Progressions

Duple minor, single progression  

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

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

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

Duple minor, double progression  

  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.  On the other hand you don't have time while you're standing out to adjust to the fact that you've changed numbers — though in most modern American Contras the ones and twos do exactly the same thing.

Triple minor progression  

  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.

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

2^nd 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:

3^rd 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:

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

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!