Contrary, A/B/C strain repeats, O/D position symbols on the figure-diagram at the top of each page) inherited from Beauchamp-Feuillet character-notation tradition via Walsh 1719. Each dance occupies its own page with: (1) tune in two-stave music notation; (2) figure-diagram showing initial Men's and Women's positions; (3) prose narrative description of the dance, strain by strain. The tune-set spans the ballroom repertory of the entire 1690-1740 period: D'Urfey ballads (Lilli Burlero, 'Twas Within a Furlong of Edinborough Town, Of Noble Race Was Shinkin, Cold and Raw, Parson upon Dorothy, Walley Honey, Up with Aily); Restoration-and-Augustan stage themes (Beaux Stratagem, Confederacy, Recruiting Officer, Bellamira, Beggar's Opera airs Lumps of Pudding and The Bonny Grey-Eyed Morn, Vanbrugh's Pilgrim, Cibber's Lord Foppington, Aphra Behn's Emperour of the Moon, Brady's Rape, Otway's Belvedera); William-and-Mary politico-historical (Siege of Limerick, Hey Boys Up Go We, Whitney's Farewell, Drive the Cold Winter Away); Marlborough-Wars commemoratives (Battle of the Reyn, Luxenburgh, Vienna, Hey to the Camp); Hanoverian-court royal-name dances (Princess Amelia, Princess Royal, Prince William, Queen Caroline, The Coronation Day); London-civic and pleasure-ground themes (Cuper's Garden, Spring Garden, Greenwich Park, Bloomsbury Market, Arundel Street, Pall Mall, Bury Fair, Tunbridge Walks, Bath, Epsom Wells); Scotch / Irish / Welsh ethnic-themed (Highland Laddie, From Aberdeen, Bonny Dundee, Athol Brays, Of Noble Race Was Shinkin, Walley Honey, Irish Trot, Irish Ground, Sawney Was Tall, De'el Take the Wars); composer-named 'maggots' (Carpenter's Maggot, Lane's Maggot, Hill's Maggot, Mr. Beveridge's Maggot, Lord Byron's Maggot); rural / domestic / folk titles (Country Farmer, Hemp Dresser, Barley Mow, Buttered Beans, Pudding and Pye, Christmas Cheer, Friday Night, Sweet Kate, Joan's Placket, Joan Sanderson [the Cushion Dance]); and step-form hybrids (America with the Minuet, Whitehall Minuet, Rigadoon, Cobler's Hornpipe, Bishop of Bangor's Jigg, Mr. Staggin's Jigg, Lord Carnarvon's Jigg, Kemp's Jigg). HISTORIC SIGNIFICANCE: This 1740 omnibus is the single richest pre-Playford-revival snapshot of the early-Georgian English country-dance ballroom canon. It bridges the Playford / Walsh-1719 / Young-publication periodicals (consolidated here) and the mid-18c John Johnson / Charles and Samuel Thompson 1750s-1760s annual collections. The narrative-prose figure descriptions (rich step content, narrative form not figure-row tabulated) are flagged Has_Step_Detail=Partial, with structured step-row extraction deferred to a later pass. (1740). Imported from local collection.