Multiple Formations Working <direction>

The Multiple Formations Working <direction> concept has a lot in common with Grand Working <direction> — the setups are just bigger.

On a Grand Working call, one associates one's 2-person group with another group to form a 4-person setup in which to do a 4-person call. On a Multiple Formations Working call, one associates one's 4-person group with another group to form a 8-person setup in which to do an 8-person call.

In general, Multiple C/L/W Working <direction> means this:

\sdform{\danc p.. , \danc p.. , \danc bAe , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr\danc p.. , \danc p.. , \danc bBe , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr\danc p.. , \danc p.. , \danc bCe , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr\danc p.. , \danc p.. , \danc bDe , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr}
A B C D
On Multiple Lines Working Forward, if you are person A, B, C, or D, do the call in the 8 solid spots. (The other people in your line don't have to be facing the same way as you.)




\sdform{\danc p.. , \danc p.. , \danc bAn , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr\danc p.. , \danc p.. , \danc bBn , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr\danc p.. , \danc p.. , \danc bCn , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr\danc p.. , \danc p.. , \danc bDn , \danc b.. , \danc p.. , \danc p.. , \danc p.. , \danc p.. \cr}
A B C D
On Multiple Columns Working Right, if you are person A, B, C, or D, do the call in the 8 solid spots.


Starting from a 4x4

In a 4x4 matrix, the setups are smaller than the diagrams above, and one only has to figure out whether to work on each side ("Split Phantom Lines") or in the Center Phantom Lines. Furthermore, those in the outer lines have no choice — they always work in Split Phantom Lines. Those in the center lines have to use the given direction to decide whether to work with the other center line or with the adjacent outside lines. Columns work analogously to lines, of course.

As with Grand Working, the center pair of lines, and the sets of Split Phantom Lines, overlap by 50%, which can be difficult to handle. It is helpful to concentrate on whether you are working in Split Phantom Lines or the Center Phantom Lines, and use your breathing and shape-changing skills.

\syhBBBBs{.+.,.+.,g4e,b3w,.+.,.+.,g1e,b2w}
+ + + + 4 2 3 1 + + + + 1 3 2 4
before Quadruple Lines Working Forward Trade the Deucey




\sdform{\danc b.. , \danc b.. , \danc p.. , \danc p.. \cr \danc b.. , \danc b3w , \danc p.. , \danc p.. \cr \danc b4e , \danc b.. , \danc p.. , \danc p.. \cr \danc g3w , \danc b.. , \danc p.. , \danc p.. \cr} \sdform{\danc p.. , \danc g4e , \danc b.. , \danc p.. \cr \danc p.. , \danc b.. , \danc b.. , \danc p.. \cr \danc p.. , \danc b.. , \danc b.. , \danc p.. \cr \danc p.. , \danc b.. , \danc g2w , \danc p.. \cr} \sdform{\danc p.. , \danc p.. , \danc b.. , \danc g1e \cr \danc p.. , \danc p.. , \danc b.. , \danc b2w \cr \danc p.. , \danc p.. , \danc b1e , \danc b.. \cr \danc p.. , \danc p.. , \danc b.. , \danc b.. \cr}
4 3 3 4 2 1 1 2
3 people think this 2 people think this 3 people think this




\sdform{\danc b4w , \danc b.. , \danc p.. , \danc p.. \cr \danc g3e , \danc b.. , \danc p.. , \danc p.. \cr \danc b.. , \danc b.. , \danc p.. , \danc p.. \cr \danc b.. , \danc b3e , \danc p.. , \danc p.. \cr} \sdform{\danc p.. , \danc b.. , \danc b.. , \danc p.. \cr \danc p.. , \danc b.. , \danc g4e , \danc p.. \cr \danc p.. , \danc g2w , \danc b.. , \danc p.. \cr \danc p.. , \danc b.. , \danc b.. , \danc p.. \cr} \sdform{\danc p.. , \danc p.. , \danc b1w , \danc b.. \cr \danc p.. , \danc p.. , \danc b.. , \danc b.. \cr \danc p.. , \danc p.. , \danc b.. , \danc g1w \cr \danc p.. , \danc p.. , \danc b.. , \danc b2e \cr}
4 3 3 2 4 1 1 2
resulting in this resulting in this resulting in this




\syhBBBBs{b4w,g3e,.+.,.+.,b1w,g4e,.+.,.+.}
4 2 3 1 + + + + 1 3 4 2 + + + +
Finished


Handling the 50% overlap becomes tricky when the call is a shape-changer. You need to use your shape-changing skills in Split Phantom or Center Phantom Formations. If the call changes the 2x4 into a 2x4 oriented the other way, it will appear to finish in Split Phantom Boxes or The Center Phantom Boxes.

\syhBBBBs{.+.,.+.,g4e,b3w,.+.,.+.,g1e,b2w}
+ + + + 4 2 3 1 + + + + 1 3 2 4
before Quadruple Lines Working Forward Criss Cross the Deucey
\sxhBBBBs{.+.,b2n,g1s,.+.,g2n,.+.,b1s,.+.}
+ + 2 4 1 3 + + 2 4 + + 1 3 + +
after


If the calls finish in 1x8's oriented the other way, it will appear to finish in end-to-end Split Phantom C/L/W, or the center 1x8. This is very difficult, but it's really just a problem of figuring out where you are in end-to-end Split Phantom 1x4's.

\syhBBBBs{g3s,g2s,.+.,.+.,b3s,b4s,.+.,.+.}
3 1 2 4 + + + + 3 1 4 2 + + + +
before Quadruple Columns Working Right Strut Right
\sxhEEEEs{g4s,g1n,.+.,.+.,.+.,.+.,b2s,b1n}
4 2 1 3 + + + + + + + + 2 4 1 3
after


If the calls finish in 1x8's oriented the same way, it goes to a 3x8. The overlap goes away.

\syhBBBBs{.+.,.+.,.+.,g2s,.+.,g3n,b3s,b4s}
+ + + + + + 2 4 + + 3 1 3 1 4 2
before Quadruple Waves Working Forward Flip the Top
\sxhPPPPsplus{b1s,b2s,.+.,.+.,.+.,.+.,g1n,g2n}
1 3 2 4 + + + + + + + + + + + + + + 1 3 2 4 + +
after


Starting from a 2x8

If the starting setup is a 2x8, the concept must by Quadruple Boxes Working in some direction. Working Together or Apart are common choices. Use the adjacent box closer to your individual position. Those in the outer boxes always work in Split Phantom Boxes, of course.

\sxhBBBBs{.+.,b2s,.+.,g1n,.+.,g2s,.+.,b1n}
+ + 2 4 + + 1 3 + + 2 4 + + 1 3
before Quadruple Boxes Working Together Trade the Deucey
\sxhBBBBs{.+.,g2n,b2s,.+.,b3n,.+.,.+.,g1s}
+ + 2 4 2 4 + + 3 1 + + + + 1 3
after


Starting from a 1x16

If the starting setup is a 1x16, the concept must by Quadruple Lines Working in some direction. Combine your 1x4 with another 1x4 — either work with the 1x4 on your side, as in Split Phantom Lines, or combine the center two 1x4's in the center. If the given direction is together (or apart), work with the 1x4 closer to (or farther from) your side, that is, closer to your 1x2 in your 1x4. Columns work similarly, of course.

\sxhEEEEs{g1s,.+.,b1s,.+.,g4s,.+.,b4s,.+.}
1 3 + + 1 3 + + 4 2 + + 4 2 + +
before Quadruple Waves Working Apart Relay the Shadow
\sxhBBBBs{b1s,b4s,g1n,.+.,.+.,.+.,g4n,.+.}
1 3 4 2 1 3 + + + + + + 4 2 + +
after


Each side girl, who is in one of the center 1x4's, works with the other center 1x4, to their right, because that 1x4 is farther from their own 1x2. The side boys are also in the center 1x4's, work with the outer 1x4 to their left. That is because that 1x4 is farther from their own 1x2 within their own 1x4.

Triple Formations Working <direction>

The "Triple Formations Working" concepts are perhaps more common than Quadruple Formations. They are done from appropriate 12 matrix setups. Those in the outer 4-person formation always work with the center formation. Those in the center formation work with whichever outside formation is indicated by the given direction. For example, on Triple Boxes Working Together, if you are in the center triple box, work with whichever outside box you are personally closer to. On Triple Lines Working Together from a 1x12, if you are in the center triple line, work with whichever outside line you are closer to.

\sxhBBBs{g2n,.+.,b1s,g3s,b2n,.+.} \syhBBBs{b3w,.+.,g4w,b4e,.+.,g3e}
2 4 + + 1 3 3 1 2 4 + + 3 1 + + 4 2 4 2 + + 3 1
before Triple Boxes Working Together Flip Back after


The trick of working in Split Phantom Formations or Center Phantom Formations doesn't work when there are three formations, and putting back the 50% overlap is more difficult. You must think about an 8-person formation that is 50% overlapped with the other setup. Locate your 8-person setup so that the inner half of it will be in the center of the whole set, and the outer half will abut that inner half. This can be quite tricky.

\syhBBBs{.+.,.+.,g3s,g2s,b3s,b4s} \sxhlines{g4s,g1n,b3s,b4n}
+ + + + 3 1 2 4 3 1 4 2 4 2 1 3 3 1 4 2
before Triple Columns Working Right Strut Right after


If the number of formations is 5 or more, things become extremely difficult.

Additional Directions

The meaning of "Working Toward the Center" and "Working Clockwise" is the same as for Grand Working.

Multiple Diamonds Working <direction>

Directions like "forward" or "right" can't be consistently used when the formations are diamonds. By convention, if the given direction can't apply to you because of your facing direction, use "together" or "forward" instead.

\sxvtridiamonds{b3w,b2n,.+.,.+.,g3w,g2n} \sxvtridiamonds{b2w,.+.,g1e,g2s,b3w,.+.}
3 1 2 4 + + + + 3 1 2 4 2 4 + + 1 3 2 4 3 1 + +
before Triple Diamonds Working Together 6x2 Acey Deucey after





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