DOCSLIB.ORG

ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action Touching Free Foot Toe at Supp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action Touching Free Foot Toe at Supp ROUND DANCE BASICS TWO STEP - PHASE I TOUCH, (Action) DIRECTIONS: - Action touching free foot toe at supp. foot instep. - Line Of Dance, Reverse Line Of Dance, - Other actions; (STAMP, TAP, HEEL, TOE) - Wall, Center Of Hall. (Diagonals) POINT, (Action) POSITIONS: - Action touching free ft. toe in direction indicated. - Open, Left-Open, Closed, Semi-Closed, - Apart,-, Point,-; Together,-, Touch,-; (Std. Intro.) - Butterfly, Sdcar, and Banjo. TWIRL "N". ASSUMED POSITION: - Man Fwd "n", Lady Twirls Right Face in "n". - In OPEN, if cued to face partner w/o position cue, - Twirl,-,2,-; Apt,-,Pt,-; (Frequent dance ending) - Then assumed position is BUTTERFLY. - In SEMI, if cued to face partner w/o position cue, ******** (HOT TIME MIXER) ******* - Then assumed position is CLOSED. BLENDING: WALK,-, (S) - Graceful transition from one position to another. - A step in line of progression taking 2 beats - In OPEN, blend to SEMI, etc. - Open, Closed, Semi-Closed.... - Other Walking steps; STRUT, STROLL, SWAGGER STARTING FOOTWORK: - WALK "N" - Take "n" walking steps. - Man's Left Foot, Lady's Right Foot. - Lead Foot, Trailing Foot RUN, (Q) - A step in line of progression taking 1 beat FREE FOOT, SUPPORTING FOOT: - RUN "N" - Take "n" running steps. - The foot that has no weight on it is the "Free Foot" - The foot that has weight is the "Supporting Foot". CIRCLE WALK AWAY or TOGETHER "N". - Walk in a circular pattern away/to partner "n" steps. CUEING PRACTICES - Cues are directed to Man's footwork CIRCLE WALK AWAY & TOGETHER;; (SS,SS) - Cues for next series of footwork occur prior to use. - 2 steps away from partner, 2 steps towards partner. - Strut 4;; Circ Wk Away & Tog;;(OP) Strut 4;; MOVEMENTS: (Dancing on a Cloud for hash) ******** (JIFFY MIXER) ******** STEP, CROSS, - Transfer of weight from supporting to free foot. - Step crossing free foot beyond supporting foot. - In Front, In Bk, Behind FORWARD, SIDE, BACK, APART, TOGETHER. - When cueing these steps "CROSS" may be omitted. - When cueing these steps, "STEP" may be omitted. - Other weight transfers; (STOMP, GLIDE, SLIDE) THRU,-, (S) - Step transferring weight from supporting foot, CLOSE, - To free foot. (Passing between partners) - Step bringing feet together (parallel). - Transfer weight from supporting foot to free foot. ROCK, - Sd, Close, Sd, Close; (2 Sd Closes) (Q) - Step in anticipation of returning weight, - to original supporting foot. FACE, - A step turning to face partner RECOVER, - Fwd,-,Face,-; Fwd 3;,,Face,-; - Return of weight to original supporting foot. TURN (IN/OUT), PICK UP, - Step turning in(out)ward to (away from) partner. - Step taken on insd foot, Lady Pivots to face Man. - Bk 3,,,Turn in; (Review Sdcar, Banjo) - Wk 3;,,PU,-; Apt,-,Pt,-; PU,-,Tch,-; FACE VS "To Face". - Fwd 4 to Face;, Fwd 4 to Face wall; ******** (FLIP FLOP MIXER) ******* ****** (LEFT FOOTER'S ONE STEP) ***** Presented By Jim & Adele Chico, Rhythm Rounds - 1996 page 1 FIGURES ROUND DANCE BASICS (Bailey Rk for Hash) TWO STEP - PHASE II TWO-STEP ARCHITECTURE: LIMP; FRONT LIMP; - Step, Close, Step, Hold; (QQS) - Sd, Behind/Front, Sd, Behind/Front; - Figures; Movements/Actions of 1 or more measures - Circle Away & Tog;;(Bfly) Limp; - Circle Away & Tog;;(Bfly) Front Limp; BALANCE (Left/Right); (Fwd/Bk); LACE; (Phase II) BALANCE (Away/Together); - Fwd, Close, Fwd, Hold; - Lady passes in front of Man under designated hand, ****** (WHITE SILVER SANDS MIXER) **** - In Line of Progression...... ** (WHEN I TAKE MY SUGAR TO TEA) ** SIDE TWO-STEP; (L/R) - Sd, Close, Sd, Hold; (Add SF Bay for Hash) - Circle Wk Away & Tog;; FWD HITCH; (Bfly) Sd Two-Stp L & R;; - Fwd, Close, Bk, Hold; - Fwd Hitch; Bk 2-Step; Rk Bk,-,Rec,-; Fwd 2-Step; APART AND TOGETHER;; - Sd, Close, Sd, Hold; Sd, Close, Sd, Hold; BK HITCH; - Circle Wk Away & Tog;; (Open) Apt & Tog;; (Open) - Bk, Close, Fwd, Hold; - Fwd Hitch; Bk 2-Step; Bk Hitch; Fwd 2-Step; BOX;; - Sd, Close, Fwd, Hold; Sd, Close, Bk, Hold; DOUBLE HITCH;; (HITCH 6;;) - Circle Wk Away & Tog;; (Bfly) Box;; - Fwd, Close, Bk, Hold; Bk, Close, Fwd, Hold; - 2 Fwd 2-Steps;; Double Hitch;; REVERSE BOX;; - Sd, Close, Bk, Hold; Sd, Close, Fwd, Hold; ****** (FRENCHY BROWN) ****** - Circle Wk Away & Tog;; (Bfly) Box;; Reverse Box;; (Bk Awy 3; Tog 2, Lift/Trn;) ******** (WORLD MIXER) ******** CHANGE SIDES; (FRAULEIN - Optional) - Fwd, Close, Fwd, Hold; - Partners change places end in designated position, FORWARD TWO-STEP; - No progression required, (W/Hands, W/O Hands) - Fwd, Close, Fwd, Hold; - When In # Steps Cued, Then Passing Steps. - Rk Bk,-, Rec,-; One Fwd Two Step; - Walk,-, PU,-; 2 Fwd Two Steps;; VINE ("N"); (4; 8;;) - Sd, Beh, Sd, Front; BACK TWO-STEP; - Vine 4; (S & Q), Vine 8 (Q) - Bk, Close, Bk, Hold; - Twl Vine 2;; Twl Vine 4;; - Rock Fwd,-,Rec,-; Bk Two-Step; CIRCLE AWAY; CIRCLE TOGETHER; ******* (ST. LOUIS BLUES) ****** - Fwd/Turn, Close, Fwd/Turn, Hold; (Brush, Dbl Twl) - Circle Away 2 Two Steps;; Strut Together 4;; SCISSORS; (Generic) CIRCLE AWAY AND TOGETHER;; - Sd, Close, Cross, Hold; (Wxib, Wxif, Mxif) - Fwd/Turn, Close, Fwd/Turn, Hold;, THRU SCISSORS; (Free ft passes between partners) - Fwd/Turn, Close, Fwd/turn, Hold; - Sd, Close, Cross (in front), Hold; - Circle Away and Together;; Box;; - Circ Awy & Tog;;(Bfly) Scis Thru;(LOP) Wk,2;(Rev) LADY UNDER; MAN UNDER; (LACE ACROSS;) CROSS WALK ("N"); (S) - Fwd, Close, Fwd, Hold; (Under Specified Hand) - Walking Steps Crossing free foot over supp. foot. - 2 Fwd Two Stps;; L Under; (M's L Hnd) Fwd Two Stp; - 2 Fwd 2-Steps;; Cross Walk 4;; - 2 Fwd Two Stps;; M Under; (M's R Hnd) Fwd Two Stp; BASKETBALL TURN;; (SS;SS) ****** (S T R U T T I N' I) ******* - Fwd/Turn,-,Rec/Turn,-; Fwd/Turn,-,Rec/Turn,-; (Chico) - 2 Fwd 2-Steps;; Basketball Turn;;(Open) E N D OF P H A S E I T W O S T E P ******** (M Y S O N G) ********* (1/2 Box; Sd, Thru (LOP), Pt Rev;) Presented By Jim & Adele Chico, Rhythm Rounds - 1996 page 2 HITCH APART; VINE 3; VINE APART AND TOG; - Fwd, Close, Bk, Hold; (Both do same step) - Sd,Beh,Sd,Hold; - Same but away fm/twds Partner. - Circ Away & Tog;;(CP Wall) Hitch Apt; Scis Thru;(OP) - Vin 3; Frt, Sd, Frt,-;(OP) Vine Apart & Tog;; DRAW; (Action) - Action sliding free ft. toe to instep of supp. foot. ******** (BABY OF MINE) ******** - Sd,Draw,Touch,-; L&R;. Sd,Draw,Close,-; 2x;. CUT BK,, LOCK; (Fwd & Bk) - Cut, Bk, (Locking action occurs on first step) - Fwd, Lock, Bk, Lock, (Lock occurs on 2nd Step) - 2 Fwd 2-Steps;; Cut,Bk,2x; Rk Bk,-,Rec,-; - Wk,-, 2,-;(SCP) Fwd, Lk, 2x; Wk,-, 2,-; DIP, LUNGE, ****** (LITTLE WHITE MOON) ****** - As in Rock but with greater flexing of knees (1/2 Box; Scissors Thru) - 2 Fwd 2-Steps;; Cut,Bk,2x; Dip(bk),-,Rec,-; WHEEL;; OPEN VINE; (SS; SS;) - Both 2 Fwd Two Stps arnd common center. - Sd,-,Beh,-;(LOP) Sd,-,Frt,-;(OP) - Circle Away & Tog;; (Bjo) Wheel;;(CPWall) - 2 Fwd 2-Steps;; Open Vine;; CIRCLE BOX;; ****** (LOVER'S SONG) ******* - Lady Circles (RF) 2 Two-Steps;; Man performs Box;; - Circle Away & Tog;;(BFLY Wall) Circle Box;; FACE to FACE; (Start in Face to Face Position) CIRCLE CHASE;; - Sd, Close, Turn away from partner, Hold; - W "chases" M to COH 2 2-Steps;; (Circling Motion), - Circ Away & Tog to Bfly;; Fc to Fc;(OP) Wk,-,2,-; - M "chases" W to Wall 2 2-Steps;; (Designated Pos'n.) BACK to BACK; (Start in Back to Back Position) - Sd, Close, Turn towards partner, Hold; ******** (H U S H) ********** - Circ Away & Tog to Bfly;; Fc to Fc; & Bk to Bk;(OP) (Scissors Chg Sds; Rk Sd, Rec, Cross; 2x;) ****** (TILL SOMEBODY LOVES YOU) **** HITCH 4; SCOOT; - Fwd, Cls, Bk, Cls; - Fwd, Cls, Fwd, Cls; - 2 Fwd Two Stps;; Hitch 4; Wk,-, 2,-; Scoot; Wk,-, 2,-; HITCH SCISSORS; - Man Hitch, Lady Scissors; (Scp to Bjo/Bjo to Scp) - Fwd Hch; Hch Scis Bjo; Fwd Hch; Hch Scis Semi; ******** (THE RACE IS ON) ******** FWD, LOCK, FWD; BK, LOCK, BK; - Fwd, Lock, Fwd, Hold; SCISSORS; (Sdcar & Banjo) - Fwd Hch; Hch Scis Bjo; Fwd,Lk,Fwd,-; 2x; (Scp/Bjo) - Sd, Cls, Cross, Hold; (Mxif, Wxib) - Circ Away & Tog;;(CPwall) Scis Scar & Bjo;; ******** (HOUSTON) ********* PROGRESSIVE SCISSORS; (Swing,) - Same as in Scissors to Scar/Bjo; (M Fc LOD). - Wk,-,PU,-; 2 Fwd 2-Stps;; Prog Scis Scar; & Bjo; SCISSORS HITCH; - Man Scissors, Lady Hitch; (Scp to Scar/Scar to Scp) TWO TURNING TWO-STEPS;; - Scis Hch;(Scar) Wk 2;(R) Scis Hch;(Scp) Wk 2;(LOD) - Sd, Close, Turn, (RF), Hold; (Turn up to 1/2) PROGRESSIVE BOX;; - Sd, Close, Turn, (RF), Hold; (Turn to pos'n.) - Sd, Close, Fwd, Hold; Sd, Close, Fwd, Hold; - 2 Fwd 2-Steps;; 2 Turning 2 Steps;;(SCP) - Walk,-,PU,-; Prog Box;; Prog Scis Scar; & Bjo; ********* ( B U F F Y ) ********* ******* (NOBODY'S BABY) ******* (Scis Thru PU;) CHARLESTON;; (SS;SS;) TWISTY VINE ("N"); - Fwd,-, Point Fwd,-; Bk,-, Point Bk,-; - (M) Sd, Beh, Sd, Front; (W) Sd, Frt, Sd, Beh; - 2 Fwd 2-Steps;; Charleston;; 2 Fwd 2-Steps;; - 2 Fwd Two Steps to Fc;; Twisty 4; Wk,-,Fc Wall,-; **** (WHEN MY BABY SMILES AT ME) **** ****** (SLOW BOAT TO CHINA) ****** Presented By Jim & Adele Chico, Rhythm Rounds - 1996 page 3 WRAP; BROKEN BOX;;;; - Two-Step fig, W wrapped w/L arm in front, R x chest. - 1/2 Box Fwd; Rk Fwd,,Rec; 1/2 Box Bk; Rk Bk,,Rec; - Vine 3, Tch; Wrap;. Balance Away; Wrap;(Fc LOD). - Circle Away & Tog;;(CPwall) Broken Box;;;; UNWRAP; - Two-Step Figure, Lady unwraps to designated pos'n. ******** (F I R E F L Y) ********* - Vine 3, Tch; Wrap; Unwrap;(OP) Fwd 2-Step; LEFT TURNING BOX;;;; ******* (KING OF THE ROAD) ******** - 1/2 Bx Fwd Trn L 1/4; 1/2 Bx Bk Trn L 1/4; Repeat;; (Circle/Snap 4;;) - Wk 3;,,Face,-; Left Trng Box;;;;(OP) Wk,-,2,-; ROLL ("N").
Load more

Recommended publications
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • Bizourka and Freestyle Flemish Mazurka
    118 Bizourka and Freestyle Flemish Mazurka (Flanders, Belgium, Northern France) These are easy-going Flemish mazurka (also spelled mazourka) variations which Richard learned while attending a Carnaval ball near Dunkerque, northern France, in 2009. Participants at the ball were mostly locals, but also included dancers from Belgium and various parts of France. Older Flemish mazurka is usually comprised of combina- tions of the Mazurka Step and Waltz, in various simple patterns (see Freestyle Flemish Mazurka below). Like most folk mazurkas, their style descended from the Polka Mazurka once done in European ballrooms, over 150 years ago. This folk process is sometimes compared to a bridge. French or English dance masters picked up an ethnic dance step, in this case a mazurka step from the Polish Mazur, and standardized it for ballroom use. It was then spread throughout the world by itinerant dance teachers, visiting social dancers, and thousands of easily available dance manuals. From this propagation, the most popular steps (the Polka Mazurka was indeed one of the favorites) then “sank” through many simplified forms in villages throughout Europe, the Americas, Australia and elsewhere. In other words, towns in rural France or England didn’t get their mazurka step directly from Poland, or their polka directly from Bohemia, but rather through the “bridge” of dance teachers, traveling social dancers and books, that spread the ballroom versions of the original ethnic steps throughout the world. Once the steps left the formal setting of the ballroom, they quickly simplified. Then folk dances evolve. Typically steps and styles are borrowed from other dance forms that the dancers also happen to know, adding a twist to a traditional form.
    [Show full text]
  • Shift to Video
    P A G E 6 No Classes? Shift To Video by Harold & Meredith Sears We can't go to our usual dance clubs and classes these days, but I'm keeping my hand in (or is it my foot?) with videos from YouTube and from other collections around the Web. I'll list some links below, but a simple search on the name of a rhythm, or of a specific dance figure, will turn up sites and additional links galore. Start with "waltz," "waltz telemark," "waltz styling," or "waltz four walls," and follow the links. You can easily spend a full evening and almost feel like you've been to a lesson and dance. One category of video presents showcase dances. We get to see the whole dance, from beginning to end, with- out any comment. The ballroom dancers will dance without cues. Round dancers will usually have the recorded cues. Either way, we can enjoy the big picture, the posture, the dance frame, body lines, and smooth body flow (and the music). More specifically, we can recognize some of the figures being danced. Watching figures that we know might reveal some features or details that we'd like to copy, improvements that we can make. Watching figures that we don't know can get us started toward knowing them. We often work on those sorts of details in the kitchen, our first steps toward smoother dancing. The other big category of video presents dance instruction. Here, the teachers are not presenting a dance; they are discussing and demonstrating specific steps, figures, and techniques used in dance.
    [Show full text]
  • Theory of International Politics
    Theory of International Politics KENNETH N. WALTZ University of Califo rnia, Berkeley .A yy Addison-Wesley Publishing Company Reading, Massachusetts Menlo Park, California London • Amsterdam Don Mills, Ontario • Sydney Preface This book is in the Addison-Wesley Series in Political Science Theory is fundamental to science, and theories are rooted in ideas. The National Science Foundation was willing to bet on an idea before it could be well explained. The following pages, I hope, justify the Foundation's judgment. Other institu­ tions helped me along the endless road to theory. In recent years the Institute of International Studies and the Committee on Research at the University of Califor­ nia, Berkeley, helped finance my work, as the Center for International Affairs at Harvard did earlier. Fellowships from the Guggenheim Foundation and from the Institute for the Study of World Politics enabled me to complete a draft of the manuscript and also to relate problems of international-political theory to wider issues in the philosophy of science. For the latter purpose, the philosophy depart­ ment of the London School of Economics provided an exciting and friendly envi­ ronment. Robert Jervis and John Ruggie read my next-to-last draft with care and in­ sight that would amaze anyone unacquainted with their critical talents. Robert Art and Glenn Snyder also made telling comments. John Cavanagh collected quantities of preliminary data; Stephen Peterson constructed the TabJes found in the Appendix; Harry Hanson compiled the bibliography, and Nacline Zelinski expertly coped with an unrelenting flow of tapes. Through many discussions, mainly with my wife and with graduate students at Brandeis and Berkeley, a number of the points I make were developed.
    [Show full text]
  • Bolero – Introducing the “Cuban Dance of Love” Presented by TJ and Bruce Chadd
    Bolero – Introducing the “Cuban Dance of Love” Presented by TJ and Bruce Chadd We are assuming that you’re teaching a group of dancers that experienced in Round Dancing through Phase III Rumba/Cha. Because of that we have left out teaching about what Round Dancing is, how cues work, lead feet, directions of dancing, positions, posture, lead and follow, etc. The Origin of Bolero: There are 2 countries that take credit for the original Bolero. In Spain in about 1780, ballet dancer Sebastiano Carezo invented the Spanish version of the Bolero, using 3/4 time music (like our waltzes). Then it was danced by either a female soloist or by a couple during ballet performances to very structured music. The Cuban Bolero uses 2/4 timing and is credited to “Pepe” Sanchez, a traveling musician in Cuba during the late 1800’s to early 1900’s. Since he composed most of his music in his head and didn’t write it down, much of his music has been lost to us. The Bolero introduced into the American Ballroom in the mid 1930’s uses 4/4 timing and has become an American Rhythm Standard Dance. 1. Choosing Music for Hash Cueing/Practice Dancing a. Listen/Feel the beat of the music --Choose music with strong downbeats --Use several different pieces of music. Since Round Dances are choreographed to all kinds of different music, we like to ensure dancers get used to that when they’re learning. We use both instrumental and vocal music and use music with a variety of different tempi for Hash Cueing/Practice.
    [Show full text]
  • Trinity Irish Dance Study Guide.Indd
    ● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film.
    [Show full text]
  • Bera Ballroom Dance Club Library
    BERA BALLROOM DANCE CLUB LIBRARY Video Instruction DANCE TITLE ARTIST Style LEVEL 1 American Style Exhibition Choreography Cha Cha Powers & Gorchakova VHS Cha Cha 2 American Style Beginning Rumba & Cha Cha Montez VHS Rumba & Cha Beg 3 American Style Intermediate Cha Cha Montez VHS Cha Cha Int 4 American Style Advanced I Cha Cha Montez VHS Cha Cha Adv 5 American Style Advanced II Cha Cha Montez VHS Cha Cha Adv 6 International Style Cha Cha Ballas VHS Cha Cha 10 American Style Beginning Tango Maranto VHS Tango Beg 11 American Style Intermediate Tango Maranto VHS Tango Int 12 American Style Advanced I Tango Ballas VHS Tango Adv 13 American Style Advanced II Tango Maranto VHS American Tango Adv 14 Advanced Tango American Style Techniques & Principles Kloss VHS American Tango Adv 21 Waltz Vol I International Style Technique & Principles Puttock VHS Int Waltz 22 Waltz International Style Standard Technique Veyrasset &Smith VHS Int Waltz 23 American Style Beginning Waltz Maranto VHS Waltz Beg 24 American Style Intermediate Waltz Maranto VHS Waltz Int 25 American Style Advanced I Waltz Maranto VHS Waltz Adv 26 American Style Advanced II Waltz Maranto VHS Waltz Adv 27 Waltz Vol 1 – Beginner Austin VHS Waltz Beg 30 American Style Beginners Viennese Waltz Maranto VHS Viennese Waltz Beg 31 American Style Intermediate Viennese Waltz Maranto VHS Viennese Waltz Int 32 International Style Advanced I Viennese Waltz Veyrasset &Smith VHS Viennese Waltz Adv 33 Viennese Waltz International Style Standard Technique Veyrasset &Smith VHS Int Viennese 40 International
    [Show full text]
  • 2013-2014 Contemporary Music for Pattern Dances Playlist
    2013-2014 Contemporary Music for Pattern Dances Playlist Preliminary Dances BPM Act ual Tune/ Ar t ist Dut ch Walt z 138 140 You and Me - Lifehouse 138 I'll Be - Edwin McCain Can ast a Tan go 104 100 El Capitalismo... - Gotan Project 105 Rolling in the Deep - Adele Baby Bl ues 88 88 One Less Lonely Girl - Bieber 88 The Lazy Song - Kidz bop Kidz Ju n i o r Br o n z e D a n ce s Sw i n g Da n c e 96 96 Put Your Records On - Corinne Bailey Rae 97 Single Ladies - Beyoncee Fi est a Tango 108 108 Una Musica Brutal - Gotan Project 108 Set Fire to the Rain - Adele Willow Waltz 138 140 You and Me - Lifehouse 138 I'll Be - Edwin McCain Se ni or Br onze Da nce s Ten Fox 100 100 Beauty in the World - Macy Gray 100 Quit Playing Games... - Backstreet Boys Fo ur t een St ep 112 110 Happy Feet - High Heels Mix 109 Hollaback Girl (Clean Version)-Gwen Stefani Eu r o p ean Wal t z 135 133 Kiss from a Rose - Seal 138 I'll Be - Edwin McCain Note: BPM = the pattern dance beats per minute; ACTUAL = bpm of the tune indicated _____________________________________________________________________________________ 2013-2014 Contemporary Music for Pattern Dances Playlist pg2 Junior Silver Dances BPM Act ual Tune/ Ar t ist Keat s Foxt r ot 100 100 Beauty in the World - Macy Gray 100 Quit Playing Games... - Backstreet Boys Ro ck er Fo xt r o t 104 104 Black Horse & the Cherry Tree - KT Tunstall 104 Never See Your Face Again- Maroon 5 Harris Tango 108 108 Set Fire to the Rain - Adele 111 Gotan Project - Queremos Paz American Walt z 198 193 Fal l i n - Al i ci a Keys
    [Show full text]
  • Introduction to International Paso Doble
    International Paso Doble Introduction to International Paso Doble General Paso Doble is one of the most exciting of the Latin rhythms. It has the electric excitement of a bull fight with the man assuming the strong, powerful role of the matador and the lady, most often, portraying the cape, although she may act either role, depending upon the figure being danced. Paso Doble is different from other International Latin dances because there are separate techniques for each figure or family of figures and fewer general techniques. The most important general technique is the shaping of the man's body. The man's use of body sway emphasizes the character of the dance. The man uses body sway, in any Paso Doble step, where he feels a slight tendency to sway. By accentuating this sway the man enhances the flavor of the dance. Tempo The timing used for Paso Doble is normally 2/4 time with the first beat of each bar slightly accentuated. However, for round dance choreography, we write the cue sheets in 4/4 time. This will make the recommended speed approximately 30 measures per minute, instead of the 60 measures per minute for 2/4 timing. Phrasing Normally we count Paso Doble figures in multiples of 4 steps e.g. 4, 8, 12, 16, etc., and the man's first step normally begins with the right foot. Due to phrasing, there could be an occasional count of 2 steps. Stance The Paso Doble depicts the bullfight with the man as the matador and the lady as the cape.
    [Show full text]
  • International Dance Conservatory – Ballroom Program
    INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM YEAR FALL SPRING Year 1 Latin Ballroom School Figures Latin Ballroom School Figures (Bronze level) (Silver & Gold levels) Standard Ballroom School Figures Standard Ballroom School Figures (Bronze level) (Silver & Gold levels) Year 2 Latin Technique 1 Latin Technique 2 Latin Ballroom 1 Latin Ballroom 2 Standard Technique 1 Standard Technique 2 Standard Choreography 1 Standard Choreography 2 Year 3 American Smooth 1 American Smooth 2 Student Choreography 1 Student Choreography 2 Advanced Ballroom Technique 1 Advanced Ballroom Technique 2 Year 4 Business of Ballroom Intro to Ballroom Instruction Advanced Choreography 1 Advanced Choreography 2 INTERNATIONAL DANCE CONSERVATORY – BALLROOM PROGRAM Advanced Ballroom Technique 1 & 2 This is an advanced class that focuses on the body mechanics, timing, footwork, partnering, style, expression, and emotion of many Ballroom & Latin dances. Students will continue to develop a deeper understanding of the techniques and stylings of each dance. Students will apply this training in the demonstration of their Latin, Ballroom, and Smooth competition routines. Advanced Choreography 1 & 2 This is an advanced class that focuses on learning open choreography in many Ballroom and Latin Dances. Students will experience this creative process first hand and apply their technique to this choreography. Students will perform these open routines with attention to technical proficiency and embodying the character of each dance. American Smooth 1 & 2 This is an advanced class that focuses on learning open choreography in all four American Smooth Ballroom Dances - Waltz, Tango, Foxtrot, & Viennese Waltz. Students will be prepared to compete in all four dances at the Open Amateur Level.
    [Show full text]
  • Nightclub Two-Step (Club Two-Step, NC2S)
    Nightclub Two-Step (Club Two-Step, NC2S) Richard Powers Buddy Schwimmer developed this dance in the late 1970s and it has become widely popular among American social dancers. It is the perfect dance for easygoing, moderate-tempo music, and provides a welcome break between fast dances. It can be danced in a wide range of tempos, from 72 to 92 beats per minute, with 82 bpm as its sweet spot. Buddy Schwimmer originally taught Nightclub Two-Step as rock-step first, danced in quick-quick-slow timing. Today dancers accept both slow-quick-quick or quick-quick-slow timings, depending on what the music indicates. We teach it in the slow-quick-quick timing for two reasons. 1) This timing feels more musical, especially for the Follow role, letting her dance the strongest movements at the strongest moment in the music, on count 1. When the music goes, the Follow goes, instead of being delayed by a rock step. 2) This timing is more commonly done in the Bay Area, and we want our students here to dance comfortably with most local dancers. But we don't dismiss the other timing. They're both good. You'll probably want to adopt the timing done by most dancers in your area. The Basic Step Take a relaxed closed dance position. Count 1 The Lead takes a slow step to the left side with his left foot as the Follow steps side right. 2 The Lead rocks his right foot behind his left heel, taking weight on the ball of his right foot, as the Follow rocks back left.
    [Show full text]
  • Roundalab Abbreviations for Cue Sheets Compiled by Annette Woodruff
    Roundalab Abbreviations for Cue Sheets Compiled by Annette Woodruff For use by choreographers when creating cue sheets. Also for use by dancers when trying to “decipher” cue sheets. 1-9 one through nine, etc. dr door outsd outside strll stroll 1/2 half DRC Diagonal Reverse Line of ovr over swch switch 1/4 quarter Dance and Center of Hall PD Paso Doble swd sideward 2x, 3x.... twice, 3 times, etc. drg drag Ph I...Ph VI Phase I...Phase 6 swhrt sweetheart abt about DRW Diagonal Reverse Line of plc place swvl swivel ack acknowledge Dance and Wall pos position sync syncopation/syncopated acrs across dwn down prep prepare/preparation TAMP Tamara [Position] adj adjust elev elevation prog progressive tch touch adv advance, advanced ESCP Escort [Position] PROM Promenade [Position] tele telemark amer American falwy fallaway prom promenade TG Tango approx approximately fc face prtzl pretzel thru through apt apart FCG Facing [Position] pt point thrwy throwaway arg Argentine fig figure ptr partner tim time arnd around fin finish PU Pickup [Position] tog together awy away flk flick pu pickup trans transition bal balance flr flare pvt pivot trav traveling bas basic fnc fence Q quick [as used in timing] trl trail bball basketball frnt front qk quick [not used in timing] trn turn bdy body fshtl fishtail QS Quickstep trpl triple BFLY Butterfly [Position] FT Foxtrot qtr quarter TS Two Step bhd behind ft foot R right twd toward BJO Banjo [Position] fthr feather R/D Round Dance/Dancing twkl twinkle bk back fwd forward RAL ROUNDALAB twrl twirl BL Bolero [Position]
    [Show full text]