Here’s one I wrote in 2006:

Jump at the Sun
A1)Cir L 0.75, Pass through, next N DSD 1.25
A2) Rory o More: Balance in wave, Slide R, Bal wave, slide to L.
B1) Pull by that N by RH to start a full hey
B2) Same N AR 0.75, W cross by LS, P Sw.
Written 2006, at the suggestion of Emil Olguin, specifically for the jig of the 
same name.  However, I have called and danced it to other music, and haven't 
found anything that doesn't work.  (Rory O'More and Petronella  work very well.)

I have had discussions with other callers as to whether the the first move in 
B1 is a half allemande or a pull-by, and I have come to realize that men and 
women experience this move differently.  For the men, it is a pull-by, leading 
into a hey with no direction change.  Women, after the move in question, need 
to turn to their right to face in for the hey, so to them it feels more like a 
half allemande.  Certainly, teaching it as a half allemande establishes the 
floor pattern unambiguously.  However, when watching the dancers, I see that 
they tend to use a shake-hands grip (forearms parallel to the dance floor) 
during the dance.  Because of the different grip required, I teach the dance as 
noted above.  Both work, take your pick.

Sent from my iPad

> On Mar 8, 2023, at 8:02 PM, Don Veino via Contra Callers 
> <contracallers@lists.sharedweight.net> wrote:
> 
> I'm looking for recommendations for contras written to specifically match a 
> given tune, square or crooked. Obviously, there's singing squares, the 
> Chestnuts and some well known examples like David Kaynor's Cherokee Shuffle. 
> I'm looking for other examples of excellent "modern era" dances perfectly 
> crafted to fit an outstanding or unusual tune - such that it surpasses the 
> standard "pick the dance, then a suitable tune" approach to foster dance 
> floor joy.
> 
> I've written a few such dances but would love to augment my repertoire with 
> others.
> 
> Thanks,
> Don
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