Dear Dedicated Dancer, TRY to FIT on ONE PAGE

Home , Change step, Competitive dance, Contra body movement, Direction of movement, Double reverse spin, Impetus (waltz)

NOTICE TO THE READER: In order to realize the maximum benefits of this manual, you may wish to view the corresponding DVDs while following the diagramed figures. While we have made every effort to ensure that this manual compliments the DVDs accurately, we welcome and need your input. If you find an error or have a comment, question, or suggestion, please call (800) 851-2813 or email us at [email protected]. Please be sure to include the manual and name of the figure (for corrections) in your email.

ACKNOWLEDGMENTS: We would like to thank the author, Diane Jarmolow, for writing this syllabus. We appreciate her commitment to excellence, and desire to support dance teachers and students through this detailed documentation of the technique. We would also like to thank the original authors of the Bronze Standard Manual, Brian and Susan Puttock and Hilda Lanza for blazing the trail for DVIDA.

DISCLAIMER: This manual is intended for information only. Please check with your physician prior to beginning any new physical activity. The publisher and author do not intend that any user of this manual endure undue exertion or strain. Copyright 2000-2013 by W.D. Eng, Inc. dba Dance Vision All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means (including information storage and retrieval systems) without written permission of the publisher. Published by W.D. Eng, Inc. Las Vegas, Nevada, USA September 2013 Renee Stephens – Editor

WARNING: Dance Vision will prosecute any individual or company, within the United States or any other country, who reproduces any or all of this text without the express written permission of the publisher. Dance Vision offers a reward of $1000 for information leading to the prosecution of copyright infringement upon its property.

THE DANCE VISION DIFFERENCE The people of DVIDA did everything possible to make these syllabus manuals clear and precise. The corresponding Our comprehensive syllabus DVDs featuring world-class DVDs/videos are designed to give you a visual guide to the champions Victor Veyrasset & Heather Smith will patterns. The DVDs/videos, with demonstrations by United compliment States Champions, show advanced styling and competitive and simplify your learning experience. technique. . In some instances the technique may differ Waltz DISVV158 from the basic written technique in order to provide you with Foxtrot DISVV159 concepts and theories that will take your dancing to an even Tango DISVV160 higher level. Quickstep DISVV161 We realize that perfection is a never-ending goal and Viennese Waltz DISVV170 therefore DVIDA will improve our manuals with each new

revision. To order DVDs please call 1-800-851-2813 The World of Dance is always in motion and DVIDA will or visit us at www.dancevision.com continue to lead those who aspire to be the best

Dear Dedicated Dancer,

This new edition of the DVIDA Bronze Ballroom Manual is part of our commitment to dancers who study the technical elements of the Bronze Ballroom dances to improve their dancing and/or teaching.

This new edition includes: 1. Studying the Charts – A complete guide to the elements. 2. Abbreviation Key – To help you read the manual and understand the terms with ease. 3. Dance Positions – A thorough definition of each dance position with corresponding photos. 4. Musical Information – A glossary of musical terms, specific musical information for each dance, and examples for counting in beats and bars. 5. Glossary – Definitions of the most important terms used. 6. Certification – Helpful information for both student medal tests and professional examinations. 7. Additions to the Dance Charts: a. Dance Position Column - enables the dancer to understand the relationship to their partner on each step; b. Summary Column - allows for quick recall for each measure or group of steps within a figure. 8. Fact Pages – Contains the history, characteristics, footwork, rise and fall, musical information and general technical tips for each dance. 9. Routines – Both Junior Associate and Full Associate (Full Bronze) routines for each dance (from both the Leader’s and Follower’s perspective), choreographed to include all of the figures for that level. These routines are suitable for student and professional exams. 10. Precedes and Follows – A new approach to choreography, focusing on starting and ending alignments. 11. Notes – Additional information to explain the unique technical aspects of the figures.

We thank Victor Fung, Victor Veyrasset and David Weise for their invaluable insights and knowledge, and Ian Nandhra for his attention to detail and inspiring us to answer the unanswered!

We welcome your feedback and will strive to incorporate your ideas in future editions. Please write to [email protected] or [email protected] to contribute your input.

We wish you great success and hope that this written guide gives you greater clarity and understanding of these beautiful dances!

Diane Jarmolow Founder and Director, Ballroom Dance Ted Ross Teachers College DIVDA Regional Examiner DVIDA National Examiner [email protected] Co-Founder, Move Like a Champion www.dancevision.com/instructors/ted-ross/ www.teachballroomdancing.com www.dance4events.com www.movelikeachampion.com (828) 333-8333 (510) 336-9426

Notes

Table of Contents Tango Certification ...... 5 1. PROGRESSIVE LINK ...... 156 Studying the Charts 2. CLOSED PROMENADE ...... 158 Definitions of Chart Elements ...... 9 3. PRGRESSIVE SIDE STEP ...... 160 Foot Positions ...... 15 4. PROGRESSIVE SIDE STEP REVERSE TURN .162 Abbreviation Key ...... 17 5. NATURAL TWIST TURN ...... 164 Dance Position Definitions ...... 19 6. NATURAL ROCK TURN ...... 166 Photos of Dance Positions...... 21 7. NATURAL PROMENADE TURN ...... 168 Alignment Diagram ...... 23 8. OPEN PROMENADE ...... 170 9. OPEN REVERSE TURN (IN RIGHT OUTSIDE Amount of Turn Diagrams ...... 24 POSITION) ...... 172 10A. BACK CORTÉ ...... 174 Musical Information 10B. BACK CORTÉ (WITH WIND UP) ...... 176 Musical Terms ...... 25 11. LEFT FOOT ROCK ...... 178 Musical Information Chart ...... 28 12. RIGHT FOOT ROCK ...... 180 Counting in Beats and Bars ...... 29 13. BASIC REVERSE TURN ...... 182 14. OPEN REVERSE TURN (IN LINE)...... 184

Waltz Quickstep 1. LEFT FOOT CLOSED CHANGE...... 38 1A. QUARTER TURN TO RIGHT ...... 206 2. NATURAL TURN...... 40 1B. QUARTER TURN TO LEFT ...... 208 3. RIGHT FOOT CLOSED CHANGE ...... 42 2. PROGRESSIVE CHASSÉ ...... 210 4. REVERSE TURN ...... 44 3. FORWARD LOCK STEP ...... 212 5A. WHISK ...... 46 4. NATURAL TURN WITH HESITATION ...... 214 5B. WHISK (AT A CORNER) ...... 48 5. PROGRESSIVE CHASSÉ TO RIGHT ...... 216 5C. WHISK TURNING LEFT (ALONG SIDE OF ROOM) .50 6. BACK LOCK ...... 218 6. CHASSÉ FROM PROMENADE POSITION ...... 52 7. RUNNING FINISH ...... 220 7. NATURAL HESITATION CHANGE ...... 54 8A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) .222 8. PROGRESSIVE CHASSÉ TO RIGHT ...... 56 8B. NATURAL SPIN TURN (AT A CORNER) ...... 224 9. BACK LOCK ...... 58 9. NATURAL TURN AND BACK LOCK ...... 226 10. CLOSED IMPETUS...... 60 10A. TIPPLE CHASSÉ TO RIGHT (AT A CORNER) 228 11. REVERSE CORTÉ...... 62 10B. TIPPLE CHASSÉ TO RIGHT (ALONG SIDE OF 12. BACK WHISK ...... 64 ROOM) 230 13A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) ...66 11. DOUBLE REVERSE SPIN ...... 232 13B. NATURAL SPIN TURN (AT A CORNER) ...... 68 12. CHASSÉ REVERSE TURN ...... 234 14. REVERSE PIVOT ...... 70 13. NATURAL PIVOT TURN ...... 236 15. DOUBLE REVERSE SPIN ...... 72 14. CLOSED IMPETUS ...... 238 16. BASIC WEAVE ...... 74 15. REVERSE PIVOT ...... 240 17A. OUTSIDE CHANGE ...... 76 17B. OUTSIDE CHANGE (ENDING IN PP) ...... 78 Viennese Waltz 1. NATURAL TURN ...... 260 Foxtrot 2. RIGHT FOOT FORWARD CLOSED CHANGE....264 1. FEATHER STEP ...... 106 3. REVERSE TURN ...... 268 2. REVERSE TURN WITH FEATHER FINISH ...... 108 4. LEFT FOOT FORWARD CLOSED CHANGE ...... 270 3. THREE STEP ...... 112 4. NATURAL TURN ...... 114 Glossary ...... 279 5. BASIC WEAVE ...... 118

6. REVERSE WAVE ...... 122 7. CHANGE OF DIRECTION ...... 126 8. NATURAL WEAVE ...... 128

9. CLOSED IMPETUS WITH FEATHER FINISH ...... 132 3

4 Certification

DVIDA Student Medal Program

WHAT IS THE STUDENT MEDAL PROGRAM? This program is a fun and exciting way for students to learn to dance through a structured set of exams. The Medal Program provides the opportunity for students to progress through the various levels, giving them concrete goals and tangible proof of their progress. WHY PARTICIPATE IN THE MEDAL PROGRAM? Experts in the industry agree that a structured Medal Program is one of the best ways for students to become extraordinary dancers. Here are just a few of the benefits: • Improved dancing: An upcoming exam provides a clear goal to help motivate students and focus their dance education. Students learn a wide variety of dance figures from the DVIDA syllabus and how to dance them together in a routine. This exam preparation improves technique, builds lead/follow skills and expands the understanding of dance concepts. • Increased confidence: Students dance with their instructor, and with proper preparation, reach their goals. Confidence soars for having met and mastered this challenge. And students receive a certificate to tell the whole world: I did it! • Friendship and camaraderie with other dancers: There is a great sense of community and bonding in a studio among the students and instructors participating in the exams. In addition, the Medal Ball after the exams is a great party, often the high point of the entire year at a studio.

HOW DOES THE MEDAL EXAM PROCESS WORK? DVIDA offers Medal Exams for Bronze through Gold Levels in all American and International Style dances. Studios usually schedule exams two to three times a year. A National or Regional DVIDA Examiner conducts the exams. Students perform the routine(s) with their instructor. The examiner grades the students’ dancing and gives written feedback. Upon successfully completing the exam, a formal Certificate of Achievement is awarded from DVIDA – tangible proof of achieving a national standard of excellence.

HOW TO GET STARTED The first step is for the studio (or instructor) to set a date, contact DVIDA and hire an examiner. Instructors and students can then decide which exams are appropriate for the student’s level (see the DVIDA Student Medal Program brochure), and plan their lessons accordingly.

AVAILABLE RESOURCES DVIDA offers the following resources for Medal Exams. To purchase resources or obtain additional information, please visit www.dancevision.com or call 1-800-851-2813 from North America or 1-702- 256-3830 from the rest of the world. • Instructional dance DVDs/videos that correspond with the DVIDA syllabi (American and International Style) • Dance manuals that correspond with the DVIDA syllabi (American and International Style) • A Teacher’s Guide to Choreography for Medal Exams (American Style

ProDVIDA Professional Certification

WHY SHOULD AN INSTRUCTOR BECOME CERTIFIED? The ProDVIDA Certification process is designed to enrich a dance instructor’s knowledge of all aspects of dancing and teaching. In addition to your confidence soaring for having met and mastered this challenge, certification has many more benefits: • Become a better teacher: Preparing for a certification exam expands your understanding of dance concepts, improves verbal and presentation skills, teaches precise vocabulary for describing technical elements of figures, sharpens knowledge of musical terms, and enhances choreography skills. • Become a better dancer: The expertise required to know the Leader’s and Follower’s part to pass the certification exam catapults one’s dancing to an entirely new level. You will learn a series of golden rules that make your dancing more consistent, develop a language to be more effective in dance partnerships and achieve a mastery of technique that will stay with you for the rest of your career. • Achieve an objective standard of professional excellence: The National Dance Council of America (NDCA), the highest governing body in the ballroom dance industry, recognizes ProDVIDA certifications. Upon successfully passing an exam, you will receive a certificate declaring your expertise to the world. You will be able to attract serious students, be a highly valuable employee in studios across the country, and be able to obtain a judging credential.

HOW DOES THE PROFESSIONAL CERTIFICATION EXAM WORK? ProDVIDA offers four levels of professional certification: 1. Junior Associate: There are five types of Junior Associate certification: a. American Style Smooth (Bronze figures 1-7 in Waltz, Foxtrot and Tango, and figures 1-5 in Viennese Waltz) b. American Style Rhythm (Bronze figures 1-7 in Rumba, Cha Cha, East Coast Swing, Mambo, Merengue, West Coast Swing and Samba, and figures 1-5 in Bolero) c. American Style Core Dances (Bronze figures 1-7 in Waltz, Foxtrot, Tango, Rumba, Cha Cha and East Coast Swing) d. International Style Ballroom (Waltz figures 1-10, Tango figures 1-8, VW figures 1-4, Foxtrot figures 1-7, Quickstep figures 1-8) e. International Style Latin (figures 1-5 in each dance)

2. Associate (All Bronze figures, American or International Style) 3. Master (All Silver figures, American or International Style) 4. Grand Master (All Gold figures, American or International Style)

A qualified DVIDA examiner conducts the exam, which is administered with the highest standards of fairness, objectivity, thoroughness, and professionalism. The exam is prepared in advance and is composed of four sections: Dancing (40%), Theory (30%), Teaching (20%) and Overall Presentation (10%). After successfully passing the exam, a Certificate of Completion is sent to you, along with the examiner’s scores and written feedback on your dancing. Certification candidates must be at least 18 years of age. At the time of the exam, candidates will also complete an application for membership in ProDVIDA.

ProDVIDA Professional Certification (Continued)

ProDVIDA has introduced a revolutionary new way of becoming certified. A candidate may now take their exams one dance at a time. This method has proven:

• To be more accessible. • To be easier to prepare for, resulting in a greater number of dance instructors willing to take on the process. • To produce better instructors as a result of the immediate feedback they get from each exam. • To have a higher success rate overall.

HOW TO GET STARTED The first step is for the studio (or instructor) to set a date, contact Dance Vision, and hire an examiner.

AVAILABLE RESOURCES DVIDA offers the following resources for Professional Certification. To purchase resources or obtain additional information, please visit www.dancevision.com, www.prodvida.com, or call 1-800-851- 2813 from North America or 1-702-256-3830 from the rest of the world.

• Instructional dance DVDs/videos that correspond with the DVIDA syllabi (American and International Style) • DVIDA dance manuals that correspond with the DVIDA syllabi (American and International Style) • Get Certified – How To Train For Your DVIDA Professional Examinations DVD and Guidebook (DDJ48)

Sample Junior Associate exam (available on the ProDVIDA website)

STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION

Definitions of Chart Elements The charts provide a written guide to the syllabus figures. Each figure has a separate chart for the Leader’s part and Follower’s part. Depending on the dance, a chart will contain the following: Step Number, Foot Position, Dance Position, Alignment, Turn, CBM, Rise & Fall, Footwork, Count (Timing), Sway, and Summary. The following definitions will help you in studying the charts:

Step Number This refers to each weight change or action in a figure. Most steps in a figure are (STEP #) weight changes, where weight is fully shifted from one foot to the other. Actions include such things as brushes, flicks, drags and points.

Note that the step number is different from the count. For example, the Chassé from Promenade Position in Waltz, has four steps, however it is danced in three beats of music using a count of 12&3. Foot Position This refers to the direction of the moving foot in relation to the standing foot and the body. It does not refer to the path the foot takes to arrive at its destination, as that may differ from the final position. See also: Foot Position Diagrams. Dance This refers to the relationship of the partners to one another. The specific dance Position positions are defined in the “Dance Position” section. (DP) The most common dance positions are: Closed Position, Promenade Position, Counter Promenade Position, Fallaway Position, Counter Fallaway Position, Left Outside Position, and Right Outside Position. In addition, there are times when the Leader and Follower are transitioning between positions. For example, on the fourth step of the Progressive Chassé in Quickstep or the second step of the Feather in Foxtrot, the dance positions move from Closed Position to Right Outside Position. In this case you will see “Prep ROP”.

Here are some examples of other transitional positions you will see: Prep PP – Preparation for Promenade Position as in step 2 of the Whisk in Waltz Prep CP – Preparation for Closed Position as in step 2 of the Chassé from Promenade Position in Waltz.

Other times two positions may exist on one weight change because of a swivel, pivot, twist or other quick action on that step. An example is step 6 of the Natural Twist Turn in Tango. The step is taken first in Right Outside Position, then Leader untwists to lead Follower to swivel to Promenade Position. When this occurs, you will see “ROP to PP” (Right Outside Position to Promenade Position).

Alignment This refers to the direction the feet are aimed in relationship to the room and to the line (ALIGN) of dance. Alignment is used in the Ballroom dances because they travel around the dance floor. See also: Alignment Diagram.

Alignments are preceded by the words facing, backing or pointing: Facing is used in three situations: 1. When stepping forward (or any forward variation, i.e. “diagonally forward”), 2. When stepping “side and slightly forward”, 3. When stepping “side” and the following step or steps will be going forward, 4. When feet are closing and the next step or steps will be going forward.

Backing is used in three situations: 1. When stepping backward (or any backward variation, i.e. “diagonally back”), 2. When stepping “side and slightly back”, 3. When stepping side and the following step or steps will be going backward, 4. When feet are closing and the next step or steps will be going backward.

Pointing: When the body is facing a different direction than where the foot is aimed.

Pointing is most often used on the side step during the back half of turning figures, while on the inside of the turn. Because the partner on the back half of turn has less distance to travel, the foot taking the side step “points” to the destination, while the body (the torso) is turning less than the foot. Pointing also occurs on certain steps in promenade position. In these instances, a forward step (taken with the inside leg for the person on the inside of turn), will point to a new alignment, while the body remains underturned in promenade position.

A related concept is direction. Direction is noted in the alignment column when the alignment of the foot differs from the direction the body is moving. This most often occurs in Promenade Position. For example in the Chassé from Promenade Position in Waltz (Figure 6), the alignment on step 1 is Facing DW (where the foot is aimed), but the direction of movement is down LOD. Therefore the alignment is listed as “F DW, moving LOD.”

Turn Described in fractions, this indicates how much turn is made on one foot (as in a pivot or swivel) or between the feet (measured as if using a protractor) over two or more consecutive steps. Therefore the feet, not the body, determine the amount of turn. When the body turns less than the feet (which corresponds with a pointing alignment) it will be noted in the of turn column as “body turns less” (BTL). “Body turns less” is usually followed on the next step by “body completes turn” (BCT) where a facing alignment will be used. BTL and BCT are most often used on the back half of turns. An example is on Leader’s steps 5 and 6 of the Natural Turn in Waltz (also Follower’s steps 2 and 3 of the same figure), See also: Turn Diagrams.

Rise The continuous elevation and lowering of the body and is used in all of the Ballroom & Fall dances except Tango. “Rise” encompasses both leg rise (a straightening of the knee, hip and ankle joints), and foot rise onto the front most part of the ball of the foot. In the charts, the word “toe” refers to this “front most part of the ball of the foot”, since it is impractical (and almost impossible) to stand on the toes themselves.

“Fall” (or “lowering”) involves the bending of the knee, hip, and ankle joints, as well as the lowering of the heel.

Another term referenced is no foot rise (NFR). This indicates that the dancer does not rise onto the toes (the foot remains flat on the floor). Instead, the knees, ankle and hip joints straighten to create the rise. “No foot rise” is used on the first step (back step) of the back half of turns (i.e. step 1 of Reverse Turn and Natural Turn in Waltz for Follower). It is also used in progressive backward steps in certain dances (Foxtrot Feather Step and Three Step for Follower). • Waltz has the highest rise and the lowest fall, because of the slower music and frequency of closing the feet. • Foxtrot has a shallower amount of rise and fall because of the constant passing of the feet. • Quickstep has an “up” feeling because we are almost always on our toes. • Viennese Waltz has very little rise and fall because of the speed of the music, and should be danced relatively flat. • Tango is considered a “flat dance”, since it has no rise and fall.

An example of the relative differences between the heights of each dance's rise is compared below:

Waltz Quickstep Foxtrot V. Waltz

Foot level (i.e. the dance floor) The horizontal line represents the level of the hips at normal standing position before the dance begins. The curved lines show the change of elevation (Rise and Fall). Tango is not shown as there is no change in elevation. ® ® Copyright © 2013 DVIDA Chart Elements DVIDA All Rights Reserved 11

Footwork This describes the part of the foot that is in contact with the floor as a step is (FW) taken.

Below are descriptions of the most common footwork used in the Ballroom dances:

Ball: Full, partial or no weight is taken onto the ball of the foot with the heel raised very slightly off the floor. An example is step 4 and 5 of the Natural Twist Turn for Leader in Tango.

Ball Heel: Used in back walks in Tango, Ball Heel footwork commence on the ball of the foot with the heel initially raised then lowered to the floor.

Ball to Flat: The ball of the foot stays in contact with the floor with the heel very slightly raised. The heel then lowers as the foot closes. This occurs on the Leader’s step 6 and Follower’s step 3 of both the Reverse Turn and Natural Turn in Viennese Waltz.

Heel: Commences with the foot flexed and the toe raised as the heel makes contact with the floor. The toe then lowers as the weight is taken onto the step. Heel is used when there is no rise or commencement of rise on the step. Examples: Step 1 of a Three Step for Leader in the Foxtrot; all forward walks in Tango.

Heel Ball: Used on swivels and pivots, Heel Ball footwork commences with the foot flexed and the toe raised as the heel makes contact with the floor. The toe then lowers and turn is made on the ball of the foot with the foot flat. Example: Step 5 of Natural Twist Turn for Follower in Tango.

Heel Toe: Commences with the foot flexed and the toe raised as the heel makes contact with the floor. The toe then lowers as the weight is taken onto the step. The weight continues to move forward toward the front of the ball of the foot in order to commence rise. Example: Step 1 of Natural Turn and Reverse Turn for Leader in Waltz (Step 4 of same figures for Follower).

Inside Edge of Ball: Used when closing (or almost closing) feet without changing weight or when foot is held or placed slightly to the side without weight. Light pressure against the floor is used on the inside edge of ball of the foot for control and stability. Examples: Step 6 of Natural Hesitation Change for Leader in Waltz; end of step 4 of the Natural Promenade Turn for Leader in Tango.

Footwork Inside Edge of Ball Heel: Initiated with the inside edge of the ball of the foot in (FW) contact with the floor, followed by the inside edge of the heel, then rolling the (continued) weight completely to the whole foot. Examples: Steps 2, 3, and 4 of the Natural Rock Turn for Leader in Tango; Step 5 in the Open Reverse Turn (Partner Outside) for Follower in Tango.

Inside Edge of Foot: Initiated with the inside edge of both the ball and the heel of the foot in contact with the floor, then rolling the weight completely to the whole foot. Examples: Step 2 of the Progressive Side Step for Leader in Tango; Part of the footwork for step 5 of the Natural Turn for Leader in Foxtrot.

Inside Edge of Toe: Used by the Follower on the brushing action in the Natural Spin Turn (step 5) and Impetus Turn (step 2). The inside edge of the toe maintains contact with the floor for timing, balance, and control.

Toe: Weight is placed high on the front part of the ball of the foot with the toes in contact with the floor and the heel raised off the floor. Examples are steps 2 and 5 of the Natural Turn and Reverse Turn as both Leader and Follower in the Waltz; Steps 2 and 3 of a Back or Forward Lock for both Leader and Follower in Quickstep.

Toe Heel: Toe heel is used in two ways: • Generally from a rise, weight is taken high on the front of the ball of the foot, rolling from the ball of the foot to the heel. Examples: count 3 of most Waltz figures; last step of most Quickstep figures; last step of most Foxtrot figures. • Used on the first back step of most figures in Waltz, Foxtrot, Quickstep, and Viennese Waltz. As the foot extends backward first the toes, then the ball, and finally the heel make contact with the floor.

Whole Foot: Weight is placed onto the whole foot. An example is Follower’s step 2, and both partner’s step 6 of the Tango Reverse Turn.

Count Also called timing, the count allows dancers to keep their dancing in time to the music. Each dance has its own specific count, which helps define its feel and character. Depending on the dance, a count may be given in slows and quicks or in numbers. For example, the Foxtrot Feather Step is counted SQQ, and the Waltz Whisk is counted 123.

Sway Sway is the inclination of the body away from the moving foot and, if there is turn involved, towards the inside of the turn. It is used to counter balance the force of swing. Sway should be initiated from the swing of the hips, making sure not to break at the waist. In the charts, sway appears as “L” for sway left, “R” for sway right, and “S” for straight (no sway). Sway generally occurs on side and closing steps (as on steps 2 and 3 in Reverse Turn and Natural Turn in Waltz). It also occurs on passing steps in figures such as: Feather Step and Three Step in Foxtrot; Running Finish in Quickstep.

A quick way to determine the direction of sway is: • When stepping on the LF (either forward or backward), the following two steps will be sway left. • When stepping on the RF (either forward or backward) the following two steps will be sway right. Occasionally the term “opposite sway” is used to indicate an inclination of the body toward the moving foot rather than away from the moving foot. An example of “opposite sway” occurs on steps 2-4 of the Tipple Chassé to the Right for both Leader and Follower in Quickstep. This is given as “optional sway” in the notes for that figure.

CBM Contra Body Movement (CBM) is the action of turning the opposite side of the body towards (CBM) the moving foot, either forward or back, usually to initiate turn. Note that CBM is different from CBMP, which is a foot position meaning the feet are in the same track. However, CBM and CBMP often exist together on the same step. CBM occurs only in these four instances: 1. LF forward, commencing to turn left (right side of body moves toward the LF) 2. RF forward, commencing to turn right (left side of body moves toward the RF) 3. LF back, commencing to turn right (right side of body moves toward the LF) 4. RF back, commencing to turn left (left side of body moves toward the RF) Although the definition uses the term “opposite side of the body”, correct use of CBM requires that there is more turn of the upper body when stepping forward, and more turn of the lower body when stepping backward. Slight CBM is used in several way and does not necessarily indicate that turn will be made: • To create a linking element, as in a Walk between a Quarter Turn to Left and a Quarter Turn to Right in Quickstep. • To help progression, as on step 1 for Leader and Follower in the Closed Changes in Waltz. • To position the body for Right or Left Outside Position, as in the Leader’s step 1 of the Back Whisk in the Waltz; Step 1 for Leader and Follower in the Forward Lock and Back Lock in Quickstep. • To create a wind-up, as on step 1 of the Whisk in Waltz for both Leader and Follower. Summary This is a great tool for quick recall of a figure. The Summary provides a synopsis of a figure either measure by measure, or by a grouping of similar steps. This becomes an easy way for teachers to present figures once students are familiar with the basic components. For example, instead of stating the individual foot positions for the first three steps of the Reverse Turn in Waltz for the Leader, it may be summarized as 1-3 of Reverse.

L The hollow foot is the moving foot.

LL The solid foot is the standing foot.

Forward and Variations R R R R

LL LL LL LL

RF Forward RF Forward and RF Diagonally RF Forward Slightly Side Forward in CBMP

L L L L

RR RR RR RR

LF Forward LF Forward and LF Diagonally LF Forward Slightly Side Forward in CBMP

For Forward and Across in CBMP, see Promenade.

Back and Variations

LL LL LL LL

R R R R

RF Back RF Back and RF Diagonally Back RF Back in CBMP Slightly Side

RR RR RR RR

L L L L

LF Back LF Back and LF Diagonally Back LF Back in CBMP Slightly Side

For Back and Across in CBMP, see Fallaway.

Side and Variations

R LL R LL LL R

RF Side RF Side and RF Side and Slightly Forward Slightly Back

L L RR RR RR L

LF Side LF Side and LF Side and Slightly Forward Slightly Back

Promenade

L R L R

Leaders > L R

LF Side in LF Diag. Fwd, LSide RF Forward in CBMP RF Fwd and Across in Promenade Position Leading in Prom. Pos. and Promenade Pos. CBMP and Prom. Pos.

R L L R L R R Followers >

RF Side in RF Diag. Fwd R Side LF Forward in CBMP LF Fwd and Across in Promenade Position Leading in Prom. Pos. and Promenade Pos. CBMP and Prom. Pos.

Fallaway

L L

L L R R

LF Back in CBMP and LF Back and Across in RF Back in CBMP and RF Back and Across in Fallaway Position CBMP & FallawayPos. Fallaway Position CBMP & Fallaway Pos.

Leaders Followers

A–Against FUATL – Follower’s Underarm OFacP – Open Facing Position Turn Left B – Backing/Ball of foot FUATR – Follower’s Underarm OPP – Open Promenade Turn Right Position BCT – Body Completes Turn H–Heel of foot OTPP – Overturned Promenade Position BTBP – Back to Back Position HB – Heel Ball P – Pointing BF – Ball Flat HH – Handhold PP – Promenade Position BH – Ball Heel HT – Heel Toe Prep – Preparation (for) BTL – Body Turns Less IE – Inside Edge Pres - Pressure btw - between IE of B – Inside Edge of Ball Q – Quick C–Center/Counter IE of BH – Inside Edge of Ball R– Right Heel CBM– Contra Body Movement IE of T – Inside Edge of Toe RF – Right Foot CBMP – Contra Body Movement L– Left ROP – Right Outside Position Position CCW – Counter Clockwise LF – Left Foot RSP – Right Side Position Com - Commence LUATL – Leader’s Underarm SHH – Single Handhold Turn Left Cont- Continue LUATR – Leader’s Underarm ShadP –Shadow Position Turn Right CortéP – Corté Position LOD – Line of Dance S – Slow CP – Closed Position LOP – Left Outside Position T – Toe CPP – Counter Promenade LSP – Left Side Position TTO-Toe Turned Out Position ct – Count meas – Measure(s) TH – Toe Heel CW – Clockwise mpm – Measures per minute UA – Underarm DC – Diagonal Center N – New UAT – Underarm Turn DHH – Double Handhold NFR – No foot rise W – Wall DW – Diagonal Wall OCPP – Open Counter WF – Whole Foot Promenade Position e/o – end of OE – Outside Edge wt - weight F – Facing OffsetLP – Offset left position w/o - without FacP – Facing Position OffsetRP – Offset right XHH – Cross Handhold position FallP – Fallaway Position OP – Outside Position (Outside Partner)

Note: Not all of these abbreviations are used in the manual. However, these conventional abbreviations for common dance terms can be useful when taking your own notes.

Dance Position Definitions A thorough knowledge of the various dance positions will greatly streamline your learning and make your dancing more precise. See also: Dance Position Photos. We have included some dance positions not used in the Bronze syllabus, but are used in the higher levels.

Closed The standard dance position in the Ballroom dances (Tango uses Tango Position (CP) Closed Position). At the Bronze level, a few inches between partner’s torsos is acceptable. At the Silver and Gold levels, partner’s frames are stretched wider and Follower stretched further leftward, creating a bigger shape than at the Bronze level. At these levels, torsos are in contact, with Leader’s right ribs connected to the Follower’s right ribs.

Here are details about the Closed Position frame: • Leader: Frame is wide, with both elbows level with the right elbow slightly in front of the body, shoulder blades rolled down into the back and head is poised over the left side of the body and turned slightly to the left (without tilting). The right wrist connects under the Follower’s armpit (not low on the back) with fingers and thumb neatly closed. The left hand is held at a height midway between the Leader’s and Follower’s eye level, forming a neat clasp with the Follower’s right hand with thumbs next to each other (or slightly crossed). Leader is offset to the left with right front to right front contact. • Follower: Frame is wide, with both elbows level with the right elbow slightly in front of the body. The spine stretches to the left with shoulder blades rolled down into the back. The head is poised to the left (without tilting). The left thumb and middle finger trace the v-shape formed by the Leader’s right bicep and deltoid muscles with the remaining fingers slightly raised. The fingers of the right hand are placed between the Leader’s index finger and thumb, with thumbs next to each other (or slightly crossed) forming a neat clasp of the hands. Follower is offset to the left with right front to right front contact. Counter The opposite of Promenade Position, Leader’s left side and Follower’s right Promenade side are in contact, and the opposite sides of their bodies are only slightly Position (CPP) open (less than in promenade position). Leader looks right and Follower looks left. Fallaway Leader and Follower both move backward, on either foot, in Promenade Position (FallP) Position.

Outside Also called Outside Partner. There are two Outside Positions: Positions • Right Outside Position (ROP): One partner steps RF forward in CBMP on (ROP) and their partner’s right side, while the other person steps LF back in CBMP. An (LOP) example is step 3 of the Feather Step in Bronze Foxtrot. • Left Outside Position (LOP): One partner steps LF forward in CBMP on their partner’s left side, while the other person steps RF back in CBMP. An example is steps 4 and 5 in the Hover Cross in Silver Foxtrot.

Preparation for Closed Not an actual dance position but indicates through a change of shape Position (Prep CP) that the next step will be in closed position.

Preparation for Not an actual dance position but indicates through a change of shape Fallaway Position (Prep that the next step will be taken in Fallaway Position. FallP) Preparation for Left Not an actual dance position but indicates through a change of shape Outside Position (Prep that the next step will be taken in Left Outside Position. LOP)

Preparation for Not an actual dance position but indicates through a change of shape Promenade Position that the next step will be in Promenade Position. (Prep PP)

Preparation for Right Not an actual dance position but indicates through a change of shape Outside Position (Prep that the next step will be taken in Right Outside Position. ROP)

Promenade Position Leader’s right side and the Follower’s left side are in contact with (PP) Follower slightly behind Leader’s right hip; the opposite sides of their bodies are open in a V-shape, Leader looking left and Follower looking right. An example is step 1 Chassé from Promenade Position in Bronze Waltz. For Tango, see Tango Promenade Position.

Tango Closed Position Similar to Closed Position in the other Ballroom dances, Tango Closed (CP) Position is more compact and has slightly different arm positions. Here are the details on how Tango Closed Position differs from Closed Position used in the other Ballroom dances: • Leader: The Follower is slightly more offset to the Leader’s right side. The right arm is further around and lower on the Follower’s back. The left arm is bent at about a 90-degree angle, with left hand held closer in toward Leader’s face at a height midway between the Leader’s and Follower’s eye level.

• Follower: The Follower’s left hand is placed behind and below the Leader’s upper right arm with left thumb hooked under the Leader’s arm. The fingers are neatly closed and extended toward the Leader’s back. The Follower is more offset to the left, still stretching slightly leftward. Tango Promenade Similar to Promenade Position in the other Ballroom dances. For Tango Position (PP) Promenade Position, it is helpful to think of “The Three Alignments of Tango Promenade”: For example, on step 1 of the Closed Promenade in Bronze Tango: • Leader: feet point Diagonal Wall, body faces Wall and the direction of movement is Line of Dance. • Follower: feet point Diagonal Center, body faces Center, and the direction of movement is Line of Dance.

Closed Position Closed Position Closed Position (Back Profile) (Back Profile, Feet Apart) (Front( Profile)) (CP) (C(CP)P) (C(CP)P)

Closed Position Right Outside Position Left Outside Position (Front Profile, Feet Apart) (ROP) (LOP) (CP)

Promenade Position (PP)

Tango Promenade Tango Closed Position Tango Closed Position Position (Back Profile) (Back Profile, Feet Apart) (PP) (CP) (CP)

Tango Closed Position Tango Closed Position (Front Profile) (Front Profile, Feet Apart) (CP) (CP)

® ® Copyright © 2013 DVIDA Dance Positions DVIDA All Rights Reserved 22 Alignment Alignment refers to where the foot is aiming relative to the room. You must first determine which line of dance you are on since the room with four walls will have exactly four lines of dance, each one running parallel to the closest wall. Then, based on your line of dance, you must be able to clearly see eight possible alignments on that line of dance.

New Wall: New Line of Dance (LOD) Where you will travel next! New Line of Dance

Line of Line of Dance (LOD) Existing Wall: Existing Center of the Dance Floor DanceDance (LOD)(LOD) Where you are traveling now!

Diagonal Center Diagonal Wall

MovingMoving withwith (Facing)(Facing) LineLine ofof DanceDance

START HERE

Center Wall Moving Against (Backing) Line of Dance

Diagonal Center Diagonal Wall Against Line Against Line

of Dance of Dance

Against Line of Dance

Diagrams L R 1 full turn No turn

R R

7/8 turn 1/8 turn R

3/4 turn 1/4 turn

5/8 turn 3/8 turn

R R

1/2 turn

Turns to the Left

L R No turn 1 full turn

L L

1/8 turn 7/8 turn L L

1/4 turn 3/4 turn

3/8 turn 5/8 turn

L L

1/2 turn

Musical Terms

Bar Literally means the vertical line in written music that separates one measure from the next. For dancing purposes, bar is synonymous with measure.

Beat 1) A steady and continuous pulse in the music, within which rhythms are formed.

2) A single pulse of music. Beats are usually arranged into groups of 2, 3, or 4 to form a measure. The first beat in a measure is usually more pronounced than the others.

Beat Value The number of beats of music for each step (weight change or action). For example in Waltz, the count for the Whisk is 123, with a beat value of 1-1-1. The Chassé from Promenade Position that may follow the Whisk has a count of 12&3 with a beat value of 1-1/2-1/2-1. In Foxtrot the count for the Feather Step is SQQ with a beat value of 2- 1-1. See also the Musical Information Chart.

Count Also called timing. Each dance has its own specific count(s) which help define its feel and character. For example, in Waltz the basic count is 123, while in Tango counts vary (i.e. SQQS, QQS QQS, SQQS QQ) among others. See also: Musical Information Chart.

Counting A method of keeping track of how many measures (bars) of music are used in a in Beats particular figure or amalgamation. Both the beats and bars are counted at the same and Bars time. Examples of counting in beats and bars are: In 4/4-time (used in Foxtrot, Quickstep and Tango): 1234, 2234, 3234, 4234, etc. In 3/4-time (used in Waltz and Viennese Waltz): 123, 223, 323, 423, etc. See also: The Counting in Beats and Bars section. Downbeat 1) In music terminology, the downbeat is every beat in a measure (bar). If a measure is counted 1 & 2 & 3 & 4 &... the numbers 1, 2, 3, and 4 are considered to be the downbeats, and the &’s are the upbeats.

2) In dancing, the term downbeat generally refers to the first beat of every measure. It is important to identify the downbeat in order to start correctly and stay on time with the music. • In 4/4-time (used in Foxtrot and Tango): the 1 is the downbeat. However, downbeat can also be used to mean both the 1 and 3, with the 1 being dominant. In this case, the 2 and 4 are considered upbeats. • In 3/4-time (used in Waltz and Viennese Waltz): the 1 is the downbeat and the 2 and 3 are upbeats.

Musical Terms (Continued)

Measure In sheet music, the space between two bar lines in which there are a specific number of beats that repeat throughout the music. Typically there will be 2, 3, or 4 beats in a measure. Being able to hear how many beats are in a measure will help you determine the kind of dance it is. For dancing purposes, measure is synonymous with bar.

Musicality Used to describe how well a dancer hears, feels, and expresses the music in his or her body. Aspects of high level musicality are: • Maintaining the character of the dance • Hitting accents and breaks in the music • Matching the mood of the particular piece of music • Taking phrasing into account • Dancing precisely on time with the music Phrase A specific number of measures that make up a complete “thought” of music. It is similar to a sentence, having a clear beginning and end. Phrases can be as small as 2 measures or as large as 32 measures.

Phrasing Dancing or choreographing a figure or group of figures (amalgamation) to fit the phrases in a piece of music. For example, starting a new figure on the first beat of a new phrase and ending the final figure on the last beat of the phrase.

Quick A term used in counting which usually indicates one beat of music.

Rhythm 1) In music, the regular recurrence of accented beats that give character to music. In dancing, when someone has “good rhythm,” they are typically relaxed, well coordinated, precisely on time with the music and physically expressing the subtleties in the music. 2) A term used synonymously with timing or count.

Slow A term used in counting which usually indicates two beats of music.

Syncopation 1) In music terminology, upsetting or changing the meter or pulse of a piece of music by shifting the accent to a weaker beat. 2) In dancing, to deviate from the basic timing of a dance such as dividing a beat of music into two or more parts. For example, the basic timing of most Waltz figures is 123, whereas the count for the Chassé from Promenade Position has a syncopation of 12&3. Tempo The speed of the music, determined by the number of measures in one minute of music. A higher number means the music is faster, and a lower number means the music is slower. To determine the tempo of a song, count in beats and bars for one minute. Tempo (plural: tempi) may also be expressed in beats per minute. See also the Musical Information Chart.

Musical Terms (Continued)

Time/Time Indicates the number of beats in each measure of music. The upper number is the Signature number of beats in a measure, and the lower number indicates the type of musical note that represents one beat. For example, in 4/4-time music, there are 4 beats in a measure, and a quarter note represents one beat. See also the Musical Information Chart. For the International Style Ballroom dances, the time signatures are: • 4/4-time (used in Foxtrot, Quickstep, and Tango*): 4 beats in a measure. • 3/4-time (used in Waltz and Viennese Waltz): 3 beats in a measure. • 2/4-time (used in Tango*): 2 beats in a measure. *Tango music is written in both 4/4 and 2/4 “time”, with 4/4 being the more common.

Timing 1) Synonymous with count and rhythm, timing refers to the commonly used numbers or words used to count a particular dance to music. 2) Refers to the ability of the dancer to stay with the count designated for a particular dance, i.e. “She has excellent timing.”

Upbeat 1) In music terminology, the upbeat is the second half of each beat and is referred to as &.For example, if a measure is counted 1&2&3&4&, the &s are considered to be the upbeats, and the numbers 1, 2, 3, and 4 are considered the downbeats. 2) In dancing, the upbeats are the whole beats that follow the downbeat(s). This is most easily understood through the following examples: • 4/4-time (used in most dances): the 2 and 4 are the upbeats and the 1 and 3 are the downbeats. • 3/4-time (used in Waltz and Viennese Waltz): the 2 and 3 are the upbeats and the 1 is the downbeat.

Musical Information Chart

DANCE TIME TEMPO COUNT BEAT ALTERNATIVE COUNTING SIGNATURE (in VALUE TEACHING IN mpm) COUNT(S) BEATS and BARS Waltz 3/4 28 123 1-1-1 • 123, 456 123, 223, 12&3 1-1/2-1/2- • counting in beats 323, 423, 1 and bars etc. Tango 4/4 or 2/4 32 SQQS 2-1-1-2 • 1 2 3 4 5 6 7 8 1234, 2234, • counting in beats 3234, 4234, and bars etc. • 12, 22, 32, 42 Foxtrot 4/4 28-30 SQQ 2-1-1 • 1 2 3 4 5 6 7 8 1234, 2234, SQQQQQQ 2-1-1-1- • counting in beats 3234, 4234, 1-1-1 and bars etc. Viennese 3/4 56-58 123 1-1-1 • 1 2 3, 4 5 6 123, 223, Waltz • counting in beats 323, 423, and bars etc. Quickstep 4/4 48-52 SQQS 2-1-1-2 • 1 2 3 4 5 6 7 8 1234, 2234, SQQ SSS 2-1-1, 2- • counting in beats 3234, 4234, 2-2 and bars etc.

Notes:

1. These are the official NDCA tempi for competitions. Any of the above tempi may be used for examinations. For social dancing, tempi may be several measures per minute slower or faster.

Waltz: For Pro/Am events the tempo may vary from 28-30mpm.

2. These are the most common counts for each dance. However, additional counts are used in the syllabus.

Counting In Beats And Bars Counting in beats and bars is a way of counting both beats and bars (measures) at the same time, in order to keep track of how many measures of music have been used. This is a valuable tool for phrasing a group of figures (amalgamation) to music and to determine how much time in the music a routine will take to dance. This skill is essential for dance teachers and is required when taking ProDVIDA certification exams.

To count in beats and bars, one must be familiar with the figure’s rhythm. As you dance the figure in rhythm, instead of saying the normal count, substitute beats and bars. The first beat of each bar is used to keep track of the number of bars. For example, when counting dances in 4/4 time (i.e. Foxtrot, Quickstep and Tango), you will say 1234, 2234, 3234, 4234, 5234, etc. For dances in 3/4 time (i.e. Waltz and Viennese Waltz), you will say 123, 223, 323, 423, 523, etc.

Below are examples of counting beats and bars in each of the Ballroom dances.

Waltz Amalgamation: LF Closed Natural RF Reverse Whisk Chassé from Change Turn Closed Turn Promenade Change Position Count: 123 123 123 123 123 123 123 1 2& 3 Beats and Bars: 123 223 323 423 523 623 723 823 Total: 8m 8m at a tempo of 28mpm = 17 seconds of dancing

Foxtrot Amalgamation: Feather Step Reverse Turn Three Step Natural Turn Count: S Q Q S Q Q S Q Q S Q Q S Q Q S S S Beats and Bars: 12 3 4 22 3 4 32 3 4 42 3 4 52 3 4 62 34 72 Total: 6.5m 6.5m at a tempo of 30mpm = 13 seconds of dancing

Counting In Beats And Bars (Continued)

Tango Amalgamation: Progressive Side Step Natural Rock Turn Progressive Link Count: Q Q S S Q Q S Q Q S Q Q Beats and Bars: 1 2 34 22 3 4 32 3 4 42 3 4 Total: 4m 4m at a tempo of 32mpm = 15 seconds of dancing

Quickstep Amalgamation: Quarter Turn to Progressive Natural Spin Turn Quarter Turn to Right Chassé Left Count S Q Q S S Q Q S S Q Q S S S S Q Q Beats and Bars 12 3 4 22 34 3 2 34 42 3 4 52 34 62 34 7 2 Total: 6.5m 6.5m at a tempo of 50mpm = 7 seconds of dancing

Viennese Waltz Amalgamation: RF Closed Reverse Turn (3 full turns = 6m) LF Closed Change Change Count: 123 123 123 123 123 123 123 123 Beats and Bars 123 223 323 423 523 623 723 823 Total: 8m 8m at a tempo of 57mpm = almost 9 seconds of dancing

Waltz Contents

Waltz Facts ...... 33

Syllabus Figures

Preliminary Bronze 1. LEFT FOOT CLOSED CHANGE ...... 38 2. NATURAL TURN ...... 40 3. RIGHT FOOT CLOSED CHANGE ...... 42 4. REVERSE TURN ...... 44

Intermediate Bronze (Jr. Associate – Figures 1-10) 5A. WHISK ...... 46 5B. WHISK (AT A CORNER) ...... 48 5C. WHISK TURNING LEFT (ALONG SIDE OF ROOM) ...... 50 6. CHASSÉ FROM PROMENADE POSITION ...... 52 7. NATURAL HESITATION CHANGE ...... 54 8. PROGRESSIVE CHASSÉ TO RIGHT ...... 56 9. BACK LOCK ...... 58 10. CLOSED IMPETUS ...... 60

Full Bronze (Associate – Figures 1-17B) 11. REVERSE CORTÉ ...... 62 12. BACK WHISK ...... 64 13A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) ...... 66 13B. NATURAL SPIN TURN (AT A CORNER) ...... 68 14. REVERSE PIVOT ...... 70 15. DOUBLE REVERSE SPIN ...... 72 16. BASIC WEAVE ...... 74 17A. OUTSIDE CHANGE ...... 76 17B. OUTSIDE CHANGE (ENDING IN PP) ...... 78

Precedes and Follows ...... 80 Routines ...... 94

Waltz History Waltz evolved from German peasant dances during the sixteenth century. The men held the women in closed position throughout, which was quite a shock to so-called polite society, making Waltz the Dirty Dancing of the late eighteenth century! As late as 1825 an English handbook of Terms of the Arts said of Waltz: In Music, the name of a riotous and indecent German dance. Nobles were said to sneak away from the dress balls at which the Minuet was the exclusive dance, and attend the parties of their servants, who were waltzing around the rooms.

The name, said by some to be from the Italian volver, to turn or revolve, is more likely from the German Walzer, also meaning to roll or revolve, since the dance originated in Germany.

Throughout the nineteenth Century, the Waltz was a fast dance, much like what we currently know as the Viennese Waltz. By 1900, Waltz was the most popular of all of the dances (about three quarters of all the music played), and the remaining one quarter contained all the other dances combined.

In the 1910s, the English dancers Vernon and Irene Castle introduced the Hesitation Waltz that was danced to fast music. The Hesitation was a halt on the standing foot on one full measure, with the moving foot suspended or slowly dragged. The Hesitation Waltz gave rise to new figures that the Waltz’s original rotary nature did not allow. This development gave rise to figures such as the Hesitation Change, Drag Hesitation, and Cross Hesitation.

As the musical speed slowed, “Slow Waltz” evolved during the twenties as an advancement of Viennese Waltz, which already contained the new concepts of "straight ahead" (i.e. non-rotary) movement. This new style was adopted and choreographed by English dance instructors and accepted as the official International Style Waltz in 1927. Often referred to as “English Waltz” it now has the more familiar name “Ballroom Waltz” reflecting its place amongst the International Style “Ballroom” Dances.

Differences between Ballroom (International Standard) Waltz and Smooth (American) Waltz Ballroom Waltz contains only closed figures, where the couple never leaves closed position. (American) Smooth Waltz allows the dancers to break closed contact into single hand hold, double hand hold, and in some figures, no hold.

Dance Characteristics Waltz is a progressive dance, moving counter clockwise around the floor. It is characterized by rise and fall and sway. The feet stay in contact with the floor, creating a smooth, gliding look. Waltz has an elegant gracefulness with a romantic and sometimes sad feel, the steps being long, smooth, continuous, and flowing.

Musical Information • Time Signature: 3/4 • Tempo: o 28-30mpm (84-90bpm) for Pro/Am Competitions o 28mpm (84bpm) for Professional and Amateur Competitions • Count (most common for Bronze Level): 123 • Alternative Teaching Count: 123 456 • Beat Value: o for figures with timing 123: 1-1- 1 o for syncopated figures with the count of 12&3: 1-1/2-1/2-1 • Counting in Beats and Bars: 123, 223, 323, 423, etc. • It is best to start dancing at the beginning of a 4-measure (16 count) phrase.

Similarities to Quickstep and Viennese Waltz Waltz, Quickstep and Viennese Waltz share some common figures: • Closed Impetus (Quickstep) • Natural Spin Turn (Quickstep) • Chassés (Quickstep) • Locks (Quickstep) • Change Steps (Viennese Waltz)

Footwork Most of the figures in the Waltz follow the following formula for footwork.

1 2 3 Footwork 1 2 3 Footwork 1 2& 3 Footwork 1 2& 3 Footwork (starting forward) (starting backward) (starting forward) (starting backward)

Heel-toe Toe-heel Heel-toe Toe-heel Toe Toe Toe Toe Toe-heel Toe-heel Toe Toe Toe-heel Toe-heel

The following is a list of some figures that contain exceptions to these rules. The footwork for these figures is clearly outlined in the charts: • Closed Impetus • Natural Spin Turn • Hesitation Change • Reverse Corté (Leader’s part) • Basic Weave • Double Reverse Spin • Reverse Pivot

Rise and Fall

Waltz rises the highest, and lowers (falls) the most compared to the other dances. This is due to the fact that the music is slower (compared to Quickstep and Viennese Waltz), and the feet close frequently (compared to the open feet of Foxtrot).

The maximum rise on each measure will occur on the last step of that measure. The lowering action results from bending the knee, ankle, and hip joint as well as lowering the heel to the floor on count three. After the heel lowers, there is an additional bending of the knee. A simple way to remember the order of lowering is the phrase “Toe-Knee-Heel-Knee”.

The foot action, rolling from heel to toes or the toes to the heel (using the entire foot evenly), as well as smoothly bending and straightening the leg, will result in a smooth rise and fall action.

In Waltz, most figures fall into two categories; figures with three weight changes (Natural and Reverse Turns), and figures with four weight changes (Chassé from Promenade Position, Progressive Chassé to the Right, Back Lock). The rise and fall for these two types of figures are:

Figures consisting of three steps, ending with feet closed: • Commencing Forward o Commence to rise end of 1 o Continue to rise on 2 o Continue to rise on 3, lower end of 3 • Commencing Backward o Commence to rise end of 1, NFR o Continue to rise on 2 o Continue to rise on 3, lower end of 3

Figures consisting of three steps, ending with feet open: • Commencing Forward o Commence to rise end of 1 o Continue to rise on 2 o Up on 3, lower end of 3 • Commencing Backward o Commence to rise end of 1, NFR o Continue to rise on 2 o Up on 3, lower end of 3

Figures consisting of four steps, ending with feet open • Commencing Forward o Commence to rise end of 1 o Continue to rise on 2 and 3 o Up on 4, lower end of 4 • Commencing Backward o Commence to rise end of 1, NFR o Continue to rise on 2 and 3 Up on 4, lower end of 4

Additionally, some figures use “delayed rise” such as Closed Impetus, Natural Spin Turn, and Basic Weave. This delayed rise is danced as follows, Commencing Forward or Back: a. No rise on 1 b. Rise end of 2 c. Up on 3, lower end of 3 d. Up on 4, lower end of 4

The following is a list of some figures that contain exceptions to these rules. The “rise and fall” for these figures is clearly outlined in the charts: • Hesitation Change • Reverse Corté (Leader’s part) • Double Reverse Spin • Reverse Pivot

Preparation Step: This is a forward step on the LF for Leader and a backward step on the RF for Follower that is danced on count 3 of the last measure of the introductory phrase of music. This allows for a natural way to get started, since natural figures begin with the Leader’s right foot (between the Follower’s feet), which without the preparation step, would be an uncomfortable start.

Movement Due to the slow and even rhythm of the music: 1. The rise and fall is even and continuous. 2. The sway is deep and full, using full range of motion. 3. The side steps are wide and the forward and back strides are long. 4. The knees flex deeply.

General Technical Tips • Forward Walks: Weight is taken on the moving foot, rolling from the back of the heel to the front of the foot, rolling through all parts of the foot. • Backward Walks: Weight is taken on the moving foot, rolling from the toe to the back of the heel, rolling through with all parts of the foot, eventually releasing the toe of the front foot from the floor (toe release). The lowering of the back foot must be done slowly and with control. Also, it is important to keep a slight forward poise on all back steps so as not to pull your partner on top of you. • Posture: Both partners are upright with spines lengthened up through the crown of the head with shoulders blades down and keeping the ribcage flat. Leaders poise should be such that the back of the head is in line with the heels and with their blocks of weight aligned. Followers should have a fully stretched spine, angled slightly leftwards without tipping the shoulders. • Frame: Leader’s frame should be wide from elbow to elbow, maintaining width across both the back and the chest. Follower’s arms should be light and responsive in the Leader’s frame. For more details on the Closed Position frame, see: Dance Position Definitions. • Promenade: Create Promenade Position by rotating the body – not pushing with the arms, which results in breaking your frame.

BLANK

1. LEFT FOOT CLOSED CHANGE – LEADER Preliminary Bronze

Commence in CP, F DW (F LOD or F DC may also be used) S FOOT DP ALIG TURN CBM RISE & FALL FW CT SWAY SUMMARY T E POSITION P # 1 LF forward CP F DW Nil on 1 Slight Com to rise e/o HT 1 S 1st Meas: 1 LF forward 2 RF side & CP F DW Nil on 2 Nil Cont to rise on 2 T 2 L Change slightly forward

3 LF closes to RF CP F DW Nil on 3 Nil Cont to rise on TH 3 L 3, lower e/o 3

Notes:

1. Slight body turn to left is made over steps 1-3.

2. May also be danced “RF diagonally forward” on step 2, resulting in more progression and greater body turn to left.

1. LEFT FOOT CLOSED CHANGE – FOLLOWER Preliminary Bronze (RIGHT FOOT BACK CHANGE) Commence in CP, B DW (B LOD or B DC may also be used) STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 RF back CP B DW Nil on Slight Com to rise TH 1 S 1st Meas: 1 e/o 1, NFR RF back Change 2 LF side & CP B DW Nil on Nil Cont to rise T 2 R slightly back 2 on 2

3 RF closes to CP B DW Nil on Nil Cont to rise TH 3 R LF 3 on 3, lower e/o 3

Notes:

1. Slight body turn to left is made over steps 1-3.

2. May also be danced “LF diagonally back” on step 2, resulting in more progression and greater body turn to left.

2. NATURAL TURN – LEADER Preliminary Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 RF forward CP F DW Com to 1 Com to rise HT 1 S 1st Meas: turn R e/o 1 Forward half on 1 of Natural Turn 2 LF side CP B DC 1/4 turn Nil Cont to rise T 2 R (1-3 of R btw 1 on 2 Natural) & 2

3 RF closes CP B LOD 1/8 turn Nil Cont to rise TH 3 R to LF R btw 2 on 3, lower & 3 e/o 3

4 LF back CP B LOD Com to 4 Com to rise TH 1 S 2nd Meas: turn R e/o 4, NFR Back half of on 4 Natural Turn (4-6 of 5 RF side CP P DC 3/8 turn Nil Cont to rise T 2 L Natural) R btw 4 on 5 & 5, BTL

6 LF closes CP F DC BCT on Nil Cont to rise TH 3 L to RF 6 on 6, lower e/o 6

Notes:

1. Step 1 of the Natural Turn will change to “RF forward in CBMP” in ROP when preceded by the Chassé from Promenade Position, Outside Change, or Basic Weave.

2. Steps 1-3 may be underturned to end B DC and followed with an Outside Change. The alignment and turn will change to: a) B C on 2, 1/8 turn R btw 1 and 2 b) B DC on 3

2. NATURAL TURN – FOLLOWER Preliminary Bronze

Commence in CP, B DW STEP FOOT DP ALIG TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to 1 Com to rise TH 1 S 1st Meas: turn R on e/o 1, NFR Back half of 1 Natural Turn 2 RF side CP P LOD 3/8 turn Nil Cont to rise T 2 L (1-3 of R btw 1 & on 2 Natural) 2, BTL

3 LF closes to CP F LOD BCT on 3 Nil Cont to rise TH 3 L RF on 3, lower e/o 3

4 RF forward CP F LOD Com to 4 Com to rise HT 1 S 2nd Meas: turn R on e/o 4 Forward 4 half of Natural 5 LF side CP B C 1/4 turn Nil Cont to rise T 2 R Turn R btw 4 & on 5 (4-6 of 5 Natural)

6 RF closes to CP B DC 1/8 turn Nil Cont to rise TH 3 R LF R btw 5 & on 6, lower 6 e/o 6

Notes:

1. Step 1 of the Natural Turn will change to “LF back in CBMP” in ROP when preceded by the Chassé from Promenade Position, Outside Change, or Basic Weave.

2. Steps 1-3 may be underturned to end F DC and followed with an Outside Change. The alignment and turn will change to: a) P DC on 2, 1/4 turn R btw 1 and 2 (BTL) b) F DC on 3

3. RIGHT FOOT CLOSED CHANGE – LEADER Preliminary Bronze

Commence in CP, F DC (F LOD or F DW may also be used) STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DC Nil on 1 Slight Com to rise HT 1 S 1st Meas: e/o 1 RF forward 2 LF side & CP F DC Nil on 2 Nil Cont to rise T 2 R Change slightly on 2 forward

3 RF closes to CP F DC Nil on 3 Nil Con to rise TH 3 R LF on 3, lower e/o 3

Notes:

1. Slight body turn to right is made over steps 1-3.

2. May also be danced “LF diagonally forward” on step 2, resulting in more progression and greater body turn to right.

3. RIGHT FOOT CLOSED CHANGE – FOLLOWER Preliminary Bronze (LEFT FOOT BACK CHANGE) Commence in CP, B DC (B LOD or B DW may also be used) STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF back CP B DC Nil on Slight Com to rise e/o TH 1 S 1st Meas: 1 1, NFR LF back Change 2 RF side & CP B DC Nil on Nil Cont to rise on 2 T 2 L slightly 2 back

3 LF closes CP B DC Nil on Nil Cont to rise on 3, TH 3 L to RF 3 lower e/o 3

Notes:

1. Slight body turn to right is made over steps 1-3.

2. May also be danced “RF diagonally back” on step 2, resulting in more progression and greater body turn to right.

4. REVERSE TURN – LEADER Preliminary Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF forward CP F DC Com to 1 Com to rise e/o HT 1 S 1st Meas: turn L on 1 Forward 1 half of Reverse 2 RF side CP B DW 1/4 turn L Nil Cont to rise on T 2 L Turn btw 1 & 2 2 (1-3 of Reverse) 3 LF closes CP B LOD 1/8 turn L Nil Cont to rise on TH 3 L to RF btw 2 & 3 3, lower e/o 3

4 RF back CP B LOD Com to 4 Com to rise e/o TH 1 S 2nd Meas: turn L on 4, NFR Back half 4 of Reverse 5 LF side CP P DW 3/8 turn L Nil Cont to rise on T 2 R Turn btw 4 & 5 (4-6 of 5, Reverse) BTL

6 RF closes CP F DW BCT on 6 Nil Cont to rise on TH 3 R to LF 6, lower e/o 6

Notes:

1. Steps 1-3 of Reverse Turn may be followed with a Basic Weave by commencing: a) F LOD to end B DW, in which case the turn will be the same as in the chart (preferred method) b) F DC to end B DW, in which case the turn will change to 1/8 turn L between 1 and 2, and alignment will be B W on 2

2. Steps 1-3 of Reverse Turn may be followed by Reverse Corté.

3. Steps 4-6 of Reverse Turn may be danced after a Natural Spin Turn or a Closed Impetus using the same amount of turn as in chart using either of the following alignments: a) B DC to end F LOD b) B C to end F DC

4. Steps 4-6 of Reverse Turn may be danced after a Natural Spin Turn or a Closed Impetus by changing the turn to 1/4 turn L btw 4 and 5 (BTL) using any of the following alignments: a) B DC to end F DW b) B C to end F LOD c) B DC ALOD to end F DC ® ® Copyright © 2013 DVIDA Waltz DVIDA All Rights Reserved 44

4. REVERSE TURN – FOLLOWER Preliminary Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DC Com to 1 Com to rise TH 1 S 1st Meas: turn L on e/o 1, NFR RF back 1 half of 2 LF side CP P LOD 3/8 turn L Nil Cont to rise T 2 R Reverse btw 1 & 2, on 2 Turn BTL (1-3 of 3 RF closes to CP F LOD BCT on 3 Nil Cont to rise TH 3 R Reverse) LF on 3, lower e/o 3

4 LF forward CP F LOD Com to 4 Com to rise HT 1 S 2nd Meas: turn L on e/o 4 Forward 4 half of 5 RF side CP B W 1/4 turn L Nil Cont to rise T 2 L Reverse btw 4 & 5 on 5 Turn (4-6 of 6 LF closes to CP B DW 1/8 turn L Nil Cont to rise TH 3 L Reverse) RF btw 5 & 6 on 6, lower e/o 6

Notes: 1. Steps 1-3 of Reverse Turn may be followed with a Basic Weave by commencing: a) B LOD to end F DW, in which case the turn will be the same as in the chart (preferred method) b) B DC to end F DW, in which case the turn will change to 1/4 turn L between 1 and 2 (BTL), and alignment will be P DW on 2, F DW on 3

2. Steps 1-3 of Reverse Turn may be followed by Reverse Corté.

3. Steps 4-6 of Reverse Turn may be danced after a Natural Spin Turn or a Closed Impetus using the same amount of turn as in chart using either of the following alignments: a) F DC to end B LOD b) F C to end B DC

4. Steps 4-6 of Reverse Turn may be danced after a Natural Spin Turn or a Closed Impetus by changing the turn to 1/8 turn L btw 4 and 5, and 1/8 turn L btw 5 and 6 using any of the following alignments: a) F DC to end B DW b) F C to end B LOD c) F DC ALOD to end B DC

5A. WHISK – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT POSITION DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # FALL 1 LF forward CP F DW Nil on Slight Com to HT 1 S 1st Meas: 1 rise e/o 1 LF forward to Whisk 2 RF side & slightly Prep F DW Nil on Nil Cont to T 2 L forward, R side PP 2 rise on 2 leading

3 LF crosses PP F DW Nil on Nil Up on 3, TH 3 L behind RF 3 lower e/o 3

Lead: Turn body to right between steps 1 and 2 to lead Follower to Promenade Position on step 3.

5A. WHISK – FOLLOWER Intermediate Bronze

Commence in CP, B DW STE FOOT DP ALIG TURN CBM RISE F C SWA SUMMAR P # Y POSITIO N & W T Y N FAL L 1 RF back CP B DW Nil on 1 Sligh Com TH 1 S 1st Meas: t to RF back to rise Whisk e/o 1, NFR

2 LF diag Pre B W 1/8 turn R btw 1 & Nil Cont T 2 R back p 2 to PP rise on 2

3 RF PP F DC 1/8 turn R btw 2 & Nil Up TH 3 R crosses 3 on 3, behind LF lower e/o 3

Note: Allow the LF to swivel between steps 2 and 3 to end in same alignment as RF (F DC).

5B. WHISK (AT A CORNER) – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F DW Com to 1 Com to HT 1 S 1st Meas: turn L rise LF forward on 1 e/o 1 to Whisk

2 RF diag forward, Prep F LOD 1/8 turn Nil Cont to T 2 L slight R side PP L btw 1 rise on 2 lead. & 2

3 LF crosses PP F DW 1/8 turn Nil Up on 3, TH 3 L behind RF NLOD L btw 2 lower e/o & 3 3

Lead: In order for the Leader to turn (and not cause the Follower to also turn on step 2), Leader must commence to shape to PP without initiating rotation for Follower through the frame, between 1 & 2, then continue by using the frame to lead PP, between 2 & 3.

5B. WHISK (AT A CORNER) – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DW Nil on Slight Com to rise TH 1 S 1st Meas: 1 e/o 1, NFR RF back to Whisk 2 LF back, Prep B DW Nil on Nil Cont to rise T 2 R slight L PP 2 on 2 side lead.

3 RF crosses PP F DC Nil on Nil Up on 3, TH 3 R behind LF NLOD 3 lower e/o 3

5C. WHISK TURNING LEFT (ALONG SIDE OF ROOM) – LEADER Intermediate Bronze

Commence in CP, F DW S FOOT DP ALIG TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION N FALL P # 1 LF forward CP F DW Com to turn 1 Com to rise HT 1 S 1st Meas: L on 1 e/o 1 LF forward to Whisk 2 RF side & CP F LOD 1/8 turn L Nil Cont to rise T 2 L slightly forward btw 1 & 2 on 2

3 LF crosses PP F LOD Nil on 3 Nil Up on 3, TH 3 L behind RF lower e/o 3

Note the late lead to PP on this variation.

5C. WHISK (ALONG SIDE OF ROOM) – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DW Com to turn L 1 Com to TH 1 S 1st Meas: on 1 rise e/o 1, RF back to NFR Whisk 2 LF diag CP B LOD 1/8 turn L btw Nil Cont to T 2 R back 1 & 2 rise on 2

3 RF PP F C 1/4 turn R btw Nil Up on 3, TH 3 R crosses 2 & 3 lower e/o 3 behind LF

6. CHASSÉ FROM PROMENADE POSITION – LEADER Intermediate Bronze

Commence in PP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward & PP F DW, Nil on Slight Com to HT 1 S 1st Meas: across in mov LOD 1 rise e/o 1 Chassé CBMP from PP 2 LF side & Prep F DW Nil on Nil Cont to T 2 S slightly CP 2 rise on 2 forward & 3

3 RF closes to CP F DW Nil on Nil T & S LF 3

4 LF side & Prep F DW Nil on Nil Up on 4, TH 3 S slightly ROP 4 lower e/o forward 4

Notes:

1. Slight CBM occurs on step 1 to keep the hips from rotating leftward while leading the Follower from Promenade to Closed Position.

2. Preparing to close from Promenade Position begins at end of step 1 and continues through step 2. Closed Position then occurs on step 3.

3. Leader prepares to step outside partner on step 4 by developing a positive left side which creates enough space to go outside partner on the first step of the next figure.

6. CHASSÉ FROM PROMENADE POSITION – FOLLOWER Intermediate Bronze

Commence in PP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward PP F DC, Com to 1 Com to HT 1 S 1st Meas: & across in mov LOD turn L on rise e/o 1 Chassé CBMP 1 from PP

2 RF side Prep B W 1/8 turn L Nil Cont to T 2 S CP btw 1 & 2 rise on 2 & 3 3 LF closes CP B DW 1/8 turn L Nil T & S to RF btw 2 & 3, BTL

4 RF side & Prep B DW Nil on 4 Nil Up on 4, TH 3 S slightly ROP lower e/o back 4

7. NATURAL HESITATION CHANGE – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Com to HT 1 S 1st Meas: turn R on rise e/o Forward half 1 1 of Natural Turn 2 LF side CP B DC 1/4 turn Nil Cont to T 2 R (1-3 of R btw 1 rise Natural) & 2 on 2

3 RF closes to CP B LOD 1/8 turn Nil Cont to TH 3 R LF R btw 2 rise on & 3 3, lower e/o 3

4 LF back CP B LOD Com to 4 Nil on TH 1 S 2nd Meas: turn R on 4 LF back, heel 4 pull

5 RF side CP F DC 3/8 turn Nil Nil on H, IE of 2 L (heel pull), R btw 4 5 foot, small step & 5 WF

6 LF closes to CP F DC Nil on 6 Nil Nil on IE of B 3 L RF w/o wt 6

Notes:

1. If danced at a corner, this figure may end: a) F DW NLOD (same turn as in chart) b) F NLOD by turning 1/4 R btw steps 4 and 5 c) F DC of NLOD by turning 1/8 R btw steps 4 and 5

2. Step 1 will be taken “RF forward in CBMP” in ROP when preceded by the Chassé from Promenade Position, Outside Change, or Basic Weave.

7. NATURAL HESITATION CHANGE – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to turn 1 Com to TH 1 S 1st Meas: R on 1 rise e/o 1, Back half of NFR Natural Turn 2 RF side CP P LOD 3/8 turn R Nil Cont to T 2 L (1-3 of btw 1 & 2, rise on 2 Natural) BTL 3 LF closes CP F LOD BCT on 3 Nil Cont to TH 3 L to RF rise on 3, lower e/o 3

4 RF CP F LOD Com to turn 4 Nil on 4 HT 1 S 2nd Meas: forward R on 4 RF forward, Hesitation 5 LF side CP B DC 3/8 turn R Nil Nil on 5 TH 2 R btw 4 & 5

6 RF closes CP B DC Nil on 6 Nil Nil on 6 IE of 3 R to LF w/o B wt

Notes:

1. The Leader’s heel pull causes an equal turn of body and feet (rather than the typical “body turns less” on inside of turns). Therefore, the Follower’s turn between steps 4 and 5 is not divided, but instead matches the Leader’s turn.

2. The first step of the Natural Hesitation Change will be taken “LF back in CBMP” in ROP when preceded by the Chassé from Promenade Position, Outside Change, or Basic Weave.

3. If danced at a corner, this figure may end: a) B DW NLOD (same turn as in chart) b) B NLOD by turning 1/4 R btw steps 4 and 5 c) B DC of NLOD by turning 1/8 R btw steps 4 and 5

8. PROGRESSIVE CHASSÉ TO RIGHT – LEADER Intermediate Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F DC Com to turn L 1 Com to HT 1 S 1st Meas: on 1 rise e/o 1 LF forward, Chassé 2 RF side CP B W 1/8 turn L btw Nil Cont to T 2 S right 1 & 2 rise on 2 & 3 3 LF closes CP B DW 1/8 turn L btw Nil T & S to RF 2 & 3, BTL

4 RF side & Prep B DW Nil on 4 Nil Up on 4, TH 3 S slightly ROP lower e/o back 4

Note: When commenced F LOD, alignment and turn changes to: F LOD on 1, 1/4 L btw 1 and 2.

8. PROGRESSIVE CHASSÉ TO RIGHT – FOLLOWER Intermediate Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 RF back CP B DC Com to turn 1 Com TH 1 S 1st Meas: L on 1 to rise RF back, e/o 1, Chassé left NFR 2 LF side CP P DW 1/4 turn L Nil Cont T 2 S btw 1 & 2, to rise BTL on 2 & 3 3 RF closes to LF CP F DW Slight body Nil T & S turn L on 3

4 LF side & Prep F DW Nil on 4 Nil Up on TH 3 S slightly forward ROP 4, lower e/o 4

Note: When commenced B LOD, alignment and turn changes to: B LOD on 1, 3/8 L btw 1 and 2 (BTL).

9. BACK LOCK – LEADER Intermediate Bronze

Commence in Prep ROP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back in ROP B DW Nil on Slight Com to rise TH 1 S 1st Meas: CBMP 1 e/o 1, NFR LF Back Lock 2 RF back ROP B DW Nil on Nil Cont to rise T 2 S 2 on 2 & 3 3 LF crosses ROP B DW Nil on Nil H, & S in front of 3 then T RF of LF

4 RF diag ROP B DW Nil on Nil Up on 4, TH 3 S back 4 lower e/o 4

Notes:

1. Although this figure travels DW throughout, the body backs between W and DW.

2. Slight CBM is used on step 1 to provide room for Follower to step comfortably outside partner.

9. BACK LOCK – FOLLOWER Intermediate Bronze

Commence in Prep ROP, F DW S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 RF forward in ROP F DW Nil on 1 Slight Com to rise HT 1 S 1st Meas: CBMP e/o 1 RF forward 2 LF diag forward ROP F DW Nil on 2 Nil Cont to rise T 2 S Lock on 2 & 3 3 RF crosses ROP F DW Nil on 3 Nil T & S behind LF

4 LF diag forward ROP F DW Nil on 4 Nil Up on 4, TH 3 S lower e/o 4

Note: Slight CBM is used on step 1 in order to maintain good hip alignment and provide room to step outside partner.

10. CLOSED IMPETUS – LEADER Intermediate Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B LOD Com to 1 Nil on 1 TH 1 S 1st Meas: turn R on LF back 1 Closed Impetus 2 RF closes CP F DC 3/8 turn R Nil Rise e/o 2 HT 2 L to LF (heel btw 1 & 2 turn)

3 LF side & CP B DC 1/4 turn R Nil Up on 3, TH 3 S slightly ALOD btw 2 & 3 lower e/o back 3

Notes:

1. When commencing B DW, alignment and turn change to: B DW on 1, F LOD on 2, 1/8 R btw 2 and 3.

2. The Closed Impetus may be danced at a corner (with same turn as in chart) to end B DC of NLOD.

3. The first step of the Closed Impetus will commence in ROP and taken as “LF back in CBMP” in ROP when preceded by: Progressive Chassé to Right, Back Lock, Reverse Corté (turned 1/2 to left to end B DW after either an underturned Natural Spin Turn or a Closed Impetus along the side of the room).

4. Note the “delayed rise” over steps 1 and 2.

5. An alternative sway of “Right on 1, Straight on 2, Straight on 3” may be used.

6. When followed by a Reverse Pivot: While dancing the footwork of TH on step 3, the left leg remains lengthened while lowering the heel. The rise & fall will therefore be, “Up on 3”.

10. CLOSED IMPETUS – FOLLOWER Intermediate Bronze

Commence in CP, F LOD S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 RF forward CP F LOD Com to 1 Nil on 1 HT 1 S 1st turn R on 1 Meas: RF 2 LF side, RF CP B DC 3/8 turn R Nil Rise e/o T of 2 R forward brushes to LF btw 1 & 2 2 LF, (IE Closed of T of Impetus RF)

3 RF diag CP F DC 1/4 turn R Nil Up on 3, TH 3 S forward ALOD btw 2 & 3 lower e/o 3

Notes:

1. When commencing F DW, alignment and turn change to: F DW on 1, B LOD on 2, 1/8 R btw 2 and 3.

2. The Closed Impetus may be danced at a corner (with the same turn as in chart) to end F DC of NLOD.

3. Step 1 of the Closed Impetus will commence in ROP and taken as “RF forward in CBMP” when preceded by: Progressive Chassé to Right, Back Lock, Reverse Corté (turned 1/2 to left to end F DW after either an underturned Natural Spin Turn or a Closed Impetus along the side of the room).

4. Note the “delayed rise” over steps 1 and 2.

5. An alternative sway of “Left on 1, Straight on 2, Straight on 3” may be used.

6. When followed by a Reverse Pivot: The footwork on step 3 will change to toe and the right leg will remain lengthened. The rise & fall will therefore be, “Up on 3”.

11. REVERSE CORTÉ – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B LOD Com to 1 Nil on 1 TH 1 S 1st Meas: turn L RF back, on 1 Corté

2 LF closes to CP B DC 3/8 turn Nil Rise on H of LF 2 R RF w/pressure ALOD L btw 1 2 then (no wt change) & 2 toes of both feet 3 Position held Prep B DC Nil on 3 Nil Up on TH of 3 R ROP ALOD 3, lower RF e/o 3

Notes:

1. Turn is made on the Heel of the RF. Alternatively, turn may be made on the ball of the RF with the heel lowering and lightly touching the floor during the turn. In this case the footwork on step 1 would be THB. The rise & fall remains the same.

2. Leader will cause Follower to dance normal rise & fall (as in 4-6 of a Reverse Turn) by using strong upward stretch on the left side (i.e., compensating in the upper body for the sway that would occur in the lower body during 4-6 of a Reverse Turn).

3. Alternative alignments and turn are: a) Commencing B LOD: 1/2 turn left btw 1 and 2, ending B ALOD b) Commencing B LOD: 5/8 turn left btw 1 and 2, ending B DW ALOD c) Commencing B DC: 1/4 turn left btw 1 and 2, ending B DC ALOD d) Commencing B DC ALOD: 1/2 turn left btw 1 and 2, ending B DW

11. REVERSE CORTÉ – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F LOD Com to 1 Com to rise HT 1 S 1st Meas: turn L on e/o 1 Forward 1 half of Reverse 2 RF side CP F C 1/4 turn L Nil Cont to rise T 2 L Turn btw 1 & 2 on 2

3 LF closes Prep F DC 1/8 turn L Nil Cont to rise TH 3 L to RF ROP ALOD btw 2 & 3 on 3, lower e/o 3

Notes:

1. The Follower uses normal rise & fall (same as 4-6 of a Reverse Turn), even though Leader’s rise & fall differs.

2. Alternative alignments and turns are: a) Commencing F LOD: just over 1/4 turn L btw 1 and 2; just under 1/4 turn L btw 2 and 3, ending F ALOD b) Commencing F LOD: 3/8 turn L btw 1 and 2; 1/4 turn L btw 2 and 3; ending F DW ALOD c) Commencing F DC: 1/8 turn L btw 1 and 2; 1/8 turn L btw 2 and 3; ending F DC ALOD d) Commencing F DC ALOD: just over 1/4 turn L btw 1 and 2; just under 1/4 turn L btw 2 and 3, ending F DW

12. BACK WHISK – LEADER Full Bronze

Commence in Prep ROP, B DC ALOD STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF back in ROP B DC Nil on 1 Slight Com to rise TH 1 S 1st Meas: CBMP ALOD e/o 1, NFR LF Back Whisk 2 RF diag Prep B DC Nil on 2 Nil Cont to rise on T 2 L back PP ALOD 2

3 LF crosses PP F DW Nil on 3 Nil Up on 3, TH 3 L behind RF lower e/o 3

Lead: Turn body to right between steps 1 and 2 to lead Follower to Promenade Position.

Notes:

1. Slight CBM is used on step 1 to provide room for Follower to step comfortably outside partner.

2. When the LF moves to cross behind the RF btw steps 2 and 3, it is preferable for the heel of the LF (and not the toe) to be released from the floor.

3. The Back Whisk may be turned at a corner. In this case the Leader’s FOOT POSITIONition on step 2 will be “side and slightly back”.

4. Alternative alignments and turn (at a corner) are: a) Commencing B LOD: 3/8 turn R bet 1 and 2, BTL; BCT on 3, ending F DW NLOD b) Commencing B DW: 1/4 turn R between 1 and 2, BTL, BCT on 3, ending F DW NLOD

12. BACK WHISK – FOLLOWER Full Bronze

Commence in Prep ROP, F DC ALOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF ROP F DC Com to turn 1 Com to rise HT 1 S 1st Meas: forward in ALOD R on 1 e/o 1 RF CBMP forward, 2 LF side Prep F C 1/8 turn R Nil Cont to rise T 2 R Back PP btw 1 & 2 on 2 Whisk

3 RF PP F DC 1/8 turn R Nil Up on 3, TH 3 R crosses btw 2 & 3 lower e/o 3 behind LF

Note: Alternative alignments and turn (at a corner) are: a) Commencing F LOD: 3/8 turn R between 1 and 2; 1/4 turn R between 2 and 3, ending F DC NLOD b) Commencing F DW: 1/4 turn R between 1 and 2, 1/4 turn R between 2 and 3, ending F DC NLOD

3A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) – LEADER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Com to rise HT 1 S 1st Meas: turn R on e/o 1 Forward 1 half of Natural 2 LF side CP B DC 1/4 turn R Nil Cont to rise T 2 R Turn btw 1 & 2 on 2 (1-3 of Natural) 3 RF closes to CP B LOD 1/8 turn R Nil Cont to rise TH 3 R LF btw 2 & 3 on 3, lower e/o 3 4 LF back, CP Down 1/2 turn R 4 Nil on 4 THB 1 S 2nd Meas: (pivot), LOD, on 4 LF back RF held in end pivot & CBMP F LOD Spin

5 RF forward CP F LOD Cont to 5 Rise e/o 5 HT 2 S in CBMP turn R on 5 6 LF side & CP B DC 3/8 turn R Nil Up on 6, TH 3 S slightly back btw 5 & 6 lower e/o 6 Notes:

1. Step 1 of the Natural Spin Turn will be taken “RF forward in CBMP” in ROP when preceded by the Chassé from Promenade Position, Outside Change, or Basic Weave.

2. The footwork of THB on step 4 is danced by making the turn on the ball of the foot, with the heel lowering and lightly touching the floor during the turn.

3. On step 4 the left leg and foot track wide (slightly toward the alignment of B DW). The direction “Down LOD” is given on step 4 to indicate that the body (center) moves down the LOD.

4. Note the “delayed rise” over steps 4 and 5.

5. When followed by a Reverse Pivot, the footwork on step 6 will be TH. The left leg remains lengthened while lowering the heel. The rise & fall will therefore be, “Up on 6”.

6. When the Natural Spin Turn is danced along the side of the room, it may be underturned as follows: a) To end B DC ALOD: 3/8 turn R on 4, Cont to turn R on 5, 1/4 turn R btw 5 and 6 b) To end B C: 3/8 turn R on 4, Cont to turn R on 5, 3/8 turn R btw 5 and 6 ® ® Copyright © 2013 DVIDA Waltz DVIDA All Rights Reserved 66

13A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) – FOLLOWER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to 1 Com to TH 1 S 1st Meas: turn R on rise e/o Back half of 1 1, NFR Natural Turn (1-3 of 2 RF side CP P LOD 3/8 turn R Nil Cont to T 2 L Natural) btw 1 & 2, rise on 2 BTL

3 LF closes CP F LOD BCT on 3 Nil Cont to TH 3 L to RF rise on 3, lower e/o 3 4 RF forward CP F LOD 1/2 turn R 4 Nil on 4 HT 1 S 2nd Meas: (pivoting end on 4 RF forward action) B LOD pivoting action & 5 LF back & CP B LOD Cont to Nil Rise e/o T of 2 S Spin slightly turn R on 5 LF, side, RF 5 (IE of brushes to T of LF RF)

6 RF diag CP F DC 3/8 turn R Nil Up on 6, TH 3 S forward btw 5 & 6 lower e/o 6 Notes: 1. Step 1 of the Natural Spin Turn will be taken “LF back in CBMP” in ROP when preceded by the Chassé from Promenade Position, Outside Change, or Basic Weave. 2. Although the Leader has CBM on step 5, the Follower will not use CBM on step 5 because coming from the outside of a turn to a brushing action does not require it. The action of the Follower’s left leg is to swing diagonally forward, then swivel on the ball of the LF, ending with a foot position of “LF back and slightly side”. 3. Note the “delayed rise” over steps 4 and 5. 4. When the Natural Spin Turn is danced along the side of the room, it may be underturned as follows: a) To end F DC ALOD: 3/8 turn R on 4, Cont to turn R on 5, 1/4 turn R btw 5 and 6 b) To end F C: 3/8 turn R on 4, Cont to turn R on 5, 3/8 turn R btw 5 and 6 5. When followed by a Reverse Pivot, the footwork on step 6 will be T. The rise & fall will therefore be “Up on 6”.

13B. NATURAL SPIN TURN (AT A CORNER) – LEADER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Com to rise HT 1 S 1st Meas: turn R e/o 1 Forward on 1 half of Natural 2 LF side CP B DC 1/4 turn Nil Cont to rise T 2 R Turn R btw 1 on 2 (1-3 of & 2 Natural)

3 RF closes to CP B LOD 1/8 turn Nil Cont to rise TH 3 R LF R btw 2 on 3, lower & 3 e/o 3

4 LF back, CP Down 3/8 turn 4 Nil on 4 THB 1 S 2nd Meas: (pivot), RF LOD, R on 4 LF back held in end F pivot & CBMP DC Spin

5 RF forward in CP F DC Cont to 5 Rise e/o 5 HT 2 S CBMP turn R on 5

6 LF side & CP B DC 1/4 turn Nil Up on 6, TH 3 S slightly back NLOD R btw 5 lower e/o 6 & 6

Notes:

1. When the Natural Spin Turn is danced around a corner, it may be underturned as follows: a) To end B DC A NLOD: 1/4 turn R on 4, Cont to turn R on 5, 1/8 turn R btw 5 and 6 b) To end B C NLOD: 1/4 turn R on 4, Cont to turn R on 5, 1/4 turn R btw 5 and 6

2. See Natural Spin turn along side of the room (figure 8A) for further details on this figure.

13B. NATURAL SPIN TURN (AT A CORNER) – FOLLOWER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to 1 Com to TH 1 S 1st Meas: turn R on rise Back half 1 e/o 1, of Natural NFR Turn 2 RF side CP P LOD 3/8 turn R Nil Cont to T 2 L (1-3 of btw 1 & 2, rise on 2 Natural) BTL

3 LF closes to CP F LOD BCT on 3 Nil Cont to TH 3 L RF rise on 3, lower e/o 3

4 RF forward CP F 3/8 turn R 4 Nil on 4 HT 1 S 2nd Meas: (pivoting LOD, on 4 RF forward action) end pivoting B DC action & Spin 5 LF back & CP B DC Cont to Nil Rise e/o 5 T of 2 S slightly side, turn R on LF, RF brushes 5 (IE of to LF T of RF)

6 RF diag CP F DC 1/4 turn R Nil Up on 6, TH 3 S forward NLOD btw 5 & 6 lower e/o 6

Notes:

1. When the Natural Spin Turn is danced around a corner, it may be underturned as follows: a) To end F DC A NLOD: 1/4 turn R on 4, Cont to turn R on 5, 1/8 turn R btw 5 and 6 b) To end F C NLOD: 1/4 turn R on 4, Cont to turn R on 5, 1/4 turn R btw 5 and 6

2. See Natural Spin turn along side of the room (figure 8A) for further details on this figure.

14. REVERSE PIVOT – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 RF back in CP B DC, 1/8 turn L 1 Nil on THB & S &: CBMP, small end btw 0 & 1, 1 RF back step, TTI F LOD 3/8 turn L Pivot (pivot), LF held on 1 in CBMP

Notes:

1. The term “between 0 and 1” means that the “turn is made between the last step of the previous figure and the first step of the new figure”.

2. A Reverse Pivot may also commence B DC ALOD or B C.

3. Less turn (1/8, 1/4, or 3/8) may be made.

4. The maximum turn on a Reverse Pivot is 1/2 left.

5. The footwork of THB on step 4 is danced by making the turn on the ball of the foot, with the heel lowering and lightly touching the floor during the turn.

6. Depending on the preceding figure, the rise & fall for the Reverse Pivot will differ: a) Following a Natural Spin Turn or Closed Impetus, “Up on 1, lower at the end of 1” b) Following 1-3 of a Reverse Turn, the rise & fall will be as given in the chart (Nil on 1)

14. REVERSE PIVOT – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT POSITION DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # & FALL 1 LF forward in CP F DC, 1/8 turn L 1 Nil on TH & S &: CBMP, small step end btw 0 & 1 LF forward (pivot), RF held in B LOD 1, 3/8 Pivot CBMP turn L on 1

Notes:

1. The term “between 0 and 1” means that the “turn is made between the last step of the previous figure and the first step of the new figure”.

2. A Reverse Pivot may also commence F DC ALOD or F C.

3. Less turn (1/8, 1/4, or 3/8) may be made.

4. The maximum turn on a Reverse Pivot is 1/2 left.

5. The footwork of TH is used due to the non progressive nature of the Reverse Pivot.

15. DOUBLE REVERSE SPIN – LEADER Full Bronze

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F LOD Com to 1 Rise HT 1 S 1st Meas: turn L on 1 during 1 LF forward, (Note 1) toe pivot

2 RF side CP B DW 3/8 turn L Nil Up on 2 T 2 S btw 1 & 2

3 LF closes to CP F DW 1/2 turn L Nil Up on (T of 3 S RF w/o wt (toe btw 2 & 3 3, lower LF), pivot) e/o 3 TH of RF

Notes:

1. The “rise during” step 1 aids in leading the Follower’s heel turn. It is also helpful to momentarily leave the RF back (to allow time for the Follower to close feet). This results in a slight delay of taking step 2 (RF to the side).

2. Alternative alignments and turn are as follows: a) 3/4 turn – commencing F DC to end F DW: i. 1/4 to L btw 1 and 2, 1/2 to L btw 2 and 3 or ii. 3/8 to L btw 1 and 2, 3/8 to L btw 2 and 3

b) 7/8 turn – may commence F LOD (as in chart) to end F DW, or F DC to end F LOD: Turn as in chart

c) 1 full turn – may commence F DC, F LOD, or F DW: 3/8 to L btw 1 and 2, 5/8 to L btw 2 and 3

3. The Leader leads the Follower’s syncopation of 1, 2, &3 (as in chart), by closing LF to RF (w/o weight) on the count of & following count 2.

4. May be danced with the alternative count of 1, 2, 3&. In this case the Leader leads this timing by closing the LF to RF (w/o weight) on the count of 3.

15. DOUBLE REVERSE SPIN – FOLLOWER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 RF back CP B LOD Com to turn L on 1 Slight TH 1 S 1st Meas: 1 rise RF back, e/o 1, heel turn, NFR side cross

2 LF closes to CP F LOD 1/2 turn L btw 1 & Nil Cont HT 2 S RF (heel 2 to rise turn) on 2

3 RF side & CP B W 1/4 turn L btw 2 & Nil Up on T & S slightly back 3 3

4 LF crosses CP B DW 1/8 turn L btw 3 & Nil Up on TH 3 S in front of 4 4, RF lower e/o 4

Notes:

1. On step 1, the Follower creates slight rise by gradually lengthening the right leg.

2. Alternative alignments and turn are as follows: a) 3/4 turn – commencing B DC to end B DW: i. 3/8 to L btw 1 and 2, 1/4 to L btw 2 and 3, 1/8 turn L btw 3 and 4

b) 7/8 turn – may commence B LOD (as in chart) to end B DW, or B DC to end B LOD: i. Turn as in chart

c) 1 full turn – may commence B DC, B LOD, or B DW: i. 1/2 to L btw 1 and 2, 3/8 to L btw 2 and 3, 1/8 to L btw 3 and 4

3. May be danced with the alternative count of 1, 2, 3&.

16. BASIC WEAVE – LEADER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DW Nil on 1 Slight Nil on 1 TH 1 S 1st Meas: RF back 2 LF forward CP F DC Com to 2 Rise e/o HT 2 S check, into ALOD turn L on 2 2 Weave (Note 1) 3 RF side Prep B LOD 1/8 turn L Nil Up on TH 3 S ROP btw 2 & 3 3, lower e/o 3 4 LF back in ROP B DC 1/8 turn L Nil Com to TH 1 S 2nd Meas: CBMP btw 3 & 4, rise e/o Weave BTL 4, NFR ending

5 RF back CP B DC Com to 5 Cont to T 2 S turn L on 5 rise on 5 6 LF side & Prep P DW 1/4 turn L Nil Up on TH 3 S slightly ROP btw 5 & 6, 6, forward BTL lower e/o 6

Notes:

1. Step 1 is often referred to as a “check” (because a change of direction is about to occur). To indicate the check, the Leader will reduce speed on step 1.

2. Step 1 of the following figure will be “RF forward in CBMP” in ROP.

3. When commenced B W, the turns will change in one of the following ways. The ending alignment will still be F DW: a) 1/8 L btw 2 and 3, 1/8 L btw 3 and 4 (BTL), 3/8 L btw 5 and 6 (BTL) b) 1/4 L btw 2 and 3, 1/8 L btw 3 and 4 (BTL), 1/4 L btw 5 and 6 (BTL)

4. May end in PP (F DW, moving LOD) by leading Follower to promenade position between steps 5 and 6.

16. BASIC WEAVE – FOLLOWER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 LF forward CP F DW Nil on 1 Slight Nil on H 1 S 1st Meas: 1 LF forward 2 RF back CP B DC Com to turn L 2 Rise T 2 S check into ALOD on 2 e/o 2 Weave

3 LF side Prep P DC 1/4 turn L btw 2 Nil Up on TH 3 S ROP & 3, BTL 3, lower e/o 3 4 RF forward ROP F DC Nil on 4 Nil Com to HT 1 S 2nd Meas: in CBMP rise Weave e/o 4 ending 5 LF forward CP F DC Com to turn L 5 Cont to T 2 S on 5 rise on 5 6 RF side & Prep B DW 1/4 turn L btw 5 Nil Up on TH 3 S slightly ROP & 6, BTL 6, back lower e/o 6

Notes:

1. Step 1 of the following figure will be “LF back in CBMP” in ROP.

2. When commenced F W, the turns will change in one of the following ways. The ending alignment will still be B DW: a) 1/4 L btw 2 and 3 (BTL), 3/8 L btw 5 and 6 (BTL) b) 3/8 L btw 2 and 3 (BTL), 1/4 L btw 5 and 6 (BTL)

3. May end in PP by making no turn on step 6 to end F DC, moving LOD.

17A. OUTSIDE CHANGE – LEADER Full Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DC Nil on 1 Nil Com to rise TH 1 S 1st Meas: e/o 1, NFR LF back, hover to 2 RF back CP B DC Com to 2 Cont to rise T 2 S side turn on 2 L on 2 3 LF side & Prep P DW 1/4 turn L Nil Up on 3, TH 3 S slightly ROP btw 2 & 3, lower e/o 3 forward BTL

Notes:

1. Step 1 of this figure will be taken “LF back in CBMP” in ROP when preceded by the Reverse Corté.

2. Step 1 of the following figure will be “RF forward in CBMP” in ROP.

7A. OUTSIDE CHANGE – FOLLOWER Full Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF CP F DC Nil on 1 Nil Com to rise HT 1 S 1st Meas: forward e/o 1 RF forward, 2 LF forward CP F DC Com to turn 2 Cont to rise T 2 S hover to L on 2 on 2 side

3 RF side & Prep B DW 1/4 turn L Nil Up on 3, TH 3 S slightly ROP btw 2 & 3, lower e/o 3 back BTL

Notes:

1. Step 1 of this figure will be taken “RF forward in CBMP” in ROP when preceded by the Reverse Corté.

2. Step 1 of the following figure will be “LF back in CBMP” in ROP.

17B. OUTSIDE CHANGE (ENDING IN PROMENADE POSITION) – Full Bronze LEADER

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF back CP B DC Nil on 1 Nil Com to rise TH 1 S 1st Meas: e/o 1, NFR LF back, hover to 2 RF back Prep B DC Com to 2 Cont to rise T 2 S PP PP turn on 2 L on 2

3 LF side PP F DW, 1/4 turn L Nil Up on 3, TH 3 S mov btw 2 and lower e/o 3 LOD 3

Notes:

1. Step 1 of this figure will be taken “LF back in CBMP” in ROP when preceded by the Reverse Corté.

2. Step 1 of the following figure will be “RF forward and across in CBMP” in PP.

17B. OUTSIDE CHANGE (ENDING IN PROMENADE POSITION) – FOLLOWER Full Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF CP F DC Nil on Nil Com to rise HT 1 S 1st Meas: forward 1 e/o 1 RF 2 LF Prep F DC Nil on Nil Cont to rise T 2 S forward, forward PP 2 on 2 hover to PP 3 RF side PP F DC, Nil on Nil Up on 3, TH 3 S mov LOD 3 lower e/o 3

Notes:

1. Step 1 of this figure will be taken “RF forward in CBMP” in ROP when preceded by the Reverse Corté.

2. Step 1 of the following figure will be “LF forward and across in CBMP” in PP.

Precedes and Follows For Creating Waltz Choreography

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Whisk (A, B) • Chassé from RF FREE TO GO LF FREE TO GO • Back Whisk Promenade FORWARD (in PP), FORWARD (in PP), Position F DW, moving LOD F DC, moving LOD • Basic Weave ended in PP F LOD

• Outside Change ended in PP

Starts

Ends DW F Ends with F DW moving DW F LOD Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • Whisk (C) • Chassé from RF FREE TO GO LF FREE TO GO Promenade FORWARD (in PP), FORWARD (in PP),

Position F LOD, moving DC F C, moving DC

DC F LOD F DC

F C

moving Starts Ends F LOD F Ends LOD

Ends with F Leaders RF Free Followers LF Free

Any figure in Column A may precede any The diagrams indicate the figure in Column B starting alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • LF Closed Change • Natural Turn RF FREE TO GO LF FREE TO GO • Chassé from • Natural FORWARD, F DW BACKWARD, B Promenade Hesitation DW st Position (1 step of Change F DW B DW next figure will be • Natural Spin RF forward in Turn (A, B) CBMP and ROP) • 1-3 Natural Turn • Basic Weave (1st

step of next figure will be RF Forward in CBMP and ROP) • Outside Change (1st step of next figure will be RF Forward in CBMP Ends DW F

and ROP) Starts F DW • At a corner: Natural Turn (to end F DW NLOD)

Ends with Leaders RF Free Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER At a corner, the • LF Closed LF FREE TO GO RF FREE TO GO following three Change FORWARD, BACKWARD, figures may be • Whisk (A, C) F DW NLOD B DW NLOD danced: F DW B DW • Natural Hesitation Change • Natural Spin Turn, then 4-6 of Reverse Turn

• Closed Impetus,

then 4-6 of

Reverse Turn Ends DW F NLOD Starts F DW NLOD Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede any The diagrams indicate the starting figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • RF Closed • Double LF FREE TO GO RF FREE TO GO Change Reverse Spin FORWARD, F DW BACKWARD, B DW • Reverse Turn • LF Closed F DW B DW

• Change Natural Spin Turn, then 4-6 of • Whisk (A, B, C) Reverse Turn • Double Reverse Spin • Reverse Pivot

Ends F DW DW F Ends

Starts F DW Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • RF Closed • Double LF FREE TO GO RF FREE TO GO Change Reverse Spin FORWARD, F LOD BACKWARD, B LOD • Reverse Pivot • 1-3 of F LOD B LOD • Natural Spin Reverse Turn Turn, then 4-6 then Basic of Reverse Weave

Turn • Progressive • Closed Chassé to Impetus, then Right with 3/8 turn 4-6 of Reverse Turn • Double

Reverse Spin LOD F Ends Starts F LOD

Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER At a corner, the • Double LF FREE TO GO RF FREE TO GO following 4 Reverse Spin FORWARD, F NLOD BACKWARD, B NLOD figures may be • 1-3 of Reverse F NLOD B NLOD danced: Turn then Basic • Natural Weave Hesitation • Progressive Change Chassé to Right • Natural Spin with 3/8 turn Turn (B), then 4-6 of

Reverse Turn • Closed Impetus, then 4-6 of Reverse Turn Ends F NLOD F Ends • Reverse Starts F NLOD Pivot

Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • RF Closed • LF Closed LF FREE TO GO RF FREE TO GO Change Change FORWARD, F DC BACKWARD, B DC • Natural • Reverse Turn F DC B DC Hesitation • Progressive Change Chassé to • Natural Spin Right Turn, then 4- • Double 6 of Reverse Reverse Spin Turn

• Double Reverse Spin • Closed Impetus, then 4-6 of Reverse Turn Ends DC F • Reverse Starts F DC Pivot

Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • 1-3 of Reverse • Basic Weave RF FREE TO GO LF FREE TO GO Turn • Reverse BACKWARD, B DW FORWARD, F DW (commence Pivot B DW F DW

F LOD)

Ends B DW Starts B Ends with Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • 1-3 of Reverse • Reverse RF FREE TO GO LF FREE TO GO

Turn Corté BACKWARD, B LOD FORWARD, F LOD • Reverse B LOD F LOD Pivot

LOD

Ends with Ends B LOD Starts B Leaders RF Free Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Natural Spin • 4-6 of Reverse RF FREE TO GO LF FREE TO GO Turn (along Turn BACKWARD, B DC FORWARD, F DC

side of room) • Reverse Corté B DC F DC • Reverse Pivot

Ends B DC Starts B DC Ends with Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • At a corner: • 4-6 of Reverse RF FREE TO GO LF FREE TO GO Closed Impetus Turn BACKWARD, FORWARD, • Reverse Corté B DC NLOD F DC NLOD • Reverse Pivot B DC NLOD F DC NLOD

Ends with

Leaders RF Free Ends B DC NLOD Starts B DC NLOD Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • At a corner: 1-3 • Basic RF FREE TO GO LF FREE TO GO of Reverse Weave BACKWARD, B W FORWARD, F W

Turn

B W F W

NLOD

Ends with Ends NLOD B W Starts B W Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • Natural Spin • 4-6 of RF FREE TO GO LF FREE TO GO

Turn Reverse BACKWARD, FORWARD, (underturned, Turn B DC ALOD F DC ALOD along side of • Reverse room) Pivot • Closed Impetus • Reverse Corté (1/2 turn) Ends with Ends B DC ALOD

Leaders RF Free Starts B DC ALOD B DC ALOD F DC ALOD

Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Natural Spin • 4-6 of RF FREE TO GO LF FREE TO GO Turn Reverse BACKWARD, B C FORWARD, F C (underturned, Turn

along side of • Reverse room) Pivot B C F C • Closed Impetus

Ends B C Ends with Starts B C Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • 4-6 of Natural • RF Close RF FREE TO GO LF FREE TO GO Turn ending Change FORWARD, F LOD BACKWARD, B LOD F LOD • 1-3 Natural F LOD B LOD Turn

LOD F Ends Starts F LOD Ends with Leaders RF Free Followers LF Free

Any figure in Column A may precede any The diagrams indicate the starting figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER st • Progressive Chassé 1 step will be LF FREE TO GO RF FREE TO GO to Right in CBMP and BACKWARD, B DW FORWARD, F DW ROP • Back Lock B DW F DW • • Natural Spin Turn Back Lock (underturned, along • Closed side of room), then Impetus Reverse Corté • Back Whisk • Closed Impetus • At a corner: (underturned, along Back Whisk side of room), then Ends B DW with turn Reverse Corté Starts B DW • 4-6 of Ends with Natural Turn Leaders LF Free Followers RF Free Column A Column B LEADER FOLLOWER • 1-3 of Natural Turn • Closed LF FREE TO GO RF FREE TO GO Impetus BACKWARD, B LOD FORWARD, F LOD • Outside B LOD F LOD Change (3/8

turn)

Ends with Ends B LOD Leaders LF Free Starts B LOD Followers RF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • 1-3 Natural Turn • Outside LF FREE TO GO RF FREE TO GO (underturned or Change BACKWARD, B DC FORWARD, F DC commencing B DC F DC F LOD) • At a corner: Reverse Corté to end B DC NLOD. 1st step of next figure – (Column B) will be in CBMP and ROP

Ends B DC Starts B DC

Ends with Leaders LF Free Followers RF Free Column A Column B LEADER FOLLOWER

st • Reverse Corté (5/8 1 step will LF FREE TO GO RF FREE TO GO turn L from B LOD) be in CBMP BACKWARD, FORWARD, and ROP B DW ALOD F DW ALOD

• Back Whisk at a corner

Ends with Leaders LF Free Ends B DW ALOD Starts B DW ALOD B DW ALOD F DW ALOD Followers RF Free

Any figure in Column A may precede any The diagrams indicate the starting figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER st • Reverse Corté 1 step will be LF FREE TO GO RF FREE TO GO (1/2 turn L from in CBMP and BACKWARD, FORWARD, B LOD) ROP B ALOD F ALOD

• 4-6 Natural Turn (1/8 turn) • Closed Impetus

Ends B ALOD

Starts B ALOD Ends with B ALOD F ALOD Leaders LF Free Followers RF Free Column A Column B LEADER FOLLOWER st • Reverse Corté 1 step will be LF FREE TO GO RF FREE TO GO

in CBMP and BACKWARD, FORWARD, ROP B DC ALOD F DC ALOD

• Back Whisk

At a corner: • At a corner: Outside Ends with F DC ALOD Change Ends B DC ALOD B DC ALOD Leaders LF Free Starts B DC ALOD

Followers RF Free

Jr. Associate (Bronze) Ballroom Waltz Routine – LEADER

2 8. 5 Whisk F DW F DW 1 2 3 9. 6 Chassé from Promenade Position F DW F DW 1 2 &3 10. 7 Natural Hesitation Change F DW F DC 1 2 3, 4 5 6 11. 4 Reverse Turn F DC F DW 1 2 3, 4 5 6 12. 1 LF Closed Change F DW F DW 1 2 3 13. 2 1-3 of Natural Turn F DW B LOD 1 2 3 14. 10 Closed Impetus B LOD B DC NLOD 1 2 3

3 15. 4 4-6 of Reverse Turn (1/4 turn) B DC F DW 1 2 3 16. 5 Whisk F DW F DW 1 2 3 17. 6 Chassé from Promenade Position F DW F DW 1 2 &3 18. 2 Natural Turn F DW F DC 1 2 3, 4 5 6 19. 3 RF Closed Change F DC F DC 1 2 3 20. 8 Progressive Chassé Right F DC B DW 1 2 &3 21. 10 Closed Impetus (from ROP) B DW B DC NLOD 1 2 3

4 22. 4 4-6 of Reverse Turn (1/4 turn) B DC F DW 1 2 3 23. 1 LF Closed Change F DW F DW 1 2 3 24. 7 Natural Hesitation Change F DW F DC 1 2 3, 4 5 6 25. 8 Progressive Chassé Right F DC B DW 1 2 &3 26. 9 Back Lock B DW B DW 1 2 &3 27. 10 Closed Impetus B DW B DC ALOD 1 2 3

Jr. Associate (Bronze) Ballroom Waltz Routine – FOLLOWER

2 8. 5 Whisk B DW F DC 1 2 3 9. 6 Chassé from Promenade F DC B DW 1 2 &3 Position 10. 7 Natural Hesitation Change B DW B DC 1 2 3, 4 5 6 11. 4 Reverse Turn B DC B DW 1 2 3, 4 5 6 12. 1 RF Back Change B DW B DW 1 2 3 13. 2 1-3 of Natural Turn B DW F LOD 1 2 3 14. 10 Closed Impetus F LOD F DC NLOD 1 2 3

3 15. 4 4-6 of Reverse Turn (1/4 turn) F DC F DC 1 2 3 16. 5 Whisk F DC B DC 1 2 3 17. 6 Chassé from Promenade F DC B DW 1 2 &3 Position 18. 2 Natural Turn B DW B DC 1 2 3, 4 5 6 19. 3 LF Back Change B DC B DC 1 2 3 20. 8 Progressive Chassé Right B DC F DW 1 2 &3 21. 10 Closed Impetus (from ROP) F DW F DC NLOD 1 2 3

4 22. 4 4-6 of Reverse Turn (1/4 turn) F DC B DW 1 2 3 23. 1 RF Back Change B DW B DW 1 2 3 24. 7 Natural Hesitation Change B DW B DC 1 2 3, 4 5 6 25. 8 Progressive Chassé Right B DC F DW 1 2 &3 26. 9 Back Lock F DW F DW 1 2 &3 27. 10 Closed Impetus F DW F DC ALOD 1 2 3

Associate (Bronze) Ballroom Waltz Routine – LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 1. 1 LF Closed Change F DW F DW 1 2 3 2. 2 Natural Turn F DW F DC 1 2 3, 4 5 6 3. 3 RF Closed Change F DC F DC 1 2 3 4. 4 Reverse Turn F DC F DW 1 2 3 5. 5 Whisk F DW F DW 1 2 3 6. 6 Chassé from Promenade F DW F DW 1 2 &3 Position 7. 13 Natural Spin Turn (under-turned F DW B DC NLOD 1 2 3, 4 5 6 at corner) 2 8. 4 4-6 of Reverse Turn B DC F LOD 1 2 3 9. 4 1-3 of Reverse Turn F LOD B DW 1 2 3 10. 16 Basic Weave B DW P DW 1 2 3, 4 5 6 11. 13 Natural Spin Turn (under-turned) F DW B DC ALOD 1 2 3, 4 5 6 12. 4 4-6 of Reverse Turn (1/4 turn) B DC ALOD F DC 1 2 3 13. 4 1-3 of Reverse Turn F DC B LOD 1 2 3 14. 11 Reverse Corté B LOD B DC NLOD 1 2 3 3 15. 17 Outside Change B DC P DW 1 2 3 16. 7 Natural Hesitation Change F DW F DC 1 2 3, 4 5 6 17. 15 Double Reverse Spin F DC F DW 1 2 &3 18. 5 Whisk F DW F DW 1 2 3 19. 6 Chassé from Promenade F DW F DW 1 2 &3 Position 20. 2 1-3 of Natural Turn F DW B LOD 1 2 3 21. 10 Closed Impetus B LOD B DC ALOD 1 2 3 22. 14 Reverse Pivot (1/4 turn) B DC ALOD F DC & 23. 8 Progressive Chassé Right F DC B DW 1 2 &3 24. 12 Back Whisk (turning) B DW F DW NLOD 1 2 3 4 25. 6 Chassé from Promenade F DW F DW 1 2 &3 Position 26. 7 Natural Hesitation Change F DW F DC 1 2 3, 4 5 6 27. 8 Progressive Chassé Right F DC B DW 1 2 &3 28. 9 Back Lock B DW B DW 1 2 &3 29. 10 Closed Impetus (under-turned) B DW B DC ALOD 1 2 3 30. 4 4-6 of Reverse Turn (1/4 turn) B DC ALOD F DW NLOD 1 2 3

Associate (Bronze) Ballroom Waltz Routine – FOLLOWER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 1. 1 RF Back Change B DW B DW 1 2 3 2. 2 Natural Turn B DW B DC 1 2 3, 4 5 6 3. 3 LF Back Change B DC B DC 1 2 3 4. 4 Reverse Turn B DC B DW 1 2 3 5. 5 Whisk B DW F DC 1 2 3 6. 6 Chassé from Promenade Position F DC B DW 1 2 &3 7. 13 Natural Spin Turn (under-turned at B DW F DC NLOD 1 2 3, 4 5 6 corner) 2 8. 4 4-6 of Reverse Turn F DC B LOD 1 2 3 9. 4 1-3 of Reverse Turn B LOD F DW 1 2 3 10. 16 Basic Weave F DW B DW 1 2 3, 4 5 6 11. 13 Natural Spin Turn (under-turned) B DW F DC ALOD 1 2 3, 4 5 6 12. 4 4-6 of Reverse Turn (1/4 turn) F DC ALOD B DC 1 2 3 13. 4 1-3 of Reverse Turn B DC F LOD 1 2 3 14. 11 Reverse Corté F LOD F DC NLOD 1 2 3 3 15. 17 Outside Change F DC B DW 1 2 3 16. 7 Natural Hesitation Change B DW B DC 1 2 3, 4 5 6 17. 15 Double Reverse Spin B DC B DW 1 2 &3 18. 5 Whisk B DW F DC 1 2 3 19. 6 Chassé from Promenade Position F DC B DW 1 2 &3 20. 2 1-3 of Natural Turn B DW F LOD 1 2 3 21. 10 Closed Impetus F LOD F DC ALOD 1 2 3 22. 14 Reverse Pivot (1/4 turn) F DC ALOD B DC & 23. 8 Progressive Chassé Right B DC F DW 1 2 &3 24. 12 Back Whisk (turning) F DW F DC NLOD 1 2 3 4 25. 6 Chassé from Promenade Position F DC B DW 1 2 &3 26. 7 Natural Hesitation Change B DW B DC 1 2 3, 4 5 6 27. 8 Progressive Chassé Right B DC F DW 1 2 &3 28. 9 Back Lock F DW F DW 1 2 &3 29. 10 Closed Impetus (under-turned) F DW F DC ALOD 1 2 3 30. 4 4-6 of Reverse Turn (1/4 turn) F DC ALOD B DW NLOD 1 2 3

Notes:

98 Foxtrot

Foxtrot Contents

Foxtrot Facts ...... 101

Syllabus Figures

Preliminary Bronze 1. FEATHER STEP ...... 106 2. REVERSE TURN WITH FEATHER FINISH ...... 108 3. THREE STEP ...... 112 4. NATURAL TURN ...... 114

Intermediate Bronze (Jr. Associate – Figures 1-7) 5. BASIC WEAVE ...... 118 6. REVERSE WAVE...... 122 7. CHANGE OF DIRECTION ...... 126

Full Bronze (Associate – Figures 1-9) 8. NATURAL WEAVE ...... 128 9. CLOSED IMPETUS WITH FEATHER FINISH ...... 132

Precedes and Follows ...... 134 Routines ...... 140

100

Foxtrot History Foxtrot began at the turn of the 20th century when influential African American musicians, such as Scott Joplin, began composing syncopated ragtime music. A new breed of dances quickly evolved in response to this fervent new music. First came the Turkey Trot (a one step that included flapping the arms like a turkey), the Monkey Dance, the Horse Trot, the Grizzly Bear, the Bunny Hug and the Kangaroo Dip.

In 1914, Arthur Carringford, a vaudeville performer and one-time professional baseball player, did his version of trotting on the stage of the Ziegfield Follies. He took on the name Harry Fox, and Fox's fast and jerky trot became the hot new thing in New York.

Influential exhibition dancers, Vernon and Irene Castle also featured Foxtrot routines and greatly contributed to the popularity of the dance.

G.K. Anderson brought Foxtrot to London winning many competitions with Josephine Bradley. From there the British smoothed out the dance to produce “Slow Foxtrot” (“Slow Fox”) which is sometimes called “English Foxtrot”. It is this dance form that is now the International Style Foxtrot. A faster version of Foxtrot – Quicktime Foxtrot – incorporated elements of Charleston (and even Lindy) to produce the dance we know today as “Quickstep”. It now has the more familiar name “Ballroom Foxtrot” reflecting its place amongst the International Style “Ballroom” Dances.

As dance halls became more crowded, a more compact version of Foxtrot evolved. This newly developing form (sometimes known as “crush” or “rhythm Foxtrot”) is now known as “social dancing”.

Foxtrot’s combination of Slows and Quicks, the use of many Waltz figures, and its application to a vast array of 4/4 time music, makes it one of the most significant developments in ballroom dancing.

Dance Characteristics Foxtrot is a progressive, smooth, and flowing dance with long gliding steps and controlled movement. The end result produces dancers who appear languid and relaxed, which, ironically, can only be obtained by the mastery of its technique.

Although the Ballroom Foxtrot may be danced socially, it is mainly a competitive dance and is best suited to a large dance floor.

Ballroom Foxtrot is normally danced to big band music with a slow and smooth feel, frequently with vocals, and always in 4/4 time.

Musical Information • Time Signature: 4/4 • Tempo: 28-30mpm (112-120bpm) for Pro/Am, Professional, and Amateur Competitions • Common Counts: SQQ, QQQQQQ, SSS, SQQQQQQ • Beat Value: Slow= 2 beats, Quick = 1 beat • SQQ =2-1-1 • QQQQQQ = 1-1-1-1-1-1 • SSS = 2-2-2 • SQQQQQQ = 2-1-1-1-1-1-1

• Alternative Teaching Count: 1234, 1234 or 1234 5678 • Counting in Beats and Bars: 1234, 2234, 3234, 4234, etc. • Counting in Phases: 12345678, 22345678, 32345678, 42345678, etc.. • Approximately half of the Bronze figures do not add up to exactly one measure or measures of music. For social dancing, this is not important. For competitive dancing (especially at higher levels), it makes for a more musical interpretation to work with the math of the figures to create phrased amalgamations. • To create evenness in the dancing, advanced dancers strive to transfer weight onto the second beat of a “Slow” count.

Preparation Step: This is a forward step on the LF for Leader and a backward step on the RF for Follower that is danced on count 4 of the last measure of a 4 measure (16 count) introductory phrase of music. This allows for a natural way to get started, since Foxtrot routines typically begin with a Feather Step, with the Leader’s right foot (between the Follower’s feet), which without the preparation step, would be an uncomfortable start.

The footwork for this Preparation Step is Heel for Leader and “Toe-heel” for Follower, and is danced in line, using CBM to serve as a “wind up” for the first figure.

“Feather Finish” is the name given for the following steps with the count of SQQ: • Leader: RF back, LF side and slightly forward, RF forward in CBMP in ROP. • Follower: LF forward, RF side, LF back in CBMP in ROP. • The 2nd to last step of all Feather Finishes and Weave endings (“right foot side”) uses unique TH footwork. This allows the Follower to roll through the RF from toe to heel, creating more progression so as not to impede the Leader’s forward progression.

“Weave Ending” is the name given for the last four steps of the Basic Weave and the Natural Weave with the count of QQQQ. • Leader: LF back in CBMP in ROP, RF back, LF side and slightly forward, RF forward in CBMP in ROP. • Follower: RF forward in CBMP in ROP, LF forward, RF side, LF back in CBMP in ROP

Footwork The main types of footwork used in Foxtrot are:

Leader and Follower: • Forward steps with rise at end of step: Heel-toe. • Forward steps with no rise: Heel. • Backward steps with rise at end of step and no foot rise: Toe-heel. • Heel turns: Toe-Heel, Heel-toe, Toe-heel. • Side steps and all steps that are Up (other than Follower’s Feather Finish): Toe. • Lowering from a rise: TH.

Follower only: • LF forward Feather Finish: Heel-toe, Toe-heel, Toe-heel. • Progressive steps backward (Feather Step and Three Step): Toe-heel, Toe-heel, Toe-heel.

Leader only: • RF back Feather Finish: Toe-heel-toe, Toe, Toe-heel. • Heel Pulls: LF –Toe-heel . RF – Heel, then inside edge of foot to Whole Foot. LF – Inside edge of foot, then Heel.

Rise and Fall Foxtrot’s progressive, linear and smooth action requires a specific rise and fall action. It can be compared to gentle rolling hills and dales, unlike the steep mountain tops and deep valleys of the Waltz.

Rise and fall should be smooth and gradual. “Rise” encompasses both leg rise (a straightening of the knee, hip and ankle joints), and foot rise onto the front most part of the ball of the foot. In the charts, the word “toe” refers to this “front most part of the ball of the foot”, since it is impractical (and almost impossible) to stand on the toes themselves. In steps with “No foot rise”, only the leg will straighten (the heel will not rise from the floor).

The foot action, rolling from heel to toes or the toes to the heel (using the entire foot evenly), as well as smoothly bending and straightening the leg, will result in a gentle rise and fall action.

The five main types of rise and fall used in Foxtrot are: 1. Basic (i.e. Feather Step): Rise e/o 1, Up on 2 & 3, Lower e/o 3 (no foot rise on back steps for Follower). 2. Delayed Rise: No rise on 1, Rise e/o 2, Up on 3, Lower e/o 3 (as in the Closed Impetus, Three Step (NFR for Follower), and steps 4-6 of Reverse Wave). 3. Follower's Heel Turn: Slight rise e/o 1 (NFR on back steps), Continue to rise on 2, Up on 3, lower e/o 3. 4. Follower’s Feather Finish: Rise e/o 1, Up on 2, Up on 3 (NFR), Lower e/o 3. 5. Weave: The “quick” steps in a weave use a rise and fall of Up (as in Basic and Natural Weave). Although the term Up is used, the knees will be flexed so as to have “room” to go up slightly more on the penultimate step.

Sway Foxtrot uses the addition of “linear swing”, where the swing of the leg is in a forward or backward direction due to its many progressive figures. Sway in Foxtrot is used to counter the centrifugal force caused by the swing as well as to add style and interest to the dancing.

General Technical Tips • Forward Walks: Weight is taken on the moving foot, rolling from the back of the heel to the front of the foot, rolling through all parts of the foot.

• Backward Walks: Weight is taken on the moving foot, rolling from the toe to the back of the heel, rolling through with all parts of the foot, eventually releasing the toe of the front foot from the floor (toe release). The lowering of the back foot must be done slowly and with control. Also, it is important to keep a slight forward poise on all back steps so as not to pull your partner on top of you.

• Posture: Both partners are upright with spines lengthened up through the crown of the head with shoulders blades down and keeping the ribcage flat. Leaders poise should be such that the back of the head is in line with the heels and with their blocks of weight aligned. Followers should have a fully stretched spine, angled slightly leftwards without tipping the shoulders.

• Frame: Leader’s frame should be wide from elbow to elbow, maintaining width across both the back and the chest. Follower’s arms should be light and responsive in the Leader’s frame. For more details on the Closed Position frame, see: Dance Position Definitions.

105

1. FEATHER STEP – LEADER Preliminary Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DC Nil on 1 Rise e/o 1 HT S S SQQ: 1 Forward 2 LF forward, L Prep F DC Nil on Nil Up on 2 T Q R Feather side leading ROP 2

3 RF forward in ROP F DC Nil on Nil Up on 3, TH Q R CBMP 3 lower e/o 3

Note: The Feather Step may also commence F LOD or F DW.

1. FEATHER STEP – FOLLOWER Preliminary Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DC Nil on 1 Rise e/o 1, TH S S SQQ: 1 NFR Back 2 RF back, Prep B DC Nil on Nil Up on 2, TH Q L Feather R side ROP 2 NFR leading

3 LF back in ROP B DC Nil on Nil Up on 3, TH Q L CBMP 3 NFR, lower e/o 3

Notes:

1. Due to the TH footwork on each of the 3 back steps, the toe of the RF, then LF, then RF will release from the floor as each back step is taken, being careful to release the toe at the midpoint of each stride. This will also occur for the toe of the LF as the RF steps back for the first step of the following figure.

2. The Feather Step may also commence B LOD or B DW.

2. REVERSE TURN WITH FEATHER FINISH – LEADER Preliminary Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F DC Com to 1 Rise e/o 1 HT S S SQQ: turn L Forward on 1 half of Reverse 2 RF side CP B DW 1/4 turn Nil Up on 2 T Q L Turn L btw 1 (1-3 of & 2 Reverse)

3 LF back CP B LOD 1/8 turn Nil Up on 3, TH Q L L btw 2 lower e/o 3 & 3 4 RF back CP B LOD Com to 4 Rise e/o 4 THT S S SQQ: turn L RF back on 4 Feather Finish 5 LF side & Prep P DW 3/8 turn Nil Up on 5 T Q R slightly ROP L btw 4 forward & 5, BTL

6 RF forward ROP F DW Nil on 6 Nil Up on 6, TH Q R in CBMP lower e/o 6

Notes for Reverse Turn with Feather Finish appear after Follower’s chart.

2. REVERSE TURN WITH FEATHER FINISH – FOLLOWER Preliminary Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DC Com to turn 1 Slight rise TH S S SQQ: L on 1 e/o 1, NFR RF back, heel turn 2 LF closes CP F LOD 3/8 turn L Nil Cont to rise HT Q R (1-3 of to RF btw 1 & 2 on 2 Reverse) (heel turn)

3 RF CP F LOD Nil on 3 Nil Up on 3, TH Q R forward lower e/o 3

4 LF CP F LOD Com to turn 4 Rise e/o 4 HT S S SQQ: forward L on 4 LF forward Feather 5 RF side Prep B W 1/4 turn L Nil Up on 5 TH Q L Finish ROP btw 4 & 5

6 LF back in ROP B DW 1/8 turn L Nil Up on 6, TH Q L CBMP btw 5 & 6, NFR, lower BTL e/o 6

Notes for Reverse Turn with Feather Finish appear following the Leader’s notes after the next page.

Notes for Reverse Turn with Feather Finish – Leader:

1. It is helpful to momentarily leave the RF back (to allow time for the Follower to close feet). This results in a slight delay of taking step 2 (RF to the side).

2. To follow with a Basic Weave, dance the first 4 steps of the Reverse Turn with Feather Finish only.

a) When dancing 1-4 of a Reverse Turn into Basic Weave at a corner, use one of the following alignments: i) Commence F DC and overturn to end B DW of NLOD ii) Commence F LOD and overturn to end B W of NLOD iii) Commence F DC, making same turn as in chart, to end B W of NLOD

b) When dancing 1-4 of a Reverse Turn into Basic Weave along the side of the room: i) Commence F LOD to end B DW ii) Commence F DW and overturn to end B DW

c) Step 4 is often referred to as a “check” when followed by the Basic Weave (because a change of direction is about to occur). To indicate the check, the Leader will reduce speed on step 4 and the feet will not collect, but remain apart at the end of step 4.

d) An alternate way of dancing 1-4 of the Reverse Turn prior to the Basic Weave for the Leader is:

STEP # CBM RISE & FALL FW CT SUMMARY 1 1 Rise gradually during 1 HT S SQQS: 1-4 of Reverse Turn in Prep for 2 Nil Up on 2 T Q Basic Weave (Alternate Method)

3 Nil Up on 3 T Q

4 Nil Up on 4, lower e/o 4 TH S

Notes for Reverse Turn with Feather Finish – Follower:

1. On step 1, the Follower initiates slight rise by gradually lengthening the right leg.

2. The 2nd to last step of all Feather Finishes and Weave endings (right foot side) uses unique TH footwork (as in step 5 of this figure). This allows the Follower to roll through the RF from toe to heel, creating more progression so as not to impede the Leader’s forward progression.

3. The reason NFR does not appear on step 5 (even though the footwork is TH), is because there will be foot rise at the beginning of step 5 prior to the lowering of the right heel.

4. As a result of lowering the heel on step 5, the right toe will release from the floor between steps 5 and 6 (until the midpoint of the stride), then the right heel will maintain contact with the floor as it moves back and collects toward the LF on step 6. This is true for all Feather Finishes and Weave endings.

5. To follow with a Basic Weave, dance the first 4 steps of the Reverse Turn with Feather Finish only:

a) When dancing 1-4 of a Reverse Turn into Basic Weave at a corner: i) Commence B DC and overturn to end F DW of NLOD ii) Commence B LOD and overturn to end F W of NLOD

b) When dancing 1-4 of a Reverse Turn into Basic Weave along the side of the room: i) Commence B LOD to end F DW ii) Commence B DW and overturn to end F DW

d) An alternate way of dancing 1-4 of the Reverse Turn prior to the Basic Weave for the Follower is:

STEP # CBM RISE & FALL FW CT SUMMARY 1 1 Slight rise e/o 1, NFR TH S SQQS: 1-4 of Reverse Turn in Prep for 2 Nil Cont to rise on 2 HT Q Basic Weave (Alternate Method)

3 Nil Up on 3 T Q

4 Nil Up on 4, lower e/o 4 TH S

3. THREE STEP – LEADER Preliminary Bronze

Commence in CP, F DW STEP FOOT POSITION DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # FALL 1 LF forward CP F DW Nil on 1 Nil on 1 H S S SQQ: 1 3 steps 2 RF forward, slight CP F DW Nil on Nil Rise e/o 2 HT Q L forward in R side lead 2 line

3 LF forward, CP F DW Nil on Nil Up on 3, TH Q L maintain slight R 3 lower e/o 3 side lead

Notes:

1. The Three Step may commence F LOD, or F DC at a corner to end F DW of NLOD.

2. The right side may continue to stretch from step 2 to step 3, being careful not to rotate leftward to the degree that it would change the desired alignment.

3. The Three Step may curve to the left as follows: a) Along the side of the room: from F DW to end F LOD b) At a corner: from F LOD to end F DW of NLOD c) At a corner: from F DC to F NLOD

4. The “slight right side lead” on steps 2 and 3 is a result of the CBM on step 1.

5. The sway and rise & fall are slight in this figure.

3. THREE STEP – FOLLOWER Preliminary Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 RF back CP B DW Nil on 1 Nil on 1 TH S S SQQ: 1 3 steps 2 LF back, CP B DW Nil on Nil Rise e/o 2, TH Q R back in line slight L side 2 NFR lead 3 RF back, CP B DW Nil on Nil Up on 3, NFR, TH Q R maintain slight 3 lower e/o 3 L side lead

Notes:

1. The Three Step may commence B LOD, or B DC at a corner to end B DW of NLOD.

2. Due to the TH footwork on each of the 3 back steps, the toe of the LF, then RF, then LF will release from the floor as each back step is taken being careful to release the toe at the midpoint of each stride. This will also occur for the toe of the RF as the LF steps back for the first step of the following figure.

3. The “slight left side lead” on steps 2 and 3 is a result of the CBM on step 1.

4. In response to the Leader’s “right side lead” over steps 2 and 3, the Follower must stretch leftward to maintain a strong offset position.

5. The Three Step may curve to the left as follows: a) Along the side of the room: from B DW to end B LOD b) At a corner: from B LOD to end B DW of NLOD c) At a corner: from B DC to B NLOD

6. The sway and rise & fall are slight in this figure.

4. NATURAL TURN – LEADER Preliminary Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF CP F DW Com to turn 1 Rise e/o HT S S SQQ: forward R on 1 1 Forward half of 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R Natural btw 1 & 2 Turn (1-3 of 3 RF back CP B LOD 1/8 turn R Nil Up on 3, TH Q R Natural) btw 2 & 3 lower e/o 3 4 LF back CP B LOD Com to turn 4 Nil on 4 TH S S SSS: R on 4 LF back, forward 5 RF side, CP F DC 3/8 turn R Nil Nil on 5 H, IE S L walk small step btw 4 & 5 of foot (heel pull) to WF, (IE of LF)

6 LF CP F DC Body turn L 6 Nil on 6 H S S forward on 6

Notes for Natural Turn appear after Follower’s chart.

4. NATURAL TURN – FOLLOWER Preliminary Bronze

Commence in CP, B DW S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 LF back CP B DW Com to 1 Slight rise TH S S SQQ: turn R e/o 1, NFR LF back, on 1 heel turn (1-3 of 2 RF closes to CP F LOD 3/8 turn R Nil Cont to rise HT Q L Natural) LF (heel btw 1 & 2 on 2 turn) 3 LF forward CP F LOD Nil on 3 Nil Up on 3, TH Q L lower e/o 3

4 RF forward CP F LOD Com to 4 Nil on 4 HT S S SSS: turn R RF on 4 forward, side, back 5 LF side, RF CP B DC 3/8 turn R Nil Nil on 5 TH of LF, S R (Natural brushes to btw 4 & 5 (IE of B of Turn LF RF) ending)

6 RF back CP B DC Body turn 6 Nil on 6 TH S S L on 6

Notes for Natural Turn appear following the Leader’s notes after the next page.

Notes for Natural Turn - Leader:

1. It is helpful to momentarily leave the LF back (to allow time for the Follower to close feet). This results in a slight delay of taking step 2 (LF to the side).

2. The turn between steps 4 and 5 is made on the heel of the LF with the foot flat.

3. Step 6 is the same as a Preparation Step, and is used prior to any Natural turning figure or a Feather Step.

4. Step 6 may be eliminated in order to follow with any reverse figure, or a Three Step (at a corner), but should be danced only by more advanced dancers as it may be difficult to maintain balance and to counter the momentum of body weight.

5. When the Natural Turn is commenced F LOD, the turn will change to: 3/8 turn R btw 1 and 2.

6. When ended at a corner, the ending alignment will change to: a) F DW of NLOD by turning as specified in chart b) F NLOD by turning 1/4 R btw 4 and 5 c) F DC of NLOD by turning 1/8 R btw 4 and 5

Notes for Natural Turn - Follower:

1. On step 1, the Follower initiates slight rise by gradually lengthening the left leg.

2. Step 6 is the same as a Preparation Step, and is used prior to any Natural turning figure or a Feather Step.

3. Step 6 may be eliminated in order to follow with any reverse figure, or a Three Step (at a corner), but should be danced only by more advanced dancers as it may be difficult to maintain balance and to counter the momentum of body weight.

4. When the Natural Turn is commenced B LOD, the turn will change to: 1/2 R btw 1 and 2.

5. When ended at a corner, the ending alignment will change to: a) B DW of NLOD by turning as specified in chart b) B NLOD by turning 1/4 R btw 4 and 5 c) B DC of NLOD by turning 1/8 R btw 4 and 5

5. BASIC WEAVE – LEADER Intermediate Bronze

Commence in CP, F DC ALOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F DC Com 1 Rise e/o 1 HT Q S QQ: ALOD to LF forward turn L entry to on 1 Weave

2 RF side Prep B LOD 1/8 Nil Up on 2 T Q L ROP turn L btw 1 & 2

3 LF back in ROP B DC 1/8 Nil Up on 3 T Q L QQQQ: CBMP turn L Weave btw 2 ending & 3, BTL

4 RF back CP B DC Com 4 Up on 4 T Q S to turn L on 4

5 LF side & Prep P DW 1/4 Nil Up on 5 T Q R slightly forward ROP turn L btw 4 & 5, BTL

6 RF forward in ROP F DW Nil on Nil Up on 6, TH Q R CBMP 6 lower e/o 6

Notes for Basic Weave appear after Follower’s chart.

5. BASIC WEAVE – FOLLOWER Intermediate Bronze

Commence in CP, B DC ALOD S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 RF back CP B DC Com to turn L 1 Rise e/o TH Q S QQ: ALOD on 1 1, NFR RF back entry to 2 LF side Prep P DC 1/4 turn L btw Nil Up on 2 T Q R Weave ROP 1 & 2, BTL

3 RF forward ROP F DC Nil on 3 Nil Up on 3 T Q R QQQQ: in CBMP Weave ending 4 LF forward CP F DC Com to turn L 4 Up on 4 T Q S on 4

5 RF side Prep B W 1/8 turn L btw Nil Up on 5 TH Q L ROP 4 & 5

6 LF back in ROP B DW 1/8 turn L btw Nil Up on 6, TH Q L CBMP 5 & 6, BTL NFR, lower e/o 6

Notes for Basic Weave appear following the Leader’s notes after the next page.

Notes for Basic Weave - Leader:

1. Although the rise & fall starting at the end of step 1 and continuing over steps 2, 3 and 4 are given as Up, the knees will be slightly flexed and the footwork of toe is meant to be a slightly lower toe (i.e., ball of foot).

2. On step 5, the Leader uses a greater upswing which indicates to the Follower to use Feather Finish footwork on steps 5 and 6.

3. Footwork of TH may be used on steps 3 to create a smoother movement. The Follower’s footwork remains unchanged.

4. When approaching a corner with 1-4 of a Reverse Turn to end B W of NLOD, the Basic Weave will commence F C and end F DW. The turn will change in one of the following two ways: a) 1/4 L btw 1 and 2 b) 3/8 L btw 4 and 5, BTL

Notes for Basic Weave - Follower:

2. On step 5, the Follower responds to the greater upswing of the Leader to then dance Feather Finish footwork on steps 5 and 6.

3. The reason NFR does not appear on step 5 (even though the footwork is TH), is because there will be foot rise at the beginning of step 5 prior to the lowering of the right heel.

4. When approaching a corner with 1-4 of a Reverse Turn to end F W NLOD, the Basic Weave will commence B C, and end B DW. The turn will change in one of the following two ways: a) 3/8 L btw 1 and 2 (BTL); slight body turn L on 3; 1/8 L btw 4 and 5; 1/8 L btw 5 and 6 b) 1/4 L btw 1 and 2 (BTL); 1/4 L btw 4 and 5; 1/8 L btw 5 and 6

5. As a result of lowering the heel on step 5, the right toe will release from the floor between steps 5 and 6 (until the midpoint of the stride) then the right heel will maintain contact with the floor as it moves back and collects toward the LF on step 6.

6. REVERSE WAVE – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 LF CP F DW Com to 1 Rise HT S S SQQ: forward turn L on 1 e/o 1 Forward half of 2 RF side CP B W 3/8 turn L Nil Up T Q L Reverse btw 1 & 2 on 2 Turn (overturned 3 LF back CP B DW 1/8 turn L Nil Up TH Q L 1-3 of btw 2 & 3 on 3, Reverse) lower e/o 3

4 RF back CP B DW Com to 4 Nil on TH S S SQQ: turn L on 4 4 3 steps 5 LF back, CP Curving Nil Rise T Q R back in line slight L toward e/o 5 side lead LOD

1/8 turn L 6 RF back, CP B LOD over 5-6 Nil Up TH Q R maintain on 6, slight L lower side lead e/o 6

7 LF back CP B LOD Com to 7 Nil on TH S S SSS: turn R on 7 7 LF back, heel pull, 8 RF side, CP F DC 3/8 turn R Nil Nil on H, IE of S L forward small step btw 7 & 8 8 foot to WF, walk (heel pull) (IE of LF)

9 LF CP F DC Body turn L 9 Nil on H S S forward on 9 9

Notes for Reverse Wave appear after Follower’s chart.

6. REVERSE WAVE – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DW Com to 1 Slight TH S S SQQ: turn L rise e/o Back half on 1 1, NFR of Reverse Turn 2 LF closes to RF CP F DW 1/2 turn Nil Cont to HT Q R (overturned (heel turn) L rise on 2 1-3 of btw 1 & Reverse) 2 3 RF forward CP F DW Nil on 3 Nil Up on 3, TH Q R lower e/o 3

4 LF forward CP F DW Com to 4 Nil on 4 H S S SQQ: turn L 3 steps on 4 forward in 5 RF forward, CP Curving Nil Rise e/o HT Q L line slight R side toward 5 lead LOD 1/8 turn L 6 LF forward, CP F LOD over 5- Nil Up on 6, TH Q L maintain slight 6 lower R side lead e/o 6

7 RF forward CP F LOD Com to 7 Nil on 7 HT S S SSS: turn R RF on 7 forward, side, back 8 LF side, RF CP B DC 3/8 turn Nil Nil on 8 TH of S R (Natural brushes to LF R LF, Turn btw 7 & (IE of ending) 8 B of RF) 9 RF back CP B DC Body 9 Nil on 9 TH S S turn L on 9

Notes for Reverse Wave appear following the Leader’s notes after the next page.

Notes for Reverse Wave – Leader:

1. It is helpful to momentarily leave the RF back (to allow time for the Follower to close feet). This results in a slight delay of taking step 2 (RF to the side).

2. Although the rise is taken from the toe of LF on step 5, when the RF commences to move back for step 6, the right heel must be in contact with the floor.

3. The “slight left side lead” on steps 5 and 6 is a result of the CBM on step 4.

4. The Leader may continue to stretch the left side from step 5 to step 6, being careful not to rotate leftward to the degree that it would change the desired alignment.

5. Turn between steps 7 and 8 is made on the heel of the LF with the foot flat.

6. The sway and rise & fall are slight in this figure.

7. Step 9 is the same as a Preparation Step, and is used prior to any Natural turning figure or a Feather Step.

8. Step 9 may be eliminated in order to follow with any reverse figure, or a Three Step (at a corner), but should be danced only by more advanced dancers as it may be difficult to maintain balance and to counter the momentum of body weight.

9. There are seven variations of alignments for the Reverse Wave commencing: a) F DW (as specified in the chart): 1/2 btw 1-3; 1/8 btw 4-6; 3/8 btw 7 and 8, to end F DC b) F DW (at a corner): 1/2 btw 1-3; 1/8 btw 4-6; 1/4 btw 7 and 8), to end F NLOD c) F DW (at a corner): 1/2 btw 1-3; 1/4 btw 4-6 to B DW of NLOD; 1/4 btw 7 and 8, to end F DC d) F LOD: 3/8 btw 1-3; 1/8 btw 4-6; 3/8 btw 7 and 8, to end F DC e) F LOD (at a corner): 3/8 btw 1-3; 1/8 btw 4-6; 1/4 btw 7 and 8), to end F NLOD f) F LOD (at a corner): 3/8 btw 1-3; 1/4 btw 4-6 to B DW of NLOD, 1/4 btw 7 and 8, to end F DC g) F DC (at a corner): 3/8 btw 1-3; 1/4 btw 4-6 to B NLOD; 3/8 btw 7 and 8, to end F DC

Notes for Reverse Wave – Follower:

1. On step 1, the Follower initiates slight rise by gradually lengthening the right leg.

2. The “slight right side lead” on steps 5 and 6 is a result of the CBM on step 4.

3. The Follower may continue to stretch the right side from 5 to step 6, being careful not to rotate leftward to the degree that it would change the desired alignment.

4. The sway and rise & fall are slight in this figure.

5. Step 9 is the same as a Preparation Step, and is used prior to any Natural turning figure or a Feather Step.

6. Step 9 may be eliminated in order to follow with any Reverse turning figure, or a Three Step (at a corner), but should be danced only by more advanced dancers as it may be difficult to maintain balance and to counter the momentum of body weight.

7. There are seven variations of alignments for the Reverse Wave commencing: a) B DW (as specified in the chart): 1/2 btw 1-3; 1/8 btw 4-6; 3/8 btw 7 and 8, to end B DC

b) B DW (at a corner): 1/2 btw 1-3; 1/8 btw 4-6; 1/4 btw 7 and 8), to end B NLOD

c) B DW (at a corner): 1/2 btw 1-3; 1/4 btw 4-6 to F DW of NLOD; 1/4 btw 7 and 8, to end B DC

d) B LOD: 3/8 btw 1-3; 1/8 btw 4-6; 3/8 btw 7 and 8, to end B DC

e) B LOD (at a corner): 3/8 btw 1-3; 1/8 btw 4-6; 1/4 btw 7 and 8), to end B NLOD

f) B LOD (at a corner): 3/8 btw 1-3; 1/4 btw 4-6 to F DW of NLOD; 1/4 btw 7 and 8, to end B DC

g) B DC (at a corner): 3/8 btw 1-3; 1/4 btw 4-6 to F NLOD; 3/8 btw 7 and 8, to end B DC

7. CHANGE OF DIRECTION – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 LF forward CP F DW Com to 1 Nil on H S S SSS: turn L on 1 LF forward 1 Change of Direction 2 RF diag CP P LOD, 1/8 turn Nil Nil on IE of S L forward, R side mov L btw 1 2 TH of leading, LF DW, & 2, 1/8 RF to closes to RF, end turn L on WF, slightly forward, F DC 2 (IE of B w/o wt of LF)

3 LF forward in CP F DC Nil on 3 3 Nil on H S S CBMP 3

Notes:

1. When approaching a corner F DW, as in the chart, the ending alignments may be changed in one of the following two ways: a) 3/8 turn L to end F NLOD = 1/8 turn L btw 1 and 2; 1/4 turn L on 2 b) 1/2 turn L to end F DC NLOD = 1/8 turn L btw 1 and 2; 3/8 turn L on 2

2. When approaching a corner F LOD, the ending alignments may be danced in one of the following two ways: a) 1/4 turn L to end F NLOD = 1/8 turn L btw 1 and 2; 1/8 turn L on 2 b) 3/8 turn L to end F DC NLOD = 1/8 turn L btw 1 and 2; 1/4 turn L on 2

7. CHANGE OF DIRECTION – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 RF back CP B DW Com to 1 Nil on TH S S SSS: turn L 1 RF back on 1 Change of Direction 2 LF diag back, L CP B DW, 1/4 Nil Nil on T then S R side leading, RF end turn L 2 IE of TH closes to LF B DC btw 1 to WF of slightly back, w/o & 2 LF, (IE wt of B of RF)

3 RF back in CP B DC Nil on 3 Nil on TH S S CBMP 3 3

Notes:

1. On step 2, the LF points diagonally back initially without weight. The turn is then made as the foot begins taking weight.

2. When approaching a corner B DW, as in the chart, the ending alignments may be changed in one of the following two ways: a) 3/8 turn L (btw 1 and 2) to end B NLOD b) 1/2 turn L (btw 1 and 2) to end B DC NLOD

3. When approaching a corner B LOD, the ending alignments may be danced in one of the following two ways: a) 1/4 turn L (btw 1 and 2) to end B NLOD b) 3/8 turn L (btw 1 and 2) to end B DC NLOD

8. NATURAL WEAVE – LEADER Full Bronze

Commence in CP, F DW (F LOD may also be used) STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to turn 1 Rise e/o 1 HT S S SQQ: R on 1 Forward half of 2 LF side CP Almost Just under Nil Up on 2 T Q R Natural B DC 1/4 turn R Turn btw 1 & 2 (1-3 of Natural, 3 RF back, R Prep B DC Slight turn R Nil Up on 3 T Q S end prep side ROP btw 2 & 3 ROP) leading 4 LF back in ROP B DC Nil on 4 Nil Up on 4 T Q L QQQQ: CBMP Weave Ending 5 RF back CP B DC Com to turn 5 Up on 5 T Q S L on 5

6 LF side & Prep P DW 1/4 turn L Nil Up on 6 T Q R slightly ROP btw 5 & 6, forward BTL

7 RF forward ROP F DW Nil on 7 Nil Up on 7, TH Q R in CBMP lower e/o 7

Notes for Natural Weave appear after Follower’s chart.

8. NATURAL WEAVE – FOLLOWER Full Bronze

Commence in CP, B DW (B LOD may also be used) S FOOT DP ALIG TURN CBM RISE & FALL FW CT SWAY SUMMARY T E POSITION N P # 1 LF back CP B DW Com to turn 1 Slight rise TH S S SQQ: R on 1 e/o 1, NFR LF back, heel turn 2 RF closes to CP F DC 1/4 turn R Nil Cont to rise HT Q L (1-3 of LF (heel btw 1 & 2 on 2 Natural, turn) end Prep ROP) 3 LF forward, Prep F DC Nil on 3 Nil Up on 3 T Q S L side ROP leading

4 RF forward ROP F DC Nil on 4 Nil Up on 4 T Q R QQQQ: in CBMP Weave ending 5 LF forward CP F DC Com to turn 5 Up on 5 T Q S L on 5

6 RF side Prep B W 1/8 turn L Nil Up on 6 TH Q L ROP btw 5 & 6

7 LF back in ROP B DW 1/8 turn L Nil Up on 7 NFR, TH Q L CBMP btw 6 & 7, lower e/o 7 BTL

Notes for Natural Weave appear following the Leader’s notes after the next page.

Notes for Natural Weave - Leader:

1. It is helpful to momentarily leave the LF back (to allow time for the Follower to close feet). This results in a slight delay of taking step 2 (LF to the side).

2. Although the rise & fall starting at the end of step 1 and continuing over steps 2, 3, 4 and 5 are given as Up, the knees will be slightly flexed and the footwork of toe is meant to be a slightly lower toe (i.e., ball of foot).

3. On step 6, the Leader uses a greater upswing which indicates to the Follower to use Feather Finish footwork on steps 6 and 7.

4. Footwork of TH may be used on steps 4 to create a smoother movement. The Follower’s footwork remains unchanged.

5. The Natural Weave may commence F LOD. In this case the turn will change to: just under 3/8 turn R btw 1 and 2.

Notes for Natural Weave - Follower:

1. On steps 1, the Follower initiates slight rise by gradually lengthening the left leg.

2. Although the rise & fall starting at the end of step 2 and continuing over steps 3, 4 and 5 are given as Up, the knees will be slightly flexed and the footwork of toe is meant to be a slightly lower toe (i.e., ball of foot).

3. On step 6, the Follower responds to the greater upswing of the Leader to then dance Feather Finish footwork on steps 6 and 7.

4. The reason NFR does not appear on step 6 (even though the footwork is TH), is because there will be foot rise at the beginning of step 6 prior to the lowering of the right heel.

5. As a result of lowering the heel on step 6, the right toe will release from the floor between steps 6 and 7 (until the midpoint of the stride) and then the right heel will maintain contact with the floor as it moves back and collects toward the LF on step 7.

6. Natural Weave may commence B LOD. In this case the turn will change to: 3/8 turn R btw 1 and 2.

9. CLOSED IMPETUS WITH FEATHER FINISH – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B LOD Com to 1 Nil on 1 TH S S SQQ: turn R on LF back 1 Closed Impetus 2 RF closes to CP F DC 3/8 turn R Nil Rise e/o 2 HT Q L LF (heel turn) btw 1 & 2

3 LF side & CP B DC 1/4 turn R Nil Up on 3, TH Q S slightly back ALOD btw 2 & 3 lower e/o 3 4 RF back CP B DC Com to 4 Rise e/o 4 THT S S SQQ: ALOD turn L on RF back 4 Feather Finish 5 LF side & Prep P DC 1/4 turn L Nil Up on 5 T Q R slightly ROP btw 4 & 5, forward BTL

6 RF forward in ROP F DC Nil on 6 Nil Up on 6, TH Q R CBMP lower e/o 6

Notes:

1. This figure may end F NLOD by changing the amount of turn to: 3/8 turn L btw 4 and 5, BTL.

2. The rise & fall used over steps 1 - 3 is called “delayed rise”.

9. CLOSED IMPETUS WITH FEATHER FINISH – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F LOD Com to 1 Nil on 1 HT S S SQQ: turn R on RF forward 1 Closed Impetus 2 LF side, CP B DC 3/8 turn R Nil Rise e/o 2 T of Q R RF btw 1 & 2 LF, brushes to (IE of LF T of RF) 3 RF diag CP F DC 1/4 turn R Nil Up on 3, TH Q S forward ALOD btw 2 & 3 lower e/o 3 4 LF forward CP F DC Com to 4 Rise e/o 4 HT S S SQQ: ALOD turn L on LF forward 4 Feather Finish 5 RF side Prep B LOD 1/8 turn L Nil Up on 5 TH Q L ROP btw 4 & 5

6 LF back in ROP B DC 1/8 turn L Nil Up on 6, TH Q L CBMP btw 5 & 6, NFR, BTL lower e/o 6

Notes:

1. This figure may end F NLOD by changing the amount of turn to: 1/4 turn L btw 4 and 5 (BTL); 1/8 turn L btw 5 and 6.

2. The rise & fall used over steps 1 - 3 is called “delayed rise”.

Precedes and Follows For Creating Foxtrot Choreography

Any figure in Column A may precede any The diagrams indicate the figure in Column B starting alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Three Step • Feather RF FREE TO GO LF FREE TO GO At a corner the following Step FORWARD, F DW BACKWARD, B DW three figures may be danced: • Natural Turn F DW B DW

• Natural Turn (to end • 1-3 of F DW NLOD) Natural Turn • Reverse Wave (to end • Natural F DW NLOD) Weave • Change of Direction (to

end F DW NLOD) DW F Ends Starts F DW

Ends with Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • Three Step • Feather RF FREE TO GO LF FREE TO GO At a corner the following Step FORWARD, F BACKWARD, B LOD LOD three figures may be danced: • Natural Turn

• Natural Turn (to end • 1-3 of F LOD B LOD F NLOD) Natural Turn • Reverse Wave (to end • Natural F NLOD) Weave • Change of Direction (to end F NLOD) Ends F LOD F Ends Starts F LOD Ends with Leaders RF Free Followers LF Free

Any figure in Column A may The diagrams indicate the starting precede any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Natural Turn • Feather RF FREE TO GO LF FREE TO GO • Reverse Wave Step FORWARD, F DC BACKWARD, B DC • Change of F DC B DC Direction

Ends DC F Ends with Starts F DC Leaders RF Free

Followers LF Free Column A Column B LEADER FOLLOWER • Feather Step • Three LF FREE TO GO RF FREE TO GO • Reverse Turn Step FORWARD, F DW BACKWARD, B DW with Feather • Reverse F DW B DW Finish Wave

• Basic Weave • Change

• Natural Weave of Direction At a corner: • Closed Impetus

with Feather Finish (to end

Ends DW F F DW NLOD) Starts F DW

Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede any The diagrams indicate the figure in Column B starting alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Feather Step • Three Step LF FREE TO GO RF FREE TO GO At a corner: • Reverse FORWARD, F LOD BACKWARD, Wave B LOD • Closed Impetus with Feather Finish (to end • 1-4 of F LOD B LOD F NLOD) Reverse Turn to Basic

Weave

At a corner and

Ends F LOD LOD F Ends when preceded Starts F LOD Ends with by a Feather Leaders LF Free step: Followers RF Free • Change of Direction Column A Column B LEADER FOLLOWER • Feather Step • Reverse LF FREE TO GO RF FREE TO GO Turn with FORWARD,F DC BACKWARD, B DC • Closed Impetus with Feather F DC B DC Feather Finish Finish DC

• Reverse Wave

Ends with F Ends Starts F DC Leaders LF Free Followers RF Free

• 1-4 of Reverse Turn Weave FORWARD, F C BACKWARD, B C with Feather Finish (to end F C NLOD) or B W F C B C

Ends with Starts F C

Leaders LF Free C F Ends Followers RF Free Column A Column B LEADER FOLLOWER • 1-4 of Reverse Turn • Basic LF FREE TO GO RF FREE TO GO with Feather Finish (1/2 Weave FORWARD, BACKWARD, turn, commencing F DC ALOD B DC ALOD

F DW) • 1-4 of Reverse Turn with Feather Finish, commencing F LOD

Ends B DW Ends Ends with F DC ALOD B DC ALOD

Starts F DC ALOD Leaders LF Free Followers RF Free

Any figure in Column A may precede any The diagrams indicate the figure in Column B starting alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • 1-3 of Natural Turn (1/2 • Closed LF FREE TO GO RF FREE TO GO turn, commencing F DW) Impetus BACKWARD, FORWARD, F DW with B DW Feather B DW F DW At a corner: Finish • 1-3 of Natural Turn (commencing LOD, and ending B DW NLOD) • 1-6 of Reverse Wave (to end B DW NLOD) Ends B DW Starts B DW

Ends with Leaders LF Free Followers RF Free Column A Column B LEADER FOLLOWER • 1-3 of Natural Turn • Closed LF FREE TO GO RF FREE TO GO Impetus BACKWARD, B FORWARD, F LOD • 1-6 of Reverse Wave with LOD Feather B LOD F LOD Finish • Heel Pull ending (4-6 of Natural Ends B LOD

Ends with Starts B LOD Turn or Leaders LF Free 7-9 of Reverse Followers RF Free Wave)

Notes

139

Jr. Associate (Bronze) Ballroom Foxtrot Routine - LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 ------LF Forward (Preparation F DC F DC S (ct 7,8) Step) 1. 1 Feather Step F DC F DC SQQ 2. 2 Reverse Turn with Feather F DC F DW SQQ, SQQ Finish 3. 3 Three Step F DW F DW SQQ 4. 4 Natural Turn F DW F NLOD SQQ, SSS

2 5. 3 Feather Step F LOD F LOD SQQ 6. 8 Reverse Wave F LOD F NLOD SQQ, SQQ, SSS 3 7. 8 Feather Step F LOD F LOD SQQ 8. 2 Reverse Turn and Check F LOD B DW SQQS (1-4 of Reverse Turn w/ Feather Finish) 9. 5 Basic Weave F DC ALOD F DW QQQQQQ 10. 6 Reverse Wave F DW F DW NLOD SQQ, SQQ, SSS 4 11. 8 Feather Step F DW F DW SQQ 12. 7 Change of Direction F DW F DC SSS 13. 3 Feather Step F DC F DC SQQ 14. 7 Change of Direction F DC F DC NLOD SSS

Note: It is best to use a Preparation Step at the start of a routine prior to the commencement of any right turning figure or Feather Step. As Leader it is taken with the left foot forward while as Follower it is taken with the right foot back.

Jr. Associate (Bronze) Ballroom Foxtrot Routine - FOLLOWER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 ------RF Back (Preparation Step) B DC B DC S (ct 7,8) 1. 1 Feather Step B DC B DC SQQ 2. 2 Reverse Turn with Feather B DC B DW SQQ, SQQ Finish 3. 3 Three Step B DW B DW SQQ 4. 4 Natural Turn B DW B NLOD SQQ, SSS

2 5. 3 Feather Step B LOD B LOD SQQ 6. 8 Reverse Wave B LOD B NLOD SQQ, SQQ, SSS 3 7. 8 Feather Step B LOD B LOD SQQ 8. 2 Reverse Turn and Check B LOD F DW SQQS (1-4 of Reverse Turn w/ Feather Finish) 9. 5 Basic Weave B DC ALOD B DW QQQQQQ 10. 6 Reverse Wave B DW B DW NLOD SQQ, SQQ, SSS 4 11. 8 Feather Step B DW B DW SQQ 12. 7 Change of Direction B DW B DC SSS 13. 3 Feather Step B DC B DC SQQ 14. 7 Change of Direction B DC B DC NLOD SSS

141

Associate (Bronze) Ballroom Foxtrot Routine - LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 ------LF Forward (Preparation F DC F DC S (ct 7,8) Step) 1. 1 Feather Step F DC F DC SQQ 2. 2 Reverse Turn with Feather F DC F DW SQQ SQQ Finish 3. 3 Three Step F DW F DW SQQ 4. 4 1-3 of Natural Turn F DW B LOD SQQ 5. 9 Closed Impetus with Feather B LOD F DW NLOD SQQ SQQ Finish

2 6. 3 Three Step F DW F DW SQQ 7. 8 Natural Weave F DW F DW SQQQQQQ 8. 7 Change of Direction F DW F DW NLOD SSS

3 9. 4 Natural Turn F DW F DC SQQ SSS 10. 1 Feather Step F DC F DC SQQ 11. 2 Reverse Turn and Check F DC B DW SQQ S (1-4 of Reverse Turn w/ Feather Finish) underturned 12. 5 Basic Weave F DC ALOD F DW QQQQQQ 13. 6 Reverse Wave F DW F DW NLOD SQQ SQQ SSS

4 14. 8 Natural Weave F DW F DW SQQQQQQ 15. 3 Three Step F DW F DW SQQ 16. 4 1-3 of Natural Turn F DW B LOD SQQ 17. 9 Closed Impetus with Feather B LOD F DW NLOD SQQ SQQ Finish

18. 7 Change of Direction then F DW F DC SSS

Note: It is best to use a Preparation Step at the start of a routine prior to the commencement of any right (Natural) turning figure or Feather Step. As Leader it is taken with the left foot forward while as Follower it is taken with the right foot back.

Associate (Bronze) Ballroom Foxtrot Routine - FOLLOWER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 ------RF Back (Preparation Step) B DC B DC S (ct 7,8) 1. 1 Feather Step B DC B DC SQQ 2. 2 Reverse Turn with Feather B DC B DW SQQ SQQ Finish 3. 3 Three Step B DW B DW SQQ 4. 4 1-3 of Natural Turn B DW F LOD SQQ 5. 9 Closed Impetus with F LOD B DW NLOD SQQ SQQ Feather Finish

2 6. 3 Three Step B DW B DW SQQ 7. 8 Natural Weave B DW B DW SQQQQQQ 8. 7 Change of Direction B DW B DW NLOD SSS

3 9. 4 Natural Turn B DW B DC SQQ SSS 10. 1 Feather Step B DC B DC SQQ 11. 2 Reverse Turn and Check B DC F DW SQQ S (1-4 of Reverse Turn w/ Feather Finish) 12. 5 Basic Weave B DC ALOD B DW QQQQQQ 13. 6 Reverse Wave B DW B DW NLOD SQQ SQQ SSS

4 14. 8 Natural Weave B DW B DW SQQQQQQ 15. 3 Three Step B DW B DW SQQ 16. 4 1-3 of Natural Turn B DW F LOD SQQ 17. 9 Closed Impetus with F LOD B DW NLOD SQQ SQQ Feather Finish

18. 7 Change of Direction then B DW B DC SSS

143

Notes

144 Tango

Tango Contents

Tango Facts ...... 147

Basic Actions a. Forward Walks ...... 152 b. Back Walks ...... 152 c. Closed Finish ...... 153 d. Open Finish ...... 154

Syllabus Figures

Preliminary Bronze 1. PROGRESSIVE LINK ...... 156 2. CLOSED PROMENADE ...... 158

Intermediate Bronze (Jr. Associate – Figures 1-8) 3. PROGRESSIVE SIDE STEP ...... 160 4. PROGRESSIVE SIDE STEP REVERSE TURN ...... 162 5. NATURAL TWIST TURN ...... 164 6. NATURAL ROCK TURN ...... 166 7. NATURAL PROMENADE TURN ...... 168 8. OPEN PROMENADE ...... 170

Full Bronze (Associate – Figures 1-14) 9. OPEN REVERSE TURN (IN RIGHT OUTSIDE POSITION)...... 172 10A. BACK CORTÉ ...... 174 10B. BACK CORTÉ (WITH WIND UP) ...... 176 11. LEFT FOOT ROCK ...... 178 12. RIGHT FOOT ROCK ...... 180 13. BASIC REVERSE TURN ...... 182 14. OPEN REVERSE TURN IN LINE ...... 184

Precedes and Follows ...... 186 Routines ...... 194

145

146

Tango History Ballroom Tango was born in the slums of Buenos Aires in the late 19th century. Argentine gauchos and migrating blacks met and mixed in the infamous Barrio de las Ranas, trading cultural rhythms and dance steps in and around the area's well-known brothels. From this melting pot emerged a highly passionate dance, one that the respectable classes of society shunned. But as with the Waltz, there is nothing like controversy to make a dance triumph!

In the United States, Tango became all the rage right before the First World War. Vernon and Irene Castle made their fortune from Tango, becoming America's sweethearts of the dance. There was a flurry of Tango dance hall openings, and Tango teas became popular in big hotels. Couples even danced between courses at the finer restaurants. Rudolph Valentino did his part, performing a sensual Tango in the silent film "Four Horsemen of the Apocalypse." The dance varied greatly from performer to performer, and was eventually standardized in the 1920s.

Standard Tango Around 1912, Tango was increasing in popularity with Europeans who infused their own style and technique into the dance. In 1922 the English codified Tango for competitions, the style being known as English Style and then International Style reflecting its worldwide popularity.

Subsequent to this standardization, Arthur Murray, an instructor in the U.S., introduced his own simpler version of Tango into his chain of dance schools. This looser, social style became known as American Style.

Dance Characteristics Tango is characterized by a close hold, a low center of gravity and an emphasis on Contra Body Movement. It is a more angular dance with an emphasis on stopping actions. The feet are picked up and placed on the floor instead of skimming the floor as in the other Ballroom dances. There is no rise and fall, and no sway. Movement in Tango is stealthy, almost cat-like and has an unmistakable staccato feel.

Musical Information • Time Signature: 4/4 (Note: Some Tango music is written in 2/4 time, however the musical information below is based on 4/4 time, as this is more practical).

• Tempo: 32mpm (128bpm) in 4/4 time for Pro/Am, Professional, and Amateur Competitions

• Count: many variations, i.e. SQQS, QQS, QQ, SS and others.

• Beat Value: Slow = 2 beats, Quick = 1 Beat. a) SQQS = 2-1-1-2 b) QQS =1-1-2 c) QQ = 1-1 d) SS = 2-2 e) QQS QQS = 1-1-2, 1-1-2 f) SQQS QQ = 2-1-1-2, 1-1

147

• Alternative Teaching Count: a) SQQS: 12-3-4-56 b) QQS QQS: 1-2-34-5-6-78 c) SQQS QQ 12-3-4-56-7-8

• Counting in Beats and Bars: 1234, 2234, 3234, 4234, etc.

• Counting in “Eights” (2 measures at a time): 12345678, 22345678, 32345678, 42345678, etc.

Musical Phrasing The basic phrase is 2 measures which equals 8 beats. However a phrase (a complete musical “thought”) may be 4, 8, 16, or 32 measures long.

Alignment vs. Direction Tango uses a combination of Alignment (based on the feet) and Direction (based on where moving) to describe forward and back steps. This is due to the unique action (the use of strong CBM, CBMP and curve on forward and back steps), which results in the foot being placed approximately 1/8 of a turn different than the dancer moves.

• To indicate direction on all forward and back steps, the words facing, backing, and pointing are eliminated. • To indicate alignment (as in the other Ballroom dances), facing, backing, and pointing are used on side and closing steps.

Example: Open Reverse Turn, Follower Outside – Note direction given on steps 1, 3 and 4:

Foot Position Alignment or Direction Explanation LF forward in CBMP DC Direction, forward step RF side B DW Alignment, side step

LF back in CBMP LOD Direction, back step RF back LOD Direction, back step LF side and slightly forward P DW, end F DW Alignment, side step RF closes to LF slightly back F DW Alignment, closing step

Footwork Forward steps Heel Backward steps Ball Heel Walk in Promenade Heel Position Forward Walk with Heel Ball swivel Side Steps IE of BH, IE of foot, Ball Heel, or Whole Foot (depending on best fit and function for particular figure). Closing Steps Whole Foot Free Foot in Promenade IE of B Position

General Technical Tips

• Posture: Both partners are upright with spines lengthened up through the crown of the head with shoulder blades down and ribcage flat. Leaders should have their blocks of weight aligned with the back of the head in line with the heels. Followers should have a fully stretched spine, angled slightly leftwards without tipping the shoulders.

• Frame: o Leader’s frame should be wide from elbow to elbow, maintaining width across both the back and the chest. The right arm is further around and lower on the Follower’s back than in the other Standard dances. The left arm is bent at about a 90-degree angle, with left hand held closer in toward the Leader’s body and face. o Follower’s arms should be light and responsive in the Leader’s frame. The left hand is placed behind and below the Leader’s upper right arm.

• Promenade: Create Promenade Position by rotating the body (not by pushing with the arms), so that the frame does not “break”. o The Three Alignments of Promenade: A great tool to create an accurate Promenade Position for Tango, is to think of the “Three Alignments Principle”:

(for figures that start P DW for Leader and P DC for Follower): Leader Follower • Body: F W • Body: F C • Feet: P DW • Feet: P DC • Direction: down LOD • Direction: down LOD

This principle may be used on any promenade: Leader Follower Body faces a specific alignment Body faces a specific alignment Feet face an alignment 1/8 turn to Left Feet face an alignment 1/8 turn to Right Direction of travel is 1/8 turn to Left from feet Direction of travel is 1/8 turn to Right from feet

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• How to achieve Promenade Position (when the preceding figure does not normally end in Promenade Position): • From a RF forward walk (in line): Leader places LF to side without weight, leading Follower to Promenade Position. • From a Closed Finish: Leader keeps feet in place and leads Follower to Promenade Position on the & count prior to the start of the next figure. • From an Open Finish: Leader places LF to side without weight, leading Follower to Promenade Position.

• Movement: Movements are sharp and staccato with more movement emphasis on the first quick, complimented by slowing, and sometimes stopping actions, on the second quick. Muscles through the mid section of the body remain engaged, providing a strong bracing action while still keeping the arms, neck and head relaxed and free.

In the forward walks, the moving foot should be raised enough to release it from the floor and remain at that level throughout until placing back on the floor at the end of the walk.

• Sway: Sway is not used in Tango except in certain picture lines (in Gold and Open Gold levels).

• Rise and Fall: There is no rise and fall in Tango. The knees should be softly flexed, weight placed over the center of the foot, maintaining the same elevation from the floor throughout the dance.

• Turns: Turn in Tango has a different action than in the other Ballroom dances. The emphasis is on turning more through the hip sockets rather than swiveling on the feet. This is due to the grounded and catlike nature of Tango which is counter to the body flight used in the other dances.

• CBM: CBM is stronger in Tango to absorb sideways momentum, preventing the development of swing (and hence sway).

• Stillness: Stillness is a major characteristic of Tango. It is the ability to hold a position at the end of a step or to delay the start of a new step. Tango is often referred to as the “dance that stops” which results in the staccato look and feel that Tango is known for.

• Walks: Basic walks (danced in line), are characterized by curving to the left and by lifting and placing the foot into the next position with no contact with the floor.

Leader: • LF forward walks are taken with CBM and CBMP, rolling from the back of the left heel to the front of the left foot, rolling through all parts of the foot.

• RF forward walks are taken in an open action (often described as stepping wide), to create space for your partners knee. The step is taken by rolling from the back of the right heel to the front of the right foot, rolling through all parts of the foot.

Follower: • RF backward walks are taken with CBM and CBMP, and by rolling from the front of the ball of the right foot to the back of the right heel, rolling through all parts of the foot.

• LF backward walks are taken in an open action (often described as stepping wide), to create space for your partners knee. The step is taken by rolling from the front of the ball of the left foot to the back of the left heel, rolling through all parts of the foot.

See next page for additional information on the Walks.

Closed and Open Finishes: Many figures in the syllabus end with either a Closed Finish or Open Finish. (See pages 153 and 154 for complete technique for the Closed and Open Finishes.)

Stance: • To first establish position for both Leader and Follower: Start with feet together (toe to toe, heel to heel – feet lined up evenly). Swivel to the left on the balls of both feet (with feet flat), so that the right foot ends up slightly back in relation to the left foot. The ball of the right foot fits into the instep of the left foot. This is referred to as the neutral position for Tango.

• Closing Steps (as used in Closed Finishes to establish neutral position): o Leader: RF closes to LF slightly back o Follower: LF closes to RF slightly forward

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FORWARD WALKS – LEADER OR FOLLOWER BASIC ACTIONS

Commence in CP, F DW STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 LF forward in CBMP CP LOD 1/8 turn L btw 0 1 H S S: and 1 Forward Walk on LF 2 RF forward, wide CP DC 1/8 turn L btw 1 Nil H S S: step, curving to left and 2 Forward Walk on RF

BACK WALKS – LEADER OR FOLLOWER BASIC ACTIONS

Commence in CP, B DW STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF back in CBMP CP LOD 1/8 turn L btw 0 1 BH S S: and 1 Back Walk on RF 2 LF back, wide step, CP DC 1/8 turn L btw 1 Nil BH S S: curving to left and 2 Back Walk on LF

Notes for Leader and Follower:

1. Whenever the Follower steps back on the LF or RF, the toe of the front foot will be released from the floor. 2. When the Leader steps back on the RF, the toe of the front foot will be released from the floor. However when the Leader steps back on the LF, the heel of the front foot (LF) will be released from the floor. Example: first step of the Back Corté. 3. Up to 1/4 of a turn left may be made on each walk. 4. May start in any alignment as needed for choreography.

CLOSED FINISH – LEADER BASIC ACTIONS

STEP FOOT POSITION DP ALIGN / TURN CBM FW # DIREC 1 RF back in CBMP CP DC Com to turn L 1 BH 2 LF side and slightly forward CP P DW 1/4 turn L btw 1 and 2, Nil IE of foot BTL 3 RF closes to LF, slightly back CP F DW BCT on 3 Nil WF

CLOSED FINISH – FOLLOWER BASIC ACTIONS

STEP FOOT POSITION DP ALIGN / TURN CBM FW # DIREC 1 LF forward in CBMP CP DC Com to turn L 1 H 2 RF side and slightly back CP B DW 1/4 turn L btw 1 and 2 Nil IE of BH 3 LF closes to RF, slightly CP B DW Nil on 3 Nil WF forward

Notes for Leader and Follower:

1. This ending is found in the following figures: a) 2-4 of the Back Corté b) 4-6 of the Open Reverse Turn (Follower in Line) c) 5-7 of the Natural Rock Turn d) 8-10 of Progressive Side Step Reverse Turn

2. When the step prior to step 1 of the Closed Finish is outside partner, step 1 of the Closed Finish will not be in CBMP. Instead it will be, LF forward for Leader (RF back for Follower), as in the Open Reverse Turn in Right Outside Position.

3. The Closed Finish may make less turn (1/8 turn L) or more turn (up to 3/8 turn L) as needed for choreography.

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An Open Finish may be danced as an alternative to any Closed Finish by changing steps 2 and 3 as shown below:

OPEN FINISH – LEADER BASIC ACTIONS

Commence in CP, B DC STEP FOOT POSITION DP ALIGN / TURN CBM FW # DIREC 1 RF back in CBMP CP DC Com to turn L 1 BH 2 LF side and slightly Prep P btw W and just under 1/4 turn Nil IE of foot forward ROP DW L btw 1 and 2, BTL

3 RF forward in CBMP ROP btw W and DW BCT on 3 Nil H

OPEN FINISH – FOLLOWER BASIC ACTIONS

Commence in CP, F DC STEP FOOT POSITION DP ALIGN / TURN CBM FW # DIREC 1 LF forward in CBMP CP DC Com to turn L 1 H 2 RF side and slightly Prep B btw W and just under 1/4 turn Nil IE of BH back ROP DW L btw 1 and 2

3 LF back in CBMP ROP btw W and DW Nil on 3 Nil BH

Notes for Leader and Follower: 1. This ending may be used in the following figures: a) 2-4 of the Back Corté b) 4-6 of the Open Reverse Turn (Follower in Line) c) 5-7 of the Natural Rock Turn d) 8-10 of Progressive Side Step Reverse Turn

2. When the step prior to step 1 of the Open Finish is outside partner, step 1 of the Open Finish will not be in CBMP. Instead it will be, LF forward for Leader (RF back for Follower) as in the Open Reverse Turn in Right Outside Position.

3. Alternative ending alignments are: a) Between LOD and DC (i.e. from Back Corté taken after any figure ended F DW) b) Between DW and LOD (i.e. from Natural Rock Turn, overturning the last three steps) c) Other alignments are possible for choreography purposes.

Notes

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1. PROGRESSIVE LINK – LEADER Preliminary Bronze

Commence in CP, F DW STEP FOOT POSITION DP ALIGN TURN CBM FW CT SUMMARY # / DIREC 1 LF forward in CBMP CP DW Nil Nil H Q QQ: Link from 2 RF side & slightly back PP P DW Nil Nil IE of RF, Q CP to PP IE of B of LF

Notes:

1. The first step is slightly smaller than the normal walk for Tango.

2. As the 2nd step is taken, the right side should move slightly back.

1. PROGRESSIVE LINK – FOLLOWER Preliminary Bronze

Commence in CP, B DW STEP FOOT DP ALIGN / TURN CBM FW CT SUMMARY # POSITION DIREC 1 RF back in CP DW Nil on 1 Nil BH Q QQ: CBMP Link from CP to PP 2 LF side & PP P DC 1/4 turn R btw 1 & Nil IE of BH of Q slightly back 2 LF, IE of B of RF

2. CLOSED PROMENADE – LEADER Preliminary Bronze

Commence in PP, P DW STE FOOT POSITION DP ALIGN / DIREC TURN CBM FW CT SUMMARY P # 1 LF side PP P DW, mov Nil Nil H S SQQS: LOD One Walk in PP, 2 RF forward & across in PP P DW, mov Nil Nil H Q Promenade CBMP LOD Closed Finish 3 LF side & slightly CP F DW Nil Nil IE of Q forward foot

4 RF closes to LF, slightly CP F DW Nil Nil WF S back

Notes for Leader and Follower:

1. The Leader may turn square to Follower on step 3 to end B DC. Footwork for Leader would then be "IE of BH" and footwork for Follower will be "IE of foot" (Follower makes no turn).

2. The Closed Promenade may also commence:

a) Leader: F LOD in which case it will move DC and end F LOD Follower: F C in which case it will move DC and end B LOD

b) Leader: F DC in which case it will move to C and end F DC Follower: F DC ALOD in which case it will move to C and end B DC

2. CLOSED PROMENADE – FOLLOWER Preliminary Bronze

Commence in PP, P DC STEP FOOT POSITION DP ALIGN /DIREC TURN CBM FW CT SUMMARY # 1 RF side PP P DC, mov Nil on Nil H S SQQS: LOD 1 One Walk in PP, 2 LF forward & across in PP P DC, mov Com 2 H Q Promenade CBMP LOD to turn Closed L on 2 Finish 3 RF side & slightly CP B DW 1/4 Nil IE of BH Q back turn L btw 2 & 3

4 LF closes to RF, CP B DW Nil on Nil WF S slightly forward 4

Notes for Leader and Follower:

1. The Leader may turn square to Follower on step 3 to end B DC. Footwork for Leader would then be "IE of BH" and footwork for Follower will be "IE of foot" (Follower makes no turn).

2. The Closed Promenade may also commence:

a) Leader: F LOD in which case it will move DC and end F LOD Follower: F C in which case it will move DC and end B LOD

b) Leader: F DC in which case it will move to C and end F DC Follower: F DC ALOD in which case it will move to C and end B DC

3. PROGRESSIVE SIDE STEP – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT POSITION DP ALIGN /DIREC TURN CBM FW CT SUMMARY # 1 LF forward in CBMP CP DW Nil Nil H Q QQS: Forward 2 RF side & slightly CP B DC ALOD Nil Nil IE of Q walk, side back foot check, forward walk 3 LF forward in CBMP CP DW Nil Nil H S

Notes for Leader and Follower:

1. Up to 3/8 of a turn to the left may be made, in which case CBM would be used on steps 1 and 3. 2. Suggested starting alignments are F DW, F LOD, or F DC (B DW, B LOD, or B DC for Follower). 3. In the summary, the term “Side Check” is used to indicate a slight stopping action on step 2.

3. PROGRESSIVE SIDE STEP – FOLLOWER Intermediate Bronze

Commence in CP, B DW S FOOT POSITION DP ALIGN /DIREC TURN CBM FW CT SUMMARY T E P # 1 RF back in CBMP CP DW Nil Nil BH Q QQS: Back walk, side 2 LF side & slightly forward CP F DC ALOD Nil Nil IE of Q check, back BH walk 3 RF back in CBMP CP DW Nil Nil BH S

Notes for Leader and Follower:

4. PROGRESSIVE SIDE STEP REVERSE TURN – LEADER Intermediate Bronze

Commence in CP, F DC STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 LF forward in CBMP CP DC Com to 1 H Q QQS: turn L on Progressive 1 Side Step 2 RF side & slightly back CP B DW 1/4 turn L Nil IE Q (curving left) btw 1 & 2 of foot 3 LF forward in CBMP CP ALOD 1/8 turn L 3 H S btw 2 & 3 4 RF forward, wide step, CP ALOD Nil on 4 Nil H S S: end with slight R side lead RF forward walk (check) 5 Transfer weight back to CP LOD Nil on 5 Nil IE Q QQS: LF, maintain L side lead of LF Back BH Rock 6 Transfer weight forward to CP ALOD Nil on 6 Nil H Q RF, maintain R side lead 7 LF back, small step, CP LOD Nil on 7 Nil IE S maintain L side lead of BH 8 RF back in CBMP CP DC 1/8 turn L 8 BH Q QQS: btw 7 & 8 Closed Finish

9 LF side & slightly forward CP P DW 1/4 turn L Nil IE Q btw 8 & 9, of BTL foot 10 RF closes to LF, slightly CP F DW BCT Nil WF S back Notes for Leader and Follower:

1. After steps 1-4 the following endings may be used. a) Back Corté; SQQS b) Left Foot Rock, Right Foot Rock, Back Corté; QQS QQS SQQS c) (Chart Figure) Left Foot Rock, Closed Finish QQS QQS d) Walk back on LF, Right Foot Rock, Back Corté; S QQS SQQS

2. “Windup” styling (see step 1 of Figure 10B, Back Corté with Windup) may be used on the following steps: a) First step of the Back Corté c) Walk back on LF b) Last step of the Left Foot Rock d) Step 4 of Natural Rock Turn

4. PROGRESSIVE SIDE STEP REVERSE TURN – FOLLOWER Intermediate Bronze

Commence in CP, B DC STEP STE FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY P # DIREC 1 RF back in CBMP CP DC Com to turn L on 1 BH Q QQS: 1 Progressive Side Step 2 LF side & slightly CP F DW 1/4 turn L btw 1 Nil IE of Q (curving L) forward & 2 foot

3 RF back in CBMP CP ALOD 1/8 turn L btw 2 3 BH S & 3

4 LF back, wide step, CP ALOD Nil on 4 Nil IE of S S: end with slight L side BH LF back lead walk (check) 5 Transfer weight CP LOD Nil on 5 Nil H Q QQS: forward to RF, RF forward maintain R side lead rock

6 Transfer weight back CP ALOD Nil on 6 Nil IE of Q to LF, maintain L side BH lead

7 RF forward, small CP LOD Nil on 7 Nil H S step, maintain R side lead

8 LF forward in CBMP CP DC 1/8 turn L btw 7 8 H Q QQS: & 8 Closed Finish 9 RF side & slightly CP B DW 1/4 turn L btw 8 Nil IE of Q back & 9 BH

10 LF closes to RF, CP B DW Nil on 10 Nil WF S slightly forward

Note: Refer to the Leader’s chart for notes for Leader and Follower.

5. NATURAL TWIST TURN – LEADER Intermediate Bronze

Commence in PP, P DW STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY STEP # DIREC 1 LF side PP P DW, Nil on 1 Nil H S SQQS: mov LOD Walk in PP, 2 RF forward & PP P DW, Nil on 2 2 H Q right turn across in CBMP mov LOD from PP to prep ROP 3 LF side CP B DC 1/4 turn R Nil BH Q (ending btw 2 & 3 crossed behind) 4 RF crosses behind Prep B LOD 1/8 turn R Nil B S LF ROP btw 3 & 4

5 Com to twist to R, ROP Toward Nil B of RF, Q QQ: allowing feet to alignment H of LF Twist to PP uncross of 6 5/8 turn R over 5 & 6 6 Feet almost PP P DW Nil Whole of Q closed, weight on RF, IE of B RF of LF

Notes:

1. Various amounts of turn may be made on this figure: Steps 1-4 remain the same, then: a) Around a corner; 3/8 turn R over 5 and 6 to end P DW NLOD (to move LOD) b) Along the side of the room; 3/8 turn R over 5 and 6 to end P DC (to move C) c) Along the side of the room; 1/2 turn R over 5 and 6 to end P LOD (to move DC)

2. All of the above variations may also be ended in CP by the Leader turning an additional 1/4 turn right on last step.

5. NATURAL TWIST TURN – FOLLOWER Intermediate Bronze

Commence in PP, P DC STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF side PP P DC, Nil on 1 Nil H S SQQS: mov Walk in LOD PP, slight right turn 2 LF forward & across PP P LOD 1/8 turn R btw Nil H Q from PP to in CBMP 1 & 2, BTL Prep ROP

3 RF forward btw CP LOD BCT on 3 3 H Q partner's feet

4 LF forward, L side Prep P DW, 1/8 turn R btw Nil H S leading ROP mov 3 & 4 LOD 5 RF forward in ROP W 1/8 turn R btw 5 HB Q QQ: CBMP 4 & 5 Forward link from 6 LF side (swivel), PP B DW, 3/8 turn R btw Nil BH of LF, Q ROP to PP end side & slightly end 5 & 6, then IE of B of back, RF placed P DC 1/4 turn R on RF side w/o wt 6

Notes:

1. Various amounts of turn may be made on this figure: Steps 1-5 remain the same, then: a) Around a corner, 1/8 turn R btw 5 and 6, then 1/4 turn R on 6 to end P DC NLOD (to move LOD) b) Along the side of the room; 1/8 turn R btw 5 and 6, then 1/4 turn R on 6 to end P DC ALOD (to move C) c) Along the side of the room; 1/4 turn R btw 5 and 6, then 1/4 turn R on 6 to end P C (to move DC)

2. The above variations may end in CP by the Leader turning an additional 1/4 turn right on last step (Follower’s turn remains the same).

6. NATURAL ROCK TURN – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF forward CP DW Com to turn Slight H S S: R on 1 RF forward walk 2 LF side & slightly back, CP B C 1/8 turn R Nil IE of Q QQS: end with slight L side lead btw 1 & 2 BH LF Back Rock, 3 Transfer weight forward to CP DW 1/8 turn R Nil IE of Q turning R RF, maintain R side lead ALOD btw 2 & 3 BH

4 LF back, small step, CP DC Nil on 4 Nil IE of S maintain L side lead BH

5 RF back in CBMP CP C 1/8 turn L 5 BH Q QQS: btw 4 & 5 Closed Finish 6 LF side & slightly forward CP F DW 1/8 turn L Nil IE of Q btw 5 & 6 foot

7 RF closes to LF slightly CP F DW Nil on 7 Nil WF S back

Notes:

1. 1/4 turn left may be made between steps 5 and 6 to end F LOD (BTL on 6 and BCT on 7).

2. 3/8 turn left may be made between steps 5 and 6 to end F DC (BTL on 6 and BCT on 7).

3. “Windup” styling (see step 1 of Figure 10B, Back Corté with Windup) may be used on step 4.

6. NATURAL ROCK TURN – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 LF back CP DW Com to turn Slight BH S S: R on 1 LF back walk

2 RF forward & slightly CP F C 1/8 turn R Nil H Q QQS: rightwards, end with btw 1 & 2 RF forward slight R side lead rock, turning R

3 LF back & slightly CP DW 1/8 turn R Nil IE of Q leftwards, maintain L ALOD btw 2 & 3 BH side lead

4 RF forward, small step, CP DC Nil on 4 Nil H S maintain R side lead

5 LF forward in CBMP CP C 1/8 turn L 5 H Q QQS: btw 4 & 5 Closed Finish

6 RF side & slightly back CP B DW 1/8 turn L Nil IE of Q btw 5 & 6 BH

7 LF closes to RF slightly CP B DW Nil on 7 Nil WF S forward

Notes:

1. Alignment (and not direction) is given on Step 2. This is because the body moves towards Center and the foot is facing Center.

2. 1/4 turn left may be made between steps 5 and 6 to end B LOD.

3. 3/8 turn left may be made between steps 5 and 6 to end B DC.

4. “Windup” styling (see step 1 of Figure 10B, Back Corté with Windup) may be used on step 4.

7. NATURAL PROMENADE TURN – LEADER Intermediate Bronze

Commence in PP, P DW STEP FOOT DP ALIGN / TURN CBM FW CT SUMMARY # POSITION DIREC 1 LF side PP P DW, Nil on 1 Nil H S SQQ: mov LOD LF walk in PP, R turn from 2 RF forward in PP DW Com to turn R 2 H Q PP to CP, CBMP on 2 Natural pivot

3 LF side & CP B LOD, 3/8 turn R btw Nil BHB Q slightly back end F DW 2 & 3, then 3/8 (pivot) of NLOD turn R on 3

4 RF forward in CP DW, end Nil on 4 4 H of RF, S S: CBMP, LF to PP P DW IE of B of RF forward, placed side w/o LF open to PP wt

Note: When danced along the side of the room, the turn remains the same to end P DC: a) When no additional turn is made, the next figure will move to C in PP. b) By turning body slightly to the right and placing the LF to the side in PP, the next figure will move to DC in PP.

7. NATURAL PROMENADE TURN – FOLLOWER Intermediate Bronze

Commence in PP, P DC STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF side PP P DC, Nil on 1 Nil H S SQQ: mov LOD 2 promenade walks & 2 LF forward & across PP P LOD 1/8 turn R Nil H Q Natural Pivot in CBMP btw 1 & 2, BTL 3 RF forward btw CP LOD Com to 3 H Q partner's feet turn R on 3 4 LF side & slightly CP to B DW of 3/8 turn R Nil BH of LF, S S: back (swivel), RF PP NLOD, btw 3 & 4, IE of B of LF side, placed side w/o wt end P then 1/4 RF swivel to PP DC turn R on 4

Note: When danced along the side of the room, the turn remains the same to end P DC ALOD: a) When no additional turn is made, the next figure will move to C in PP. b) If Leader rotates rightward, the next figure will move to DC in PP.

8. OPEN PROMENADE – LEADER Full Bronze

Commence in PP, P DW STEP FOOT POSITION DP ALIGN / DIREC TURN CBM FW CT SUMMARY # 1 LF side PP P DW, mov LOD Nil on 1 Nil H S SQQS: Walk in PP, 2 RF forward & across PP P DW, mov LOD Com to Slight H Q open finish & CBMP turn R on from PP 2 3 LF side & slightly Prep F btw W & DW Slight turn Nil IE of Q forward ROP R btw 2 & foot 3 4 RF forward in CBMP ROP Btw W & DW Nil on 4 Nil H S

Note: The Open Promenade may also commence: a) P LOD, in which case it will move DC and end btw LOD and DW b) P DC, in which case it will move to C, and end btw DC and LOD

8. OPEN PROMENADE – FOLLOWER Full Bronze

Commence in PP, P DC STEP FOOT POSITION DP ALIG / DIREC TURN CBM FW CT SUMMARY # 1 RF side PP P DC, mov LOD Nil on 1 Nil H S SQQS: Walk in PP, 2 LF forward & across PP P DC, mov LOD Com to 2 H Q open finish & CBMP turn L on from PP 2 3 RF side & slightly Prep B btw W & DW Just Nil IE of Q back ROP under BH 1/4 turn L btw 2 & 3 4 LF back in CBMP ROP Btw W & DW Nil on 4 Nil BH S

Note: The Open Promenade may also commence: a) P C, in which case it will move DC and end btw LOD and DW b) P DC ALOD, in which case it will move to C, and end btw DC and LOD

9. OPEN REVERSE TURN (IN RIGHT OUTSIDE POSITION) – LEADER Full Bronze

Commence in CP, F DC STEP FOOT POSITION DP ALIGN TURN CBM FW CT SUMMARY # / DIREC 1 LF forward in CBMP CP DC Com to turn L on 1 1 H Q QQS: Forward 2 RF side & slightly Prep B DW 1/4 turn L btw 1 & 2 Nil BH Q half of back ROP Open Reverse 3 LF back in CBMP ROP LOD 1/8 turn L btw 2 & 3, Nil BH S Turn to BTL ROP

4 RF back CP LOD Com to turn L on 4 4 BH Q QQS: Closed 5 LF side & slightly CP P DW 3/8 turn L btw 4 & 5, Nil IE Q Finish from forward BTL of ROP foot 6 RF closes to LF CP F DW BCT on 6 Nil WF S slightly back

Notes:

1. The first step of a Closed Finish from ROP (step 4) is not taken in CBMP. This is because step 3 is taken in ROP which leaves the right side back; therefore, it is not possible to step back on the RF in CBMP on step 4.

2. This figure may be danced with an Open Finish, in which case step 6 will be "RF forward in CBMP” in ROP, and the footwork will change to heel (see Open Finish for further details).

9. OPEN REVERSE TURN (IN RIGHT OUTSIDE POSITION) – FOLLOWER Full Bronze

Commence in CP, B DC STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF back in CBMP CP DC Com to turn L on 1 1 BH Q QQS: Back half 2 LF side & slightly Prep P LOD 3/8 turn L btw 1 & Nil WF Q of Open forward ROP 2, BTL Reverse Turn to 3 RF forward in ROP LOD Slight body turn L Nil H S ROP CBMP on 3

4 LF forward CP LOD Com to turn L on 4 4 H Q QQS: Closed 5 RF side & slightly CP B DW 3/8 turn L btw 4 & Nil IE of Q Finish from back 5 BH ROP

6 LF closes to RF, CP B DW Nil on 6 Nil WF S slightly forward

Notes:

1. The first step of the Closed Finish from Right Outside Position (step 4) is not taken in CBMP. This is because step 3 is taken in ROP which leaves the left side forward, therefore, it is not possible to step forward on the LF in CBMP on step 4.

2. This figure may be danced with an Open Finish, in which case step 6 will be "LF back in CBMP” in ROP and the footwork will change to BH (see Open Finish for further details).

10A. BACK CORTÉ – LEADER Full Bronze

Commence in CP, B DC NLOD STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 LF back, L side leading CP B DC Nil on 1 Nil IE of S S: NLOD, BH LF back moving down LOD 2 RF back in CBMP CP DC Com to turn L 2 BH Q QQS: on 2 Closed 3 LF side & slightly CP P DW 1/4 turn L btw 2 Nil IE of Q Finish forward & 3, BTL foot

4 RF closes to LF slightly CP F DW BCT on 4 Nil WF S back

Notes:

1. Other alignments may be used when dancing along the side of the room: a) Commence B DC ALOD, and take step 1 moving to C, and end F DC b) Commence B LOD, and take step 1 moving to DC, and end F DW

2. The heel of the RF (not the toe) will be released on step 1.

3. When preceded by an Open Promenade, step 1 of the Back Corté will be danced in CBMP in ROP.

4. This figure may be danced with an Open Finish, in which case step 6 will be "RF forward in CBMP” in ROP. The footwork will change to heel (see Open Finish for further details).

10A. BACK CORTÉ – FOLLOWER Full Bronze

Commence in CP, F DC NLOD STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF forward, R side CP F DC NLOD, Nil on 1 Nil H S S: leading moving RF forward down LOD 2 LF forward in CBMP CP DC Com to 2 H Q QQS: turn L on Closed 2 Finish 3 RF side & slightly CP B DW 1/4 turn Nil IE of BH Q back L btw 2 & 3 4 LF closes to RF, CP B DW Nil on 4 Nil WF S slightly forward

Notes:

1. Other alignments may be used when dancing along the side of the room: a) Commence F DC ALOD, and take step 1 moving to C, and end B DC b) Commence F LOD, and take step 1 moving to DC, and end B DW

2. When preceded by an Open Promenade, step 1 of the Back Corté will be danced in CBMP in ROP.

3. This figure may be danced with an Open Finish, in which case step 6 will be "LF back in CBMP” in ROP. The footwork will change to Ball Heel (see Open Finish for further details).

10B. BACK CORTÉ (WITH WIND UP) – LEADER Full Bronze

Commence in CP, B DC NLOD S FOOT DP ALIGN / TURN CBM FW CT SUMMARY T E POSITION DIREC P # 1 LF back CP NLOD Body turn R Slight BH S S: LF back (with wind up) 2 RF back in CP DC Com to turn L 2 BH Q QQS: CBMP Closed Finish

3 LF side & slightly CP P DW 1/4 turn L btw 2 Nil IE of foot Q forward & 3, BTL

4 RF closes to LF CP F DW BCT on 4 Nil WF S slightly back

Notes:

1. Other alignments may be used when dancing along the side of the room: a) Commence B DC ALOD, and take step 1 moving to C, and end F DC (using same amount of turn as in chart) b) Commence B LOD, and take step 1 moving to DW, and end F DW (3/8 turn btw 2 & 3, BTL)

2. The heel of the RF (not the toe) will be released on step 1.

3. This figure must be led from a feet closed position. Therefore, you cannot precede a Back Corté (with wind up) with an Open Finish.

4. This figure may be danced with an Open Finish, in which case step 4 will be "RF forward in CBMP” in ROP, and the footwork will change to Heel (see Open Finish for further details).

10B. BACK CORTÉ (WITH WIND UP) – FOLLOWER Full Bronze

Commence in CP, F DC NLOD STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF forward CP NLOD Body turn Nil H S S: R RF forward (with wind up) 2 LF forward in CBMP CP DC Com to 2 H Q QQS: turn L on Closed Finish 2

3 RF side & slightly back CP B DW 1/4 turn L Nil IE of BH Q btw 2 & 3

4 LF closes to RF, CP B DW Nil on 4 Nil WF S slightly forward

Notes:

1. Other alignments may be used when dancing along the side of the room: a) Commence F DC ALOD, and take step 1 moving to C, and end B DC (using same amount of turn as in chart) b) Commence F LOD, and take step 1 moving to DW, and end B DW (3/8 turn btw 2 & 3)

2. This figure may be danced with an Open Finish, in which case step 4 will be "LF back in CBMP” in ROP, and the footwork will change to Ball Heel (see Open Finish for further details).

11. LEFT FOOT ROCK – LEADER Full Bronze

Commence in CP, B LOD S FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY T E DIREC P # 1 LF back, with slight L side lead CP LOD Nil Nil IE of BH Q QQS: LF back 2 Transfer weight forward to RF, CP ALOD Nil Nil H Q Rock maintain R side lead

3 LF back, small step, maintain L CP LOD Nil Nil IE of BH S side lead

Notes for Leader and Follower:

1. When the Left Foot Rock is preceded with an Open Finish, all three steps of the Left Foot Rock will be danced in CBMP in ROP. In this case, up to 1/4 turn right may be made over all three steps, using CBM on step 1 and 2.

2. When following a Left Foot Rock with a Closed Finish, 1/8 turn left is made between the last step of the Left Foot Rock and the first step of the Closed Finish. Therefore, the first step of the Closed Finish moves DC.

11. LEFT FOOT ROCK – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF forward, slight R side CP LOD Nil Nil H Q QQS: lead RF forward Rock 2 Transfer weight back to CP ALOD Nil Nil IE of Q LF, maintain L side lead BH

3 RF forward, small step, CP LOD Nil Nil H S maintain R side lead

Notes for Leader and Follower:

12. RIGHT FOOT ROCK – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT POSITION DP ALIGN TURN CBM FW CT SUMMARY # / DIREC 1 RF back in CBMP CP LOD Nil Nil BH Q QQS: RF back 2 Replace weight forward to LF in CP ALOD Nil Nil H Q Rock CBMP

3 RF back, small step, in CBMP CP LOD Nil Nil BH S

Notes:

1. May commence and move to DC or C.

2. Footwork on step 1 may be taken as ball.

12. RIGHT FOOT ROCK – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT POSITION DP ALIGN TURN CBM FW CT SUMMARY # / DIREC 1 LF forward in CBMP CP LOD Nil Nil H Q QQS: LF forward 2 Replace weight back to RF in CP ALOD Nil Nil BH Q Rock CBMP

3 LF forward, small step, in CBMP CP LOD Nil Nil H S

Notes:

1. May commence and move to DC or C.

2. Footwork on step 2 may be taken as ball.

13. BASIC REVERSE TURN – LEADER Full Bronze

Commence in CP, F DC STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 LF forward in CBMP CP DC Com to 1 H Q QQS: turn L Forward half of on 1 Viennese Reverse Turn 2 RF side & slightly CP B LOD 3/8 turn Nil BH Q back L btw 1 & 2

3 LF crosses in front of CP B LOD Nil on 3 Nil WF S RF

4 RF back CP LOD Com to 4 BH Q QQS: turn L Closed Finish on 4

5 LF side & slightly CP P DW 3/8 turn Nil IE of Q forward L btw 4 foot & 5, BTL

6 RF closes to LF CP F DW BCT on Nil WF S slightly back 6

Note for Leader and Follower:

1. The count of “QQ& QQS” may also be used.

2. This figure may be danced with an Open Finish, in which case step 6 will be "RF forward in CBMP” in ROP, and the footwork will change to heel (see Open Finish for further details).

13. BASIC REVERSE TURN – FOLLOWER Full Bronze

Commence in CP, B DC STEP FOOT POSITION DP ALIGN / TURN CBM FW CT SUMMARY # DIREC 1 RF back in CBMP CP DC Com to turn 1 BH Q QQS: L on 1 Back half of Viennese 2 LF side & slightly CP P LOD 3/8 turn L Nil WF Q Reverse Turn forward btw 1 & 2, BTL

3 RF closes to LF CP F LOD BCT on 3 Nil WF S slightly back

4 LF forward CP LOD Com to turn 4 H Q QQS: L on 4 Closed Finish

5 RF side & slightly CP B DW 3/8 turn L Nil IE of Q back btw 4 & 5 BH

6 LF closes to RF, CP B DW Nil on 6 Nil WF S slightly forward

Note for Leader and Follower:

1. The count of “QQ& QQS” may also be used.

2. This figure may be danced with an Open Finish, in which case step 6 will be "LF back in CBMP” in ROP, and the footwork will change to Ball Heel (see Open Finish for further details).

14. OPEN REVERSE TURN (IN LINE) – LEADER Full Bronze

Commence in CP, F DC STEP FOOT DP ALIGN / TURN CBM FW CT SUMMARY # POSITION DIREC 1 LF forward CP DC Com to turn L on 1 1 H Q QQS: in CBMP Forward half of Open Reverse 2 RF side & CP B LOD 3/8 turn L btw 1 & 2 Nil BH Q Turn (In Line) slightly back

3 LF back, L CP LOD Nil on 3 Nil IE of BH S side leading

4 RF back in CP DC 1/8 turn L btw 3 & 4 4 BH Q QQS: CBMP Closed Finish

5 LF side & CP P DW 1/4 turn L btw 4 & 5, Nil IE of foot Q slightly BTL forward

6 RF closes CP F DW BCT on 6 Nil WF S to LF slightly back

Notes:

1. The heel of the RF (not the toe) will be released on step 3.

2. This figure may be danced with an Open Finish, in which case step 6 will be "RF forward in CBMP” in ROP, and the footwork will change to heel (see Open Finish for further details).

14. OPEN REVERSE TURN (IN LINE) – FOLLOWER Full Bronze

Commence in CP, B DC STEP FOOT DP ALIGN / TURN CBM FW CT SUMMARY # POSITION DIREC 1 RF back in CP DC Com to turn 1 BH Q QQS: CBMP L on 1 Back half of Open Reverse Turn (In 2 L heel CP L Toe P LOD, 3/8 turn L Nil WF Q Line), (heel turn) closes to R end F LOD btw 1 & 2 heel (Tango heel turn)

3 RF forward, CP LOD Nil on 3 Nil H S R side leading

4 LF forward CP DC 1/8 turn L 4 H Q QQS: in CBMP btw 3 & 4 Closed Finish

5 RF side & CP B DW 1/4 turn L Nil IE of BH Q slightly back btw 4 & 5

6 LF closes to CP B DW Nil on 6 Nil WF S RF, slightly forward

Note: This figure may be danced with an Open Finish, in which case step 6 will be "LF back in CBMP” in ROP, and the footwork will change to Ball Heel (see Open Finish for further details).

Precedes and Follows For Creating Tango Choreography

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B (except where alignment and free foot for figures in noted) Column B Column A Column B LEADER FOLLOWER • RF forward • LF forward Walk LF FREE TO GO RF FREE TO GO Walk (Exception: FORWARD, F DW BACKWARD, B DW should not be • Open F DW B DW Promenade preceded by a RF forward • Closed Walk) Promenade • Progressive • Link The following • Progressive figures may end Side Step with a Closed or Open Finish

• Back Corté • Progressive Side Step Reverse Turn • Natural Rock

Turn Ends DW F Starts F DW • Open Reverse Turn in ROP • Basic Reverse Turn • Open Reverse Turn In Line

Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede any The diagrams indicate the figure in Column B starting alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Progressive Link • Closed LF FREE TO GO RF FREE TO GO • Natural Twist Turn Promenade FORWARD FORWARD • (in PP), (in PP), • Natural Promenade Turn Natural Twist Turn P DW, moving P DC, moving • RF forward walk, then turn to LOD LOD PP • Natural Promenade Mov LOD Any figure with a Closed or Turn

Open Finish turning to PP at F DC F DW end of last step, such as: • Open Promenade Closed Promenade o in PP o Progressive Side Step Reverse Turn o Natural Rock Turn o Back Corté with or without wind up Starts PDW o any of the three Reverse PP in Ends P DW Turns o Open Promenade

Ends with Leaders LF Free Followers RF Free

(Exception: F LOD B LOD • Open Promenade should not be F LOD B LOD • Back Corté (may end preceded by a with Closed or Open RF forward Finish) Walk) • Progressive Link Ends F LOD LOD F Ends Ends with Starts F LOD • Progressive Side Step Leaders LF Free

Followers RF Free Column A Column B LEADER FOLLOWER • Natural Twist Turn • Closed LF FREE TO GO RF FREE TO GO

Promenade FORWARD FORWARD • Open (in PP), P DC, (in PP),

Promenade moving C P DC ALOD, moving C

F DC

Mov C moving C Ends with Endsin P DC PP Leaders LF Free Starts P DC in PP F DC ALOD Followers RF Free

Any figure in Column A may precede any The diagrams indicate the figure in Column B (except where noted) starting alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • RF forward • Progressive Link LF FREE TO GO RF FREE TO GO Walk • Open Reverse Turn FORWARD, F DC BACKWARD, B DC • Closed in ROP F DC B DC Promenade • Basic Reverse Turn • Open • Open Reverse Turn Promenade In Line • Back Corté • Progressive Side (may end with Step Reverse Turn Closed or Open Finish) At a corner (starts F DW NLOD):

• LF forward Walk

Ends DC F

Starts F DC (Exception, should not be preceded by a RF forward Walk) • Progressive Side Ends with Step Leaders LF Free • Progressive Link Followers RF Free Column A Column B LEADER FOLLOWER • Progressive Link • Closed Promenade LF FREE TO GO RF FREE TO GO FORWARD (in PP), FORWARD (in PP), • Natural • Open Promenade Promenade Turn P LOD, moving DC P C, moving DC At a corner (starts P W, • Natural Twist moving DW): F LOD Turn Mov DC • Natural Twist Turn

• Natural Promenade Turn F C

movingDC Ends with EndsP in LOD PP Leaders LF Free Starts P LOD PP, in Followers RF Free

Any figure in Column A may The diagrams indicate the starting precede any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • LF forward • RF RF FREE TO GO LF FREE TO GO Walk forward FORWARD, F DW BACKWARD, B DW

• Progressive Walk F DW B DW Side Step • Natural Rock Turn

Ends with DW F Ends Starts F DW Leaders RF Free

Followers LF Free Column A Column B LEADER FOLLOWER • LF forward • RF RF FREE TO GO LF FREE TO GO Walk forward FORWARD, F LOD BACKWARD, B LOD Walk F LOD B LOD

Ends F LOD F Ends Ends with Starts F LOD Leaders RF Free

Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • LF forward Walk • RF forward RF FREE TO GO LF FREE TO GO Walk FORWARD, F DC BACKWARD, F DC F DC B DC

Ends DC F Starts F DC Ends with

Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • 1-4 of • Back Corté LF FREE TO GO RF FREE TO GO Progressive • LF Rock BACKWARD, B LOD FORWARD, F LOD Side Step B LOD F LOD Reverse Turn • LF back Walk • RF Rock • RF Back Walk

Ends B LOD Starts B LOD Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B (except where alignment and free foot for figures in noted) Column B Column A Column B LEADER FOLLOWER Leader turning 1/4 • Back Corté * LF FREE TO GO RF FREE TO GO BACKWARD, FORWARD, turn R to end in CP • LF Rock* ** B DC, moving N LOD F DC, moving N LOD • Natural • LF Back Walk Promenade (Exception, B DC N LOD F DC N LOD Turn (Leader may not follow turning to CP) an Open PREV PREV • Natural Twist Promenade) LOD LOD Turn *when preceded At a corner: by an Open st • Closed Promenade, 1 Promenade step will be in Ends B DC Ends CBMP and ROP. • Open Promenade (at **The LF Rock a corner) may turn up to 1/4 Ends with NLOD moving DC B Starts turn R Leaders LF Free Followers RF Free Column A Column B LEADER FOLLOWER • 1-7 of • RF Back Walk RF FREE TO GO LF FREE TO GO Progressive BACKWARD, B LOD FORWARD, F LOD • Side Step RF Rock Reverse Turn • Closed Finish B LOD F LOD • LF Back Walk • Open Finish

• LF Rock • 1-3 of Open Reverse Turn in ROP • 1-3 of Basic Reverse Turn • 1-3 of Open Ends B LOD LOD B Ends

Reverse Turn In LOD B Starts Line Ends with Leaders RF Free Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in Column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • 1-4 of Natural • RF Back Walk RF FREE TO GO LF FREE TO GO Rock Turn • RF Rock BACKWARD, B DC FORWARD, F DC

• LF Back Walk • Closed Finish B DC F DC • LF Rock • Open Finish

Ends with Ends B DC Starts B DC Leaders RF Free

Followers LF Free

Jr. Associate Bronze Ballroom Tango Routine - LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 1. --- 2 Walks – LF, RF F DW F DW SS 2. 1 Progressive Link F DW P DW QQ 3. 2 Closed Promenade P DW (to move F DW SQQS LOD) 4. 3 Progressive Side Step F DW F DW QQS 5. --- Walk on RF F DW F DW S 6. 1 Progressive Link F DW P DW QQ 7. 5 Natural Twist Turn (at corner) P DW (to move P DW NLOD SQQS QQ LOD)

2 8. 2 Closed Promenade P DW (to move F DW SQQS LOD) 9. 3 Progressive Side Step F DW F DW QQS 10. 6 Natural Rock Turn F DW F DW S QQS QQS 11. --- 2 Walks – LF, RF (curving left) F DW F DC SS 12. 4 Progressive Side Step F DC F DW QQS, S, QQS, Reverse Turn QQS 13. 1 Progressive Link F DW P DW QQ 14. 7 Natural Promenade Turn (at P DW (to move P DW NLOD SQQS corner) LOD)

3 15. 2 Closed Promenade P DW (to move F DW SQQS LOD) 16. Progressive Side Step F DW F DW QQS 17. Walk on RF F DW F DW S 18. Progressive Link F DW P DW QQ 19. Natural Twist Turn (at corner) P DW (to move P DW NLOD SQQS QQ LOD)

4 Wall 4 is identical to Wall 2

Note: Walks and Closed Finishes are basic actions of Tango. Charts for these basic actions appear at the beginning of this section.

Jr. Associate Bronze Ballroom Tango Routine - FOLLOWER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 1. --- 2 Walks – LF, RF B DW B DW SS 2. 1 Progressive Link B DW P DC QQ 3. 2 Closed Promenade P DC (to move B DW SQQS LOD) 4. 3 Progressive Side Step B DW B DW QQS 5. --- Walk on RF B DW B DW S 6. 1 Progressive Link B DW P DC QQ 7. 5 Natural Twist Turn (at corner) P DC (to move P DC NLOD SQQS QQ LOD)

2 8. 2 Closed Promenade P DC (to move F DW SQQS LOD) 9. 3 Progressive Side Step B DW B DW QQS 10. 6 Natural Rock Turn B DW B DW S QQS QQS 11. --- 2 Walks – LF, RF (curving left) B DW B DC SS 12. 4 Progressive Side Step Reverse B DC B DW QQS, S, QQS, Turn QQS 13. 1 Progressive Link B DW P DC QQ 14. 7 Natural Promenade Turn (at P DC (to move P DC NLOD SQQS corner) LOD)

3 15. 2 Closed Promenade P DC (to move B DW SQQS LOD) 16. Progressive Side Step B DW B DW QQS 17. Walk on RF B DW B DW S 18. Progressive Link B DW P DC QQ 19. Natural Twist Turn (at corner) P DC (to move P DC NLOD SQQS QQ LOD)

4 Wall 4 is identical to Wall 2

Note: Walks and Closed Finishes are basic actions of Tango. Charts for these basic actions appear at the beginning of this section.

Associate (Bronze) Ballroom Tango Routine - LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 1. --- 2 Walks (curving left) F DW F DC SS 2. 1 Progressive Link F DC P DC QQ 3. 2 Closed Promenade P DC (to move C) F DC SQQS 4. 9 Open Reverse Turn, Partner F DC F DW QQS QQS Outside 5. --- 2 Walks F DW F DW SS 6. 1 Progressive Link F DW P DW QQ 7. 2 Closed Promenade P DW (to move F DW SQQS LOD) 2 8. 11 Left Foot Rock B NLOD B LOD QQS (with 1/8 turn R on 1) 9. 12 Right Foot Rock B LOD B LOD QQS 10. 10 Back Corté B LOD F DW SQQS 11. --- Walk on LF F DW F DW S 12. 6 Natural Rock Turn F DW F DW S QQS QQS 13. --- 2 Walks (curving left) F DW F DC SS 14. 4 Progressive Side Step F DC F DW QQS, S, Reverse Turn QQS, QQS 15. --- 2 Walks F DW F DW SS 16. 1 Progressive Link F DW P DW QQ 17. 2 Closed Promenade P DW (to move F DW SQQS LOD) 18. 1 Progressive Link F DW P DW QQ 19. 7 Natural Promenade Turn (at P DW, (to move P DW NLOD SQQS corner) LOD)

Note: Walks and Closed Finishes are basic actions of Tango. Charts for these basic actions appear at the beginning of this section.

Routine continued on next page.

Associate (Bronze) Ballroom Tango Routine - LEADER (continued from previous page)

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 3 20. 2 Closed Promenade P DW (to move F DW SQQS LOD) 21. --- 2 Walks (curving left) F DW F DC SS 22. 13 Basic Reverse Turn F DC F DW QQS QQS 23. 1 Progressive Link F DW P DW QQ 24. 8 Open Promenade P DW (to move F btw DW & W SQQS LOD) 25. 10 Back Corté (from ROP) B DC ALOD F DC SQQS 26. 14 Open Reverse Turn In line F DC F DW QQS QQS 27. 3 Progressive Side Step F DW F DW QQS 28. --- Walk on RF F DW F DW S 29. 1 Progressive Link F DW P DW QQ 30. 5 Natural Twist Turn P DW (to move P DW SQQS QQ LOD) 31. 5 Natural Twist Turn (at corner, P DW (to move F DW NLOD SQQS QQ, Leader turning 1/4 R to end in LOD) QQS, QQS CP), Left Foot Rock, Closed Finish

4 32. --- 2 Walks (curving left) F DW F DC SS 33. 4 1 - 4 of Progressive Side Step F DC F DW QQS, S, Reverse Turn, with Back Corté SQQS ending 34. 1 Progressive Link F DW P DW QQ 35. 7 Natural Promenade Turn (at P DW (to move F DW NLOD SQQS, corner, Leader turning 1/4 R to LOD) QQS, QQS end in CP), Left Foot Rock, Closed Finish

Note: Walks and Closed Finishes are basic actions of Tango. Charts for these basic actions appear at the beginning of this section.

Associate (Bronze) Ballroom Tango Routine - FOLLOWER

Wall Order Fig # Figure Name Starting Alignment Ending Count Alignment 1 1. --- 2 Walks (curving left) B DW B DC SS 2. 1 Progressive Link B DC P DC QQ 3. 2 Closed Promenade P DC ALOD (to B DC SQQS move C) 4. 9 Open Reverse Turn, Partner B DC B DW QQS QQS Outside 5. --- 2 Walks B DW B DW SS 6. 1 Progressive Link B DW P DC QQ 7. 2 Closed Promenade P DC (to move B DW SQQS LOD) 2 8. 11 Left Foot Rock (with 1/8 turn F NLOD F LOD QQS R on 1) 9. 12 Right Foot Rock F LOD F LOD QQS 10. 10 Back Corté F LOD B DW SQQS 11. --- Walk on LF B DW B DW S 12. 6 Natural Rock Turn B DW B DW S QQS QQS 13. --- 2 Walks (curving left) B DW B DC SS 14. 4 Progressive Side Step B DC B DW QQS, S, Reverse Turn QQS, QQS 15. --- 2 Walks B DW B DW SS 16. 1 Progressive Link B DW P DC QQ 17. 2 Closed Promenade P DC (to move B DW SQQS LOD) 18. 1 Progressive Link B DW P DC QQ 19. 7 Natural Promenade Turn (at P DC (to move P DC NLOD SQQS corner) LOD)

Note: Walks and Closed Finishes are basic actions of Tango. Charts for these basic actions appear at the beginning of this section.

Routine continued on next page.

Associate (Bronze) Ballroom Tango Routine - FOLLOWER (continued from previous page)

Wall Order Fig # Figure Name Starting Alignment Ending Count Alignment 3 20. 2 Closed Promenade P DC (to move B DW SQQS LOD) 21. --- 2 Walks (curving left) B DW B DC SS 22. 13 Basic Reverse Turn B DC B DW QQS QQS 23. 1 Progressive Link B DW P DC QQ 24. 8 Open Promenade P DC (to move B btw DC & C SQQS LOD) 25. 10 Back Corté (from ROP) F DC ALOD B DC SQQS 26. 14 Open Reverse Turn In line B DC B DW QQS QQS 27. 3 Progressive Side Step B DW B DW QQS 28. --- Walk on RF B DW B DW S 29. 1 Progressive Link B DW P DC QQ 30. 5 Natural Twist Turn P DC (to move P DC SQQS QQ LOD) 31. 5 Natural Twist Turn (at P DC (to move F DC NLOD SQQS QQ, corner), LOD) Left Foot Rock, QQS, Closed Finish QQS

4 32. --- 2 Walks (curving left) B DW B DC SS 33. 4 1 - 4 of Progressive Side B DC B DW QQS, S, Step Reverse Turn SQQS (with Back Corté ending) 34. 1 Progressive Link B DW P DC QQ 35. 7 Natural Promenade Turn P DC (to move F DC NLOD SQQS, (at corner), with Left Foot LOD) QQS, QQS Rock & (Closed Finish)

Note: Walks and Closed Finishes are basic actions of Tango. Charts for these basic actions appear at the beginning of this section.

Notes

200 Quickstep

Quickstep Contents

Quickstep Facts...... 203

Syllabus Figures

Preliminary Bronze 1A. QUARTER TURN TO RIGHT ...... 206 1B. QUARTER TURN TO LEFT ...... 208 2. PROGRESSIVE CHASSÉ ...... 210 3. FORWARD LOCK STEP ...... 212

Intermediate Bronze (Jr. Associate – Figures 1A-8B) 4. NATURAL TURN WITH HESITATION ...... 214 5. PROGRESSIVE CHASSÉ TO RIGHT ...... 216 6. BACK LOCK ...... 218 7. RUNNING FINISH ...... 220 8A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) ...... 222 8B. NATURAL SPIN TURN (AT A CORNER) ...... 224

Full Bronze (Associate – Figures 1A-15) 9. NATURAL TURN AND BACK LOCK ...... 226 10A. TIPPLE CHASSÉ TO RIGHT (AT A CORNER) ...... 228 10B. TIPPLE CHASSÉ TO RIGHT (ALONG SIDE OF ROOM) ...... 230 11. DOUBLE REVERSE SPIN ...... 232 12. CHASSÉ REVERSE TURN ...... 234 13. NATURAL PIVOT TURN ...... 236 14. CLOSED IMPETUS ...... 238 15. REVERSE PIVOT ...... 240

Precedes and Follows ...... 242

Routines ...... 250

201

202

Quickstep History Quickstep developed from the original Foxtrot with its kicks, fast pace and high spirits. As Foxtrot slowed down and smoothed out, its predecessor, “Quick Time Foxtrot” (sometimes referred to as “Quick Time Foxtrot and Charleston”) developed into “Quick Step Foxtrot” and eventually Quickstep.

The English continued to refine and develop Quickstep, including Waltz like elements and retaining its high-energy Charleston influences, runs, skips and fast chassés, reminiscent of Harry Fox’s Trot.

Frank Ford and Molly Spain from England danced their version of the Quickstep at the 1927 Star Championships, as a couple’s dance (rather than as a solo dance), without the Charleston leg action. The couple’s part stuck, yet, in competition today, the kicks, Charleston moves, and fast footwork have returned.

The late Alex Moore describes Quickstep as “… a dance that can never grow stale, a dance that is unquestionably the most attractive expression of rhythm the world has ever known.”

Characteristics: Quickstep is light and quick, exciting and fun to dance, employs rise and fall, changes of rhythm, swing and sway.

Musical Information • Time Signature: 4/4 • Tempo: 48-52mpm (192-208bpm) for Pro/Am, Professional, and Amateur Competitions • Count (most common for Bronze Level): SQQS, SQQ, SSS • Beat Value: Slow = 2 beats Quick = 1 beat, SQQS = 2,1,1,2 SQQ =2-1-1, SSS = 2,2,2 • Counting in Beats and Bars: 1234, 2234, 3234, 4234, etc. • Counting in Phrases: 12345678, 2234568, 32345678, 42345678, etc. • It is best to start dancing at the beginning of a 4-measure (16 count) phrase.

Similarities to Waltz Quickstep and Waltz share some common figures: • Impetus • Spin turn • Chassés • Locks

Footwork SQQS Footwork SQQS Footwork SQQ Footwork SQQ Footwork (starting forward) (starting backward) (starting forward) (starting backward)

Heel-toe Toe-heel Heel-toe Toe-heel Toe Toe Toe Toe Toe Toe Toe-heel Toe-heel Toe-heel Toe-heel

Rise and Fall The Rise and Fall will be a bit faster in Quickstep because of the speed of the music.

“Rise” encompasses both leg rise (a straightening of the knee, hip and ankle joints), and foot rise onto the front most part of the ball of the foot. In the charts, the word toe, refers to this “front most part of the ball of the foot”, since it is impractical (and almost impossible) to stand on the toes themselves. In steps with “No foot rise”, only the leg will straighten (the heel will not rise from the floor).

In Quickstep, most figures fall into two categories; figures with 4 weight changes (Chassés and Locks), and figures with 3 weight changes (1-3 of Natural turn, Chassé Reverse Turn). The rise and fall for these two types of figures are:

Four step figures • Forward Movement o Commence to rise end of 1. o Continue to rise on 2 and 3. o Up on 4, lower end of 4. • Backward Movement o Commence to rise end of 1, NFR. o Continue to rise on 2 and 3. o Up on 4, lower end of 4.

Three step figures: • Leader’s part (Commencing Forward) o Commence to rise end of 1. o Up on 2. o Up on 3, lower end of 3. • Follower’s part (commencing Backward) o Commence to rise end of 1, NFR. o Up on 2. o Up on 3, lower end of 3.

The following is a list of some of the figures that contain exceptions to these rules. The “rise and fall” for these figures is clearly outlined in the charts:

• Quarter Turn to Left • Closed Impetus • Natural Spin Turn • Running Finish • Natural Pivot Turn • Natural Turn with Hesitation

Preparation Step: This is a forward step on the LF for Leader and a backward step on the RF for Follower that is danced on counts 7, 8 of the last measure of the introductory phrase of music. This allows for a natural way to get started, since most basic figures begin with the Leader’s right foot (between the Follower’s feet), which without the preparation step, would be an uncomfortable start.

Single Walk: A forward walk for Leader (with a corresponding back walk for Follower) may be used as a connector between figures.

The single walk is danced with a “Slow” count, with no rise. The footwork is heel for Leader, and “Toe-heel” for Follower. The LF forward walk is danced in line, whereas the RF forward walk may be danced in line or in right outside position.

Examples: • Quarter Turn to Left, LF forward walk in line, Natural Spin Turn. • Natural Pivot Turn, RF walk in line, Progressive Chassé to the Right. • Running Finish, RF forward walk outside partner, Chassé Reverse Turn.

Movement Due to the speed of the music, the steps: 1. The size of a step with a “Slow” (2 beats) should be comfortable enough to transfer the body weight from one foot to the next within the 2 beats. A corresponding Q (1 beat) would be half the size of the S and a corresponding & (1/2 beat) would be half the size of a Q. 2. Compared to Waltz and Foxtrot there is less time to rise and lower. Therefore, the dance appears to be on straighter legs.

General Technical Tips • Forward Walks: Weight is taken on the moving foot, rolling from the back of the heel to the front of the foot, rolling through all parts of the foot.

1A. QUARTER TURN TO RIGHT – LEADER Preliminary Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to turn 1 Com to HT S S SQQS: R on 1 rise e/o 1 RF forward, 2 LF side CP B C 1/8 turn R Nil Cont to T Q R chassé left btw 1 & 2 rise on 2 3 RF closes to CP B DC 1/8 turn R Nil & 3 T Q R LF btw 2 & 3, BTL 4 LF diagonally CP B DC BCT on 4 Nil Up on 4, TH S S back lower e/o 4

Notes:

1. Use of sway on steps 2 and 3 helps maintain the correct offset position during the turn.

2. Sway to the R on steps 2 and 3 is optional. When sway is used, body flight is only slight, however body flight may be increased by changing sway to “straight” on steps 2 and 3.

3. When commenced F LOD, turn changes to: 1/4 R btw 1 and 2

4. When ended B LOD, turn and alignment change to: 1/4 turn R btw 1 and 2 to end B DC, B LOD on 3 and 4.

5. Step 1 will be taken “RF forward in CBMP” and in ROP when preceded by a Progressive Chassé, Forward Lock, Running Finish or Tipple Chassé.

1A. QUARTER TURN TO RIGHT – FOLLOWER Preliminary Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to turn 1 Com to TH S S SQQS: R on 1 rise LF back, e/o 1, chassé right NFR

2 RF side CP P DC 1/4 turn R Nil Cont to T Q L btw rise on 2 & 1 & 2, BTL 3

3 LF closes to CP F DC Slight body Nil T Q L RF turn R on 3

4 RF forward CP F DC BCT on 4 Nil Up on 4, TH S S & slightly lower e/o side 4

Notes:

1. Use of sway on steps 2 and 3 helps maintain the correct offset position during the turn.

2. Sway to the left on steps 2 and 3 is optional. When sway is used, body flight is only slight; however body flight may be increased by changing sway to “straight” on steps 2 and 3.

3. When commenced B LOD, turn changes to: 3/8 R btw 1 and 2 (BTL).

4. When ended F LOD, the turn and alignment change to: 3/8 turn R btw 1 and 2 (BTL) to end P LOD, F LOD on 3 and 4.

5. Step 1 will be taken “LF back in CBMP” and in ROP when preceded by a Progressive Chassé, Forward Lock, Running Finish or Tipple Chassé.

1B. QUARTER TURN TO LEFT – LEADER Preliminary Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DC Com to 1 Slight TH S S SQQ: turn L on rise RF back, 1 e/o 1, heel pivot NFR

2 LF closes CP Toward 1/4 turn L Nil Cont to H of LF, Q R toward RF, DW over 2-3 rise on (H of RF, (heel pivot 2, NFR foot flat) on RF)

3 Complete CP F DW Nil Lower RF flat, Q R heel pivot on 3 (pressure on RF, LF on B of closes to LF) RF, slightly forward, w/o wt

Notes:

1. This figure may be followed with: a) Forward walk on LF to then dance any Natural turning figure b) Figures commencing with LF forward; i.e. Double Reverse Spin

2. This figure is commonly referred to as a “Heel Pivot”.

3. When commenced B LOD, turn changes to: 3/8 turn L over steps 1-3 to end F DW.

4. When overturned to end F LOD, turn changes to: 3/8 turn L over steps 1-3.

1B. QUARTER TURN TO LEFT – FOLLOWER Preliminary Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F DC Com to turn 1 Rise e/o 1 HT S S SQQ: L on 1 Left foot forward, 2 RF side, CP B W 1/8 turn L Nil Up on 2 & T Q L side close small step btw 1 & 2 3

3 LF closes to CP B DW 1/8 turn L Nil Lower e/o TH Q L RF btw 2 & 3 3

Notes:

1. This figure may be followed with either: a) Back walk on RF to then dance any natural turning figure b) Figures commencing with RF back; i.e. Double Reverse Spin

2. When ended B LOD, alignment and turn change to: B DW on 2; 1/4 turn L btw 1 and 2; B LOD on 3.

3. When commenced F LOD, the alignment and turn change to: F LOD on 1, 1/4 turn L btw 1 and 2, 1/8 turn L btw 2 & 3 to end B DW.

4. When overturned to end B LOD, alignment and turn change to: B DW on 2; 1/4 turn L btw 1 and 2; 1/8 turn L btw 2 & 3 to end B LOD on 3.

2. PROGRESSIVE CHASSÉ – LEADER Preliminary Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DC Com to 1 Com to TH S S SQQS: turn L on rise e/o 1, RF back, 1 NFR chassé left

2 LF side CP P DW 1/4 turn L Nil Cont to T Q S btw 1 & 2, rise on 2 & BTL 3

3 RF closes to CP F DW Slight Nil T Q S LF body turn L on 3

4 LF side & Prep F DW Nil on 4 Nil Up on 4, TH S S slightly ROP lower e/o forward 4

Notes:

1. The body faces between W and DW over steps 2-4.

2. When commenced B LOD, turn changes to: 3/8 turn L btw 1 and 2 (BTL).

3. When overturned to end F LOD, turn and alignment change to: 3/8 turn L btw 1 and 2 (BTL) to end P LOD; F LOD on 3; F LOD on 4.

4. This figure may end F DC by commencing B DC ALOD (after a Closed Impetus or underturned Natural Spin Turn) and dancing the turn as in chart. Follow with a forward walk on RF, then dance any Reverse figure.

2. PROGRESSIVE CHASSÉ – FOLLOWER Preliminary Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF forward CP F DC Com to 1 Com to HT S S SQQS: turn L on rise e/o 1 LF forward, 1 chassé right 2 RF side CP B W 1/8 turn Nil Cont to T Q S L rise btw 1 & 2 on 2 & 3

3 LF closes to CP B DW 1/8 turn Nil T Q S RF L btw 2 & 3, BTL

4 RF side & Prep B DW Nil on 4 Nil Up on 4, TH S S slightly back ROP lower e/o 4

Notes:

1. The body backs between W and DW over steps 3-4.

2. When commenced F LOD, alignment and turn change to: F LOD on 1, 1/4 L btw 1 and 2 to end B W on 2.

3. When overturned to end B LOD, turn and alignment will change to: 1/4 turn L btw 1 and 2 to end B DW on 2; B LOD on 3 and 4.

4. This figure may end B DC by commencing F DC ALOD (after a Closed Impetus or underturned Natural Spin Turn) and dancing the turn as in chart. Follow with a back walk on LF, then dance any Reverse figure.

3. FORWARD LOCK STEP – LEADER Preliminary Bronze

Commence in Prep ROP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward in ROP F DW Nil on Slight Com to HT S S SQQS: CBMP 1 rise e/o 1 RF Forward Lock Step 2 LF diag ROP F DW Nil on Nil Cont to T Q S forward 2 rise on 2 & 3 RF crosses ROP F DW Nil on Nil 3 T Q S behind LF 3

4 LF diag ROP F DW Nil on Nil Up on 4, TH S S forward 4 lower e/o 4

Notes:

1. Although this figure travels toward DW throughout, the body continues facing between W and DW.

2. Slight CBM is used on step 1 in order to create good hip alignment and provide room to step in ROP.

3. FORWARD LOCK STEP – FOLLOWER Preliminary Bronze (BACK LOCK) Commence in Prep ROP, B DW S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 LF back in ROP B DW Nil on 1 Slight Com to rise TH S S SQQS: CBMP e/o 1, NFR LF Back Lock Step 2 RF back ROP B DW Nil on 2 Nil Cont to rise T Q S on 2 & 3 3 LF crosses in ROP B DW Nil on 3 Nil H then Q S front of RF T of LF

4 RF diag back ROP B DW Nil on 4 Nil Up on 4, TH S S lower e/o 4

Notes:

1. Although this figure travels toward DW throughout, the body continues backing between W and DW.

2. Slight CBM is used on step 1 to provide room for Leader to step comfortably in ROP.

4. NATURAL TURN WITH HESITATION – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Rise e/o 1 HT S S SQQ: turn Forward R on 1 half of Natural 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R Turn (1-3 btw 1 & 2 of Natural)

3 RF closes CP B LOD 1/8 turn R Nil Up on 3, TH Q R to LF btw 2 & 3 lower e/o 3 4 LF back CP B LOD Com to 4 Nil on 4 TH S S SSS: turn LF back, R on 4 heel pull

5 RF side, CP F DC 3/8 turn R Nil Nil on 5 H, IE S L small step btw 4 & 5 of foot, (heel pull) WF 6 LF closes to CP F DC Nil on 6 Nil Nil on 6 IE of B S L RF w/o wt

Notes:

1. If danced at a corner, this figure may end: a) F DW NLOD (with the same turn as in the chart) b) F NLOD by turning 1/4 turn R btw 4 and 5 to end F NLOD on 5 and 6 c) F DC of NLOD by turning 1/8 turn R btw 4 and 5 to end F DC of NLOD on 5 and 6

2. Step 1 will be taken “RF forward in CBMP” and in ROP when preceded by a Progressive Chassé, Forward Lock, Running Finish or Tipple Chassé.

4. NATURAL TURN WITH HESITATION – FOLLOWER Intermediate Bronze

Commence in CP, B DW S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 LF back CP B DW Com to turn R 1 Rise e/o TH S S SQQ: on 1 1, NFR Back half of Natural 2 RF side CP P LOD 3/8 turn R btw 1 Nil Up on 2 T Q L Turn (1-3 of & 2, BTL Natural)

3 LF closes CP F LOD BCT on 3 Nil Up on 3, TH Q L to RF lower e/o 3

4 RF forward CP F LOD Com to turn R 4 Nil on 4 HT S S SSS: on 4 RF forward to 5 LF side CP B DC 3/8 turn R btw 4 Nil Nil on 5 TH S R Hesitation & 5

6 RF closes CP B DC Nil on 6 Nil Nil on 6 IE of S R to LF w/o B wt

Notes:

1. The turn between steps 4 and 5 are not divided (as is typical on the outside of turn) because of the identical amounts of turn being made by the Leader’s body and feet during the Leader’s “heel pull” between steps 4 and 5.

2. When danced at a corner, this figure may end: a) B DW NLOD (with the same turn as in the chart) b) B NLOD by turning 1/4 turn R btw 4 and 5 to end B NLOD on 5 and 6 c) B DC of NLOD by turning 1/8 turn R btw 4 and 5 to end B DC of NLOD on 5 and 6

3. Step 1 will be taken “LF back in CBMP” and in ROP when preceded by a Progressive Chassé, Forward Lock, Running Finish or Tipple Chassé.

5. PROGRESSIVE CHASSÉ TO RIGHT – LEADER Intermediate Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 LF forward CP F DC Com to turn L 1 Com HT S S SQQS: on 1 to LF forward, rise chassé e/o 1 right

2 RF side CP B W 1/8 turn L btw 1 Nil Cont T Q S & 2 to rise 3 LF closes to CP B DW 1/8 turn L btw 2 Nil on 2 T Q S RF & 3, BTL & 3

4 RF side & Prep B DW Nil on 4 Nil Up TH S S slightly back ROP on 4, lower e/o 4

Note: When commenced F LOD, alignment and turn change to: F LOD on 1; 1/4 turn L btw 1 and 2.

5. PROGRESSIVE CHASSÉ TO RIGHT – FOLLOWER Intermediate Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DC Com to 1 Com to rise TH S S SQQS: turn L on 1 e/o 1, NFR RF back, chassé left 2 LF side CP P DW 1/4 turn L Nil Cont to rise T Q S btw 1 & 2, on 2 & 3 BTL

3 RF closes CP F DW Slight Nil T Q S to LF body turn L on 3

4 LF side & Prep F DW Nil on 4 Nil Up on 4, TH S S slightly ROP lower e/o 4 forward

Note: When commenced B LOD, alignment and turn change to: B LOD on 1; 3/8 turn L btw 1 and 2 (BTL).

6. BACK LOCK – LEADER Intermediate Bronze

Commence in Prep ROP, B DW STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 LF back in ROP B DW Nil on 1 Slight Com TH S S SQQS: CBMP to LF Back rise Lock e/o 1, NFR

2 RF back ROP B DW Nil on 2 Nil Cont T Q S to 3 LF crosses in ROP B DW Nil on 3 Nil rise H, then T Q S front of RF on 2 of LF & 3 4 RF diag back ROP B DW Nil on 4 Nil Up TH S S on 4, lower e/o 4

Notes:

1. Footwork for Leader on step 3 may also be Toe.

2. The Leader may use foot rise at the end of step 1. In this case, the rise & fall will change to “Com to rise e/o 1”. The footwork will change to: THT (however, the L heel should rise gradually). Footwork on step 3 would change to Toe.

3. Although this figure travels toward DW throughout, the body continues backing between W and DW.

4. Slight CBM is used on step 1 to provide room for Follower to step comfortably in ROP.

6. BACK LOCK – FOLLOWER Intermediate Bronze

Commence in Prep ROP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward in ROP F DW Nil on Slight Com to rise HT S S 1st Meas: CBMP 1 e/o 1 RF forward Lock 2 LF diag ROP F DW Nil on Nil Cont to rise T Q S forward 2 on 2 & 3 3 RF crosses ROP F DW Nil on Nil T Q S behind LF 3

4 LF diag ROP F DW Nil on Nil Up on 4, TH S S forward 4 lower e/o 4

Notes:

1. Although this figure travels toward DW throughout, the body continues facing between W and DW.

2. Slight CBM is used on step 1 in order to create good hip alignment and provide room to step in ROP.

7. RUNNING FINISH – LEADER Intermediate Bronze

Commence in Prep ROP, B DW STEP FOOT POSITION DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # FALL 1 LF back in CBMP ROP B DW Com 1 Rise e/o 1 T Q S QQS: to Back, side, turn R forward on 1 (turning right) 2 RF side & slightly CP P LOD 3/8 Nil Up on 2 T Q L forward turn R btw 1 & 2, BTL

3 LF forward, L side Prep F LOD BCT Nil Up on 3, TH S L leading ROP (note lower e/o 1) 3

Notes:

1. On step 3 the body turns slightly farther than the feet to create L side leading.

2. The alternative count of SQQ may be used, in which case footwork on step 1 changes to TH. When this occurs the rise & fall changes to: “Rise e/o 1, NFR”.

3. This figure may start and/or end in any of the following alignments and may turn as in chart or be underturned:

Along the side of the room: a) From B LOD to F DC (using the same turn as in the chart) b) From B DW to F DC, making 1/4 turn R btw 1 and 2

At a corner: a) From B LOD to F DW of NLOD (using the same turn as in the chart). b) From B LOD to F NLOD, making 1/4 turn R btw 1 and 2 c) From B DW to F DW of NLOD, making 1/4 turn R btw 1 and 2

4. When turning 1/4 R between steps 1 and 2, the body will not “turn less”, and alignment for step 2 will be a facing alignment (rather than a pointing alignment).

7. RUNNING FINISH – FOLLOWER Intermediate Bronze

Commence in Prep ROP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward ROP F DW Com to 1 Rise e/o 1 HT Q S QQS: in CBMP turn R on Forward, 1 side, back 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R (turning btw 1 & 2 right)

3 RF back, R Prep B LOD 1/8 turn R Nil Up on 3, TH S R side leading ROP btw 2 & 3 lower e/o 3 (note 1)

Notes:

1. On step 3 the body turns slightly farther than the feet to create R side leading.

2. The alternative count of SQQ may be used.

3. This figure may start and/or end in any of the following alignments and may turn as in chart or be underturned:

Along the side of the room: a) From F LOD to B DC (using the same turn as in the chart) b) From F DW to B DC, making 1/4 turn R btw 1 and 2

At a corner: a) From F LOD to B DW of NLOD (using the same turn as in the chart) b) From F LOD to B NLOD, making 1/4 turn R btw 1 and 2 c) From F DW to B DW of NLOD making 1/4 turn R btw 1 and 2

8A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Rise e/o 1 HT S S 1st Meas: turn R on RF forward 1 half of Natural 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R Turn (1-3 btw 1 & 2 of Natural)

3 RF closes CP B LOD 1/8 turn R Nil Up on 3, TH Q R to LF btw 2 & 3 lower e/o 3

4 LF back, CP Down 1/2 turn R 4 Nil on 4 THB S S 2nd Meas: (pivot), RF LOD, on 4 LF back, held in end pivot & CBMP F LOD Spin

5 RF forward CP F LOD Cont to 5 Rise e/o 5 HT S S in CBMP turn R on 5 6 LF side & CP B DC 3/8 turn R Nil Up on 6, TH S S slightly back btw 5 & 6 lower e/o 6

Notes:

1. Step 1 will be taken “RF forward in CBMP” and in ROP when preceded by the Progressive Chassé, Forward Lock Step, Running Finish, or Tipple Chassé to Right.

2. The footwork of THB on step 4 is danced by making the turn on the ball of the foot, with the heel lowering and lightly touching the floor during the turn. 3. On step 4 the left leg and foot track wide (slightly toward the alignment of B DW). The alignment Down LOD is given as a direction on step 4 to indicate that the body (center) moves down the room, along the LOD. 4. Note the “delayed rise” over steps 4 and 5. 5. When the Natural Spin Turn is danced underturned along the side of the room, it will end B DC ALOD or B C. The turns will be divided as follows: a. To end B DC ALOD: 3/8 turn R on 4; Cont to turn R on 5, 1/4 turn R btw 5 and 6 b. To end B C: 3/8 turn R on 4; Cont to turn R on 5; 3/8 turn R btw 5 and 6 6. When followed by a Reverse Pivot, the footwork on step 6 will be TH. The left leg remains lengthened while lowering the heel. The rise & fall will therefore be: “Up on 6”. ® ® Copyright © 2013 DVIDA Quickstep DVIDA All Rights Reserved 222

8A. NATURAL SPIN TURN (ALONG SIDE OF ROOM) – FOLLOWER Intermediate Bronze

Commence in CP, B DW S FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY T E POSITION & P FALL # 1 LF back CP B DW Com to 1 Rise TH S S 1st Meas: turn R e/o 1, Back half of NFR Natural Turn 2 RF side CP P LOD 3/8 turn Nil Up on T Q L (1-3 of R btw 1 2 Natural) & 2, BTL 3 LF closes to CP F LOD BCT on 3 Nil Up on TH Q L RF 3, lower e/o 3 4 RF forward CP F LOD, 1/2 R on 4 Nil on HT S S 2nd Meas: (pivoting end 4 4 RF forward action) B LOD pivoting 5 LF back & CP B LOD Cont to Nil Rise T of S S action & Spin slightly turn R on e/o 5 LF, (IE leftwards, RF 5 of T of brushes to LF RF) 6 RF diag CP F DC 3/8 turn Nil Up on TH S S forward R btw 5 6, & 6 lower e/o 6 Notes 1. Step 1 will be taken “LF back in CBMP” and in ROP when preceded by the Progressive Chassé, Forward Lock Step, Running Finish, or Tipple Chassé to Right.

2. Although the Leader has CBM on step 5, the Follower will not use CBM on step 5 because coming from the outside of a turn to a brushing action does not require it. The action of the Follower’s left leg is to swing diagonally forward, then swivel on the ball of the LF, ending with a foot position of: LF back and slightly side.

3. Note the “delayed rise” over steps 4 and 5.

When the Natural Spin Turn is danced underturned along the side of the room, it will end F DC ALOD or F C. The turns will be divided as follows: a) To end F DC ALOD: 3/8 turn R on 4; Cont to turn R on 5; 1/4 turn R btw 5 and 6 b) To end F C: 3/8 turn R on 4; Cont to turn R on 5; 3/8 turn R btw 5 and 6

4. When followed by a Reverse Pivot, the footwork on step 6 will be: Toe. The rise & fall will therefore be: “Up on 6”.

5. Note the “delayed rise” over steps 4 and 5.

8B. NATURAL SPIN TURN (AT A CORNER) – LEADER Intermediate Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Rise e/o HT S S 1st Meas: turn R on 1 RF forward 1 half of Natural 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R Turn (1-3 btw 1 and of Natural) 2 3 RF closes CP B LOD 1/8 turn R Nil Up on 3, TH Q R to LF btw 2 and lower e/o 3 3 4 LF back, CP Down 3/8 turn 4 Nil on 4 THB S S 2nd Meas: (pivot), RF LOD, R on 4 LF back held in end F pivot and CBMP DW Spin NLOD 5 RF forward CP F DW Cont to 5 Rise e/o HT S S in CBMP turn R on 5 5 6 LF side and CP B DC 1/4 turn R Nil Up on 6, TH S S slightly back btw 5 and lower e/o 6 6

Notes:

1. Step 1 will be taken “RF forward in CBMP” and in ROP when preceded by the Progressive Chassé, Forward Lock Step, Running Finish, or Tipple Chassé to Right.

8B. NATURAL SPIN TURN (AT A CORNER) – FOLLOWER Intermediate Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to 1 Rise e/o TH S S 1st Meas: turn R on 1, NFR Back half 1 of Natural 2 RF side CP P LOD 3/8 turn R Nil Up on 2 T Q L Turn (1-3 btw 1 & 2, of Natural) BTL 3 LF closes to CP F LOD BCT on 3 Nil Up on 3, TH Q L RF lower e/o 3 4 RF forward CP F 3/8 turn R 4 Nil on 4 HT S S 2nd Meas: (pivoting LOD, on 4 RF forward action) end pivoting B DW action & NLOD Spin 5 LF back & CP B DW Cont to Nil Rise e/o T of S S slightly turn R on 5 LF, (IE leftwards, RF 5 of T of brushes to RF) LF 6 RF diag CP F DC 1/4 turn R Nil Up on 6, TH S S forward btw 5 & 6 lower e/o 6

Notes

1. Step 1 will be taken “LF back in CBMP” and in ROP when preceded by the Progressive Chassé, Forward Lock Step, Running Finish, or Tipple Chassé to Right.

3. Note the “delayed rise” over steps 4 and 5.

4. When followed by a Reverse Pivot, the footwork on step 6 will be: Toe. The rise & fall will therefore be: “Up on 6”.

9. NATURAL TURN & BACK LOCK – LEADER Full Bronze

Commence in CP, F DW S FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY T E POSITION FALL P # 1 RF forward CP F DW Com to 1 Rise e/o 1 HT S S SQQ: turn R on Forward 1 half of Natural 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R Turn (1-3 btw 1 & 2 of Natural) 3 RF closes CP B LOD 1/8 turn R Nil Up on 3, TH Q R to LF btw 2 & 3 lower e/o 3

4 LF back CP B LOD Nil on 4 4 Com to rise TH S S SQQS: e/o 4, NFR LF Back 5 RF back, Prep B LOD Nil on 5 Nil Cont to rise T Q S Lock R side ROP on 5 & 6 (from CP leading to ROP)

6 LF crosses ROP B LOD Nil on 6 Nil H, then Q S in front of T of LF RF

7 RF diag ROP B LOD Nil on 7 Nil Up on 7, TH S S back lower e/o 7

Notes:

1. Step 1 will be taken “RF forward in CBMP” and in ROP when preceded by a Progressive Chassé, Forward Lock, Running Finish or Tipple Chassé.

2. Although this figure travels toward LOD over steps 4-7, the body backs between DW and LOD over steps 5-7.

3. When commencing F LOD at a corner, steps 1-3 may be danced to end B DW of NLOD to follow with steps 4-7.

4. Footwork for Leader on step 6 may also be T.

5. The Leader may use foot rise at the end of step 4. In this case, the rise & fall will change to: “Com to rise e/o 4”. The footwork will change to: THT (the left heel should rise gradually). Footwork on step 6 would then be: Toe.

9. NATURAL TURN & BACK LOCK – FOLLOWER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to 1 Rise e/o 1, TH S S SQQ: turn R on NFR Back half 1 of Natural Turn (1-3 2 RF side CP P LOD 3/8 turn R Nil Up on 2 T Q L of Natural) btw 1 & 2, BTL

3 LF closes to CP F LOD BCT on 3 Nil Up on 3, TH Q L RF lower e/o 3

4 RF forward CP F LOD Nil on 4 4 Com to rise HT S S SQQS: e/o 4 RF Forward 5 LF forward, L Prep F LOD Nil on 5 Nil Cont to rise T Q S Lock (from side leading ROP on 5 & 6 CP to ROP) 6 RF crosses ROP F LOD Nil on 6 Nil T Q S behind LF

7 LF diag ROP F LOD Nil on 7 Nil Up on 7, TH S S forward lower e/o 7

Notes:

1. Step 1 will be taken “LF back in CBMP” and in ROP when preceded by a Progressive Chassé, Forward Lock, Running Finish or Tipple Chassé.

2. Although this figure travels LOD over steps 4-7, the body faces between DW and LOD over steps 5-7.

3. When commencing B LOD at a corner, steps 1-3 may be danced to end F DW of NLOD to follow with steps 4-7.

10A. TIPPLE CHASSÉ TO RIGHT (AT A CORNER) – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B LOD Com to 1 Com to TH S S SQQS: turn R on 1 rise e/o LF back, 1, NFR chassé 2 RF side CP F 1/4 turn R Nil T Q S right NLOD btw 1 & 2 Cont to rise on 3 LF closes to CP F LOD Nil on 3 Nil 2 & 3 T Q S RF

4 RF side & CP F DW 1/8 turn R Nil Up on 4 T S S slightly btw 3 & 4 forward

5 LF diag Prep F DW Nil on 5 Nil T Q S QQS: forward ROP 2-4 of L side leading Up on Forward 5 & 6 Lock 6 RF crosses ROP F DW Nil on 6 Nil T Q S behind LF

7 LF diag ROP F DW Nil on 7 Nil Up on 7, TH S S forward lower e/o 7

Notes:

1. At the end of step 4, Leader rotates slightly to right to establish “left side leading” which will be used on step 5.

2. Leader may sway to Right on steps 2-4 with head turned to Right.

10A. TIPPLE CHASSÉ TO RIGHT (AT A CORNER) – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F LOD Com to 1 Com to HT S S SQQS: turn R rise e/o RF forward, on 1 1 chassé left

2 LF side CP B NLOD 1/4 turn Nil Cont to T Q S R btw 1 rise on 2 & 2 & 3

3 RF closes to CP B LOD Nil on 3 Nil T Q S LF

4 LF side & CP B DW 1/8 turn Nil Up on 4 T S S slightly back R btw 3 & 4

5 RF back, R Prep B DW Nil on 5 Nil T Q S QQS: side leading ROP 2-4 of Back Up on Lock 6 LF crosses in ROP B DW Nil on 6 Nil 5 & 6 T Q S front of RF

7. RF diag back ROP B DW Nil on 7 Nil Up on 7, TH S S lower e/o 7

Notes:

1. At the end of step 4, Follower responds to Leader’s slight rotation to right by also rotating to right to prepare for “right side leading” which will be used on step 5.

2. Follower may sway to Left on steps 2-4 with head turned to Left.

10B. TIPPLE CHASSÉ TO RIGHT (ALONG SIDE OF ROOM) – LEADER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF back CP B DW Com to 1 Com to rise TH S S SQQS: turn R e/o 1, NFR LF back, on 1 chassé right 2 RF side CP P LOD 3/8 Nil Cont to rise T Q S turn R on 2 & 3 btw 1 & 2, BTL

3 LF closes CP F LOD BCT Nil T Q S to RF on 3 4 RF side & CP F DW 1/8 Nil Up on 4 T S S slightly turn R forward btw 3 & 4

5 LF diag Prep F DW Nil on Nil T Q S QQS: forward, ROP 5 2-4 of L side Forward leading Up on Lock 5 & 6 6 RF crosses ROP F DW Nil on Nil T Q S behind LF 6

7 LF diag ROP F DW Nil on Nil Up on 7, TH S S forward 7 lower e/o 7

Notes:

1. At the end of step 4, Leader rotates slightly to the right to establish “left side leading” which will be used on step 5.

2. Leader may sway to Right on steps 2-4 with head turned to Right.

10B. TIPPLE CHASSÉ TO RIGHT (ALONG SIDE OF ROOM) – FOLLOWER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF CP F DW Com to turn 1 Com to HT S S SQQS: forward R on 1 rise RF forward, e/o 1 chassé left

2 LF side CP B DC 1/4 turn R Nil Cont to T Q S btw 1 & 2 rise on 2 & 3 3 RF closes CP B LOD 1/8 turn R Nil T Q S to LF btw 2 & 3

4 LF side & CP B DW 1/8 turn R Nil Up on 4 T S S slightly btw 3 & 4 back 5 RF back, Prep B DW Nil on 5 Nil T Q S QQS: R side ROP 2-4 of Back leading Up on Lock 5 & 6 6 LF ROP B DW Nil on 6 Nil T Q S crosses in front of RF

7. RF diag ROP B DW Nil on 7 Nil Up on 7, TH S S back lower e/o 7

Notes: 1. At the end of step 4, Follower responds to Leader’s slight rotation to right by also rotating to right in order to prepare for “right side leading” which will be used on step 5.

2. Follower may sway to Left on steps 2-4 with head turned to Left.

11. DOUBLE REVERSE SPIN – LEADER Full Bronze

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF CP F LOD Com to 1 Rise HT S S 1st Meas: forward turn L on during 1 LF forward, 1 (Note 1) side to toe 2 RF side CP B DW 3/8 turn L Nil Up on 2 T S S pivot btw 1 & 2

3 LF closes CP F DW 1/2 turn L Nil Up on 3, (T of QQ S to RF w/o btw 2 & 3 lower e/o LF), wt (toe 3 TH of pivot) RF

Notes:

2. Alternative alignments and turn are as follows: a) 3/4 turn – commencing F DC and ending F DW: i. 1/4 to L btw 1 and 2, 1/2 to L btw 2 and 3 (or) ii. 3/8 to L btw 1 and 2, 3/8 to L btw 2 and 3

b) 7/8 turn - may commence F LOD (as in chart) or F DC: Same turn as in chart

c) 1 full turn – may commence F DC, F LOD, or F DW: 3/8 to L btw 1 and 2, 5/8 to L btw 2 and 3

11. DOUBLE REVERSE SPIN – FOLLOWER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B LOD Com to 1 Slight rise TH S S 1st Meas: turn L on e/o 1, RF back to 1 NFR heel turn & 2 LF closes to CP F LOD 1/2 turn L Nil Cont to HT S S side cross RF (heel turn) btw 1 & 2 rise on 2

3 RF side & CP B W 1/4 turn L Nil Up on 3 T Q S slightly back btw 2 & 3

4 LF crosses in CP B DW 1/8 turn L Nil Up on 4, TH Q S front of RF btw 3 & 4 lower e/o 4

Notes:

1. On step 1, the Follower initiates slight rise by gradually lengthening the right leg in response to the Leader’s gradual rise.

2. Alternative alignments and turn are as follows: a) 3/4 turn – commencing B DC and ending B DW: 3/8 to L btw 1 and 2, 1/4 to L btw 2 and 3, 1/8 turn L btw 3 and 4

b) 7/8 turn – may commence B LOD (as in chart) or B DC: Same turn as in chart

c) 1 full turn – may commence B DC, B LOD, or B DW: 1/2 to L btw 1 and 2, 3/8 to L btw 2 and 3, 1/8 to L btw 3 and 4

12. CHASSÉ REVERSE TURN – LEADER Full Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF CP F DC Com to turn L on 1 Rise e/o HT S S SQQ: forward 1 1 Forward 2 RF side CP B DW 1/4 turn L btw 1 Nil Up on 2 T Q L half of & 2 Reverse Turn (as in 3 LF closes CP B LOD 1/8 turn L btw 2 Nil Up on 3, TH Q L Waltz) to RF & 3 lower e/o 3

12. CHASSÉ REVERSE TURN – FOLLOWER Full Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DC Com to turn 1 Rise e/o 1, TH S S SQQ: L on 1 NFR Back half 2 LF side CP P LOD 3/8 turn L Nil Up on 2 T Q R of Reverse btw Turn (as in 1 & 2, BTL Waltz)

3 RF closes CP F LOD BCT on 3 Nil Up on 3, TH Q R to LF lower e/o 3

13. NATURAL PIVOT TURN – LEADER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF forward CP F DW Com to 1 Rise e/o HT S S SQQ: turn R on 1 Forward 1 half of 2 LF side CP B DC 1/4 turn R Nil Up on 2 T Q R Natural btw 1 & 2 Turn (1-3 of Natural) 3 RF closes to CP B LOD 1/8 turn R Nil Up on 3, TH Q R LF btw 2 & 3 lower e/o 3 4 LF back, CP Down 1/2 turn R 4 Nil on 4 THB S S S: (pivot), RF LOD, on 4 LF back held in CBMP end F pivot LOD

Notes:

1. Step 1 will be taken “RF forward in CBMP” in ROP when preceded by the Progressive Chassé, Forward Lock Step, Running Finish, or Tipple Chassé to Right.

2. The footwork of THB on step 4 is danced by making the turn on the ball of the foot, with the heel lowering and kept lightly touching the floor during the turn.

3. On step 4 the left leg and foot track wide, (slightly toward the alignment of B DW). The alignment Down LOD is given as a direction on step 4 to indicate that the body (center) moves down the room, along the line of dance.

4. 1/2 is the maximum turn on a pivot. If danced at a corner, turn 3/8 on the pivot (step 4) to end F DW of NLOD.

13. NATURAL PIVOT TURN – FOLLOWER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DW Com to turn 1 Rise e/o TH S S SQQ: R on 1 1, NFR Back half 2 RF side CP P LOD 3/8 turn R Nil Up on 2 T Q L of Natural btw 1 & 2, Turn (1-3 BTL of Natural)

3 LF closes CP F LOD BCT on 3 Nil Up on 3, TH Q L to RF lower e/o 3 4 RF CP F LOD, 1/2 turn R 4 Nil on 4 HBH S S S: forward, end on 4 RF forward (pivoting B LOD pivot action)

Notes:

1. Step 1 will be taken “LF back in CBMP” and in ROP when preceded by the Progressive Chassé, Forward Lock Step, Running Finish, or Tipple Chassé to Right.

2. Although the footwork on step 4 (pivoting action) is HBH, once weight transfers from heel to ball, the heel is kept in light contact with the floor as the turn is made on the ball of the foot. Weight then transfers back to the heel just prior to the commencement of the next back step.

3. On step 4, the LF is not held in CBMP for the pivoting action, but CBM will be used on the first step of the following figure.

4. 1/2 is the maximum turn on a pivoting action. If danced at a corner, turn 3/8 on the pivoting action (step 4) to end B DW of NLOD.

14. CLOSED IMPETUS – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 LF back CP B LOD Com to turn R on 1 Nil on TH S S SQQ: 1 1 LF back 2 RF closes CP F DC 3/8 turn R btw 1 & Nil Rise HT Q L Closed to LF (heel 2 e/o 2 Impetus turn)

3 LF side & CP B DC 1/4 turn R btw 2 & Nil Up on TH Q S slightly ALOD 3 3, back lower e/o 3

Notes:

1. When commencing B DW, turn changes to: 3/8 turn R btw 1 and 2; 1/8 R btw 2 and 3.

2. The Closed Impetus may be danced at a corner (with same turn as in the chart) to end B DC of NLOD.

3. The first step of the Closed Impetus will commence in ROP and taken as “LF back in CBMP” and in ROP when preceded by: Progressive Chassé to Right, Back Lock, or Natural Turn and Back Lock.

4. Note the “delayed rise” over steps 2 and 3.

5. An alternative sway of “Right on 1, Straight on 2, Straight on 3” may be used.

6. When followed by a Reverse Pivot: While dancing the footwork of TH on step 3, the left leg remains lengthened while lowering the heel. The rise & fall on step 3 will therefore be: “Up on 3”.

14. CLOSED IMPETUS – FOLLOWER Full Bronze

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF CP F LOD Com to turn 1 Nil on 1 HT S S SQQ: forward R on 1 RF forward 2 LF side, CP B DC 3/8 turn R Nil Rise e/o T of Q R Closed RF btw 1 & 2 2 LF, Impetus brushes to (IE of LF T of RF) 3 RF diag CP F DC 1/4 turn R Nil Up on 3, TH Q S forward ALOD btw 2 & 3 lower e/o 3

Notes:

1. When commencing F DW, turn changes to: 1/8 turn R btw 2 and 3.

2. The Closed Impetus may be danced at a corner (with the same turn as in the chart) to end F DC of NLOD.

3. Step 1 of the Closed Impetus will commence in ROP and taken as “RF forward in CBMP” and in ROP when preceded by: Progressive Chassé to Right, Back Lock, or Natural Turn and Back Lock.

4. Note the “delayed rise” over steps 2 and 3.

5. If followed by a Reverse Pivot, footwork on step 3 will be toe and the rise & fall will be: “Up on 3”.

6. An alternative sway of “Left on 1, Straight on 2, Straight on 3” may be used.

7. When followed by a Reverse Pivot: The footwork on step 3 will change to toe and the right leg will remain lengthened. The rise & fall on step 3 will therefore be: “Up on 3”.

15. REVERSE PIVOT – LEADER Full Bronze

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE FW CT SWAY SUMMARY # POSITION & FALL 1 RF back in CP B DC, 1/8 turn L 1 Nil on THB S S S or &: CBMP, small end F btw 0 & 1, 1 or RF back step, TTI LOD 3/8 turn L & Pivot (pivot), LF on 1 held in CBMP

Notes:

1. A Reverse Pivot may also commence B DC, B C, or B DC ALOD.

2. Less turn (1/8, 1/4, or 3/8) may be made.

3. The maximum turn on a Reverse Pivot is 1/2 left.

4. The footwork of THB on step 4 is danced by making the turn on the ball of the foot, with the heel lowering and kept lightly touching the floor during the turn.

5. Depending on the preceding figure, the rise & fall for the Reverse Pivot will differ: a. Following a Natural Spin Turn or Closed Impetus: “Up on 1; lower at the end of 1” b. Following 1-3 of a Reverse Turn, the rise & fall will be as in the chart (Nil on 1)

15. REVERSE PIVOT – FOLLOWER Full Bronze

Commence in CP, F LOD STE FOOT DP ALIGN TURN CB RISE & FW CT SWAY SUMMARY P # POSITION M FALL 1 LF forward in CP F DC, end 1/8 turn L 1 Nil on 1 TH S or & S S or &: CBMP, small B LOD btw 0 & 1, LF step (pivot), 3/8 turn L forward RF held in on 1 Pivot CBMP

Notes:

6. A Reverse Pivot may also commence F DC, F C, or F DC ALOD. 1. 2. Less turn (1/8, 1/4, or 3/8) may be made.

3. The maximum turn on a Reverse Pivot is 1/2 left.

4. The footwork of TH is used due to the non-progressive nature of the Reverse Pivot.

Precedes and Follows For Creating Quickstep Choreography

Any figure in Column A may precede The diagrams indicate the starting any figure in column B (except where alignment and free foot for figures in noted) Column B Column A Column B LEADER FOLLOWER st • Progressive 1 step will be in RF FREE TO GO LF FREE TO GO Chassé CBMP and ROP FORWARD, F DW BACKWARD, B DW except when • Forward Lock preceded by a F DW B DW • Tipple Chassé Walk on LF to Right (along • the side of the Quarter Turn room) to Right

• • Walk on LF Forward Lock (cannot be preceded by a

At corner: (to end F walk on LF)

DW NLOD) • Natural Turn • Running Finish with Hesitation Ends F DW DW F Ends

• Tipple Chassé Starts F DW • Natural Spin to Right (at a Turn Corner) • Natural Turn and Back Lock • 1-3 of Natural Ends with Turn Leaders RF Free • Natural Pivot Followers LF Free Turn

Any figure in Column A may precede any The diagrams indicate the starting figure in column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER st • Running Finish 1 step will be in CBMP RF FREE TO GO LF FREE TO GO and ROP (except if • Walk on LF FORWARD, F LOD BACKWARD, B

preceded by Walk on LOD LF) F LOD B LOD

• Quarter Turn to Right (3/8 turn)

Ends with LOD F Ends Starts F LOD Leaders RF Free Followers LF Free

Column A Column B LEADER FOLLOWER • Running Finish • Walk on RF (in RF FREE TO GO LF FREE TO GO CBMP and ROP) FORWARD, F DC BACKWARD, B DC F DC B DC

Ends DC F Ends with Starts F DC Leaders RF Free Followers LF Free

243

• Reverse Pivot

F DW B DW preceded by a • Double Walk on RF) Reverse Spin • Double • Walk on RF Reverse Spin

Ends DW F Starts F DW Ends with Leaders LF Free Followers RF Free

Any figure in Column A may precede any The diagrams indicate the starting figure in column B (except where noted) alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Quarter Turn • Walk on LF LF FREE TO GO RF FREE TO GO to Left (Exception: should FORWARD, F LOD BACKWARD, B LOD

not be preceded by • Double F LOD B LOD Reverse Spin Walk on RF) • • Reverse Pivot Double Reverse Spin • Walk on RF • Progressive Chassé to Right Ends with Ends F LOD F Ends Starts F LOD Leaders LF Free Followers RF Free Column A Column B LEADER FOLLOWER • Walk on RF • Double Reverse LF FREE TO GO RF FREE TO GO • Natural Turn Spin FORWARD, BACKWARD, with Hesitation • Progressive Chassé F DC B DC • Double to Right F DC B DC Reverse Spin • Chassé Reverse • Reverse Pivot Turn

Ends with Ends DC F Starts F DC Leaders LF Free

Followers RF Free

245

Any figure in Column A may precede any The diagrams indicate the starting figure in column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Chassé Reverse • Reverse RF FREE TO GO LF FREE TO GO Turn Pivot BACKWARD, B LOD FORWARD, F LOD • Progressive B LOD F LOD Chassé (3/8 turn)

Ends B LOD Ends with Starts B LOD Leaders RF Free Followers LF Free Column A Column B LEADER FOLLOWER • Quarter Turn to • Quarter RF FREE TO GO LF FREE TO GO Right Turn to Left BACKWARD, B DC FORWARD, F DC • Natural Spin Turn • Progressive B DC F DC Chassé

At a corner: (to end B • Reverse DC NLOD) Pivot • Closed Impetus • Natural Spin Turn at a Corner

Ends B DC

Starts B DC

Ends with Leaders RF Free Followers LF Free

Any figure in Column A may The diagrams indicate the starting precede any figure in column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER st • Natural 1 step will LF FREE TO GO RF FREE TO GO Turn and be in CBMP BACKWARD, B LOD FORWARD, F LOD Back Lock and ROP B LOD F LOD • Closed Ends with Impetus Leaders LF • Tipple Free Chassé to Right (at a Starts B OD Followers RF Ends B LOD corner) Free

247

Any figure in Column A may The diagrams indicate the starting precede any figure in column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER st • Back Lock 1 step will be LF FREE TO GO RF FREE TO GO in CBMP and • Progressive BACKWARD, B DW FORWARD, F DW Chassé to Right ROP B DW F DW At a corner, commencing • Tipple F DW (underturning Chassé to

1-3 of Natural) or B DW Right (Along F LOD side of • Natural Turn Room) • Back Lock

and Back Lock Ends B DW Starts • Running Ends with Finish Leaders LF Free • Closed Impetus Followers RF Free Column A Column B LEADER FOLLOWER

• Closed Impetus • Reverse LF FREE TO GO RF FREE TO GO Pivot BACKWARD, FORWARD, B DC ALOD F DC ALOD

B DC ALOD

B DC ALOD Ends with Leaders LF Free Ends Ends Starts Followers RF Free B DC ALOD F DC ALOD

Notes

249

Jr. Associate (Bronze) Ballroom Quickstep Routine - LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment

1 ------Forward Walk on LF F DW F DW S (Preparation Step) 1. 1A Quarter Turn to Right F DW B DC SQQS 2. 2 Progressive Chassé B DC F DW SQQS 3. 3 Forward Lock Step F DW F DW SQQS 4. 8 Natural Spin Turn (underturned F DW B DC NLOD SQQ SSS at corner)

2 5. 1B Quarter Turn to Left B DC F DW SQQ 6. Forward Walk on LF F DW F DW S 7. 4 Natural Turn with Hesitation F DW F DC SQQ SSS 8. 5 Progressive Chassé to Right F DC B DW SQQS 9. 7 Running Finish B DW F DW NLOD SQQ or QQS 3 10. 1A Quarter Turn to Right F DW B DC SQQS 11. 2 Progressive Chassé B DC F DW SQQS 12. 8 Natural Spin Turn F DW B DC SQQ SSS 13. 1B Quarter Turn to Left B DC F DW SQQ 14. --- Forward Walk on LF F DW F DW S 15. 4 Natural Turn with Hesitation F DW F DC NLOD SQQ SSS (underturned at corner)

4 16. 5 Progressive Chassé to Right F DC B DW SQQS 17. 6 Back Lock B DW B DW SQQS 18. 7 Running Finish B DW F DW NLOD SQQ or QQS

Notes:

1. It is best to use a Preparation Step (Forward Walk on LF) at the start of a routine prior to a right turning figure.

2. After the Quarter Turn to Left, a “Forward Walk on LF” is commonly used to link to a right turning figure.

Jr. Associate (Bronze) Ballroom Quickstep Routine - FOLLOWER

2 5. 1B Quarter Turn to Left F DC B DW SQQS 6. Backward Walk on RF B DW B DW 7. 4 Natural Turn with Hesitation B DW B DC SQQ SSS 8. 5 Progressive Chassé to Right B DC F DW SQQS 9. 7 Running Finish F DW B DW NLOD SQQ or QQS 3 10. 1A Quarter Turn to Right B DW F DC SQQS 11. 2 Progressive Chassé F DC B DW SQQS 12. 8 Natural Spin Turn B DW F DC SQQ SSS 13. 1B Quarter Turn to Left F DC B DW SQQ 14. --- Backward Walk on RF B DW B DW S 15. 4 Natural Turn with Hesitation B DW B DC NLOD SQQ SSS (underturned at corner)

4 16. 5 Progressive Chassé to Right B DC F DW SQQS 17. 6 Back Lock F DW F DW SQQS 18. 7 Running Finish F DW B DW NLOD SQQ or QQS

Notes:

1. It is best to use a Preparation Step (Back Walk on RF) at the start of a routine prior to a right turning figure.

2. After the Quarter Turn to Left, a “Backward Walk on RF” is commonly used to link to a right turning figure.

Associate (Bronze) Ballroom Quickstep Routine – LEADER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 ------Forward Walk on LF F DW F DW S (Preparation Step) 1. 1A Quarter Turn to Right F DW B DC SQQS 2. 2 Progressive Chassé B DC F DW SQQS 3. 3 Forward Lock Step F DW F DW SQQS 4. 9 Natural Turn and Back Lock F DW B LOD SQQ SQQS 5. 7 Running Finish B LOD F DW NLOD SQQ or QQS 2 6. 4 Natural Turn with Hesitation F DW F DC SQQ SSS 7. 12 Chassé Reverse Turn F DC B LOD SQQ 8. 2 Progressive Chassé B LOD F DW SQQS 9. 4 1-3 of Natural Turn F DW B LOD SQQ 10. 10a Tipple Chassé to Right (at a B LOD F DW NLOD SQQS corner) QQS

3 11. 4 1-3 of Natural Turn F DW B LOD SQQ 12. 14 Closed Impetus B LOD B DC ALOD SSS 13. 15 Reverse Pivot B DC ALOD F DC S or & 4. 11 Double Reverse Spin F DC F LOD SSQQ 15. 5 Progressive Chassé to Right F LOD B DW SQQS 16. 6 Back Lock B DW B DW SQQS 17. 7 Running Finish B DW F DW NLOD SQQ or QQS 4 18. 1A Quarter Turn to Right F DW B DC SQQS 19. 1B Quarter Turn to Left B DC F DW SQQ 20. --- Forward Walk on LF F DW F DW S 21. 8 Natural Spin Turn F DW B DC SQQ SSS 22. 2 Progressive Chassé B DC F DW SQQS 23. 13 Natural Pivot Turn (under- F DW F DW NLOD SQQS turned)

Notes:

1. It is best to use a Preparation Step (Forward Walk on LF) at the start of a routine prior to a right turning figure.

2. “1-3 of Natural Turn”, is the first three steps of the Natural Turn with Hesitation.

3. After the Quarter Turn to Left, a “Forward Walk on LF” is commonly used to link to a right turning figure.

Associate (Bronze) Ballroom Quickstep Routine – FOLLOWER

Wall Order Fig # Figure Name Starting Ending Count Alignment Alignment 1 ------Back Walk on RF B DW B DW S (Preparation Step) 1. 1A Quarter Turn to Right B DW F DC SQQS 2. 2 Progressive Chassé F DC B DW SQQS 3. 3 Forward Lock Step B DW B DW SQQS 4. 9 Natural Turn and Back Lock B DW F LOD SQQ SQQS 5. 7 Running Finish F LOD B DW NLOD SQQ or QQS 2 6. 4 Natural Turn with Hesitation B DW B DC SQQ SSS 7. 12 Chassé Reverse Turn B DC F LOD SQQ 8. 2 Progressive Chassé F LOD B DW SQQS 9. 4 1-3 of Natural Turn B DW F LOD SQQ 10. 10a Tipple Chassé to Right (at a F LOD B DW NLOD SQQS corner) QQS

3 11. 4 1-3 of Natural Turn B DW F LOD SQQ 12. 14 Closed Impetus F LOD F DC ALOD SSS 13. 15 Reverse Pivot F DC ALOD B DC S or & 14. 11 Double Reverse Spin B DC B LOD SSQQ 15. 5 Progressive Chassé to Right B LOD F DW SQQS 16. 6 Back Lock F DW F DW SQQS 17. 7 Running Finish F DW B DW NLOD SQQ or QQS 4 18. 1A Quarter Turn to Right B DW F DC SQQS 19. 1B Quarter Turn to Left F DC B DW SQQ 20. --- Backward Walk on RF B DW B DW S 21. 8 Natural Spin Turn B DW F DC SQQ SSS 22. 2 Progressive Chassé F DC B DW SQQS 23. 13 Natural Pivot Turn (under- B DW B DW NLOD SQQS turned)

Notes:

1. It is best to use a Preparation Step (RF Back) at the start of a routine prior to a right turning figure.

2. “1-3 of Natural Turn”, is the first three steps of the Natural Turn with Hesitation.

3. After the Quarter Turn to Left, a “Back Walk on RF” is commonly used to link to a right turning figure.

Notes

254 Viennese Waltz

Viennese Waltz

Viennese Waltz Facts...... 257

Syllabus Figures

Full Bronze (Associate – Figures 1-4)) 1. NATURAL TURN ...... 260 2. RIGHT FOOT FORWARD CHANGE ...... 264 3. REVERSE TURN ...... 266 4. LEFT FOOT FORWARD CHANGE ...... 270

Precedes and Follows ...... 272

Routines ...... 274

255

256

Viennese Waltz History

Viennese Waltz is both the oldest and newest Ballroom dance, having originated in the Sixteenth Century, but not being added to the International Style Syllabus until the 1950s.

Viennese Waltz is the precursor to Waltz (see “Waltz History”) as they share a common ancestry.

In 1787, Waltz began to appear on the operatic stages of Vienna. As the popularity of Waltz increased in Vienna, so did its tempo. Sometime in the early 1800s, Austrian composers such as Johann Strauss and Franz Lanner, increased the number of measures per minute in their Waltzes. The faster music required dancers to have greater technique and endurance.

This new version of Waltz became known as Viennese Waltz. Like Waltz, many considered the dance to be immoral. In a book written about good manners by the English author Miss Celbart, she advised that while it was permissible to dance Viennese Waltz if a lady were married, it was “too loose of character for maidens to perform.” Despite such contentions, Viennese Waltz continued to be extremely popular in Europe and America until the First World War, when it lost popularity and almost disappeared from the dance scene.

Early in the 1930s, it began a comeback in Germany largely thanks to Paul Krebs and a retired military man, Karl von Mirkowitsch who danced it in society mixers and ballrooms. In 1938, Mirkowitsch is credited with having it integrated in the International Ballroom dancing program.

In 1951, Paul Krebs successfully combined the Austrian Waltz tradition with the English style to become Viennese Waltz at the 1951 Blackpool Dance Festival in England. It was this merging -- the traditional rotary nature of Viennese Waltz and the newer patterns in Waltz – that was included into the International Style Dances.

In America, Viennese Waltz got its greatest boost from Slovenian settlers in and around Cleveland, Ohio. Frankie Yankovic, the Polka King, took it up enthusiastically and featured it around the world.

Differences between Ballroom (International Style) Viennese Waltz and Smooth (American Style) Viennese Waltz

Ballroom Viennese Waltz contains only closed figures (where the feet close on count 3), and the couple remains in closed position throughout the dance.

Smooth (American) Viennese Waltz contains both closed and open figures (where the feet pass on count 3) and may be danced in closed positions, open positions (with single, double, or no hand holds), and shadow positions.

Dance Characteristics Viennese Waltz is a progressive dance, moving counter clockwise around the floor in a series of left (reverse) and right (natural) turns linked by a 3-count forward “change step” to switch directions. Because of the speed of the music, the rise and fall is less than in Waltz, and the goal is create smooth and seamless weight transfers.

Musical Information

Time Signature: 3/4 • Tempo: 56-58mpm (168-174bpm) for Pro/Am, Professional, and Amateur Competitions • Count: 123, 123 • Beat Value: 1-1-1 • Alternative Teaching Count: 123, 456 • Counting in Beats and Bars, and Phrases: 123, 223, 323, 423, 523, 623, 723, 823 • It is best to start dancing at the beginning of an 8 measure (24 count) phrase. • Choreography: It is desirable to choreograph Viennese Waltz by phrasing in measures of eight. One way to accomplish this is to dance the Reverse Turns for eight measures, and then dance the Natural Turns for the next eight measures (accomplished by using change steps on measures 1 and 8). Then alternate throughout the dance.

Preparing to dance: There are three ways of starting to dance Viennese Waltz: 1. If starting with a Reverse Turn: Leader stands with weight on right foot and winds slightly rightward on the last measure of the introduction, to initiate movement on step 1 of the Reverse Turn.

2. If starting with a Natural Turn: Leader stands with weight on right foot and then steps back and slightly side with the left foot on the last measure of the introduction, winding slightly to the left to initiate movement on step 1 of the Natural Turn.

3. Alternative way of starting with a Natural Turn: Leader stands with weight on right foot and steps forward on left foot on the last measure of the introduction, winding slightly to the left to initiate movement on step 1 of the Natural Turn.

Sway Sway is used in the Natural Turn as a counterbalancing action to balance the swing and movement of the couple. The Reverse Turn does not use sway, because the action is more stepping rather than swinging. The change steps have slight sway, but not as much as the Natural Turn, since the change steps are used to change direction, so there cannot be as much swing.

Footwork • Natural and Reverse Turns o Starting forward: Heel-toe, Toe, Toe-heel o Starting backward: Toe Heel, Toe, Ball to flat

• Right and Left Foot Change o Starting forward: Heel Toe, Toe, Toe Heel o Starting backward: Toe Heel, Toe, Toe Heel

Rise and Fall Rise and Fall is less than in Waltz, due to the speed of the music and the desire to keep the dance relatively level and smooth. A rule of thumb is that you are never higher than your standing height, even when on your toes. This is accomplished by a corresponding soft bending of the knees to prevent popping up or rising too high. It is also important to remember to maintain the rise over counts 2 and 3, rather than continuing to rise on count 3 as in Waltz.

The term “slight rise” is used on count 2 in Viennese Waltz to indicate just a small amount of rise (as compared to Waltz which uses “continue to rise”).

• Forward half of Natural Turns, Reverse Turns, and Changes: Commence to rise e/o 1 Slight rise on 2 Maintain rise on 3, lower e/o 3

There is no foot rise (NFR) on back steps on count 1, only commencement of leg rise. • Back half of Natural Turns, Reverse Turns, and Changes: Commence to rise e/o 1, NFR Slight rise on 2 Maintain rise on 3, lower e/o 3

General Technical Tips • Forward Walks: Weight is taken on the moving foot, rolling from the back of the heel to the front of the foot, rolling through all parts of the foot.

• Backward Walks: Weight is taken on the moving foot, rolling from the toe to the heel, rolling through with all parts of the foot, eventually releasing the toe of the front foot from the floor (toe release). The lowering of the back foot must be done slowly and with control. Also, it is important to keep a slight forward poise on all back steps so as not to pull your partner on top of you.

1. NATURAL TURN – LEADER Full Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 RF forward CP F LOD 1/8 turn R 1 Com to rise HT 1 S 1st Meas: btw 0 & 1 e/o 1 Forward half of Natural 2 LF side CP B C 1/4 turn R Nil Slight rise on T 2 R Turn btw 1 & 2 2

3 RF closes to CP B DC 1/8 turn R Nil Maintain rise TH 3 R LF btw 2 & 3 on 3, lower e/o 3 4 LF back & CP B LOD 1/8 turn R 4 Com to rise TH 1 S 2nd Meas: slightly side btw 3 & 4 e/o 4, NFR Back half of Natural 5 RF side CP P DC 3/8 turn R Nil Slight rise on T 2 L Turn btw 4 & 5, 5 BTL

6 LF closes to CP F DC BCT on 6 Nil Maintain rise B 3 L RF on 6, lower to e/o 6 flat

Notes for Natural Turn appear after Follower’s chart.

1. NATURAL TURN – FOLLOWER Full Bronze

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF back & CP B LOD 1/8 turn 1 Com to rise e/o TH 1 S 1st Meas: slightly side R btw 0 1, NFR Back half & 1 of Natural Turn 2 RF side CP P DC 3/8 turn Nil Slight rise on 2 T 2 L R btw 1 & 2, BTL

3 LF closes to CP F DC BCT on Nil Maintain rise B to 3 L RF 3 on 3, lower e/o flat 3

4 RF forward CP F LOD 1/8 turn 4 Com to rise e/o HT 1 S 2nd Meas: R btw 3 4 Forward & 4 half of Natural 5 LF side CP B C 1/4 turn Nil Slight rise on 5 T 2 R Turn R btw 4 & 5

6 RF closes CP B DC 1/8 turn Nil Maintain rise TH 3 R to LF R btw 5 on 6, lower e/o & 6 6

Notes for Natural Turn appear following the Leader’s notes after the next page.

Notes for Natural Turn - Leader:

1. The term “between 0 and 1” means that the turn is made between the last step of the previous figure and the first step of the new figure.

2. The Natural Turn would normally be repeated for one or more eight-measure phrases, for pleasing musical interpretation. However, any even number of measures may be danced. An odd number of measures may be danced at the Silver level when “Back Changes” are introduced.

3. A commonly used amalgamation is to dance a LF Forward Change Step, 6 measures of Natural Turns, and a RF Forward Change Step. This would complete an 8 measure phrase.

4. The stated Amounts of turn represent divisions of a 360-degree turn. However, in actuality the clockwise circle of the Line of Dance will result in slightly less turn on each complete Natural Turn when danced around the corners.

5. As the toe takes weight at the beginning of the “TH” footwork on step 3, it is best danced as a low toe in order to avoid additional rise and to lower more easily.

6. The Leader (on the back half of the Turn) must monitor the Follower’s turn and not step so wide on the side step as to prevent the Follower from passing by.

7. When the Natural Turn is preceded by a LF Forward Change (ending F LOD), the starting alignment of the Natural Turn will be F LOD, and the amount of turn on step 1 will change to “Com to turn L on 1”.

Notes for Natural Turn - Follower:

1. The term “between 0 and 1” means that the turn is made between the last step of the previous figure and the first step of the new figure.

3. A commonly used amalgamation is to dance a RF Back Change Step, 6 measures of Natural Turns, and a LF Back Change Step. This would complete an 8 measure phrase.

4. The stated amounts of turn represent divisions of a 360-degree turn. However, in actuality the clockwise circle of the Line of Dance will result in slightly less turn on each complete Natural Turn when danced around the corners.

5. As the toe takes weight at the beginning of the “TH” footwork on step 6, it is best danced as a low toe in order to avoid additional rise and to lower more easily.

6. The Follower (on the back half of the Turn) must monitor the Leader's turn and not step so wide on the side step as to prevent the Leader from passing by.

7. When the Natural Turn is preceded by a RF Back Change (ending B LOD), the starting alignment of the Natural Turn will be B LOD, and the amount of turn on step 1 will change to “Com to turn L on 1”.

2. RIGHT FOOT FORWARD CHANGE – LEADER Full Bronze

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 RF CP F DC Com to 1 Com to rise HT 1 S 1st Meas: forward turn R on e/o 1 RF 1 Forward Change 2 LF diag CP F LOD 1/8 turn R Nil Slight rise on T 2 R forward btw 1 & 2 2 (slight)

3 RF closes CP F LOD Nil on 3 Nil Maintain rise TH 3 R to LF on 3, lower (slight) e/o 3

Note: When a RF Forward Change is preceded by a LF Forward Change that ends F LOD, it may be danced in one of two ways: 1. The RF Forward Change will make no turn to still end F LOD. The alignment on step 1 will change to: F LOD on 1. The turns will change to: a) Nil on 1, (CBM is Slight). b) Nil on 2. 2. The RF Forward Change will make the same amount of turn as in chart (1/8th turn R between 1 & 2), and will end F DW.

4. RIGHT FOOT FORWARD CHANGE – FOLLOWER Full Bronze (LEFT FOOT BACK CHANGE)

Commence in CP, B DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back CP B DC Com to 1 Com to rise TH 1 S 1st Meas: turn R on e/o 1, NFR LF back 1 Change

2 RF diag CP B LOD 1/8 turn R Nil Slight rise on T 2 L back btw 1 & 2 2 (slight)

3 LF closes CP B LOD Nil on 3 Nil Maintain rise TH 3 L to RF on 3, lower (slight) e/o 3

Note: When a LF Back Change is preceded by a RF Back Change that ends B LOD, it may be danced in one of two ways: 1. The LF Back Change will make no turn to still end B LOD. The alignment on step 1 will change to: B LOD on 1. The turns will change to: a) Nil on 1, (CBM is Slight) b) Nil on 2 2. The LF Back Change will make the same amount of turn as in chart (1/8th turn R between 1 & 2), and will end B DW.

3. REVERSE TURN – LEADER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF forward CP F LOD 1/8 1 Com to rise HT 1 S 1st Meas: turn L e/o 1 Forward btw 0 half of & 1 Reverse 2 RF side & CP B W 1/4 Nil Slight rise on 2 T 2 S Turn slightly back turn L (ending btw 1 crossed in & 2 front)

3 LF crosses in CP B DW 1/8 Nil Maintain rise TH 3 S front of RF turn L on 3, lower e/o btw 2 3 & 3 4 RF back & CP B LOD 1/8 4 Com to rise TH 1 S 2nd Meas: slightly side turn L e/o 4, NFR Back half btw 3 of Reverse & 4 Turn 5 LF side CP P DW 3/8 Nil Slight rise on 5 T 2 S turn L btw 4 & 5, BTL

6 RF closes to CP F DW BCT Nil Maintain rise B 3 S LF on 6 on 6, lower e/o to 6 flat

Notes for Reverse Turn appear after Follower’s chart.

3. REVERSE TURN – FOLLOWER Full Bronze

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 RF back & CP B LOD 1/8 turn 1 Com to rise TH 1 S 1st Meas: slightly L btw 0 e/o 1, NFR Back half side & 1 of Reverse Turn 2 LF side CP P DW 3/8 turn Nil Slight rise on 2 T 2 S L btw 1 & 2, BTL

3 RF closes CP F DW BCT on Nil Maintain rise B to 3 S to LF 3 on 3, lower e/o flat 3

4 LF CP F LOD 1/8 turn 4 Com to rise HT 1 S 2nd Meas: forward L btw 3 e/o 4 Forward & 4 half of 5 RF side & CP B W 1/4 turn Nil Slight rise on 5 T 2 S Reverse slightly L btw 4 Turn back & 5 (ending crossed in 6 LF CP B DW 1/8 turn Nil Maintain rise TH 3 S front) crosses in L btw 5 on 6, lower e/o front of RF & 6 6

Notes for Reverse Turn appear following the Leader’s notes (on the next page).

Notes for Reverse Turn, Leader:

1. The term “between 0 and 1” means that the turn is made between the last step of the previous figure and the first step of the new figure.

2. The sway is “straight” throughout the Reverse Turn because the action is stepping rather than swinging. However, there still will be a slight stretch of the sides.

3. The commencing alignment (F DW) and amount of turn on step 1 is used when dancing the Reverse Turn as the starting figure of the dance, (as well as when preceded by another Reverse Turn).

4. When the Reverse Turn is preceded by a RF Forward Change (ending F LOD), the commencing alignment will be F LOD and the turn will be “Com to turn L on 1”.

5. The Reverse Turns would normally be repeated for one or more eight-measure phrases for pleasing musical interpretation. However, any even number of measures may be danced. An odd number of measures may be danced at the Silver level when “Back Changes” are introduced.

6. The stated amounts of turn represent divisions of 360-degree turn. However, in actuality the counterclockwise circle of the Line of Dance will result in slightly more turn on each complete Reverse Turn, when danced around the corners.

7. As the toe takes weight at the beginning of the “TH” footwork on step 3, it is best danced as a low toe in order to avoid additional rise and to lower more easily.

8. As the LF crosses in front of the RF on step 3, the LF should be crossed apart from the RF (and not crossed tightly at the ankles). This allows ample room for flexing of the knees.

9. The Leader (on the back half of the Turn) must monitor the Follower's turn and not step so wide on the side step as to prevent the Follower from passing by.

Notes for Reverse Turn, Follower:

1. The term “between 0 and 1” means that the turn is made between the last step of the previous figure and the first step of the new figure.

2. The sway is “straight” throughout the Reverse Turn because the action is stepping rather than swinging. However, there still will be a slight stretch of the sides.

3. The commencing alignment (B DW) and amount of turn on step 1 is used when dancing the Reverse Turn as the starting figure of the dance, (as well as when preceded by another Reverse Turn).

4. When the Reverse Turn is preceded by a LF Back Change (ending B LOD), the commencing alignment will be B LOD and the turn will be “Com to turn L on 1”.

6. The stated amounts of turn represent divisions of a 360-degree turn. However, in actuality the counterclockwise circle of the Line of Dance will result in slightly more turn on each complete Reverse Turn, when danced around the corners.

7. As the toe takes weight at the beginning of the “TH” footwork on step 6, it is best danced as a low toe in order to avoid additional rise and to lower more easily.

8. As the LF crosses in front of the RF on step 6, the LF should be crossed apart from the RF (and not crossed tightly at the ankles). This allows ample room for flexing of the knees.

9. The Follower (on the back half of the Turn) must monitor the Leader's turn and not step so wide on the side step as to prevent the Leader from passing by.

4. LEFT FOOT FORWARD CHANGE – LEADER Full Bronze

Commence in CP, F DW STEP FOOT DP ALIGN TURN CBM RISE & FALL FW CT SWAY SUMMARY # POSITION 1 LF forward CP F DW Com to 1 Com to rise HT 1 S 1st Meas: turn L on e/o 1 LF Forward 1 Change 2 RF diag CP F LOD 1/8 to L Nil Slight rise on 2 T 2 L forward btw 1 & 2

3 LF closes CP F LOD Nil on 3 Nil Maintain rise TH 3 L to RF on 3, lower e/o 3

Note:

When a LF Forward Change is preceded by a RF Forward Change that ends F LOD, it may be danced in one of two ways: 1. The LF Forward Change will make no turn to still end F LOD. The alignment on step 1 will change to: F LOD on 1. The turns will change to: c) Nil on 1, (CBM is Slight). d) Nil on 2. 2. The LF Forward Change will start F LOD and make the same amount of turn as in chart (1/8th turn L between 1 & 2), to end F DC.

4. LEFT FOOT FORWARD CHANGE– FOLLOWER Full Bronze (RIGHT FOOT BACK CHANGE)

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DW Com to 1 Com to rise TH 1 S 1st Meas: turn L on e/o 1, NFR RF back 1 Change 2 LF diag back CP B LOD 1/8 to L Nil Slight rise on T 2 R btw 1 & 2 2

3 RF closes to CP B LOD Nil on 3 Nil Maintain rise TH 3 R LF on 3, lower e/o 3

Note:

When a RF Back Change is preceded by a Follower’s LF Back Change that ends B LOD, it may be danced in one of two ways: 1. The Right Foot Back Change will make no turn to still end B LOD. The alignment on step 1 will change to: B LOD on 1. The turns will change to: e) Nil on 1, (CBM is Slight). f) Nil on 2. 2. The Right Foot Back Change will start B LOD and make the same amount of turn as in chart (1/8th turn L between 1 & 2), to end B DC.

Precedes and Follows For Creating Viennese Waltz Choreography

Any figure in Column A may precede The diagrams indicate the starting any figure in column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • LF Change • Natural Turn RF FREE TO GO LF FREE TO GO • RF Change FORWARD, F LOD BACKWARD, B LOD

F LOD B LOD

Ends with Ends F LOD LOD F Ends Starts F LOD Leaders RF Free

Followers LF Free Column A Column B LEADER FOLLOWER • LF Change • Natural Turn RF FREE TO GO LF FREE TO GO • Natural Turn FORWARD, F DC or BACKWARD, B DC or F LOD B LOD

F DC B DC

Ends with Ends DC F Leaders RF Free Starts F DC Followers LF Free

Any figure in Column A may precede The diagrams indicate the starting any figure in column B alignment and free foot for figures in Column B Column A Column B LEADER FOLLOWER • Reverse Turn • LF Change LF FREE TO GO RF FREE TO GO FORWARD, F DW BACKWARD, B DW or

• Reverse Turn or F LOD B LOD F DW B DW

Ends with Ends DW F Starts F DW Leaders LF Free Followers RF Free

Column A Column B LEADER FOLLOWER • RF Change • Reverse Turn LF FREE TO GO RF FREE TO GO

FORWARD, F LOD BACKWARD, B LOD • LF Change F LOD B LOD

Ends with Ends F LOD F Ends

Leaders LF Free Starts F LOD Followers RF Free

Jr. Associate (Bronze) Ballroom Viennese Waltz Routine LEADER and FOLLOWER

As there are only 4 figures in Bronze Viennese Waltz, there is no Jr. Associate category. There is only a full Bronze Routine (see Associate Ballroom Viennese Waltz Routine).

NOTES:

275

Associate (Bronze) Ballroom Viennese Waltz Routine - LEADER

Order Fig Figure Name Starting Ending Measure Count # Alignment Alignment No. 1. --- Forward Walk on LF (Preparation Step) F LOD F LOD 8th 123

2. 1 4 Natural Turns (1st turn = 7/8 R. Full F LOD F DC 1st – 8th 123 x turns thereafter) 8 3. 2 RF Forward Change F DC F LOD 1st 123

4. 3 3 Reverse Turns (1st turn 7/8 L. Full F LOD F DW 2nd – 7th 123 x turns thereafter) 6 5. 4 LF Forward Change F DW F LOD 8th 123 Repeat starting with Natural Turns:

6. 1 4 Natural Turns (1st turn = 7/8 R. Full F LOD F DC 1st – 8th 123 x turns thereafter) 8 7. 2 RF Forward Change F DC F LOD 1st 123

8. 3 3 Reverse Turns (1st turn 7/8 L. Full F LOD F DW 2nd – 7th 123 x turns thereafter) 6 9. 4 LF Forward Change F DW F LOD 8th 123 Repeat starting with Natural Turns (etc.)

Notes:

1. It is best to use a Preparation Step (Forward Walk on LF) at the start of a routine when starting with any right turning figure.

2. The omission of a column indicating Wall Number is due to the Curve of Progression that is used in this dance. Generally, this curve is necessary when rounding the corners of the room where Reverse Turns are taken with more than 360 degrees of turn and Natural Turns are taken with less than 360 degrees turn. It may also be spread out over the whole room to form an oval Curve of Progression. Therefore, the starting and ending alignments shown are consistent only within a period of time in which the Syllabus Figures are danced down the Line of Dance, (that is, parallel to the nearest Wall).

Associate (Bronze) Ballroom Viennese Waltz Routine – FOLLOWER

Order Fig Figure Name Starting Ending Measure Count # Alignment Alignment No. 1. --- Backward Walk on RF (Preparation B LOD B LOD 8th 123 Step)

2. 1 4 Natural Turns (1st turn = 7/8 R. Full B LOD B DC 1st – 8th 123 x turns thereafter) 8 3. 2 LF Back Change B DC B LOD 1st 123

4. 3 3 Reverse Turns (1st turn 7/8 L. Full B LOD B DW 2nd – 7th 123 x turns thereafter) 6 5. 4 RF Back Change B DW B LOD 8th 123 Repeat starting with Natural Turns:

6. 1 4 Natural Turns (1st turn = 7/8 R. Full B LOD B DC 1st – 8th 123 x turns thereafter) 8 7. 2 LF Back Change B DC B LOD 1st 123

8. 3 3 Reverse Turns (1st turn 7/8 L. Full B LOD B DW 2nd – 7th 123 x turns thereafter) 6 9. 4 RF Back Change B DW B LOD 8th 123 Repeat starting with Natural Turns (etc.)

Notes:

1. It is best to use a Preparation Step (Backward Walk on RF) at the start of a routine when starting with any right turning figure.

Notes

278 Glossary

Glossary of Ballroom Dance Terms

Action 1. A weight change that closely simulates a common movement or technique. See Pivot Action.

2. A movement, assigned a step number in the chart, that has no weight change associated with it. An example is steps 2 and 3 of the Quarter Turn Left - for Leader, in Quickstep.

Alignment This refers to the direction the feet are aimed relative to the room and to the line of dance. Alignment is used in Ballroom because dances progress around the dance floor. See also: CHART TERMS and ALIGNMENT DIAGRAM.

Amalgamation A combination of two or more movements, components, or complete figures.

Amount of Turn A measurement in fractions, of how much turn is made on one foot, or between two or more steps. The amount of turn, therefore, is determined by the feet, (not body). See also: CHART TERMS and AMOUNT OF TURN DIAGRAM.

Arc The natural “up and down” effect of the body when stepping from foot to foot. As the feet divide, the body moves closer to the floor. As the feet collect, the body returns to normal height. One can observe the arc effect and compare height differences, with feet apart vs. together, by walking toward a mirror. Note: Rise & fall are affected by arc.

Axis Center of rotation. There are three axes: 1. The point between two feet that twist, around which both sides of the body rotate evenly, also called Central, or Spinal Axis; 2. The point on one fixed side of the body, around which the free side rotates, also called Side Axis; 3. The point outside the perimeter of the body, in other words a point around which both the Leader and Follower may rotate, but neither occupy, also called Outside Axis, or Shared Axis

Backward Walk The precise, specific way to take a backward step in the Ballroom dances, which is essential for moving with grace and power. The example below uses the RF moving backward. The technique is the same for the LF.

• Stand in an upright position with the feet together. Weight is on the LF, poised slightly forward. • Begin by swinging the R leg backward from the hip joint, first with the ball of the foot in contact with the floor, then extending the foot so the toes skim the floor. As the toes of the RF move past the L heel, the toes of the LF begin to release from the floor, commencing to transfer weight onto the ball of the RF. • At the fullest extent of the stride, the weight is equally divided between the ball of the RF foot and the heel of the LF, with the R knee slightly flexed and the L knee straight. • The LF then commences to move backward, first with the heel and then with ball of the foot skimming the floor. • As the LF moves backward toward the RF, the R heel will lower slowly and with control. • When the weight is fully taken onto the RF, the LF will be almost closed to the RF without weight. • In Tango the feet will be slightly lifted off the floor and placed into position, rather than skimming the floor.