Progressions

You can't call convincingly unless you're absolutely sure how the dance works, so here is an explanation of the longways progressions, which are the tricky ones.  Note: The caller is at the top in these diagrams.

Duple minor, single progression

Take hands four from the top.  First couples change places with second couples during the dance — 1s move down; 2s move up.

1st turn of the dance (blue lines separate the minor sets of two couples dancing together):

Albert
Jane(1s)
Bernard
Kath
(2s)

Charlie
Louise
(1s)
David
Mary
(2s)

Edward
Nancy
(1s)
Freddy
Olivia
(2s)

2nd turn of the dance — 1s have moved down, 2s have moved up, and couples reaching the end wait out for one turn as neutrals:

Bernard
Kath
neutral

Albert
Jane
(1s)
David
Mary
(2s)

Charlie
Louise
(1s)
Freddy
Olivia
(2s)

Edward
Nancy  neutral

3rd turn of the dance — neutral couples have changed numbers and re-entered the dance:

BernardKath(1s)
DavidMary(2s)

AlbertJane(1s)
FreddyOlivia(2s)

CharlieLouise(1s)
EdwardNancy(2s)


Duple minor, double progression

ColinSays  In some ways this is easier, because in one turn of the dance you move on past the couple you're dancing with and the next couple, which means that (assuming you started with an even number of couples) everybody is in at the start of each turn of the dance.


Triple minor progression

ColinSays  First of all, I wouldn't dream of calling a triple minor at a barn dance!  In fact probably the only duple minor I would call is "Nottingham Swing", where people get the progression fairly easily.  But Thomas Green obviously feels it should be covered, so here goes.

Take hands six from the top.  First couples change places with second couples during the dance — 1s move down; 2s move up — and the twos and threes alternate numbers.

1st turn of the dance (blue lines separate the minor sets of three couples dancing together):

AlbertJane(1s)
BernardKath(2s)
CharlieLouise(3s)

DavidMary(1s)
EdwardNancy(2s)
FreddyOlivia(3s)

GeorgePamela(1s)
HermanQueenie(2s)
IanRachel(3s)

2nd turn of the dance — 1s have moved down, 2s have moved up, threes have not moved but the twos and threes have changed numbers.
The couple reaching the top wait out two turns as neutrals:

BernardKath(neutral)

AlbertJane(1s)
CharlieLouise(2s)
EdwardNancy(3s)

DavidMary(1s)
FreddyOlivia(2s)
HermanQueenie(3s)

GeorgePamela(1s)
IanRachel(2s)

But what about the two couples at the bottom?  My recommendation is that they dance with ghost 3s.  Often the 3s do a lot less than the 1s and 2s, so it keeps people dancing and automatically the 1s finish below the 2s which is what you want.  If the two couples aren't willing to do this, the ones must as a minimum progress to the bottom, otherwise the bottom couple only get into the dance every third time, as 3s!

3rd turn of the dance — 1s have moved down, 2s have moved up and again the twos and threes have changed numbers.
There are two neutral couples at the top and one at the bottom:

BernardKath(neutral)
CharlieLouise(neutral)

AlbertJane(1s)
EdwardNancy(2s)
FreddyOlivia(3s)

DavidMary(1s)
HermanQueenie(2s)
IanRachel(3s)

GeorgePamela(neutral)

This time I recommend that the neutral couples do nothing.  Bernard and Kath can't become 1s until they have two couples to dance with.  If they dance with ghost threes they will finish below Charlie and Louise, and we don't want that — they need to stay at the top, ready to start as 1s at the next turn of the dance.

4th turn of the dance — 1s have moved down, 2s have moved up, and everybody is dancing again:

BernardKath(1s)
CharlieLouise(2s)
EdwardNancy(3s)

AlbertJane(1s)
FreddyOlivia(2s)
HermanQueenie(3s)

DavidMary(1s)
IanRachel(2s)
GeorgePamela(3s)

But again let me stress that I'd never do a trriple minor at a barn dance.  The only time I've taught a triple minor to non-dancers is at a Jane Austen evening where I wanted to show them how people would have done the dances in that period — rather than converting them to duple minor or three-couple set dances.  And it was exhausting for all concerned!