DOCSLIB.ORG

International Waltz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Waltz International Waltz Introduction to International Waltz General - The waltz is a dance for couples in 3/4time. The dance was developed from the Weller, a German peasant dance and the Laendler , an Austrian dance. The two most danced forms of the waltz are the Viennese Waltz and the Slow Waltz. The International waltz is a structured form of the Slow waltz and is in the smooth category of ballroom dances. The character of International Waltz is that it has a late rise over the basic three steps which can be described as “step,” “balance” and “elevation.” This is also further described as “down,” “down,” “up,” to contrast it with “down,” “up,” “up” as used in American style. Timing - The timing for International Waltz is 3/4, or three beats to each standard measure (bar) of music. The BPM, or bars per minute, used can vary from 29 to 31. Although there is an accent on the first beat, the most important consideration is the long 2 count (2 & 5 on standard weaves) which allows for a momentary suspension of the body flight where most adjustments in direction are made. Rhythm - The normal rhythm of the waltz is 1, 2, 3. Each number represents a beat in a bar (measure) of music. Frequently, however, there will be figures with more than three steps taken over one measure. Where there are more than three steps taken, there will be syncopation. This syncopation can be on any beat of the measure. In describing the figures, in this manual, each beat in the measure will have an equal amount of time associated with it. These beats will be numbered 1, 2 and 3. If there is syncopation, some steps win share a single beat of the measure. In the manual this is shown by using the symbol &. For example, if the timing of a figure is 1&, 2, 3, then steps 1 and 2 would share beat I in a measure of music, etc. Body Mechanics - The use of correct body mechanics makes the International Waltz much easier to dance. We have listed a few key points. The dancers must keep their body weight over the supporting leg. If the partners' feet are slightly apart, this is easier to accomplish. A good top line (head to rib cage area) is a necessity, with the head and spine aligned and maintained over the feet. Keep the knees relaxed - never locked. Hold the arms up with the muscles of the back of the upper arm (triceps) instead of the front muscles (biceps), while keeping the shoulders down. Movement - Movement in the Waltz generally involves steps with turning action and a lot of sway. The second step is usually longer than the others because of the turning action and the sway necessary to accomplish this action. On most left turning actions there is no true CBM, due largely to the position of the man to the lady’s right side and with both orienting the upper bodies slightly to the left. On all turns the sways are somewhat downward with floor pressure on the supporting foot, giving the appearance of a longer step. Forward Movement Forward movement begins by lowering into the knee of the supporting foot. To describe this, let's assume that we are standing on the right foot. We swing the free foot (left) forward from the hip, after lowering to the heel on the previous step. The heel of the supporting foot (right) releases as the heel of the free foot (left) is about to strike the floor. There is a slight push off the right toe before the left heel contacts the floor. This WZ Intro - 1 S#6 2002 Introduction (continued) International Waltz push off would be the same as the push off in a normal walking step. As weight transfers onto the new supporting foot (left), the other (right) gathers under the body. The second and third steps, most often, are on the toe or ball of the foot. Step three may be taken in Contrary Body Movement Position (CBMP). For example, every step taken outside partner, in banjo, is in CBMP- Occasionally CBM accompanies CBMP. Backward Movement The knee of the supporting foot (left, for purposes of explanation) bends, lowering into the supporting leg. The free foot (right), leg and hip move back with the toe leading. As the weight transfers to the free foot, the heel of the supporting foot drags back until it collects under the body with no foot rise. Rise and Fall - "Rise" is the increased elevation created by the bracing of the muscles of the legs, the straightening of the knees and the stretching upwards of the body. A rising of the heel or heels from the floor usually accompanies this action. "Fall" is the lowering of the supporting foot from the toe to heel and the subsequent flexing of the knees while preparing for the next step. Instructions referring to no foot rise (NFR), mean that there is a body rise while the heel of the supporting foot does not leave the floor. No foot rise generally occurs on backing steps, for the lady, when the man uses a normal rising action. The man's forward poise and swing, in all forward movements (e.g., the closed change), will result in the lady having a body rise, with no foot rise. The man will have no foot rise on all heel pulls. Ladies' have no foot rise during a heel turn until they begin a forward step. The rise and fall in Waltz is generally achieved by beginning to rise at the end of step one, continuing the rise on steps two and three, and lowering at the end of step three. There are several types of rise and fall in the Waltz. Five types are described below. Type 1 Start to rise EO1, continue to rise on 2 and 3, lower E03. This is used when closing the feet on step 3 and changing weight, and as the man in the Cross Hesitation. Type 2 Start to rise EO1, continue to rise on 2, up on 3 and lower E03. This is used when the feet finish apart on step 3, e.g., an Outside Change, Wing as the lady, etc. This type rise and fall also applies to a Whisk or Back Whisk. Type 3 Start to rise EO1, continue to rise on 2 and 3, up on 4 and lower E04. This type is use when rising over 4 steps, e.g., a chassé, a turning lock, etc. Type 4 Rise slightly EO1 with No Foot Rise, continue to rise on 2, up on 3 and lower E03. This is the lady's rise and fall for a Heel Turn. Type 5 Rise EO1, up on 2 and 3, lower E03. WZ Intro - 2 S#6 2002 Introduction (continued) International Waltz This is the man's rise and fall when the lady dances a Heel Turn. Heel Turn - The term heel turn is almost a misnomer. The turn happens on the ball or whole foot of the supporting foot, keeping the moving or closing foot parallel to it. Trying to accomplish a heel turn on the heel of the foot will cause the toes to come off the floor. This will not allow for any body rise or natural forward progression at the end of the turning action. Transfer the weight to the closing foot at the end of the turn. The lady does a heel turn on the second step of such figures as the Open Telemark and the Double Reverse Turn. The Pull Step is a type of heel turn, used by the man, in some backward Natural Turns (e.g., the Open Impetus Turn for the man). The feet may be kept apart instead of closed, and the weight is more forward than in a heel turn. The second step of an Impetus Turn is a heel turn for the man that is almost like the lady's heel turn. Brush - A brush occurs when the moving foot (generally for the woman) moves from one open position to another. The word "Brush" means that the moving foot must first close toward the foot supporting the weight of the body, but without the weight changing. During the Brush step it is advisable to keep the knees relaxed and brush with the moving foot's toe about level with the supporting foot's instep. It is not necessary for the-toes of both feet to touch when brushing. Side Leads – A right or left side lead occurs when the body is moved in the direction of foot placement. It is basically a lead from the entire side, but not to be confused with CBM. Side leads are nearly always accompanied with some rise, but no foot rise. Contra (Contrary) Body Movement - Contra (contrary) Body Movement (CBM) is the action of turning the opposite hip and shoulder toward the direction of the moving leg. If the left leg moves forward the right side of the body would move forward. Most turning movements begin with CBM. When stepping forward, using CBM, the leg must move on a straight line. If the foot and leg turn with the body, you will be moving into the space of the partner moving backward. While backing, using CBM, a slight turn of the foot and leg is allowed as you are vacating the partner's space. Contra (Contrary) Body Movement Position - Contra (contrary) Body Movement Position (CBMP) is the position attained by placing the moving foot in the same track as the supporting foot.
Load more

Recommended publications
  • DVIDA American Smooth Silver Syllabus Figures
    Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B.
    [Show full text]
  • Definitions of Technical Terms and Fundamentals
    DEFINITIONS OF TECHNICAL TERMS AND FUNDAMENTALS INTRODUCTION Even if you are not required, during your Amateur Dancesport Instructor Examination, to verbalize the exact foot position, alignment and footwork on each step, the solo demonstration of figures should be accurate in all aspects both as leader and follower. The figures must be danced as described in the Technique Books and in their entirety. You will find below, in a brief and clear manner, definitions for the technical terms used in your Technique Books (chart headings). Your Mentor will be able to explain and complete, if necessary, these definitions.-Should a question be asked during your examination concerning the following fundamentals remember at this level a simple answer is required. Bear in mind that <showing it> is always stronger than words alone. If you forget, for example the description of CBMP, go on and show a figure, or move, using CBMP. Understanding the fundamentals will strengthen and develop the knowledge and required skills you need as a dance instructor. BALLROOM (STANDARD) I.S.T.D. The Ballroom Technique FEET POSITIONS: - The direction (or position) of one foot in relation to the other at the end of a step (for example; the leg swings forward to end to a side position). CBMP: - (Contrary Body Movement Position) The position attained when either foot is placed on or across the line of the supporting foot, either in front or behind to maintain body line (It is therefore a foot position). CBMP is used on outside partner steps, in line with partner and in promenade position.
    [Show full text]
  • DANCE STEPS Information Useful to Amateur Or Professional Dancers
    DANCE STEPS Information useful to Amateur or Professional Dancers – Ballroom or Sequence TELEMARK: In ballroom dancing normally commenced diag. centre down LOD in Waltz, Quickstep or Foxtrot. Lady always finished square, usual amount of turn ¾ or less, can be danced. Underturned usually turning ½. OPEN TELEMARK: Man’s steps identical to above but Lady underturning to finish in Prom. Pos. In Sequence dancing alignment may vary considerably. IMPETUS TURN: In Ballroom dancing Man usually commences backing LOD with Heel Turn, turning ⅝ to R, Lady finishing square. OPEN IMPETUS TURN: Man turns R to finish in Prom. Pos. Lady’s steps similar to Impetus Turn. In Sequence dancing alignments can be taken in any direction. WING: Always commenced in Prom. Pos. Lady curving anticlockwise three steps round Man. Man very slight turn L, Lady ⅜ turn L on three curving steps. Man RF forward hesitating while Lady takes 3 steps. DOUBLE REVERSE WING: Man steps identical to Double Reverse Spin, Lady after Heel Turn takes 2 quick curving steps round Man on his L side. CLOSED WING: Commenced with partner on R side, Lady instead of curving L, steps back LF, side RF, forward LF on L side Man, Man RF forward hesitating while Lady takes the 3 steps. DOUBLE REVERSE SPIN: Man LF forward, RF to side, pivoting strongly L on toes, closing LF to RF without weight usually commenced down LOD or diag centre down LOD in Modern, amount of turn ¾ up to 1 complete turn – can vary. Lady, RF back closing LF to RF – Heel Turn, turning L, RF to side slightly back, crossing LF in front of RF, can be danced in Foxtrot, Waltz or Quickstep.
    [Show full text]
  • Self-Assessment Guide
    SELF-ASSESSMENT GUIDE Qualification: PERFORMING ARTS (BALLROOM DANCING) NCII PERFORM BASIC MODERN STANDARD DANCE FIGURES AND Project 1 : AMALGAMATIONS DEMONSTRATE UNDERSTANDING OF BASIC CONCEPTS AND Unit/s of ROUTINES Competency: PERFORM BASIC MODERN STANDARD DANCE FIGURES AND AMALGAMATIONS Instruction: Read each of the questions in the left-hand column of the chart. Place a check in the appropriate box opposite each question to indicate your answer. Can I? YES NO Perform Waltz* - LF Closed Change* - RF Closed Change - Natural Turn* - Reverse Turn* - Outside Change* - Whisk* - Back Whisk* - Reverse Corte* - Natural Spin Turn* - Hesitation Change* - Chasse’ from Promenade Position* - Weave in Waltz Time (After 1-3 Reverse Turn)* - Progressive Chasse to Right* - Backward Lock Step* - Forward Lock Step* - Reverse Pivot* - Double Reverse Spin* - Closed Telemark* - Open Telemark and Cross Hesitation* - Open Telemark to Wing* - Closed Impetus* - Open Impetus followed by a Cross Hesitation* - Open Impetus followed by a Wing* - Outside Spin* - Turning Lock to Left* - Weave from Promenade Position after a Whisk* - Weave from Promenade Position after an Open Impetus* And satisfies requirements in terms of : - Rhythm* - Technique* - Poise* - Presentation* Perform Tango* - Right Foot Walk to PP - Progressive Side Step* - Progressive Link* - Promenade Link* - Closed Promenade* - Open Promenade* - Back Open Promenade* - Basic Reverse Turn* - Open Reverse Turn Partner in Line Closed Finish* - Open Reverse Turn Partner Outside Open Finish* - Back
    [Show full text]
  • Line Dance Terminology
    · Forward right diagonal (wall) Line Dance · Forward left diagonal (center) · Reverse right diagonal (wall) Terminology · Reverse left diagonal (center) · Partner Alignment: The symmetric alignment of a couple. This list of line dance terms was collected AMALGAMATIONS from Country Dance Lines Magazine (CDL) a.k.a. Clusters, Combinations. A group or [defunct] and the National Teachers sequence of dance figures or patterns. Association (NTA) Glossary. Text may have AND been modified slightly for formatting Used when 2 movements are to be done purposes, but, in general, the terms and simultaneously. For example, definitions are exactly as provided by CDL 1. Step forward and clap hands. and NTA. A. Half of a quick count = "1&" or &1" B. A call, such as "ready and" Definitions from CDL look like this. & (AMPERSAND) Definitions from NTA look like this. The upbeat that precedes or follows the whole When both agreed on exactly the same downbeat. &1 precedes the beat, 1& follows the wording, the definition looks like this. beat. Unlike the previous usage of the term Definitions from elsewhere look like this. "and", the ampersand is used when "Step forward and clap hands" means two separate movements, and is notated in step descriptions A as: 1 Step forward on Left foot ACCENT & Clap Emphasis on a particular step or move in a AND STEP pattern, or, in music, the emphasis on a certain Signifies weight change with a movement. For beat in a measure. instance, in describing the first three steps in a Dance: Special emphasis to a movement Grapevine right, the description would read: Music: Special emphasis to a heavy beat in 1 Step to the right with Right foot.
    [Show full text]
  • Standard Technical Assessment
    DanceSport Australia Level 2 Coach / Championship Adjudicator Technical Assessment Candidate Assessment Information Standard Style COACH / CHAMPIONSHIPADJUDICATORS ACCREDITATION Developed by DSA Accreditation Commission 2006- Revised 2019 This tool covers Series 1-2 STANDARD STYLE LEVEL 2 STANDARD 5 DANCES. Level 2, Practical & Technical Module Duration: 150 Minutes Refer to ISTD (Ballroom Technique and Viennese Walz Technique) and Elizabeth Romain Reference Publications Questions & Answers, (refer DSA Syllabus Technical References). It is essential that candidates study all publications preceding the Technical Analyses. A sound general knowledge of the Syllabus dances is required. Candidate will be assessed on General, Practical, Theoretical, and Technical knowledge of Standard Dances as required by the DSA Syllabus for Adjudicator Level 2 Standard Style Assessment Criteria Details Assessment Criteria details and a list of Technical Terms is forwarded to the candidate after the application to Branch Executive Officer or Accreditation Officer has been processed. 1.1 Candidate will dance the 5 Standard dances to music with a partner. Specified figures must be included in demonstration. Candidate will only be required to dance as own gender 1.2 Candidate is required to dance solo to music as man or lady, an amalgamation of two or three syllabus figures from any of the Standard 5 Dances, as selected by the assessing panel. 1.3 Candidate will be required to count any figure of each time signature, in Beats and Bars as chosen by the Assessors. 1.4 Candidate will be required to give Beat Values in each of the dances. 1.5 Candidate is required to exhibit a basic understanding of technical terms, and is able to explain, describe and demonstrate competent knowledge of the Technical Terms as indicated on the Assessment Document.
    [Show full text]
  • NDCC Step List Inter Standard Nov. 2013
    National Dance Council of Canada Conseil National en Danse du Canada Appendix I Syllabus Ballroom NATIONAL DANCE COUNCIL OF CANADA CONSEIL NATIONAL EN DANSE DU CANADA BALLROOM SYLLABUS STEP LIST, LISTE DES FIGURES, COMPETITIONS & MEDAL TEST WALTZ-VALSE TANGO FOXTROT QUICKSTEP Beginners - Débutants Beginners - Débutants Beginners - Débutants 1 Closed Changes 1 Walk 1 Quarter Turn to Right 2 Natural Turn 2 Progressive Side Step 2 Heel Pivot ( Quarter Turn to Left ) 3 Reverse Turn 3 Progressive Link 3 Progressive Chassé 4 Natural Spin Turn 4 Closed Promenade 4 Forward Lock 5 Whisk 5 Rock Turn 5 Natural Spin Turn 6 Chassé from Promenade Pre-Bronze – Pré-Bronze Pre-Bronze – Pré-Bronze Pre- Bronze - Pré- Bronze Pre-Bronze – Pré-Bronze 7 Closed Impetus 6 Open Reverse Turn, Lady Outside 1 Feather Step 6 Natural Turn 8 Hesitation Change 7 Back Corte 2 Three Step 7 Natural Pivot Turn 9 Outside Change 8 Open Reverse Turn, Lady in Line 3 Natural Turn 8 Natural Turn with Hesitation 9 Progressive Side Step Reverse Turn 4 Reverse Turn ( incl. Feather Finish ) 9 Chassé Reverse Turn 5 Closed Impetus and Feather 10 Closed Impetus Finish 11 Back Lock 12 Reverse Pivot 13 Progressive Chassé to Right Bronze Bronze Bronze Bronze 10 Reverse Corte 10 Open Promenade 6 Natural Weave 14 Tipple Chassé to Right 11 Back Whisk 11 Left Foot and Right Foot Rocks 7 Change of Direction 15 Running Finish 12 Basic Weave 12 Natural Twist Turn 8 Basic Weave 16 Zig-Zag Back Lock & Running 13 Double Reverse Spin 13 Natural Promenade Turn Finish 14 Reverse Pivot 17 Cross Chassé
    [Show full text]
  • Syllabus Outline of Modern Ballroom Faculty Qualifications
    SYLLABUS OUTLINE OF MODERN BALLROOM FACULTY QUALIFICATIONS April 2017 ISTD Dance Examinations Board Tel: +44 (0)20 7377 1577 Imperial House 22/26 Paul Street www.istd.org London EC2A 4QE Contents General Information 2 Amateur Medal Tests Introduction 3 Entry Conditions and General Information 4 Syllabus Content 6 Method of Assessment 10 Graded Examinations in Dance Introduction 12 Entry Conditions and General Information 13 Syllabus Content 14 Method of Assessment 20 Vocational Graded Examinations in Dance Introduction 22 Entry Conditions and General Information 23 Syllabus Content 24 Method of Assessment 26 Professional Teaching Examinations Student Teacher 29 Associate 30 Higher Professional Examinations Licentiate 32 Fellowship 33 Viennese Waltz 33 Professional Dancing Diplomas 34 Syllabus figures 36 Reasonable Adjustments 40 Results and Certification 41 Regulation 41 General Information Dancesport examinations cover Modern Ballroom, Latin American, Sequence, Disco Freestyle, Street Dance, Rock ‘n’ Roll, Country/Western and Authentic and Emerging Dance. These dance genres provide a wide diversity in both teaching and learning in dance education. On one level they form the basis of what may sometimes be referred to as ‘social’ dancing, and there are a range of examinations that provide those learning to dance as a recreational activity the scope to develop quality within performance. At other levels students may pursue their training further through the range of examinations in order to develop the higher artistic and technical skills necessary for competition dancing, stage performance and dance teaching. The examinations offered in the Dancesport genres enable teachers in differing situations to provide a safe and structured programme for pupils of all ages and abilities.
    [Show full text]
  • ROUNDALAB STANDARD Abbreviations I. INTRODUCTION
    ROUNDALAB STANDARD Abbreviations I. INTRODUCTION & CHANGES INTRODUCTION: Purpose of Abbreviations: To reduce the size of words, without confusing the reader, and to conserve space within the body of the cue sheet. The following guidelines apply to the usage of abbreviations and punctuation. The format of the title reflects the status of the descriptions or definitions that follow: Approved Standard - Boldface Type Tentative Standard - Underlined and preceded by a single asterisk [*]. On ROUNDALAB Teaching Videos [RTVs] - Preceded by a number sign [#]. Copies of the following additional manuals, booklets, ROUNDALAB Teaching Videos [RTVs], Digital Video Discs [DVDs], and Figure Video Software [FVS] may be purchased from: ROUNDALAB PO Box 1928 Auburn, ME 04211 PHONE: 877 Y I DANCE [877-943-2623] US/CANADA 207-904-0220 all other countries WEBSITE: www.roundalab.org E-MAIL: [email protected] • Phase Booklets – Phases I through VI • Glossary • Abbreviations Booklet • Index for Glossary & Phase Booklets • Listing of Phase Rated Actions, Movements and Figures by Rhythm Booklet • Listing of Phase Rated Actions, Movements and Figures by Phase Booklet • Cueing Guidelines • Cue Sheet Writing Guidelines • New Round Dance Leaders Manual - Phase I / II • Teaching Manuals for Phase III and IV • Preliminary Foot Movements & Positions/Dance Positions/Walks in all Rhythms Booklet • Callers Manual for Using Rounds in the Square Dance Program • ROUNDALAB Teaching Videos [RTVs] • Instructional Digital Video Discs [DVDs] [Phase I through Phase VI and Addendum] • Figure Video Software [FVS] Because of changes over time as well as differences of interpretation, inconsistencies may appear between the ROUNDALAB Teaching Videos [RTVs], Digital Video Discs [DVDs], Figure Video Software [FVS] and the ROUNDALAB Phase Booklets.
    [Show full text]
  • Vakiotanssit
    Vakiotanssit STUL sallitut kuviot Valssi Peruskuviot WDSF IDTA ISTD 1 Natural Turn N (123) (123) x x x 2 Reverse Turn N (123) (123) x x x 3 Closed Changes N 123 x x x 4 Outside Change N, N-P 123 x x x 5 Whisk N-P 123 x x x 6 Chasse from PP P-N 12&3 x x x E-Luokka 7 Natural Spin Turn N 123 123 x x x 8 Telemark N 123 x x x 9 Open Telemark / Telemark to PP N-P 123 x x x 10 Cross Hesitation (from PP) P-N 123 x x x 11 Impetus Turn N 123 x x x 12 Open Impetus Turn / Impetus to PP N-P 123 x x x 13 Drag Hesitation N 123 x x x 14 Hesitation Change N (123) 123 x x x 15 Progressive Chasse to Right N 12&3 x x x 16 Back Lock / Backward Lock Step N 12&3 x x x 17 Basic Weave / (Weave in Waltz Time) N, N-P 123 123 x x x 18 Weave from PP P-N, P-N-P (123) 123 x x x 19 Back Whisk N-P 123 x x x D-Luokka 20 Turning Lock to Left / Reverse Turning Lock N, N-P 1&23 x x x 21 Outside Spin N 123 x x x 22 Turning Lock to Right / Natural Turning Lock N-P 1&23 x x x 23 Wing / Wing from PP P-N 123 x x x 24 Closed Wing / Wing N 123 x x x 25 Double Reverse Spin N 12&3, 123& (M: 123) x x x 26 Reverse (Slip) Pivot N & x x x 27 Reverse Corte N 123 x x Vakiotanssit STUL sallitut kuviot Valssi C-Luokka WDSF IDTA ISTD 22 Turning Lock to Right / Natural Turning Lock N 1&23 x x x 28 Fallaway Whisk N-F 123 ¤ x x 29 Left Whisk N, P-N 123 ¤ x x x 30 Fallaway Natural Turn P-F-N 123 123 x x x 31 Running Spin Turn / (123) 1&23, (123) 12&3, (123) (Quick Natural Spin Turn) N 12&3& x x x 32 Fallaway Reverse Slip Pivot N-F-N 123&, 1&23, 12&3 x x x 33 Contra Check N, N-P 1 to 3 bars of
    [Show full text]
  • Introduction for International Foxtrot
    International Foxtrot Introduction for International Foxtrot General Foxtrot is a beautiful and difficult Smooth Ballroom Rhythm. There are several types of Foxtrot. Two of these are the Social Foxtrot (also called American Foxtrot and Rhythm Dancing) and the Slow Foxtrot (International Foxtrot). Social Foxtrot closely resembles slow quickstep. This is the type taught most often to beginning students in many major dance studios. On a crowded dance floor, the Social Foxtrot is quite suitable. The character of Slow Foxtrot is long, smooth, gliding steps. The dancer needs much control to give the dance a lazy and unhurried appearance. It is easier to dance these long and gliding steps on a large, uncrowded floor. The smooth rise and fall should happen as a normal result of the movement of the dance. They call this natural movement body flight. Timing The timing for Slow Foxtrot is 4/4 (four beats to each measure or bar) and normally with three steps taken over the four beats of music. The tempo is usually 30 measures per minute. Generally the accent is on beat one and three, with beat one being the stronger. Rhythm The basic rhythm of foxtrot is SLOW, QUICK, QUICK. For definition, a SLOW (S) is equal to two beats of music and a QUICK (Q) is equal to one. Interpretation of the music is largely a matter of personal taste, but a good general hint is to be a little late with the second QUICK. Body Mechanics The use of correct body mechanics makes the Slow Foxtrot much easier to dance.
    [Show full text]
  • The Canadian Dancesport
    BALLROOM SYLLABUS STEP LIST, LISTE DES FIGURES, COMPETITIONS & MEDAL TEST WALTZ-VALSE TANGO FOXTROT QUICKSTEP Beginners - Débutants Beginners - Débutants Beginners - Débutants 1 Closed Changes 1 Walk 1 Quarter Turn to Right 2 Natural Turn 2 Progressive Side Step 2 Heel Pivot ( Quarter Turn to Left ) 3 Reverse Turn 3 Progressive Link 3 Progressive Chassé 4 Natural Spin Turn 4 Closed Promenade 4 Forward LoCk 5 Whisk 5 RoCk Turn 5 Natural Spin Turn 6 Chassé from Promenade Pre-Bronze – Pré-Bronze Pre-Bronze – Pré-Bronze Pre- Bronze - Pré- Bronze Pre-Bronze – Pré-Bronze 7 Closed Impetus 6 Open Reverse Turn, Lady Outside 1 Feather Step 6 Natural Turn 8 Hesitation Change 7 BaCk Corte 2 Three Step 7 Natural Pivot Turn 9 Outside Change 8 Open Reverse Turn, Lady in Line 3 Natural Turn 8 Natural Turn with Hesitation 9 Progressive Side Step Reverse Turn 4 Reverse Turn ( inCl. Feather Finish ) 9 Chassé Reverse Turn 5 Closed Impetus and Feather 10 Closed Impetus Finish 11 BaCk LoCk 12 Reverse Pivot 13 Progressive Chassé to Right Bronze Bronze Bronze Bronze 10 Reverse Corte 10 Open Promenade 6 Natural Weave 14 Tipple Chassé to Right 11 BaCk Whisk 11 Left Foot and Right Foot Rocks 7 Change of DireCtion 15 Running Finish 12 Basic Weave 12 Natural Twist Turn 8 Basic Weave 16 Zig-Zag BaCk LoCk & Running 13 Double Reverse Spin 13 Natural Promenade Turn Finish 14 Reverse Pivot 17 Cross Chassé 15 BaCk LoCk 18 Change of DireCtion 16 Progressive Chassé to Right 19 Natural Turn and BaCk LoCk 20 Double Reverse Spin Silver - Argent Silver - Argent Silver - Argent
    [Show full text]