Anton Bruckner was an enthusiastic dancer, who also loved to play music for dancing at country festivals. Frequently we see the evidence of that in the less formal areas like the trio of the scherzo, but in this paper the extension and metamorphosis of the dance will be posited for the rest of the music, as far as the virtual Totentanz and Hexensabbat of the Ninth Symphony. Possible links to other national styles will be examined, with the possibility of programmatic content kept in mind.