American Style Smooth

Edition: January 2015 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 complements the DVDs accurately, we welcome any suggestions you may have. Please address your comments or questions to (800) 851-2813 or email us at [email protected].

ACKNOWLEDGMENTS: Very special thanks to Diane Jarmolow and Jerri Koby.

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.

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 / Edition dated January 2015.

MANUAL UPDATES We are committed to constantly updating and improving our dance manuals so that you can count on their accuracy. The Dance Vision staff is currently in the process of editing and making improvements to the manuals. We also welcome and need your input. If you find an error, please email to [email protected]. We will review your correction and e-mail you a response. Please be sure to include the manual and name of the figure in your email.

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THE DANCE VISION DIFFERENCE The people of DVIDA did everything possible to make these syllabus manuals clear and precise. The corresponding DVDs are designed to give you a visual guide to the patterns. The DVDs, with demonstrations by United States Our comprehensive syllabus DVDs featuring Michael Mead & Toni Redpath will Champions, show advanced styling and competitive technique. In some complement and simplify your learning experience. instances the technique may differ from the basic written technique in order to provide you with concepts and theories that will take your dancing to an even Gold Waltz – DASMM354 higher level." Gold Foxtrot – DASMM355 Gold Tango – DASMM356 We realize that perfection is a never-ending goal and therefore DVIDA will Gold V. Waltz – DASMM357 improve our manuals with each new revision.

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

A note from Tom Slater:

DVIDA and I are so excited to release this new Gold Smooth Syllabus.

Toni Redpath and Michael Mead, creators of the figures for this syllabus, have used their experience as 4 time Smooth National Champions to bring Smooth dancing into the 21st century. Their charismatic performances and thorough explanations make the DVDs an invaluable tool and a pleasure to watch. The figures they have created are a perfect balance of closed and open dancing - it’s like ballroom dancing on a roller coaster!

What is Gold Smooth and how is it different from Bronze and Silver?

Gold has more movement, more turns, and more separation between partners. The choreography is "showier" with borrowed pieces from Ballet, Jazz, Modern and other partner dance styles. The frame is spread out to maximum width and every inch of you will need to expand. This expansion, with faster and more turns, side by side figures, dancing away from, and back into Closed Position require a different technique than the conventions used in the Bronze and Silver manuals. I have done my best to write the technique to reflect the unique style of the Gold Level.

Writing this manual has been a truly rewarding experience. As a Regional Examiner, I use the manuals constantly in preparation to examine professional candidates and have tremendous respect for those who have written them. It has been a thrilling challenge to match their dedication and keep the manual thorough, yet readable. Here’s how I approached it:

• I moved the Summary column leftward so that it is the first thing you see. • Foot Positions and Footwork are next to each other for ease of reading. • The Leader and Follower pages are side by side. This way you can view both roles without having to turn the pages back and forth. • Each measure or section has a starting and ending alignment, as well as overall turn (rather than on every step) to allow for some flexibility.

I would like to thank two very special people who helped immensely in the process of writing this manual. Diane Jarmolow, National Examiner, creator of the Professional Certification Exams, and my mentor of many years, instilled confidence in me and helped mold and shape the manual as I worked. I can’t thank her enough. And I thank Jerri Koby for her many hours editing this manual for consistency and clarity.

I hope this manual will give you the basic foundation of these beautiful figures while leaving room for your own creativity and artistic expression.

Happy dancing!

Tom Slater World Exhibition Champion Regional Examiner Owner of Bloomington Ballroom Teacher’s Academy tomslaterdancepro.com [email protected] (812) 345-0805 A note from Toni Redpath: For Michael and me, reworking the DVIDA Smooth Syllabus has been a labor of love. We are passionate about this style and feel honored to have been afforded the opportunity to be part of its further development. Smooth is a beautiful form of dance that draws inspiration from elements of many other styles of dance. A major contributor is International Standard whose posture, frame and footwork cross over directly into Smooth. It also borrows heavily from forms of ballet (Classical, Contemporary and Modern), as well as from Jazz, Swing, Latin and Argentine Tango, to name just a few. The influence of these diverse forms makes Smooth a uniquely inclusive style of dance to study. Once the basic technical skills are mastered, it then becomes a wonderful way for each dance couple to express a unique individuality and feel for the character of the dances. For example:

• Waltz can have a classical, lyrical feel. • Tango can borrow from Flamenco, Paso and Argentine Tango. • Foxtrot often steals from Jazz and Swing. • Viennese Waltz can have a Contemporary flavor to it. And these are just a few of the options! Throughout the new Bronze, Silver and Gold Syllabus, Michael and I have tried to put the building blocks in place to teach you the skills required to dance:

• Dynamically and in sync with your partner • Changing in and out of the holds required in Smooth • With a sound technical base of correct posture, frame and footwork

As these skills become instinctive, you will be able to explore your creative selves and find the personality, character and feel for the dance that highlights the best for you and your partner. Be prepared to fall in love with Smooth as we did!

The New DVIDA GOLD SYLLABUS Smooth has evolved so much in the last 20 years that we really wanted to reflect this in the new syllabus. As a result we have changed the Gold Syllabus almost 100%. We worked hard not to "open up" Gold too much (where partners don't touch at all for measures at a time) in order to maintain the lead/follow dynamic and make the syllabus friendly enough for the high level social dancer to use. We also wanted Bronze and Silver students to be able to use elements of the Gold syllabus for their Open Bronze, Open Silver, or Showcase routines. Having said that, we also wanted the advanced dancer to feel challenged by this new syllabus and to build the skills necessary to become an Open level dancer. We have included transitions from one move, or one hold, to another that are more difficult, and have added advanced timing changes and syncopations. We have demonstrated creative use of shaping in the body, as this is an essential part of your development at this stage. Some of the new “Holds” you will see in the Syllabus are: - Left Shadow Position - Same Foot Left and Right Side Position - Overturned Open Promenade - Hammerlock Position - Cuddle (Cradle) Position

We have introduced some fun, yet challenging, elements to the syllabus, where one partner is required to maintain balance on one foot for a portion of the figure, as in the Advanced Standing Spin and the Horse and Cart. The figures in Gold are approximately 4 to 8 measures long in order to fully cover the many ways to turn right or left while changing in and out of the different holds. One of the most fun aspects of Smooth is the ability to blend steps. For example in Gold Waltz you can dance the first half of the Wraparound and Hairpin but finish with the second half of the Standing Spin. It is also possible to cross over elements from one dance to another. For example, the Horse and Cart from Viennese Waltz could be used in Foxtrot (with the appropriate timing alterations). Mixing and matching figures is part of the creative, free flowing individualism we encourage in the Smooth Style and is part of the process of becoming an Open Level dancer. Finally, we have tried to reflect the influences that other styles have had on Smooth. For those of you who have studied other forms of dance (e.g. Ballet, Jazz, Tap, Latin, Swing, etc.), the Gold syllabus is the perfect platform for you to stamp your personal identity and feel on each of the dances. Many thanks to Diane Jarmolow and Tom Slater for their feedback and substantial contribution in putting this new syllabus manual together. We hope you enjoy this new Smooth DVIDA Gold Syllabus and your own personal journey in this beautiful, inclusive style.

Toni Redpath and Michael Mead 4 Times United States Smooth Champions

Table of Contents

Certification ...... 1-2 Tango ...... 71 1. Double Ronde to Shadow ...... 71 Studying the Charts ...... 3 2. Shadow Viennese Crosses ...... 73 Chart Elements ...... 3-6 3. Promenade Taps and Right Side Curl ... 75 4. Fallaway to Hammerlocks ...... 77 5. Left Side Check ...... 79 Abbreviation Key ...... 7 6. Pivots to Shadow Switches ...... 81

7. Shadow Corté and Fallaway ...... 83 Dance Positions ...... 8 8. Stalks to Skater’s Walks ...... 85 Dance Position Definitions ...... 8-11 9. Oblique Line to Waist Wrap ...... 87 Dance Position Pictures ...... 12-16 10. Teleronde and Throwaway Oversway ... 89 Gold Tango Routine ...... 91 Musical Information ...... 17 Figure Blending in Tango………………..92 Musical Terms ...... 17-19 Musical Information Chart ...... 20 Viennese Waltz ...... 94 Counting in Beats and Bars ...... 21-22 1. Swivel and Ronde ...... 94 2. Canter Pivots ...... 96 Waltz ...... 23 3. Reverse Turns with Free Spins ...... 98 1. Shadow Switching Spirals ...... 23 4. Shadow Passing Right Turns ...... 100 2. Hinge to Shadow ...... 25 5. Right Side Ronde and Develope ...... 102 3. Shadow Running Telemark ...... 27 6. Shadow Canter Grapevines ...... 104 4. Syncopated Pivots ...... 29 7. Horse and Cart ...... 106 5. Left Side Grapevines and Spiral ...... 31 8. Barrel Turns ...... 108 6. Contra Check and Ronde ...... 33 9. Roll In and Out ...... 110 7A. Standing Spin...... 35 10. Advanced Standing Spin...... 112 7B. Standing Spin, Alternate Ending ...... 37 Gold Viennese Waltz Routine ...... 114 8. Wrap Around and Hairpin ...... 39 Figure Blending in 9. Overturned Shadow Right ...... 41 Viennese Waltz………………………....115 10. Develope and Double Ronde ...... 43 Gold Waltz Routine ...... 45 Glossary ...... 117-130 Figure Blending in Waltz...….……...... 46

Foxtrot ...... 48 1. Left Side Grapevines and Weave ...... 48 2. Continuous Hairpins ...... 50

3. Passing Changes ...... 52 4. Hinge and Free Spin to Shadow ...... 54 5. Shadow Switching Grapevine ...... 56 6. Advanced Gem...... 58 7. Lock and Lunge ...... 60 8. Oversway and Ronde ...... 62 9. Whisk and Weave ...... 64 10. Shadow Hairpins ...... 66 Gold Foxtrot Routine ...... 68 Figure Blending in Foxtrot…….……...… 69

CERTIFICATION C

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, successfully attain a medal. 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 highpoint 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 nationally recognized dance expert comes to the studio to conduct 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.

• Student Medal Program brochure • Instructional dance 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)

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: • Junior Associate (Bronze figures 1-7 in Waltz, Foxtrot, Tango, Rumba, Cha Cha, and East Coast Swing/Rhythm/Smooth) • Associate (All Bronze figures) • Master (All Silver figures) • Grand Master (All Gold figures)

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 join ProDVIDA and be at least 16 years of age.

ProDVIDA has introduced a revolutionary new way of becoming certified. A candidate may now take their exams one dance at a time (Note: in the American Rhythm dances, the “one dance exam” requires two dances be performed). 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. • Professional Certification information sheets (available on the ProDVIDA website) • Instructional dance 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 video • Certification courses held at the Dance Vision headquarters in Las Vegas (American and International Style) • Sample Junior Associate exam (available on the ProDVIDA website)

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, Dance Position, Foot Position, Alignment, Amount of Turn, Rise & Fall, Footwork, Count (Timing), Sway, CBM 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 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 Foxtrot Basic has four steps, but is danced over six beats of music with a count of SSQQ. Another example is the Waltz Promenade Chassé, which has ten steps, is danced in nine beats of music with a count of 123, 12&3, 123.

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 Position This refers to the relationship of the partners to one another. The specific dance positions are defined in the “Dance Position” section.

The most common dance positions are: Closed Position, Promenade Position, Counter Promenade Position, Fallaway Position, Counter Fallaway Position, Left Side Position, Right Side Position, Facing Position, Left Outside Position, Right Outside Position, and Open Facing Position.

There are also times when the Leader and Follower are transitioning between positions. For example, on the second step of the Simple Twinkle in the Waltz or Foxtrot, there is a transition between closed position and promenade position. In this case you will see “Prep PP”. Here are some examples of other transitional positions you will see: Prep FUATR – Preparation for Follower’s underarm turn Right Prep LUATL – Preparation for Leader’s underarm turn Left UAT – the relationship of the couple during an underarm turn Other times two positions may exist on one step because of a swivel or pivot on that step. An example is step 2 of the Tango Promenade Turning Left. The step is take in Promenade Position, but after the follower pivots, the couple is in Closed Position. When this occurs, you will see “PP to CP” (Promenade Position to Closed Position).

® ® Copyright © 2015 DVIDA Chart Elements DVIDA All Rights Reserved 3 Chart Elements (Continued)… 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).

In Bronze, sway generally occurs on side and closing steps. In Silver, there is sway on both the side and the passing (continuity) step. 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 this “opposite sway” is on Steps 8 and 9 for both the Leader and Follower in the Two-Way Underarm Turn in the Waltz.

CBM Contra Body Movement (CBM) is the action of turning the opposite side of the body towards 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 natural walking movement, as in the first step of the Foxtrot Basic To help progression, as in the first step of the Waltz Progressive To position the body for Right or Left Outside Position, as in the Leader’s step 7 of the Turning Twinkles in the Bronze Waltz. To create a wind-up, as on step 1 of the Simple Twinkle in Bronze Waltz and Foxtrot when commencing Facing DW.

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 Waltz Box for the Leader, it may be summarized as “forward half of box.”

Below are descriptions of the most common footwork used in the Smooth dances: Ball: Full, partial or no weight is taken onto the ball of the foot with the heel raised very slightly off the floor. Ball Heel: Initiated by the ball of the foot with the heel raised off, then lowering to the floor. Mostly used on back steps in Tango. Foot Flat: The entire foot stays in contact with the floor as it moves into position. An example is the Leader’s step 6 and Follower’s step 3 of both Left and Right Turns in Viennese Waltz. Heel: Initiated with the foot flexed and the heel in contact with the floor, then rolling down to a flat foot. Heel is used when there is no rise or commencement of rise on the step. Heel Ball: Initiated with the foot flexed and the heel in contact with the floor, rolling down onto the ball of the foot and then swiveling, keeping the foot flat. This occurs in Tango. An example is Follower’s steps 3, 4, 7, and 8 of the Bronze Tango Right Side Fans. Heel Toe: Initiated with the foot flexed and the heel in contact with the floor, then rolling through the foot to the toes. Used on steps where there is rise or commencement of rise. Inside Edge of Ball: Initiated with the inside edge of the ball of the foot in contact with the floor. Mostly used in Tango, for example, the last step (drag) of a Tango Close. Inside Edge of Ball Heel: Initiated with the inside edge of the ball of the foot in contact with the floor, followed by the heel, then completely transferring weight to the whole foot. Mostly used in Tango on side steps. Inside Edge of Toe: The inside edge of the toe is in contact with the floor. For example, steps 11, 12, 14, 15, 17, and 18 of the Bronze Viennese Waltz Cross Body Lead and Underarm Turn. Toe: Weight is placed high on the ball of the foot with weight on the toes and the heel raised as much as possible from the floor. Toe Heel: Toe heel is used in two ways: Generally from a rise, weight is taken high fully onto the toes, and then the heel lowers to the floor. An example is on count 3 of most Waltz figures. On back steps, the weight rolls from the front of the foot (toe) to the back of the foot (heel). 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 partners’ step 6 of the Tango Reverse Turn. Whole foot is different from foot flat in that the foot will be lifted, then placed into position.

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 Twinkle is counted SQQ, SQQ and the Bronze Waltz Simple Twinkle is counted 123, 123.

® ® Copyright © 2015 DVIDA Chart Elements DVIDA All Rights Reserved 5 Chart Elements (Continued)… 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).

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 ways and does not necessarily indicate that turn will be made: To create a natural walking movement, as in the first step of the Foxtrot Basic To help progression, as in the first step of the Waltz Progressive To position the body for Right or Left Outside Position, as in the Leader’s step 7 of the Turning Twinkles in the Bronze Waltz. To create a wind-up, as on step 1 of the Simple Twinkle in Bronze Waltz and Foxtrot when commencing Facing DW.

Abbreviation Key A/Ag Against M Measure(s) AH Alternate Hold MOV Moving Align Alignment MPM Measures Per Miinute ALOD Against Line of Dance AWH Alternate Waist Hold N New Nat Natural (Right Turning) B Backing / Ball of Foot NFR No Foot Rise BCT Body Completes Turn NH No Hold BF Ball Flat NLOD New Line of Dance BH Ball Heel BHB Ball Heel Ball OCPP Open Counter Promenade Position BTL Body Turns Less OE Outside Edge BTW Between OFacP Open Facing Position OFallP Open Fallaway Position C Center / Counter OLOP Open Left Outside Position CBM Contra Body Movement OLSP Open Left Side Position CBMP Contra Body Movement Position OPP Open Promenade Position CCW Counter Clockwise ORAP Open Right Angle Position Challenge P Challenge Position OROP Open Right Outside Position Com Commence ORSP Open Right Side Position Cont Continue OTOFacP Overturned Open Facing Position ContraCheckP Contra Check Position OTOPP Overturned Open Promenade Position CorteP Corte Position OTPP Overturned Promenade Position CP Closed Position OTSFLungP Overturned Same Foot Lunge Position CPP Counter Promenade Position OverswayP Oversway Position CT Count CW Clockwise P Pointing Prep Preparation (for) DC Diagonal Center PP Promenade Position DHH Double Handhold Diag Diagonal Q Quick

DW Diagonal Wall R Right E/O End Of RAP Right Angle Position RCradP Right Cradle Position F Facing / Follower Rev Reverse FacP Facing Position RF Right Foot FallP Fallaway Position RHLP Right Hammerlock Position FB Follower Behind RLungeP Right Lunge Position FF Foot Flat ROOP Right Opening Out Position Foll Follower ROP Right Outside Position FP Foot Position RShadP Right Shadow Position FUATL Follower’s Underarm Turn Left RSP Right Side Position FUATR Follower’s Underarm Turn Right FW Footwork S Slow SF Same Foot H Heel of Foot SFILSP Same Foot Inverted Left Side Position HB Heel Ball SFLSP Same Foot Left Side Position HBH Heel Ball Heel SFOLSP Same Foot Open Left Side Position HH Handhold SFORSP Same Foot Open Right Side Position HLP Hammerlock Position SFRSP Same Foot Right Side Position HT Heel Toe SpanishDragP Spanish Drag Position HTB Heel Toe Ball SwivelFanP Swivel Fan HTH Heel Toe Heel T Toe IE Inside Edge TC Tango Close IEB Inside Edge of Ball (of foot) TH Toe Heel IEBH Inside of Ball Heel THB Toe Heel Ball IET Inside Edge of Toe of Foot THT Toe Heel Toe IOFacP Inverted Open Facing Position Trans Transition TTO Toe Turned Out L Left / Leader LCradP Left Cradle Position UA Underarm LF Left Foot UAT Underarm Turn LHLP Left Hammerlock Position LShadP Left Shadow Position W Wall LUATL Leader’s Underarm Turn Left WF Whole Foot LOD Line of Dance WT Weight LOOP Left Opening Out Position W/O Without

LOP Left Outside Position XHH Cross Handhold LSP Left Side Position XLineP X-Line Position 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. ® ® Copyright © 2015 DVIDA Abbreviation Key DVIDA All Rights Reserved

7 Dance Positions

Dance Position Definitions A thorough knowledge of the various dance positions will greatly streamline your learning and make your dancing more precise. When a definition mentions placing the arm(s) at waist, shoulder or eye level, this refers to the Follower’s waist, shoulder or eye level, unless indicated otherwise. See also: Dance Position Photos.

Alternate Waist Hold Similar to Facing Position, however the Leader has both hands on the Follower’s waist, (AWH) ribs, or shoulder blades. Follower’s arms are outstretched.

Closed Position The Standard dance position in the Smooth dances (Tango uses Tango Closed Position). (CP) At the Bronze level, a small distance (a few inches) between partners' torsos is acceptable. At the Silver and Gold levels, partners' 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 the Leader’s right ribs connected to the Follower’s right ribs.

Counter Promenade The opposite of Promenade Position. Leader’s left side and Follower’s right side are in Position contact or almost in contact, and the opposite sides of their bodies are open in a slight V- (CPP) shape. Leader is focused right and Follower is focused left.

Explosion A type of LSP or RSP where the weight is on the outside legs and the inside legs are extended to the side. The outside arms are extended to the side usually above the shoulder line.

Facing Position Leader and Follower face opposite each other slightly more apart than in Closed Position (FacP) and no longer in a standard closed position frame. Many different handholds may be used. (see Hand Holds).

Follower Behind Placed after any dance position, usually in parenthesis, this indicates that in this particular (FB) instance, the Follower is behind the Leader. For example: RShadP, (FB) indicates that the couple is in Right Shadow Position, however the Follower is behind the Leader instead of in front.

Free Spin Not an actual dance position, but indicates that one or both partners are turning without hold.

Handholds 1) Standard (L-to-R HH): Leader’s left hand holds Follower’s right hand. (HH) 2) Opposite (R-to-L HH): Leader’s right hand holds Follower’s left hand. 3) Right-to-Right (R-to-R HH): Leader’s right hand holds Follower’s right hand 4) Left-to-Left (L-to-L HH): Leader’s left hand holds Follower’s left hand 5) Double handhold (DHH): Leader’s left hand holds Follower’s right hand, and Leader’s right hand holds Follower’s left hand. 6) Cross Handhold (XHH), left or right on top: Leader’s left hand holds Follower’s left hand, and Leader’s right hand holds Follower’s right hand, either hand on top. 7) Apart (NH): Can be applied in advanced dance styles. The position it follows in the charts is as usual, however, there is no handhold. 8) Alternate Hold (AH): Leader and Follower are in a conventional Dance Position, but the arms are placed in an alternate hold. (See Dance Position photos)

Inverted Open Facing Similar to Open Facing Position, however, Follower is rotated to face the same direction Position as Leader. In this Syllabus this is done with a (L-to-L HH). (IOFacP)

Left Hammerlock This position is similar to Left Shadow Position, however, the Follower is slightly behind Position leader, and Leader’s right arm is behind back, holding Follower’s right hand. Left hands (LHLP) are also held in front of the couple.

Left Side Position Leader and Follower are side by side facing the same direction with Follower on Leader’s (LSP) left side. Usually the Leader’s left hand holds the Follower’s right hand, However, no hold may be used, as in advanced side-by-side choreography.

® ® Copyright © 2015 DVIDA Dance Positions DVIDA All Rights Reserved 8 Dance Position Definitions Continued… Open Counter Similar to Counter Promenade Position in that the Leader’s left side and Follower’s right Promenade Position side are toward each other, and the opposite sides of their bodies are open in a slight V- (OCPP) shape. However, Leader and Follower are more apart and the hold will change. One common hold for this position is Leader’s left hand on Follower’s left shoulder blade with Follower’s left hand on Leader’s right upper arm. Other hand holds may be used. (see Hand Holds)

Open Facing Position Exactly the same as Facing Position (FacP), except further apart. (OFacP)

Open Fallaway Similar to Fallaway Position in that Leader and Follower both move backward, on either Position foot, in Promenade Position. However, in Open Fallaway Position, there is more space (OFallP) between the Leader and Follower. Leader’s L hand and Follower’s R hand do not necessarily have to be in hold, but can be stretched to the side.

Open Left Side Similar to Left Side Position except there is more distance, and no hand hold. Often Position Leader and Follower will be on the same foot (SF). (OLSP)

Open Promenade Similar to Promenade Position in that the Leader’s right side and the Follower’s left side Position are toward each other and the opposite sides of their bodies are open in a slight V-shape. (OPP) However, Leader and Follower are more apart and the hold will change. One common hold for this position is Leader’s right hand on Follower’s left shoulder blade with Follower’s left hand on Leader’s right upper arm. Other hand holds may be used. (see Hand Holds)

Open Right Side Similar to Right Side Position except there is more distance, and no hand hold. Often Position Leader and Follower will be on the same foot (SF). (ORSP)

Outside Position Also called Outside Partner, this is created by departing from the normal placement of the (OP) feet in four separate tracks.

 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.

 Right Outside Position (ROP): One partner steps RF forward in CBMP on their partner’s right side, while the other person steps LF back in CBMP.

 Open Left Outside Position (OLOP): Same as Left Outside Position except no longer in closed hold. Any hand hold may be used. (see Hand Holds)

 Open Right Outside Position (OROP): Same as Right Outside Position except no longer in closed hold. Any hand hold may be used. (see Hand Holds)

Overturned Open Similar to Overturned Promenade Position except Leader and Follower are still further Promenade Position apart, and Follower is often more overturned than usual, stretching the Promenade (OTOPP) Position to an exaggerated degree. This usually requires either a L-to-R HH or a R-to-R HH. (see Hand Holds)

Overturned Similar to Promenade Position except the Leader and Follower are more open, usually as Promenade Position a result of lowering the Leader’s left and Follower’s right arms. (OTPP)

Overturned Same Same Foot Lunge Position, overturned until Leader and Follower are facing the same Foot Lunge Position, direction. The Leader’s right arm is across Follower’s waist, and Follower’s L arm is (Alternate Hold) around Leader’s neck, resting on the shoulder. Leader’s Left hand and Follower’s right OTSFLungeP, (AH) hand are loosely clasped and lowered between the partners.

® ® Copyright © 2015 DVIDA Dance Positions DVIDA All Rights Reserved 9 Dance Position Definitions Continued… Preparation for Not an actual dance position, but an indication of transitioning from one position to (Prep for) another, yet not quite there. The position placed after this will usually appear in the chart on the very next step, or steps of a measure.

Right Angle Position A position where the Leader and Follower are in different alignments, the angle of them (RAP) being 90 degrees. In the Gold Smooth Syllabus, it is done with various hand holds, as well as in a Waist Wrap Hold.

Right Hammerlock This position is similar to Right Shadow Position, however, the Follower is slightly behind Position leader, and Leader’s left arm is behind back, holding Follower’s left hand. Right hands (RHLP) are also held in front of the couple.

Right Lunge Position Leader is in a lunge position with weight on RF, and RF turned out and aimed between (RLungeP) partner’s feet (LF pointed to side), causing a diagonal line from the LF to R shoulder. Leader is focused toward the Follower. Follower is also in a lunge position with weight on LF (RF pointed to side), causing a diagonal line from the RF to L shoulder. Follower is focused to the left.

Right Side Position Leader and Follower are side by side facing the same direction with Follower on Leader’s (RSP) right side. Usually the Leader’s right hand holds the Follower’s left hand, However, no hold may be used, as in advanced side-by-side choreography.

Same Foot When placed before any other dance position, this indicates that the position is as usual, (SF) however, the Leader and Follower are on same foot. i.e. SFLSP (Same Foot Left Side Position).

Same Foot Inverted Left Side Position where the Follower is inverted, facing the opposite way to the Leader. Left Side Position They are on the same foot, and Leader’s left hand is holding Follower’s left hand. (SFILSP)

Shadow Position  Left Shadow Position (LShadP): Leader and Follower face the same direction, (ShadP) with Follower slightly ahead or behind the Leader on the Leader’s left side. The standard hold is Leader’s left hand placed on or just under the Follower’s left shoulder blade or waist, and the right handholds Follower’s right hand, wrist, lower arm, however many other holds are possible. In this Gold Smooth manual, the norm is Leader’s L arm on Follower’s L back or waist, and Follower’s R arm stretched to the side, resting on Leader’s shoulder, upper arm, or elbow region. This is a more advanced hold and requires more skill to maintain a still frame while in motion.

 Right Shadow Position (RShadP): Leader and Follower face the same direction, with Follower slightly ahead or behind the Leader on the Leader’s right side. The standard hold is Leader’s right hand placed on or just under the Follower’s right shoulder blade or waist, and the left hand holds Follower’s left hand, wrist, lower arm, however many other holds are possible. In this Gold Smooth manual, the norm is Leader’s R arm on Follower’s R back or waist, and Follower’s L arm stretched up and to the side, resting on Leader’s shoulder, upper arm, or elbow region. This is a more advanced hold and requires more skill to maintain a still frame while in motion.

® ® Copyright © 2015 DVIDA Dance Positions DVIDA All Rights Reserved 10 Dance Position Definitions Continued… Tango Closed Similar to Closed Position in the other Smooth dances, Tango Closed Position is more Position compact and has slightly different arm positions. (CP) Here are the details on how Tango Closed Position differs from Closed Position used in the other Smooth 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, with the fingers (but not the palm) crossed over the Follower’s spine. The left arm is bent at about a 90- degree angle, with left hand held closer in toward the Leader’s body and face and offered at about 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 right hip is stretched slightly higher, and the Follower is more offset to the left.

Tango Promenade Similar to Promenade Position in the other Smooth dances, except the body is rotated Position more toward one’s partner, giving the body a different alignment than the feet. For (PP) example, on step 1 of the Promenade Turning Left, the Leader’s feet are Facing Diagonal Wall, body is Facing Wall and the direction of movement is Line of Dance (commonly known as the three alignments of promenade).

Underarm Turn Not an actual dance position but indicates that either the Leader or Follower is turning (UAT) under the arm. For example the chart might say FUATR, indicating a Follower’s underarm turn right.

Closed Position Closed Position (Different View) Tango Closed Position (CP) (CP) (CP)

Promenade Positions

Promenade Position Tango Promenade Position Open Promenade Position (PP) (PP) (OPP)

Overturned Open Overturned Promenade Position Promenade Position Open Counter Promenade Position (OTPP) (OOTPP) (OCPP)

Fallaway Facing Position Open Facing Position Inverted Open Facing Position (FallP) (FacP) (OFacP) (IOFacP)

Right & Left Side Positions

Right Outside Position Left Outside Position (ROP) (LOP)

Open Right Outside Position Open Left Outside Position (OROP) (OLOP)

Right Side Position Left Side Position (RSP) (LSP)

Open Right Side Position Open Left Side Position (OROP) (OLOP)

Sane Foot Inverted Left Side Position (SFILSP)

Right Cradle Left Cradle (RCradP) (LCradP)

Right Shadow Position Left Shadow Position (R ShadP) (L ShadP)

Right Angle Position Waist Wrap in Right Angle Position (RAP)

Explosion in Right Side Position Explosion in Left Side Position

Right Hammerlock Position Left Hammerlock Position (RHLP) (LHLP) Various Positions

Oblique Line Alternate Waist Hold Overturned Same Foot (AWH) Lunge Position (OTSFlungP)

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 is 123, with a beat value of 1-1-1. In Foxtrot a count of SSQQ has a beat value of 2-2-1-1. See also: Musical Information Chart.

Count Also called timing, this 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. For example, in Waltz the count is 123, and in Tango the basic count is SSQQS. See also: Musical Information Chart.

Counting in Beats and A method of keeping track of how many measures (bars) of music are used Bars in a particular figure or amalgamation. Both the beats and bars are counted at the same time. Examples of counting in beats and bars are:

In 4/4-time (used in Foxtrot and Tango): 1234, 2234, 3234, 4234, etc.

In 3/4-time (used in Waltz and Viennese Waltz): 123, 223, 323, 423, etc.

See also: 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.

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. Counting the number of measures per minute determines the tempo of a piece of music. For dancing purposes, measure is synonymous with bar.

® ® Copyright © 2015 DVIDA Musical Information DVIDA All Rights Reserved 17 Musical Terms (Continued)… 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 • Matching the mood of the particular piece of music • Dancing precisely on time with the music • Hitting accents and breaks in the music • Taking phrasing into account

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.

(2) 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.

(3) A term used synonymously with timing or count.

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

Syncopation To deviate from the basic timing of a dance dividing a beat of music into two or more parts. For example, the basic timing of Waltz is 1-2-3, but the 2nd measure of the Bronze Waltz Promenade Chassé contains the syncopation 1-2-&-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: Musical Information Chart.

Time/Time Signature Indicates the number of beats in each measure of music. The upper number is the 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, a quarter note represents one beat. Therefore, the bottom number is 4. See also: Musical Information Chart.

 4/4-time (used for most dances): 4 beats in a measure  3/4-time (used in Waltz and Viennese Waltz): 3 beats in a measure  2/4-time (used in Samba and sometimes Tango): 2 beats in a measure

® ® Copyright © 2015 DVIDA Musical Information DVIDA All Rights Reserved 18 Musical Terms (Continued)… 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 “and.” 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.

DANCE TIME TEMPO* COUNT† BEAT VALUE ALTERNATIVE COUNTING SIG. (in mpm) TEACHING IN BEATS COUNT(S) AND BARS 123, 456 or 123, 223, 323, 3/4 30-32 123 1-1-1 counting in beats Waltz 423, etc. and bars SSQQS 2-2-1-1-2 12-34-5-6-78 or 123, 2234, Tango 4/4 30-32 QQS QQS 1-1-2, 1-1-2 Walk-Walk-Tang- 3234, 4234, QQSS QQSS QQS 1-1-2-2 1-1-2-2 1-1-2 Go-Close etc. 12-34-5-6 or Walk-Walk-Side- 123, 2234, SSQQ 2-2-1-1 4/4 32-34 Close 3234, 4234, Foxtrot SQQ 2-1-1 12-3-4 or Walk- etc. Side-Close 123, 456 or 123, 223, 323, Viennese 3/4 54 123 1-1-1 counting in beats 423, etc. Waltz and bars

* These are the official tempos for examinations and competitions. However, when dancing socially, tempos may be several measures per minute slower or faster.

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

® ® Copyright © 2015 DVIDA Musical Information DVIDA All Rights Reserved 20 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 determines 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 and Tango), you will say 1234, 2234, 3234, 4234, 5234, etc. For dances in ¾ 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 Smooth dances.

Waltz Amalgamation: Progressive (4m) Box with Underarm Turn (4m) 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 temp of 32 mpm = 15 seconds of dancing

Foxtrot Amalgamation: Basic (1.5m) Rock Turn Left (1.5m) Turning Twinkles to Outside Partner (3.5m) Count: S S Q Q S S Q Q S Q Q S Q Q S S Q Q

Beats and Bars: 12 34 22 34 32 34 42 34 52 34 62 34 7 2

Total: 6.5m 6.5m at a tempo of 32mpm = approximately 12 seconds of dancing.

Tango Amalgamation: Promenade Turning Reverse Turn (2m) Open Fan (4m) Left (2m) Count: S S Q Q S S Q Q S Q Q S Q Q S S Q Q

Beats and Bars: 12 34 22 34 32 34 42 34 52 34 62 34 72 34 82 34

Total: 8m 8m at a tempo of 32mpm = 15 seconds of dancing.

Viennese Waltz Amalgamation: Left Turn (4m) 5th Position Breaks with Underarm Turn (4m) 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 temp of 54 mpm = almost 9 seconds of dancing

To calculate the number of seconds of dancing, you can use the following formula:

# of measures__ x 60 seconds = Number of seconds dancing Tempo (mpm)

For example, using the Foxtrot example above, the calculation would be:

7 measures_ x 60 seconds = 13 seconds of dancing 32 mpm

Waltz Contents

1. Shadow Switching Spirals…………………………………………………………... 23

2. Hinge to Shadow…………………………………………………………………….. 25

3. Shadow Running Telemark…………………………………………………………. 27

4. Syncopated Pivots…………………………………………………………………… 29

5. Left Side Grapevines and Spiral…………………………………………………… 31

6. Contra Check and Ronde…………………………………………………………… 33

7A. Standing Spin………………………………………………………………………. 35

7B. Standing Spin, Alternate Ending…………………………………………………. 37

8. Wrap Around and Hairpin…………………………………………………………… 39

9. Overturned Shadow Right…………………………………………………………... 41

10. Developé and Double Ronde……………………………………………………... 43

Gold waltz Routine……………………………………………………………………… 45

Figure Blending in Waltz……………………………………………………………….. 46

1. SHADOW SWITCHING SPIRALS - LEADER

COMMENCE IN CP, F DC ENDS IN ROP, F DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Forward half of LF forward HT F DC B LOD 3/8 turn L Open Left Box to RF side T OROP LF back in CBMP TH 22&3 Chasse L from RF back TH B LOD F DW, 3/8 turn L OROP to RShadP LF side T mov (FUATL) RF closes to LF T LOD LF side and slightly TH forward 323 Progressive RF forward in CBMP HT F DW F DW Nil Twinkle from LF side, small step T RShadP to RF diag forward TH LShadP 423 Progressive LF forward in CBMP HT F DW F DC 1/4 turn L Twinkle from RF side, small step T LShadP to LF diag forward TH RShadP 523 Progressive RF forward in CBMP HT F DC F DW 1/4 turn R Twinkle from LF side, small step T RShadP to RF diag forward TH LShadP 623 Progressive LF forward in CBMP HT F DW F DC 1/4 turn L Twinkle from RF side, small step T LShadP to LF diag forward TH RShadP 72&3 Forward chasse RF forward in CBMP HT F DC F DC Nil from RShadP to LF forward and T OPP slightly side (F Free Spin R) RF closes to LF T LF forward and TH slightly side 823 Continuity ending RF forward in CBMP HT F DC F DC Nil from OPP to ROP LF forward and T slightly side RF forward in CBMP TH

COMMENCE IN CP, B DC END IN ROP, B DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Back half of Open RF back TH B DC F LOD 3/8 turn L Left Box to OROP LF side T RF forward in CBMP TH 223 UATL from OROP LF forward HT F LOD F DW 7/8 turn L to RShadP RF side T LF side and slightly TH forward 323 Progressive RF forward in CBMP HT F DW F DW Nil Twinkle from LF side, RF brushes to T of LF, RShadP to LShadP LF (IE of T of RF) RF diag forward TH 423 Progressive LF forward in CBMP HT F DW F DC 1/4 turn L Twinkle from RF side, LF brushes to T of RF, LShadP to RShadP RF (IE of T of LF) LF diag forward TH 523 Progressive RF forward in CBMP HT F DC F DW 1/4 turn Twinkle from LF side, RF brushes to T of LF, R RShadP to LShadP LF (IE of T of RF) RF diag forward TH 623 Progressive LF forward in CBMP HT F DW F DC 1/4 turn L Twinkle from RF side, LF brushes to T of RF, LShadP to RShadP RF (IE of T of LF) LF diag forward TH 723 Free Spin R from RF forward HT F DC F DC 1 full turn RShadP to OPP LF side, RF brushes to T of LF, R LF (IE of T of RF) RF forward TH 823 Continuity ending LF forward in CBMP HT F DC B DC 1/2 turn L from OPP to ROP RF side TH LF back in CBMP TH

COMMENCE IN CP, F DC END IN RSHADP, F DW, MOV LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Forward half of LF forward HT F DC B LOD 3/8 turn L Open Left Box to RF side T ROP LF back in CBMP TH 22(3) Hinge RF back TH B LOD F DW 3/8 turn L LF side TH of LF, (IE of T of RF) FP held FW held 3(2)3 Lunge R, Lunge L, Replace wt to RF TH F DW B DC 1/4 turn R end in OTOPP, FP held FW held (L-to-R HH) Replace wt to LF TH of LF, (IE of T of RF) 42&3 Chasse to L, end RF back TH B DC F DW, 1/4 turn L in RShadP LF side T mov (F’s syncopated LOD Free Spin) RF closes to LF T LF side and slightly TH forward

Note: An additional 1/8 to 1/4 turn L may be made on the 4th measure to end either P LOD or P DC to move DC on the next figure.

COMMENCE IN CP, B DC END IN RSHADP, F DW MOVING LOD CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS 123 Back half of Open RF back TH B DC F LOD 3/8 turn L Left Box to ROP LF side T RF forward in TH CBMP 223 Hinge LF forward HT F LOD F ALOD 1/2 turn L

RF side T LF crosses behind TH RF 323 4-6 of a Natural RF forward HT F ALOD F DW 5/8 turn R turn (slightly LF side T overturned) from RF closes to LF TH Hinge Position to OTOPP, (L-to-R HH) 4&2&3 Syncopated Free LF forward HT F DW F DW, 2 full turns Spin mov L RF side T LOD LF forward T

RF side T

LF side and TH slightly forward

Note: An additional 1/8 to 1/4 turn L may be made on the 4th measure to end either P LOD or P DC to move DC on the next figure.

3. SHADOW RUNNING TELEMARK – LEADER

COMMENCE IN RSHADP, (RF FREE), F LOD MOVING DC END IN CP, F DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END 1&2 Shadow Running RF forward in CBMP HT F LOD, F DW 7/8 turn L 3 Telemark in RShadP LF forward T mov RF side T DC LF side and slightly TH forward, small step 223 Forward Check from RF forward in CBMP, H F DW F DW Nil RShadP to LSP check Replace wt to LF T RF side and slightly TH forward 323 Free Spin L from LSP LF forward HT F DW B W 1-3/8 turn L to prep for OFallP RF side T LF diag forward TH 423 Fallaway Ronde and RF diag back in TH of B W F DW 5/8 turn L Slip Pivot from OFallP FallP, ronde L Leg RF, to CP (IE of T of LF) LF back in CBMP T RF back, pivot, LF THB held in CBMP

3. SHADOW RUNNING TELEMARK – FOLLOWER

COMMENCE IN RSHADP, F LOD MOVING DC END IN CP, B DW CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS 1&23 Shadow Running RF forward in HT F LOD, F DW 7/8 turn L Telemark in RShadP CBMP mov DC LF forward T RF side, small T step LF side and TH slightly forward 2&23 Syncopated turn L RF forward in HT F DW F DW 1 full turn L from RShadP to LSP CBMP LF forward T RF side T LF side TH 323 Free Spin R from RF forward HT F DW B C 1-1/8 turn R LSP to prep for LF side T OFallP RF forward TH 423 Fallaway Ronde LF diag back, L TH of LF, B C B DW 1/8 turn R and Slip Pivot from side leading, ronde (IE of T of OFallP to CP R leg RF) RF back and T 1/4 turn L across in CBMP, small step, pivot, LF held in CBMP LF forward, pivot, TH 1/2 turn L RF held in CBMP

4. SYNCOPATED PIVOTS – LEADER

COMMENCE IN CP, F DW END IN ROP, F DC CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS 123 Twinkle from CP to LF forward HT F DW F DW, Nil PP RF diag forward T mov LOD LF diag forward, TH L side leading 2&23 Syncopated RF forward in HT F DW F LOD 1-7/8 turn R promenade pivots CBMP, pivoting from PP to CP action LF side & slightly THB back, pivot, RF held forward in CBMP RF forward, HBH pivoting action LF back and THB slightly side, pivot, RF held forward in CBMP 3&23 Pivoting action to RF forward, HBH F LOD P LOD, 1 full turn R Impetus turn pivoting action mov DC ending in PP LF back and TH slightly side RF closes to LF, HT heel turn LF diag forward, TH L side leading 423 Continuity ending RF forward in HT P LOD, F DC 1/8 turn L from PP to ROP CBMP mov DC LF diag forward T RF forward in TH CBMP

4. SYNCOPATED PIVOTS – FOLLOWER

COMMENCE IN CP, B DW END IN ROP, B DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END 123 Twinkle from CP to PP RF back TH B DW F DC, 1/4 turn R LF diag back, T mov RF brushes to LF LOD RF side TH 2&23 Syncopated LF forward and HT F DC B LOD 1-5/8 turn R promenade pivots from across in CBMP PP to CP RF forward btw HBH partner’s feet, pivoting action LF side and slightly THB back, pivot, RF held in CBMP RF forward, HBH pivoting action 3&23 Pivot, to Impetus turn LF back and THB B LOD P C, 1-1/4 turn R ending in PP slightly side, pivot, mov DC RF held in CBMP RF forward HT LF side, T of LF, RF brushes to LF (IE of T of RF) RF side TH 423 Continuity ending from LF forward and HT P C, mov B DC 3/8 turn L PP to ROP across in CBMP DC RF side and TH slightly back LF back in CBMP TH

5. LEFT SIDE GRAPEVINES AND SPIRAL – LEADER

COMMENCE IN OFACP, F DW END IN ROP, F DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END 123 Left Twinkle from LF forward HT F DW F DC 1/4 turn L OFacP, (L-to-R HH) to RF diag forward T OTOPP, LF diag forward TH R-to-R HH 2&23 Syncopated check RF forward and across HT F DC P LOD, 1/8 turn R from OTOPP, in CBMP mov DC (R-to-R HH) to SFLSP Replace wt to LF T LF closes to RF T LF forward TH 3&23 Grapevine in SFLSP RF forward in CBMP HT P LOD, P LOD, 1/4 turn R LF side and slightly TH mov DC mov DC 1/4 turn L back RF back in CBMP T LF side and slightly TH forward 4&23 Grapevine in SFLSP RF forward in CBMP HT P LOD, P LOD, 1/4 turn R LF side and slightly TH mov DC mov DC 1/4 turn L back RF back in CBMP T LF side and slightly TH forward 523 3 Forward walks RF forward HT P LOD F DC 3/8 turn L curving L from LSP to LF forward T ALOD RCradP RF forward TH 623 Progressive Twinkle LF forward in CBMP HT F DC F DW 1/2 turn L turning L from RCradP ALOD to RShadP RF side and slightly T forward LF diag forward TH 72&3 Chasse L from RF forward in CBMP HT F DW F DW Nil RShadP to OPP (F LF side T Free Spin R) RF closes to LF T LF side and slightly TH forward 823 Continuity ending from RF forward in CBMP HT F DW F DW Nil OPP to ROP LF diag forward T RF forward in CBMP TH

5. LEFT SIDE GRAPEVINES AND SPIRAL – FOLLOWER

COMMENCE IN OFACP, B DW END IN ROP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Twinkle from RF back TH B DW F DC 1/4 turn R OFacP, (L-to-L LF diag back, T of LF, HH) to OTOPP, RF brushes to LF (IE of T of (R-to-R HH) RF) RF forward TH 2&2&3 Syncopated LF forward HT F DC P LOD, 1-7/8 turn Free Spin L RF side T mov L from OTOP, (R- DC LF forward T to-R HH) to SFLSP RF side T LF side and slightly forward TH 3&23 Grapevine in RF forward in CBMP HT P LOD, P LOD, 1/4 turn R SFLSP LF side and slightly back TH mov DC mov DC 1/4 turn L RF back in CBMP T LF side and slightly forward TH 4&23 Grapevine in RF forward in CBMP HT P LOD, P LOD, 1/4 turn R SFLSP LF side and slightly back TH mov DC mov DC 1/4 turn L RF back in CBMP T LF side and slightly forward TH 5(23) Spiral UATR RF forward and across in H P LOD F DC 3/8 turn L from LSP to CBMP ALOD RCradP FP held FW held FP held FW held 623 Progressive LF forward in CBMP HT F DC F DW 1/2 turn L Twinkle turning ALOD L from RCradP RF side and slightly forward, T of RF, to RShadP LF brushes to RF (IE of T of LF) LF diag forward TH 723 Free Spin R RF forward HT F DW P LOD, 7/8 turn R from RShadP to LF side, T of LF, mov OPP RF brushes to LF (IE of T of DW RF) RF forward TH 823 Continuity LF forward and across in HT P LOD, B DW 3/8 turn L ending from CBMP mov DW OPP to ROP RF side TH LF back in CBMP

6. CONTRA CHECK AND RONDE – LEADER

COMMENCE IN CP, F DC END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 1&23 Quick Open LF forward HT F DC F DW 3/4 turn L Reverse and Slip RF side T Pivot LF back in CBMP, small step T RF back in CBMP, pivot, LF TH held in CBMP 223 Double Reverse LF forward HT F DW F DW 1 full turn L Spin in CP RF side T LF closes to RF w/o wt, toe T of LF, pivot then TH of RF 323 Contra Check to LF forward in CBMP H F DW F DW Body turn Slip Pivot ALOD L Replace wt to RF T LF side, swivel until RF is in THB 1/4 turn R CBMP 4&23 4 Syncopated RF forward, pivoting action HBH F DW F DW 2 full turns Natural pivots LF side and slightly back, THB ALOD ALOD R pivot, RF held in CBMP RF forward, pivoting action HBH LF back and slightly side, THB pivot, RF held in CBMP 5(2)3 R Lunge and RF forward TH F DW F DW Nil replace wt to LF Foot Position held FW held ALOD ALOD (F ronde) from CP Replace wt back to LF TH to OFacP, (DHH) 623 Progressive RF forward in CBMP HT F DW F DW 3/4 turn R Twinkle turning R ALOD (FUATL) from RF side and slightly forward T OFacP, (DHH) to LF diag forward TH LSP 723 Progressive LF forward HT F DW F DW Nil Twinkle turning R RF diag forward T (F Passing Right turn) from LSP to LF diag forward, L side TH PP leading 823 Continuity ending RF forward in CBMP HT F DW F DW Nil from PP to ROP LF diag forward T RF forward in CBMP TH

6. CONTRA CHECK AND RONDE – FOLLOWER

COMMENCE IN CP, B DC END IN ROP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 1&23 Quick Open RF back TH B DC B DW 3/4 turn Reverse and Slip LF side and slightly forward T L Pivot RF forward in CBMP, small T step, LF held in CBMP LF forward in CBMP, RF TH held in CBMP 22&3 Double Reverse RF back TH B DW B DW 1 full Spin in CP LF closes to RF, heel turn HT turn L LF side and slightly back T RF crosses in front of LF TH 323 Contra Check to RF back in CBMP T B DW B DW 1/4 turn Slip Pivot Replace wt to LF in CBMP T ALOD R RF forward, pivoting action TH 4&23 4 Syncopated LF back in CBMP, pivot, RF THB B DW B DW 2 full Natural pivots held in CBMP ALOD ALOD turns R RF forward, pivoting action HBH LF back and slightly side in THB CBMP RF forward HT 523 Side-ronde from LF side, ronde R leg TH, (point B DW F DW 1/4 turn CP to OFacP, T of RF) ALOD R (DHH) FP held FW held RF back and across in TH CBMP 623 UATL from LF forward HT F DW F DW 1 full OFacP, (DHH) to turn L LSP RF side T LF forward TH 723 Passing Right RF forward HT F DW P LOD, 7/8 turn turn from LSP to LF side, T of LF, mov DW R PP RF brushes to LF (IE of T of RF) RF forward TH 823 Continuity ending LF forward and across in HT P LOD, B DW 3/8 turn from PP to ROP CBMP mov DW L RF side TH LF back in CBMP TH

7A. STANDING SPIN – LEADER

COMMENCE IN CP, F DC END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 1&23 1-6 of a Fallaway LF forward HT F DC F DW 3/4 turn L and Weave from RF diag back, R side T CP to ROP, (AH) leading LF back and across in T CBMP RF back in CBMP TH 2&23 LF back in CBMP TH RF back TH LF side TH RF crosses behind LF, T whisk 3&2& Unwind and Unwind to RF Lower F DW B DW 2-3/4 turns 3& Paddle turn for 2 heel, RF ALOD R 4&2& measures (3&) 3& (F syncopated LF forward T-TH (2&) runs forward Replace wt to RF T-TH (3&) turning R) Repeat “ LF forward and T-TH (4&) “Standing Spin” Replace wt to RF” in ROP, (AH) T-TH (2&) 3 more times T-TH (3&) 52(3) R Lunge from LF back in CBMP TH B DW F W 3/8 turn R ROP, (AH) to CP RF side, point LF side TH of RF, ALOD (IE of T of LF) FP held FW held 6(23) Challenge Line Replace wt to LF, point RF TH of LF, F W F W Nil and Oversway in side (IE of T of CP RF)

FP held FW held

FP held FW held 723 Scoop and Hover RF draws toward LF FW held, F W F DW 1/8 turn L from CP to PP IE of T of RF RF closes to LF T LF diag forward TH 823 Continuity ending RF forward in CBMP HT F DW F DW Nil from PP to ROP LF diag forward T RF forward in CBMP TH

7A. STANDING SPIN - FOLLOWER

COMMENCE IN CP, B DC END IN ROP, B DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 1&23 1-6 of a Fallaway RF back TH B DC F 3/4 turn L and Weave from CP LF diag back, L side T ALOD to ROP, (AH) leading RF back and across in T CBMP LF side and slightly TH forward 2&23 RF forward in CBMP HT LF forward T RF side T LF crosses behind RF TH, (T of whisk, flick RF back RF, then point) 3&2& Syncopated runs RF forward in CBMP HT-T (3&) F ALOD F DW 2-7/8 3& turning R in ROP for LF forward T-T (2&) ALOD turns R 4&2& 2 measures Repeat these Foot T-T (3&) “Standing Spin” 3& Positions 5 more times T-T (4&)

T-T (2&) T-T (3&) 523 R Lunge from RF forward in CBMP TH F DW F DC 1/2 turn R ROP,(AH) to CP LF side, point RF side TH of RF, ALOD (IE of T of LF) Swivel on LF FW held 623 Challenge Line and Replace wt to RF, point TH of LF, F DC F DC Nil Oversway in CP LF side (IE of T of RF)

Foot Position held FW held Foot Position held FW held 723 Scoop and Hover LF draws toward RF FW held, F DC P LOD, 1/8 turn R from CP to PP (IE of T of mov LF) DW LF closes to RF T RF diag forward TH 823 Continuity ending LF forward in CBMP HT P LOD, B DW 3/8 turn L from PP to ROP RF side T mov DW LF back in CBMP TH

COMMENCE IN ROP, (AH) B ALOD END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 523 Back to Same LF back in CBMP TH B ALOD F DW 3/8 turn R Foot Lunge RF side, point LF side TH of ALOD from ROP, RF, (IE (AH) to of T of SFLungeP LF) FP held FW held 623 Shape changes FP held FW held F DW F DW Nil in SFLungeP ALOD ALOD FP held FW held

FP held FW held 7&23 Swivel (F pivot) Swivel on RF B of RF F DW F DW 1-1/4 turn from LF forward HT ALOD L SFLungeP to RF side T CP, then a LF side and slightly TH syncopated forward in PP Open Telemark from CP to PP 823 Continuity RF forward in CBMP HT F DW F DW Nil ending from PP LF diag forward T to ROP RF forward in CBMP TH

Note: Standing Spin is slightly overturned to end B ALOD. The overall turn for the Standing Spin in this case will be 3 full turns to the Right.

7B. STANDING SPIN, ALTERNATE ENDING – FOLLOWER This alternate ending is danced after the 1st four measures of the Standing Spin.

COMMENCE IN ROP, (AH), F ALOD END IN ROP, B DW CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS 523 R Lunge from ROP, RF forward in HT F ALOD F LOD 1/2 turn R (AH) to SFLungeP CBMP LF closes to RF TH RF back in TH, (IE CBMP, point LF of T of forward LF) (623) Shape change in FP held FW held F LOD F LOD Nil SFLungeP FP held FW held FP held FW held 7&23 Pivot to syncopated LF forward in HT F LOD F DW 7/8 turn R Open Telemark CBMP, pivot from SFLungeP RF back TH through CP to PP LF closes to RF, HT heel turn RF diag forward TH in PP 823 Continuity ending LF forward and HT F DW B DW 1/2 turn L from PP to ROP across in CBMP RF side TH LF back in CBMP TH

Note: Standing Spin is slightly overturned to end F ALOD. The overall turn for the Standing Spin in this case will be 3-1/8 turns to the Right.

COMMENCE IN CP, F DW END IN OROP, F DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Twinkle from LF forward HT F DW F DW Nil CP to ROP RF diag forward T LF diag forward TH 22&3 Tipple Chasse RF forward in CBMP HT F DW F C 5/8 turn R from ROP to LF side T CP RF closes to LF T LF side and slightly back, THB pivot 3&23 Syncopated RF forward, pivoting action HT F C B DC 1-5/8 turn R Natural Pivots LF back and slightly side, THB in CP, ending in pivot, RF held in CBMP OLOP, (DHH) RF forward, pivoting action HT LF diag back TH 42&3 Chasse to L RF back TH B DC F DW 1/4 turn L (FUATL) from LF side T OLOP, (DHH) RF closes to LF T to prep LSP LF side and slightly back TH 5(23) Explosion in RF side TH F DW F W 1/8 turn R LSP FP held FW held FP held FW held 6&23 Check and LF forward HT F W B DW 5/8 turn L syncopated half turn L from (F RF diag back, small step T forward runs LF diag forward, small step T trailing L’s waist) from LSP RF closes toward LF, small TH to ROP, (AH) step 7&23 Continuous LF back in CBMP TH B DW B DW 1 full turn R Hairpin in ROP, RF side and slightly H, IE of (AH) forward, small step, heel foot, WF, pull (IE of LF) LF forward HT RF forward in CBMP, small THB step, pivot 82&3 Chasse to R (F LF back TH B DW F DC 1/4 turn R Free Spin R) RF side T from ROP, (AH) LF closes to RF T to OROP, (L-to- R HH) RF diag forward TH Note: When danced at a corner, this figure may commence F DW of old wall, making 1/4 turn L in the first Measure to face DW NLOD

8. WRAP AROUND AND HAIRPIN – FOLLOWER

COMMENCE IN CP, B DW END IN OROP, B DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Twinkle from RF back TH B DW B DW Nil CP to ROP LF diag back T, (IE of T RF) RF diag back TH 22&3 Tipple Chasse LF back in CBMP TH B DW B C 5/8 turn R from ROP to RF side T CP LF closes to RF T RF forward, pivoting action TH 3&23 Syncopated LF back and slightly side, THB B C F DC 1-5/8 turn R Natural Pivots pivot, RF held in CBMP in CP, ending in RF forward, pivoting action HT OLOP, (DHH) LF back and slightly side, THT pivot, RF held in CBMP RF diag forward TH 42&3 UATL from LF forward HT F DC B LOD 1-3/8 turn L OLOP, (DHH) RF side T to Prep LSP LF forward T RF side TH 5(23) Explosion in LF side TH B LOD F W 1/4 turn L LSP FP held FW held FP held FW held 6&23 Forward runs RF forward HT F W F DW 7/8 turn R (trailing R arm around L’s LF forward T waist) from LSP RF forward, small step T to ROP, (AH) LF forward TH 7&23 Continuous RF forward in CBMP HT F DW F DC 3/4 turn R Hairpin in ROP, LF side and slightly back T (AH) RF back T LF back in CBMP TH 82&3 Free Spin R RF forward HT F DC B DC 1-1/2 turn R from ROP, (AH) LF side T to RF forward T OROP (L-to-R HH) LF side and slightly back TH Note: When danced at a corner, this figure may commence B DW of old wall, making 1/4 turn L in the first Measure to back DW NLOD

9. OVERTURNED SHADOW RIGHT – LEADER

COMMENCE IN OFACP, F DW END IN ROP, F DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Handshake LF forward HT F DW F DW, Nil Twinkle from RF diag forward T mov LOD OFacP, L-to-R HH LF diag forward TH to OTOPP, R-to-R HH 2&23 Chasse L (FUATL) RF forward in CBMP TH F DW, F DW, Nil from OTOPP, LF side T mov LOD mov R-to-R HH to RF closes to LF T LOD RShadP LF diag forward TH 323 Overturned RF forward HT F DW F DC 3/4 turn Progressive R Twinkle turning R LF side T from RShadP to RF diag forward TH LShadP 423 3 Progressive LF forward HT F DC F LOD 1/8 turn L walks forward from RF forward, small step T LShadP to LF forward TH RShadP 523 Hairpin to Waist RF forward in CBMP HT F LOD B DC 3/8 turn R Wrap from LF forward T RShadP to RF forward in CBMP TH SFOROP

62&3 Chasse turning R LF back TH B DC F DC 1/2 turn L (F syncopated RF side T Free Spin L) from LF closes to RF T SFOROP to LSP RF side and slightly TH forward 723 Progressive LF forward TH F DC F DC Nil Twinkle turning L (F passing R turn) RF diag forward T from LSP to PP LF diag forward TH 823 Continuity ending RF forward in CBMP HT F DC F DC Nil from PP to ROP LF diag forward T RF forward in CBMP TH

9. OVERTURNED SHADOW RIGHT TURN - FOLLOWER

COMMENCE IN OFACP, B DW END IN ROP, B DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Handshake RF back TH B DW F DW 1/2 turn R Twinkle from RF diag back, LF T, (IE of T, OFacP, (L-to-R brushes toward RF LF) HH) to OTOPP, LF forward, small step TH R-to-R HH 223 UATL from LF forward HT F DW F DW 1 full turn L OTOPP, R-to-R RF side T HH to RShadP LF side and slightly TH forward 323 Overturned RF forward, small HT F DW F DC 3/4 turn R Progressive step Twinkle turning LF side, small step T R from RShadP RF diag forward TH to LShadP 423 3 Progressive LF forward in CBMP HT F DC F LOD 1/8 turn R walks forward RF forward T from LShadP to LF forward TH RShadP 523 3 Count turn R RF forward, small HT F LOD F DW 1-1/8 turn R to Waist Wrap step from RShadP to LF side, small step T SFOROP RF closes near LF, LF TH taps to side 6&2&3 Double LF forward HT F DW F DC 2-1/4 turn L syncopated RF side T Free Spin L LF forward T from SF Waist RF side T Wrap to LSP LF diag forward TH 723 Passing R turn RF diag forward HT F DC F DC 1 full turn R from LSP to PP LF side T RF diag forward TH 823 Continuity LF forward in CBMP HT F DC B DC 1/2 turn L ending from PP RF side TH to ROP LF back in CBMP TH

10. DEVELOPE` AND DOUBLE RONDE - LEADER

COMMENCE IN CP, F DW END IN OFACP, F DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Left Twinkle from LF forward HT F DW P LOD, 1/8 turn L CP to PP RF diag forward T mov LF diag forward TH DC 2&23 Running Natural RF forward and across in H P LOD, B DC 3/8 turn R Weave from PP to CBMP mov DC ROP LF side and slightly back T RF back , R side leading T LF back in CBMP TH 3&23 Tumble Turn from RF back TH B DC B DW 3/4 turn L ROP to CP LF side and slightly forward T RF forward in CBMP T LF forward, pivot, RF held TH in CBMP 42(3) Steps 4-5 of Open RF back TH B DW F DW 1/2 turn L Left Box LF side TH (underturned) FP held FW held (FUATL) from CP to LSP (523) Position held in FP held FW held F DW F DW Nil LSP (F develope`s FP held FW held RF) FP held FW held 623 Side rock twinkle RF side TH F DW B DW 1/4 turn R turning R (FUATR) ALOD from LSP to OFacP Replace wt to LF T in DHH RF side TH 723 Ronde in DHH, and LF back, ronde R leg FW held, B DW F DC 1/4 turn R turn L (F ronde) point R ALOD ALOD from OFacP, DHH Toe to OROP, RF crosses behind LF T (R-to-R HH) LF side TH

823 Checked open R RF forward and across in H F DC F DW 1/2 turn R turn (F syncopated CBMP ALOD Free Spin R) from Replace wt to LF T OROP, (R-to-R HH) RF side and slightly TH to OFacP, (L-to-R forward HH)

10. DEVELOPE` AND DOUBLE RONDE - FOLLOWER

COMMENCE IN CP, B DW END IN OFACP, B DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Left Twinkle from RF back TH B DW P C, mov 1/8 turn R CP to PP LF diag back, RF TH DC brushes to LF RF side T, (IE of T of RF) 2&23 Running Natural LF forward and across in TH P C, mov F DC 1/8 turn L Weave from PP to CBMP DC ROP RF forward between H partner’s feet LF forward, L side T leading RF forward in CBMP T 3&23 Tumble Turn from LF forward TH F DC F DW 3/4 turn L ROP to CP RF side and slightly back HT LF back in CBMP T RF back, pivot, LF held in T CBMP 42&3 Syncopated UATL LF forward THB F DW B LOD 1-5/8 turn L from CP to LSP RF side HT LF forward T RF side and slightly back T 5(23) LF back in LSP, RF LF back, develope` RF TH B LOD F DW 1/8 turn L develope` FP held TH, (point R ALOD toe) FP held FW held 623 UATR from LSP to RF forward FW held F DW B DW 1-1/4 turn R OFacP in DHH ALOD LF side HT RF forward T 72&3 Ronde in DHH, and LF diag back, ronde RF TH B DW F LOD 1/2 turn R turn L from OFacP, RF crosses behind LF TH, (IE of T DHH to OROP, of RF) (R-to-R HH) LF diag forward T 1/8 turn L

823 Syncopated Free RF forward TH F LOD B DW 1-5/8 turn R Spin R from OROP, LF side HT (R-to-R HH) to RF forward T OFacP, (L-to-R HH) LF side and slightly back T TH

Order Figure Count Ending No. No. Alignment 1. 1. Shadow Switching Spirals 123, 22&3, 323,423, 523, F DC 623, 72&3, 823

2. 5. Left Side Grapevine and Spiral 123, 2&23, 3&23, 4&23, 523, F DW 623, 72&3, 823

3. 4. Syncopated Pivots 123, 2&23, 3&23, 423 F DC

4. 2. Hinge to Shadow 123, 223, 323, 42&3 F DC

5. 3. Shadow Running Telemark 1&23, 223, 323, 423 F DW

6. 7. Standing Spin 1&23, 2&23, 3&2&3&, F DW 4&2&3&, 523, 623, 723, 823

7. 8. Wrap Around and Hairpin 123, 22&3, 3&23, 42&3, 523, F DC 6&23, 7&23, 82&3

8. 10. Developé and Double Ronde 123, 2&23, 3&23, 423, 523, F DW 623, 723, 823

9. 9. Overturned Shadow Right Turns 123, 2&23, 323, 423, 523, F DC 62&3, 723, 823

10. 6. Contra Check and Ronde 1&23, 223, 323, 4&23, 523, F DW 623, 723, 823

As danced by Michael Mead and Toni Redpath on Dance Vision’s American Style Gold Waltz Syllabus DVD (DASMM354). Adjust alignments to accommodate floor size.

-Most figures and parts of figures can cross over to Foxtrot (using the appropriate Foxtrot timing).

-Most figures transition in and out of popular positions used in Smooth, i.e. LSP, Shadow, Alternate Hold.

-Once in these positions you can "pad out" the figure with other syllabus figures danced from the same starting position. See suggestions in Blending tips below.

-More basic entrances or exits from the Bronze, Silver or Gold syllabus can be used for any of the figures.

-Syncopations can be replaced with straight timing to simplify figures i.e. Standing Spin.

Blending Tips

1. Shadow Switching Spirals - The Shadow Switches can be preceded or followed by any other Shadow figure. Examples: a) After 1 measure of Shadow Telemark b) After 5 measures of Left Side Grapevine and Spiral c) After 4 measures of Overturned Shadow Right Turns d) Hinge to Shadow

2. Hinge to Shadow - Alternate entrance. Forward half of Left Box can be replaced with 1-6 of Fallaway and Weave and then continue with Hinge

- Follower can do a 3 count turn Left to Shadow position.

3. Shadow Running Telemark - You can use the first 2 measures of the Shadow Running Telemark to set up any figure danced from Left Side Position.

4. Syncopated Pivots - Can be danced without the heel turn. Leader would pivot and then step forward to end in PP. - Alternate Ending. Can insert the 5th measure of the Contra Check and Ronde as an alternate ending to the Syncopated Pivots ® ® Copyright © 2015 DVIDA Waltz DVIDA All Rights Reserved 46

5. Left Side Grapevine and Spiral - Alternate entrance and exit. Could use entrance and exit of the Left Side Grapevines and Weave (from Gold Foxtrot) using timings appropriate for Waltz.

- In LSP can add Passing Changes (from Foxtrot) between grapevines (using timing suitable to Waltz, 1&23).

- Once in Shadow position can link to any other Shadow figure

6. Contra Check and Ronde - Can use first 6 measures as an entrance to get to any figure danced in LSP.

- Can use syncopated pivots ending.

7 A. Standing Spin - Alternative exit examples. a) Leader can exit Standing Spin, changing weight to Left Foot to Open Overturned PP and continue with Hinge to Shadow. b) Back Twinkle to PP. c) Open Right Turns in Alternate Hold (end Standing Spin backing DW).

- Instead of syncopated forward runs Follower can stand on right foot (holding left foot in the air) for Advanced Standing Spin.

8. Wrap Around and Hairpin - Once in LSP, any figure that commences in that position can be inserted before continuing with Wraparound and Hairpin ending.

- Can dance more than 1 Hairpin.

9. Overturned Shadow Right Turns - Can use any figure ending in Shadow as alternative entrance.

- Can add Shadow figures before continuing with overturned Spiral Right.

- Can add LSP figures once in LSP.

10. Develope` and Double Ronde - Can leave out tumble turn and continue straight into UAT, (to help phrasing, hold develope` for 2 measures).

- Double Ronde can be danced in left handshake hold.

Foxtrot Contents

1. Left Side Grapevines and Weave………………………………………………... 48

2. Continuous Hairpins……………………………………………………………….. 50

3. Passing Changes……………………………………………………………………. 52

4. Hinge and Free Spin to Shadow..………………………………………………… 54

5. Shadow Switching Grapevine……………………………………………………… 56

6. Advanced Gem………….…………………………………………………………… 58

7. Lock and Lunge………………………………………………………………...……. 60

8. Oversway and Ronde………………………………………………..……………… 62

9. Whisk and Weave……….…………………………………………………………... 64

10. Shadow Hairpins…………..………………………………………………………. 66

Gold Foxtrot Routine…………………………………………………………………… 68

Figure Blending in Foxtrot……………………………………………………………… 69

1. LEFT SIDE GRAPEVINES AND WEAVE – LEADER

COMMENCE IN CP, F DC END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Forward half of LF forward HT F DC B LOD 3/8 turn L Open Left Box RF side T from CP to LF back in CBMP TH OFacP, (slide R hand to elbow) SQ&Q Checked open RF back TH B LOD P LOD 1/2 turn R chasse from LF forward, curving to R T mov DC OFacP to RF closes to LF T SFLSP LF forward TH QQQQ Grapevine in RF forward in CBMP HT P LOD P LOD 1/4 turn R SFLSP LF side and slightly back TH mov DC mov DC 1/4 turn L RF back in CBMP T LF side and slightly forward TH QQQQ Grapevine in RF forward in CBMP HT P LOD P LOD 1/4 turn R SFLSP LF side and slightly back TH mov DC mov DC 1/4 turn L RF back in CBMP T LF side and slightly forward TH SQQ Check-replace- RF forward, check H F LOD F W 1/4 turn close from FL back, small step T R SFLSP to FacP RF closes to LF TH S(S) Lunge to side LF side, lunge, RF pointed TH of F W F W Body turn from FacP to to side LF, (IE R OTOPP of T of RF) FP held FW held SQQ Steps 12-18 of Swivel on RF TH F W B LOD 3/4 turn L Same Foot LF forward T Lunge with RF side T Weave ending LF back in CBMP T from OTOPP to QQQQ ROP RF back T B LOD F DW 3/8 turn L LF side and slightly forward T RF forward in CBMP TH

COMMENCE IN CP, B DC END IN ROP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ . RF back TH B DC F LOD 3/8 turn L LF side T RF forward in CBMP TH SQQ UATL from LF forward HT F LOD P LOD 1 full turn L OFacP to mov DC SFLSP RF side T LF side and slightly forward TH QQQQ Grapevine in RF forward in CBMP HT P LOD P LOD 1/4 turn R SFLSP LF side and slightly back TH mov DC mov DC 1/4 turn L RF back in CBMP T LF side and slightly forward TH QQQQ Grapevine in RF forward in CBMP HT P LOD P LOD 1/4 turn R SFLSP LF side and slightly back TH mov DC mov DC 1/4 turn L RF back in CBMP T LF side and slightly forward TH SQQ Check-replace RF forward, check H P LOD F W 3/8 turn R to a 3 count turn Replace wt to LF T mov DC R from SFLSP, RF forward TH through FacP to LF side TH 7/8 turn R SS OTOPP

RF side, LF pointed to side, TH, (IE of knees flexed T of LF) SQQ Steps 12-18 of LF forward, pivot HT F W B DW 1-5/8 turn L Same Foot RF back T Lunge with LF side T Weave ending from OTOPP to RF forward in CBMP T QQQQ ROP LF forward T RF side and slightly back TH LF back in CBMP TH

COMMENCE IN CP, F DW END IN OLOP, F CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Twinkle from CP LF forward HT F DW F DW Nil to PP RF diag forward T LF diag forward TH SQQ Hairpin from PP RF forward and across HT F DW B DC 1/4 turn R to ROP, (AH) in CBMP LF side and slightly T back RF forward in CBMP TH QQQQ Continuous LF back in CBMP TH B DC B DC 1 full turn R Hairpin in ROP, LF side and slightly H, then (AH) forward, heel pull WF LF forward T RF forward in CBMP TH SQQ Chasse R LF back TH B DC F DC 1/2 turn R (F Free Spin R) RF side T from ROP, (AH) LF closes to RF T to OROP (L-to-R RF side and slightly TH HH) forward

COMMENCE IN CP, B DW END IN OLOP, B DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Twinkle from CP RF back TH B DW F LOD 3/8 turn R to PP LF diag back T, (IE of T of RF) RF side TH SQQ Hairpin from PP LF forward and HT F LOD F DC 1/8 turn L to ROP, (AH) across in CBMP RF side and slightly T back LF back in CBMP TH QQQQ Continuous RF forward in HT F DC F DC 1 full turn R Hairpin in ROP, CBMP (AH) LF side and slightly THT back RF back T LF back in CBMP TH SQ&Q Free Spin R from RF forward HT F DC B DC 1-1/2 turn R ROP, (AH) to LF side T OROP (L-to-R RF forward T HH) RF side TH

COMMENCE IN CP, F DW END IN CP, F DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Left Twinkle from LF forward HT F DW F LOD 1/8 turn L CP to OTOPP, RF diag forward T L-to-R HH LF diag forward TH SQ&Q Syncopated RF forward and H F LOD P LOD, Nil check (FUATL) across in CBMP mov DC from OTOPP to Replace wt to LF T SFLSP RF closes to LF T LF forward TH QQQQ Passing change RF forward in HT P LOD, P LOD, 1 full turn (F syncopated CBMP mov DC mov DC L check) from LF forward T SFLSP to SFRSP RF side T LF side and slightly TH forward QQQQ Syncopated RF forward and H P LOD F LOD Nil check (F Passing across in CBMP change) from Replace wt to LF T SFRSP to SFLSP RF closes to LF T LF forward TH QQS Forward-close- RF forward HT F LOD F DW 1/8 turn R side from SFLSP LF closes to RF TH to SFILSP RF side TH, (IE of T of LF) SS Lunge-replace LF side, lunge TH F DW F DW Nil from SFILSP to CP Replace wt to RF TH

COMMENCE IN OP, B DW END IN ROP, B DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Twinkle from CP RF back TH B DW F DC 1/4 turn R to OTOPP, LF diag back, T of LF, (L-to-R HH) RF brushes to LF (IE of T of RF) RF forward TH SQQ 3 Count turn L LF forward HT F DC P LOD, 7/8 turn L from OTOPP, RF side T mov (L-to-R HH) to LF forward TH DC SFLSP QQQQ RF forward RF forward and H P LOD, P LOD, Nil syncopated across in CBMP mov mov check from Replace wt to LF T DC DC SFLSP to RF closes to LF T SFRSP LF forward TH QQQQ Passing change RF forward in CBMP HT P LOD F LOD 7/8 turn L from SRLSP to LF forward T moving SFLSP RF side T DC LF side and slightly TH forward SQQ Forward swivel- RF forward HT F LOD F DC 5/8 turn R close-side from LF closes to RF TH ALOD SFLSP to RF side TH, SFILSP (IE of T of LF) SQQ Free Spin L from LF forward T F DC B DW 1 full turn SFILSP to CP ALOD L RF closes to LF T

LF side TH

COMMENCE IN CP, F DC END IN RSHADP, F DW, MOV LOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Forward half LF forward HT F DC B LOD 3/8 turn L of Open Left RF side T Box from CP LF back in CBMP TH tor OROP SQ(Q) Back to Hinge RF back TH B LOD F DW 3/8 turn L in CP LF side TH, (IE of T of RF) FP held FW held

SQQ Swivel to LF turn, swivel FW held F DW B LOD 1-3/8 turn Natural pivots RF forward, HBH R from CP to pivoting action OFacP, LF diag back TH (DHH) SQQ Side lunge- RF back TH B LOD F LOD 1/2 turn R rock-replace Replace wt to LF T (F 3 count RF side and slightly TH turn L) from forward OFacP, (DHH) to LSP QQS Step-point- LF forward HT F LOD F DW 1/4 turn L, lunge to RF ALOD then 1/8 (F 2 count RF points to side IE of T RF turn R Spin L) from LSP to OLSP, Replace wt to RF, TH, (NH) lunge (IE of T of LF) SQQ Forward LF forward in HT F DW F DW 1/4 turn L Progressive CBMP ALOD Twinkle RF side and slightly T turning L from forward OLSP, (NH) LF diag forward TH to RShadP

COMMENCE IN CP, B DC END IN RSHADP, F DW, MOV LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Back half of Open RF back TH B DC F LOD 3/8 turn L Left Box in CP LF side T RF forward in CBMP TH SQQ Forward to Hinge LF forward HT F LOD F 3/8 turn L in CP RF side T ALOD LF crosses behind TH, (T of RF, point RF forward RF) SQQ Pivoting Action to RF forward, pivoting HT F F 1 full turn Natural pivots action ALOD ALOD R from CP to LF side and slightly THB OFacP, (DHH) back, pivot RF forward, small TH step

SQQ Forward LF forward HT F F 1 full turn 3 count turn L RF side T ALOD ALOD L from OFacP, LF diag forward TH (DHH) to LSP Q(QS) Forward 2 count RF forward, spin, L HT, F F DW 7/8 turn R spin from LSP to leg held diag back, (IE of T of ALOD ALOD OLSP, (NH) and pointed RF)

FP held, continue Wt on B of turn RF, (heel skims floor) FP held FW held SQQ Forward LF forward in CBMP HT F DW F DW 1/4 turn L Progressive ALOD Twinkle turning L RF side and slightly T from OLSP, (NH) forward to RShadP LF diag forward TH

COMMENCE IN RSHADP, F DW MOVING LOD END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QQQQ Grapevine from RF forward in CBMP HT F DW, F DW, 1/4 turn R RShadP LF side and slightly TH mov mov through LShadP back, small step LOD LOD and back to RF back in CBMP T 1/4 turn L RShadP LF side and slightly TH forward QQQQ Grapevine from RF forward in CBMP HT F DW, F DW, 1/4 turn R RShadP LF side and slightly TH mov mov through LShadP back, small step LOD LOD and back to RF back in CBMP T 1/4 turn L RShadP LF side and slightly TH forward SQQ Chasse L RF forward in CBMP HT F DW F DW Nil (F 3 count turn RF side and slightly T to R) from forward RShadP to OPP RF closes to LF T RF forward and TH slightly side SQQ Continuity RF forward in CBMP HT F DW F DW Nil Ending from LF diag forward T OPP to ROP RF forward in CBMP TH

COMMENCE IN RSHADP, F DW MOVING LOD END IN ROP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QQQQ Grapevine from RF forward in CBMP HT F DW, F DW, 1/4 turn R RShadP LF side and slightly TH mov mov through LShadP back LOD LOD and back to RF back in CBMP T 1/4 turn L RShadP LF side and slightly TH forward, small step QQQQ Grapevine from RF forward in CBMP HT F DW, F DW, 1/4 turn R RShadP LF side and slightly TH mov mov through LShadP back LOD LOD and back to RF back in CBMP T 1/4 turn L RShadP LF side and slightly TH forward, small step SQQ Free Spin to R RF forward HT F DW F DW 1 full turn R from RShad P LF side, RF brushes T of LF, to OPP to LF (IE of T of RF) RF forward TH SQQ Continuity LF forward in CBMP HT F DW B DW 1/2 turn L Ending from RF side TH OPP to ROP LF back in CBMP TH

COMMENCE IN CP, F DC END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ 1-6 of The Gem LF forward HT F DC B LOD 3/8 turn RF side T L LF back in CBMP TH SQQ RF back TH B LOD F Nil LF back, L side leading T ALOD RF back in CBMP, TH small step QQQQ 3 Forward LF forward, swivel HT F F DW 3/8 turn swivel points in Point RF side and IE of T of ALOD ALOD L DHH from LOP slightly back RF to OROP, RF forward, swivel HT 1/4 turn (DHH), then RF Point LF side and IE of T of R forward in slightly back LF CBMP in ROP QQS Swivel on RF to LF forward, swivel HT 1/4 turn a Same Foot Point RF side and IE of T of L Lunge from slightly back RF ROP to RF forward in CBMP HT SFLungeP S(S) Swivel on RF B of RF, (IE 1/4 turn of T of LF) R FP held FW held &QQQQ Swivel on RF Swivel on RF Ball of RF, F DW F DW 1-1/4 and Reverse (heel skims ALOD turn L Pivot to floor) Continuity Ending from LF forward in CBMP, HBH SFLungeP, small step, pivot, RF through CP to held in CBMP ROP RF back in CBMP, THT small step, pivot, LF held in CBMP LF diag, L side leading T RF forward in CBMP TH

COMMENCE IN CP, B DC END IN ROP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ 1-6 of The RF back TH B DC F LOD 3/8 turn L Gem LF side T RF forward in CBMP TH SQQ LF forward HT F LOD B ALOD Nil RF forward, R side T leading LF in CBMP, small step TH QQQQ 3 Back swivel RF back, swivel TH B ALOD F LOD 3/8 turn L points in DHH Point LF side and IE of T LF from LOP to slightly forward OROP, LF back, swivel TH 1/4 turn (DHH), then Point RF side and IE of T RF R LF back to a slightly forward Same Foot QQS Lunge from RF back, swivel TH 1/4 turn L ROP to Point LF side and IE of T LF SFLungeP slightly forward LF back in CBMP TH SS RF closes to LF, swivel TH 3/8 turn R Point LF forward OE of T of LF &QQQQ LF forward, LF forward, pivot, RF HBH F LOD B DW 1-3/8 turn pivot to CP, held in CBMP L then Reverse RF back in CBMP, THB Pivots to a small step, pivot, LF Continuity held in CBMP Ending from LF forward HT SFLungeP, RF side and slightly TH through CP to back ROP LF back in CBMP TH

COMMENCE IN CP, F DW END IN ROP, F DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Left turning LF forward HT F DW F LOD, 1/8 turn L Twinkle from RF diag forward T mov DC CP to PP LF diag forward, TH L side leading SQ&Q Promenade L RF forward in CBMP HT F LOD, F DC 1/8 turn L turning lock LF forward T mov DC from PP to CP RF crosses behind LF T LF forward TH S(S) Right Lunge RF side TH, (IE of F DC B DW 1/4 turn L over-turned T of LF) (F develope`s Swivel on RF B of RF RF) from CP to ROP SQQ Outside Spin LF back in CBMP, THB B DW F C 1-1/8 turn from ROP to small step R CP RF forward in CBMP HT LF side, ending back THB

QQQQ Natural Pivots RF forward, pivoting HBH F C F DC 1-1/8 turn from CP to PP action R LF back and slightly THB side, pivot, RF held in CBMP RF forward HT LF diag forward, L side TH leading SQQ Continuity RF forward in CBMP HT F DC F DC Nil Ending from LF diag forward T PP to ROP RF forward in CBMP TH

COMMENCE IN CP, B DW END IN ROP, B DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND WORK START END DANCE POSITIONS SQQ Left turning RF back TH B DW F C, 1/4 turn L Twinkle from LF diag back, RF brushes T, (IE of mov DC CP to PP to LF T of RF) RF side TH SQ&Q Promenade LF forward and across in HT F C, B DC 3/8 turn L L turning CBMP mov DC lock to from RF diag back T PP to CP LF crosses in front of RF T RF back and slightly side TH S(S) R Lunge LF side TH, (IE of B DC F LOD 3/8 turn L over-turned, T of RF) then Swivel on LF, develope` B of LF, develope` RF (point R from CP to toe) ROP SQQ Outside Spin RF forward in CBMP HT F LOD B C 1-1/4 turn R from ROP to LF closes to RF, toe pivot T, (T of CP RF skims floor) RF forward btw L’s feet, TH pivoting action QQQQ Natural LF back and slightly side, THB B C F DC 1-5/8 turn R Pivots from pivot, RF held in CBMP CP to PP RF forward, pivoting HT action LF side, RF brushes to T, (IE of LF T of LF) RF side TH SQQ Continuity LF forward in CBMP HT F DC B DC 1/2 turn L Ending from RF side TH PP to ROP LF back in CBMP TH

COMMENCE IN CP, F DC END IN RSHADP, F DW, MOV LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Forward half of LF forward HT F DC B LOD 3/8 turn L Open Left Box RF side T from CP tor OROP LF back CBMP TH SS Challenge Line RF back TH B LOD F DW 3/8 turn L from OROP to CP LF side TH, (IE of T of RF) (SS) Oversway FP held FW held F DW F DW Nil FP held FW held SS Right lunge-ronde RF forward btw H F DW F W 1-1/8 turn R to SFLSP Follower’s feet (F ronde RF) from LF forward in TH of LF, CP to SFLSP CBMP, swivel on (IE of T LF, ronde RF of RF) SQQ Back-rock-replace RF crosses loosely TH F W F DW 1/8 turn R to LCradP, (L-to-R behind LF ALOD HH) LF side T

Replace wt to RF TH SQQ Progressive LF forward in CBMP HT F DW F DW 1/4 turn L Twinkle turning L RF side and slightly T ALOD from LCradP, (L- forward to-R HH) to LF diag forward TH RShadP

COMMENCE IN CP, B DC END IN RSHADP, F DW, MOV LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Back half of Open RF back TH B DC F LOD 3/8 turn L Left Box from CP LF side T tor OROP RF forward in TH CBMP SS Challenge Line in LF forward HT F LOD F DC 3/8 turn L CP RF side TH, ALOD (IE of T of LF) SS Oversway FP held FW held F DC F DC Nil FP held FW held ALOD ALOD

SQQ Swivel and ronde R LF diag back, TH of LF, F DC F W 5/8 turn R leg from CP to swivel and ronde (IE of T ALOD Prep for SFLSP on RF of RF) RF crosses loosely TH behind LF LF side TH

SQQ Free Spin R rolling RF forward HT F W F DW 1-1/8 turn into arm from ALOD R SFLSP to LCradP, LF forward T (L-to-R HH) RF side TH SQQ LF forward LF forward in HT F DW F DW 1/4 turn L Progressive CBMP ALOD Twinkle turning L RF side and slightly T from LCradP, (L-to- forward R HH) to RShadP LF diag forward TH

COMMENCE IN CP, F DC END IN ROP, F DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Forward half of an LF forward HT F DC B LOD 3/8 turn L Open Left Box RF side T LF back in CBMP TH SQQ Left Whisk from CP RF back TH B LOD B DC 3/8 turn L to ROP, (AH) LF side TH ALOD RF crosses behind LF T whisk SS Unwind twist turning Unwind twist with wt on B B of RF, H B DC B 7/8 turn R to R (F 4 walks of RF, H of LF of LF ALOD ALOD forward) in ROP, Transfer wt to RF Foot flat (AH) QQS Back-close-side LF back TH B B DC 3/8 turn R (F Free Spin R) to RF closes to LF T ALOD IOFacP, (L-to-L HH) LF side TH of LF, (IE of T of RF) QQQQ Close-point side- Close RF to LF TH of LF B DC B DC Nil replace-point side from IOFacP , (L-to- Point LF side IE to T of L HH) thru FacP, LF (F’s R hand on L’s Replace wt to LF TH chest), to IOFacP , Point RF side IE of T of (L-to-L HH) RF SQ&Q Chasse L (F RF back in CBMP TH B DC F DW 1/4 turn L syncopated Free LF to side T Spin L) from RF closes to LF T IOFacP , (L-to-L HH) LF diag forward TH to OROP, (DHH) SQQ Swivel and ronde RF forward in CBMP, HB, (IE of F DW B DC 1/4 turn R from OROP, (DHH) swivel, ronde LF T of LF) to OLOP, (DHH) and LF crosses in front of RF T a Weave Ending RF side and slightly back T finishing in ROP QQQQ LF back in CBMP T B DC F DW 1/4 turn L RF back T LF side and slightly T forward RF forward in CBMP TH

COMMENCE IN CP, B DC END IN ROP, B DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Back half of an Open RF back TH B DC F LOD 3/8 turn L Left Box LF side T RF forward in CBMP TH SQQ Left Whisk in LF forward HT F LOD F DC 3/8 turn L Alternate Hold RF side T ALOD LF crosses behind RF TH, (T of whisk, flick RF back RF, then point RF) QQQQ 4 Walks forward in RF forward in CBMP HT F DC F 7/8 turn ROP, (AH) LF forward, L side leading T ALOD ALOD R RF forward in CBMP T LF forward, L side leading TH QQS Free Spin R to RF forward HT F F DW 7/8 turn IOFacP , (L-to-L HH) LF side T ALOD ALOD R RF back, tap LF to side TH of RF, (IE of T of LF) QQQQ Step-tap-step-tap LF forward HT F DW F W 1/2 turn L from IOFacP , (L-to- ALOD L HH) to FacP, (R Tap RF side IE of T of 3/8 turn hand on L’s chest) to RF R IOFacP, (L-to-L HH) RF forward HT Tap LF side IE of T of LF SQ&Q Syncopated Free LF forward HT F W B DW 1-5/8 turn Spin L from IOFacP , RF side T L (L-to-L HH) to LF forward T OROP, (DHH) RF diag back TH SQQ Swivel and ronde LF back in CBMP, swivel, THB, (IE of B DW F DC 1/4 turn from OROP, (DHH) ronde RF T of RF) R to OLOP, (DHH) to a RF crosses behind LF T Weave Ending, LF side and slightly back T finishing in ROP RF forward in CBMP T 1/4 turn L QQQQ F DC B DW LF forward T RF side and slightly back TH LF back in CBMP TH

COMMENCE IN RSHADP, MOVING LOD END IN OLOP, F DC CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS SQ&Q Chasse L in RF forward HT F DW, F DW, Nil RShadP LF side T mov LOD mov LOD RF closes to LF T LF side and TH slightly forward SQQ Shadow Hairpin RF forward HT F DW, B LOD 3/8 turn R in RShadP LF forward T mov LOD RF forward TH

QQQQ Continuous LF back in TH B LOD B C 3/4 turn R Hairpin in CBMP RShadP RF to side, small H, IE of step, heel pull foot, WF LF forward T RF forward in TH CBMP SQ&Q Chasse R LF back TH B C F DC 5/8 turn R (F double RF side T syncopated Free LF closes to RF T Spin R) from RF side and TH RShadP to slightly forward OLOP, (L-to-R HH)

COMMENCE IN RSHADP, MOVING LOD END IN OLOP, B DC CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS SQ&Q Chasse to L in RF forward HT F DW F DW Nil RShadP LF side T RF closes to LF T LF side and TH slightly forward SQQ Shadow Hairpin RF forward HT F DW B LOD 3/8 turn R in RShadP LF forward T RF forward TH

QQQQ Continuous LF back in TH B LOD B C 3/4 turn R Hairpin in CBMP RShadP RF to side, heel H, IE of pull foot, WF LF forward, small T step RF forward in TH CBMP QQQ&Q Double LF back THT B C B DC 2-1/8 turns R syncopated Free RF forward T Spin R from LF side T RShadP to RF forward T OLOP, (L-to-R HH) LF side and TH slightly back

Order Figure Count Ending No. No. Alignment 1. 1. Left Side Grapevines and Weave SQQ, SQ&Q, QQQQ, QQQQ, F DW SQQ, SS, SQQ, QQQQ

2. 2. Continuous Hairpins SQQ, SQQ, QQQQ, SQQ F DC

3. 4. Hinge and Free Spin to Shadow SQQ, SQQ, SQQ, SQQ, MOV LOD QQS, SQQ

4. 5. Shadow Switching Grapevine QQQQ, QQQQ, SQQ, SQQ F DW

5. 3. Passing Changes SQQ, SQ&Q, QQQQ, QQQQ, F DW (Turn 3/8 L instead of 1/8 on last meas. QQS, SS To end F DC) 6. 8. Oversway and Ronde to Shadow SQQ, SS, SS, SS, SQQ, F DW SQQ

7. 10. Shadow Hairpins SQ&Q, SQQ, QQQQ, SQ&Q F DC

8. 6. Advanced Gem SQQ, SQQ, QQQQ, QQS, F DW SS, &QQQQ

9. 7. Lock and Lunge SQQ, SQ&Q, SS, SQQ, F DC QQQQ, SQQ

10. 9. Whisk and Weave SQQ, SQQ, SS, QQS, F DW QQQQ, SQ&Q, SQQ, QQQQ

As danced by Michael Mead and Toni Redpath on Dance Vision’s American Style Gold Foxtrot Syllabus DVD (DASMM355). Adjust alignments to accommodate floor size.

- Most figures (and parts of figures) can cross over to waltz (by using the appropriate waltz timing).

- Most figures transition in and out of popular positions used in Smooth, i.e. LSP, Shadow, Alternate Hold.

- Once in these positions you can "pad out" the figure with other syllabus figures danced from the same starting position. See suggestions in Blending Tips section.

- More basic entrances or exits from the Bronze, Silver or Gold syllabus can be used for any of the figures.

1. Left Side Grapevines and Weave - Alternate entrance and exit. Could use entrance and, or exit of the Left Side Grapevines and Spiral (from Gold Waltz) using timings appropriate for Foxtrot.

- Once in left side position, Grapevines can be interspersed with Passing Changes so that Follower and Leader take turns being ahead in the movement dancing the Grapevines.

2. Continuous Hairpins - Alternate Entrance. Can also commence from Hairpins from Reverse.

- More than one Hairpin can be danced.

3. Passing Changes - Passing Changes can have Left Side Grapevines interspersed.

- Leader can turn 1/2 turn left and pass in front of Follower on his last two steps to face DW of the new line of dance. Follower will turn an extra 1/2 turn left, on the last step, (for a total of 1-1/2 turns L), to end backing DW of new line of dance in Closed Position.

4. Hinge and Free Spin to Shadow - Steps 1 to 6 of the Fallaway and Weave can replace the first half of the Open Left Box.

5. Shadow Switching Grapevines - Can also link into any other shadow figure.

® ® Copyright © 2015 DVIDA Foxtrot DVIDA All Rights Reserved 69 6. Advanced Gem - Alternate entrance. Use first six steps of Fallaway and Weave, then connect to step five and six of the Gem to get to the back wing ("Gem") position.

- Alternate exit. Can use Same Foot Lunge with Weave ending.

7. Lock and Lunge - It's fun to add a little "air" to the lock, leaving the floor on the "&" count of the lock.

- Once in the right lunge to ROP you can link to the Continuous Hairpins.

- The pivot can link to the pivot ending of Contra Check and Ronde from Waltz.

8. Oversway and Ronde to Shadow - Alternate entrance. Instead of Open Left to challenge line, dance 1 - 6 of Fallaway Weave, then go into challenge line.

9. Whisk and Weave - Alternate entrance. Instead of the forward half of the Left Box you can dance 1 - 6 of the Fallaway and Weave to left whisk.

- The step points can be repeated.

10. Shadow Hairpins - The Shadow Chasse can be danced with passing feet

– Any other shadow figure can precede the Shadow Hairpin.

Tango Contents

1. Double Ronde to Shadow…………………………………………………………... 71

2. Shadow Viennese Crosses...... …………………………………………………….. 73

3. Promenade Taps and Right Side Curl ……………………………………………. 75

4. Fallaway to Hammerlocks………...………………………………………………… 77

5. Left Side Check……………….……………………………………………………… 79

6. Pivots to Shadow Switches.………………………………………………………… 81

7. Shadow Corté and Fallaway...... ……………………………………………...……. 83

8. Stalks to Skater’s Walks...... ………………………………………..……………… 85

9. Oblique Line to Waist Wrap………………………………………………………... 87

10. Teleronde and Throwaway Oversway..…………………………………………. 89

Gold Tango Routine…………………………………………………………………… 91

Figure Blending in Tango………………………………………………………………. 92

1. DOUBLE RONDE TO SHADOW – LEADER

COMMENCE IN PP, F DW, MOVING LOD END IN RSHADP, FDC CT SUMMARY FOOT FOOT ALIGNMENT TURN AND DANCE POSITIONS WORK START END POSITIONS SQQ Promenade LF side H F DW, F LOD 7/8 turn R Pivot R from RF forward in HB mov LOD PP to CP CBMP, pivoting action LF side and BHB slightly back, pivot QQS 2 Natural RF forward in HBH F LOD F W 1-1/4 turn R pivots, then R CBMP, pivoting lunge and action ronde L leg (F LF back in CBMP, BHB R leg Rudolph pivot ronde) in CP RF forward, knees H flexed, ronde L leg SS Turn R on LF LF forward HB F W F DC 5/8 turn R (F step back) RF side BH, from CP to LSP (IE of B of LF)

SS Side rock from Replace wt to LF BH, F DC F DC Nil RF to LF and (IE of B of RF) back again FP held BH held (F Free Spin R) Replace wt to RF WF, from LSP to (IE of B of LF) RShadP

COMMENCE IN PP, F DC, MOVING LOD END IN RSHADP, F DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Promenade RF side H F DC, B LOD 5/8 turn R Pivot R from PP LF forward and H mov LOD to CP across in CBMP RF forward HBH between partner’s feet, pivoting action QQS 2 Natural pivots, LF back in CBMP, BHB B LOD F DC 1-3/8 turn R then R lunge pivot, RF held in and ronde R leg CBMP (Rudolph ronde) RF forward in HBH in CP CBMP, pivoting action LF back, knees BH, flexed, ronde R leg (IE of T of RF) SS 2 Steps back RF crosses behind BH F DC F DC Nil from CP to LSP LF LF side BH, (IE of B of RF) QQS Free Spin R RF forward HB F DC F DC 1 full turn R from LSP to LF side, ending BH RShadP back

RF side BH, (IE of B of LF)

COMMENCE IN RSHADP, F DC ENDS IN CP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QQ& Viennese LF forward H F DC F W 5/8 turn L QQ& Crosses in RF side and slightly back B RShadP LF crosses in front of RF WF RF back BH LF side and slightly WF forward RF closes to LF, slightly WF back QQS Chasse L from LF side IE of F W F W Nil RShadP to foot, WF RCradP RF closes to LF WF LF side, knee flexed IE of T leaning L of RF SS 2 Walks (F 3 Replace wt to RF BH F W F DW 1/8 turn R count turn R, LF forward in CBMP H ALOD and leg hook) from RCradP to OLOP, (DHH) QQS Closed Finish RF back in CBMP BH F DW F DW 1/4 turn L LF side and slightly IE of ALOD forward foot, WF RF closes to LF, slightly WF back

COMMENCE IN RSHADP, F DC ENDS IN CP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QQ& Viennese LF forward H F DC F W 5/8 turn L QQ& Crosses in RF side and slightly back B RShadP LF crosses in front of RF WF RF back BH LF side and slightly forward WF RF closes to LF, slightly WF back QQS Chasse L from LF side IE of F W F W Nil RShadP to foot, RCradP WH RF closes to LF WF LF side, knee flexed, R knee IE of bent, R toe pointed, leaning foot, L WF, (point R toe) QQS 3 Count turn R, RF forward H F W B DC 7/8 turn R and leg hook LF closes to RF BH ALOD from RCradP to OLOP, (DHH) RF back in CBMP, L leg BH, hooks back of Leader’s L leg (flick L toe) QQS Closed Finish LF forward in CBMP H B DC B DW 1/2 turn L RF side and slightly back IE of ALOD BH, WF LF closes to LF, slightly WF forward

COMMENCE IN CP, F DC END IN CP, F DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QQS Reverse LF forward in CBMP H F DC B C, 3/4 turn Outside Swivel RF side and slightly BH end P L, body from CP to PP back DW turns less LF back in CBMP, BH of LF, swivel, RF moves (pressure forward and across in on OE of CBMP w/o wt B RF) QQ& 2 Step taps in RF forward and across HB P DW, F LOD Nil QQ& OTPP in CBMP, swivel moving LOD Tap LF to side Pressure on IE of B of LF Place wt on LF BH RF forward and across HB in CBMP, swivel

Tap LF to side Pressure on IE of B of LF Place wt on LF BH QQS 2 Walks RF forward H F LOD B DW 3/8 turn L curving L, then LF forward H a back Right Lunge (FUATL) RF side and slightly BH from OTPP to back SFRCradP QQS Back Tango LF back BH B DW F DC 1/4 turn R Close RF side IE of BH, (FUATR) from then WF SFRCradP to LF almost closes to RF IE of B of CP LF

COMMENCE IN CP, B DC END IN CP, B DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QQS Reverse RF back in CBMP BH B DC P DC, 3/8 turn L, Outside LF side and slightly WF end body turns Swivel from forward P LOD less CP to PP RF forward and across HB of LF, in CBMP, swivel, Point (pressure LF forward on OE of B LF) QQ& 2 Step taps in LF forward and across HB P LOD F LOD Nil QQ& PP in CBMP, swivel Tap RF to side Pressure on IE of B of RF Place wt on RF BH

LF forward and across HB in CBMP, swivel Tap RF to side Pressure on IE of B of RF Place wt on RF BH Q&QS Syncopated LF forward HB F LOD B DW 1-3/8 turn L UATL from RF side B PP, to SFRCradP LF forward B RF side BH

QQS UATR from LF back in CBMP, BHB B DW B DC 3/4 turn R SFRCradP to pivot CP RF forward in CBMP, HBH pivoting action LF side and slightly IE of BH, back then WF, (IE of B of RF)

COMMENCE IN CP, F DC END IN CP, F LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS QQQQ Fallaway Reverse And LF forward H F DC F W 5/8 turn L Slip Pivot, (slightly RF back in Fallaway, BH underturned), R side leading Starting and ending in LF back in CBMP and BH CP Fallaway RF back in CBMP, LF BH held in CBMP QQS Chasse to L to LF side IE of F, F W F DW 1/8 turn L Challenge Line then WF RF closes to LF WF LF side BH, (IE of B of RF) (S)QQ Oversway, and FP held FW held F DW F DW 1 full turn chasse to R , then R RF side BH R turn, (rolling into L LF closes to RF WF arm) QQS (FUATR) from CP to RHLP RF forward HB LF side BH RF back, LF held BH, (IE of forward in press line B of LF) SS 2 Step taps (F step LF forward, tap RF H, (point R F DW, F DW Nil and envelopes) in forward Toe) mov RHLP RF forward, tap LF H, (point L LOD forward Toe) QQS Turn L from RHLP to LF forward HB F DW F DW 3/4 turn L LHLP RF side, small step BH ALOD LF back, RF forward BH, (IE of in press line B of RF) QQS Turn R from LHLP to RF forward HB F DW, F DW 3/4 turn R RHLP LF side, small step BH A LOD RF back, LF forward BH, (IE of in press line B of LF) SS 2 Walks (F Free Spin LF forward H F DW F LOD 1/8 turn L L) from LHLP to CP RF forward, LF closes H

COMMENCE IN CP, B DC END IN CP, B LOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND WORK START END DANCE POSITIONS QQQQ Fallaway RF back in CBMP BH B DC B W 5/8 turn L Reverse And LF back in Fallaway, L side BH Slip Pivot, leading (slightly RF back in CBMP and Fallaway, B underturned), small step, pivot, LF held in Starting and CBMP ending in CP LF forward in CBMP, pivoting BH action QQS Chasse to L RF side IE of foot, B W P DC 1/8 turn L to Challenge then WF Line LF closes to LF WF RF side BH, (IE of B of LF) SQQ Oversway, Swivel on RF FW held P DC F DW 1/8 turn L, and 2 count LF back BH then 1-3/8 UATR, and 2 RF forward HB turn R back walks LF back BH QQ(S) from CP to RHLP RF back, LF held forward in BH, (IE of press line B of LF) FP held FW held QQS Step, LF forward H F DW, F DW Nil envelope- Envelope and point RF Point R toe mov step, tap in RF forward, tap LF forward H, (point L LOD RHLP toe) QQS Turn L from LF forward HB F DW F DW 3/4 turn L RHLP to RF side BH ALOD LHLP LF back, RF forward in press BH, (IE of line B of RF) QQS Turn R from RF forward HB F DW, F DW 3/4 turn R LHLP to LF side BH A LOD RHLP RF back, LF forward in press BH, (IE of line B of LF) QQS Free Spin L LF forward, pivoting action HBH F DW B LOD 1-1/2 turn from LHLP to RF back, pivot, LF held in CBMP BHB L CP LF forward, pivoting action HB

COMMENCE IN CP, F DC END IN PP, MOVING LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS QQ&(S) 1-3 of a LF forward H F DC B LOD 3/8 turn L Handshake Back RF back BH Fan from CP to LF back and across in BH RAP, (R-to-R HH) CBMP

RF points side and FW held, slightly back (IE of B of RF) SS 2 Steps of the RF back in CBMP BH F W F DW 3/8 turn L back half of Reverse Turn from RAP, (R-to-R HH) LF side and slightly IE of foot, to SFLSP forward then WF QQ(S) Check-replace- RF forward in CBMP, H F DW F DW Nil point side check (F checks- Replace wt to LF BH replaces-points forward toward L) FP held, RF points to Point IE of in SFLSP side R toe QQS RF side rock R, L, Place wt onto RF BH F DW F DW 1/4 turn R R (F turns R, ALOD rolling into L’s L Replace wt to LF BH arm and flicks R Replace wt to RF BH, (IE of leg) from SFLSP T of LF) to SFLungeP, (AH) QQS Swivel from Swivel on RF FW held, F DW F DC 1/2 turn L SFLungeP, (AH) wt on B ALOD to CP and 2 walks LF forward H to R Lunge staying RF side, lunge BH, (IE of in CP B of LF) SQQ In-line fan, (Cobra LF side and slightly BH, (IE of F DC P DW, 1/4 turn R Fan) from CP to back, ronde RF to diag T RF) mov PP back LOD RF forward and across H in CBMP LF placed to side with IE of B of slight pressure LF

COMMENCE IN CP, B DC END IN PP, MOVING LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS QQ&S 1-3 of a RF back BH B DC F W 3/8 turn Handshake Back LF side WF L, then Fan from CP to RF forward and HB 1/4 turn RAP, (R-to-R HH) across in CBMP R

LF points side FW held, (IE of B of LF) Q&Q&S Syncopated UATL LF forward HB F W F DW 2-1/8 from RAP, (R-to-R RF side B turns L HH) to SFLSP LF forward B RF side B LF side BH QQ(S) Check-replace to RF forward in H F DW F 3/8 turn LF-point RF CBMP, check ALOD R forward toward Replace wt to LF BH Leader in SFLSP RF points forward FW held, (T of RF) QQS Turn R, rolling into RF forward HB F F W 3/4 turn Leader’s L arm ALOD R and R leg flick LF side BH from SFLSP, to RF back, flick L leg BH, (flick and SFLungeP, (AH) point L toe) QQS Pivoting action to LF forward, pivoting HB F W F DW 1 full turn R lunge from action ALOD L SFLungeP, (AH) to RF back BH CP LF side, lunge BH, (IE of B of RF) SQQ Cobra Fan from RF forward between HB, (IE of T F DW P DC, 1/2 turn CP to PP partner’s feet, of RF) ALOD mov R swivel, LF held back LOD w/o wt LF forward and H across in CBMP RF placed to side IE of B of LF with slight pressure

COMMENCE IN PP, F DW, MOVING LOD END IN CP, F LOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Promenade LF side H F DW, F LOD 1-1/8 turn R Pivot R from RF forward in CBMP, HB mov PP to CP pivoting action LOD LF side and slightly BHB back, pivot QQS 2 Natural RF forward in CBMP, HBH F LOD F DC 7/8 turn R Pivots, then pivoting action step on RF LF back in CBMP, BHB from PP to pivot SFLCradP, (L- RF forward, knees IE of BH, to-R HH) flexed, ronde L leg then WF QQS Turn L, LF forward H F DC F DW 3/4 turn L switching from RF side and slightly BH SFLCradP, (L- back to-R HH) to LF diag forward H SFRShadP QQS Turn R, RF forward H F DW F DC 3/4 turn R switching from LF side and slightly BH SFSFRShadP back to LShadP RF diag forward H QQ(S) Turn L, LF forward H F DC F DW 3/4 turn L switching from RF side and slightly BH LShadP to CP back FP held, LF side and FW held, slightly forward with (IE of B of pressure on ball of LF) foot QQS Tango Close LF forward H F DW F LOD 1/8 turn L in CP RF side IE of foot, then WF LF almost closes to IE of B of RF LF

COMMENCE IN PP, F DC, MOVING LOD END IN CP, B LOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Promenade RF side H F DW, B LOD 5/8 turn R Pivot R from PP LF forward and across H mov to CP in CBMP, small step LOD RF forward between HBH partner’s feet, pivoting action QQQQ 2 Natural LF back in CBMP, BHB B LOD F DC 1-3/8 turn R Pivots, then pivot, RF held forward turn R on LF in CBMP from CP to RF forward in CBMP, HBH SFLCradP, pivoting action (L-to-R HH) LF back in CBMP, BHB pivot, RF held forward in CBMP RF side IE of BH, then WF QQS Turn L, LF forward H F DC F DW 3/4 turn L switching from RF side and slightly BH SFLCradP, (L- back to-R HH) to LF diag forward H SFRShadP QQS Turn R, RF forward H F DW F DC 3/4 turn R switching from LF side and slightly BH SFRShadP to back SFLShadP RF diag forward H QQS Turn L, LF forward H F DC B DW 1-1/4 turn L switching from RF side and slightly BH SFLShadP to back CP LF forward in CBMP, HBH pivoting action QQS Tango Close in RF back BH B DW B LOD 1/8 turn L CP LF side IE of BH, then WF RF almost closes to IE of B of LF RF

COMMENCE IN LSP, F W END IN CP, F DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SS Weight transfer L Transfer wt to LF BH, (IE of F W F W Nil and R (F 3 count B of RF) turn) from LSP to Transfer wt to RF BH, (IE of SFRShadP B of LF) QQQQ Shadow Check LF forward in H F W F LOD 1/4 turn L and Corte` and CBMP, check Slip Pivot in Replace wt back to BH SFRShadP RF in CBMP LF back and slightly BH side RF back in CBMP, BHB slip pivot QQQQ Shadow Fallaway LF forward in CBMP H F LOD F DW 7/8 turn L in SFRShadP RF diagonally back, BH R side leading LF back BH RF back in CBMP, BHB slip pivot SS 2 Walks (F 3 LF forward H F DW F LOD Nil count turn L) from SFRShadP to RF forward H OFacP, (R-to-R HH) QQ(S) Handshake LF forward in H F LOD F LOD Nil Contra Check and CBMP, check Shadow Tap (F Replace wt back to BH 1/2 turn L) from RF OFacP, (R-to-R FP held, tap LF FW held, HH) to RShadP forward (IE of B of LF) QQS Tango Close LF forward H F LOD F DC 1/8 turn L (F pivot L to quick RF side IE of foot, Tango Close) then WF from RShadP to LF almost closes to IE of B of CP RF LF

COMMENCE IN LSP, F W END IN CP, F DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS QSS 3 Count turn RF forward HB F W F W Nil from LSP to RShadP LF side BH

RF side and slightly forward IE of BH, then WF, (IE of B of LF) QQQQ Shadow Check LF forward in CBMP, check H F W F LOD 1/4 turn L and Corte` and Replace wt back to RF in BH Slip Pivot in CBMP RShadP LF back and slightly side BH RF back in CBMP, slip pivot BHB QQQQ Shadow LF forward in CBMP H F LOD F DW 7/8 turn L Fallaway in RF diagonally back, R side BH RShadP leading LF back BH RF back in CBMP, slip pivot BHB QQS 3 Count turn L LF forward HBH F DW B LOD 3/8 turn L from RShadP to OFacP, (R-to-R RF side BH HH) LF back BH QQS Handshake RF back in CBMP, check B B LOD F LOD 1/2 turn L Contra Check Replace forward to LF, H and 1/2 turn L slightly side to Shadow Tap RF back, tap LF forward BH, (IE of from OFacP, B of LF) (R-to-R HH) to RShadP &QQS Pivot L to quick LF forward, pivot, RF held HBH F LOD B DC 5/8 turn L Tango Close in CBMP from RShadP to RF back BH CP LF side and slightly back IE of BH, then WF RF almost closes to LF IE of B of RF

COMMENCE IN PP, F DW, MOVING LOD END IN LSP, F W CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS SQQ Steps 1-3 of Twist LF side H P DW, B LOD 3/8 turn R Turn from PP to RF forward and H mov CP across in CBMP LOD LF side BH QQQQ Steps 4-5 of Twist RF crosses behind B B LOD F DC 1-3/8 turn turn, then an LF R Outside Spin from Com to twist to R, B of RF, H of CP through ROP, allowing feet to LF to CP uncross RF forward in CBMP HBH LF side, ending back BHB SS RF forward-point RF side and slightly HB F DC F DW 1/4 turn R LF to side (F step- forward, ending close and point) forward from CP to Swivel on RF, point FW held, (IE SFLungeP LF side of B of LF) SS 2 Travelling lunges LF side, swivel HB, (IE of B F DW F DW 1/4 turn L (F fwd, close, of RF) back, close) from RF forward, swivel, BH, (IE of B 1/4 turn R SFLungeP to point LF to side of LF) OTSFLungeP, (AH) SS 2 Skater’s Walks LF side, lunge IE of BH, F DW F DW Nil in OTSFLungeP, then WF, (IE (AH) of B of RF) RF side and slightly IE of BH, forward, lunge then WF, (IE of B of LF) SS Lunge-replace (F 3 LF side, lunge IE of BH, F DW F W 1/8 turn R turn L) from then WF OTSFLungeP, RF side IE of BH, (AH) to LSP then WF, (IE of B of LF)

Note: Alternate ending is possible. In the last measure, instead of turning to LSP, Follower pivots to CP and the last 2 steps of Tango Close are danced ending in CP, F LOD

COMMENCE IN PP, F DC, MOVING LOD END IN LSP, F W CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS SQQ Steps 1-3 of RF side H P DC, F LOD 1/8 turn R Twist Turn from LF forward and across in H mov PP to CP CBMP, small step LOD

RF forward between H partner’s feet QQQQ 4-5 of Twist LF forward, L side leading H F LOD B DC 1-3/8 turn turn, then an RF forward in CBMP HB R Outside Spin from CP LF closes to RF, toe pivot B through ROP, to RF forward ending in HBH CP CBMP S&S Step-close and LF forward BH B DC F DC 1/2 turn R point from CP to RF closes to LF BH SFLungeP LF points forward OE of T of LF QQQQ Forward-close- LF forward, swivel HB F DC F DW 1/2 turn L back-close from RF closes to LF BH SFLungeP to LF back, swivel B 1/4 turn R OTSFLungeP, (AH) RF closes to LF BH SS 2 Skater’s LF side, and slightly IE of BH, F DW F DW Nil Walks in forward, lunge then WF, OTSFLungeP, (IE of B of (AH) RF) RF side, lunge IE of BH, then WF, (IE of B of LF) QQS 3 Count turn L RF forward HB F DW F W 7/8 turn L from LF side BH OTSFLungeP, (AH) to LSP RF side, lunge IE of BH, then WF, (IE of T of LF) Note: Alternate ending is possible. In the last measure, instead of turning to LSP, Follower pivots to CP and the last 2 steps of Tango Close are danced ending in CP, B LOD

COMMENCE IN CP, F DC END IN LSP, F W CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS QQ& Forward half of a LF forward H F DC B 3/8 turn L Viennese Cross RF side and slightly B LOD in CP forward WF LF crosses in front of RF QQ& Back half of RF back and slightly BH B LOD F DW 3/8 turn L Viennese Cross side (F Free Spin L) LF side WF from CP to FacP, RF closes to LF WF L-to-R HH

SS Lunge-replace LF side, lunge BH, (IE of F DW F W 1/8 turn R (F turns L into B of RF) Oblique Line) in Replace wt to RF, BH, (IE of LSP lunge B of LF)

QQS Side rock, and LF side BH F W F DW 1/8 turn R forward check Replace wt to RF H ALOD (F double syncopated Free LF forward, lunge H Spin R) from LSP to Rt hand waist wrap in RAP QQS RF Back Spot RF crosses loosely B F DW F W 7/8 turn R Turn and RF behind LF ALOD side (F Free Spin LF side HB L) from RAP to LSP RF side IE of BH, then WH, (IE of B of LF)

COMMENCE IN CP, B DC END IN LSP, F W CT SUMMARY FOOT FOOT ALIGNMENT TURN AND DANCE POSITIONS WORK START END POSITIONS QQ& Back half of a RF back and BH B DC F DW 1/4 turn L Viennese slightly side Cross in CP LF side WF RF closes to LF WF QQ& Free Spin L LF forward HB F DW B 1-5/8 turn L from CP to LF side B LOD FacP, (L-to-R LF forward BH HH) SS Turn L into RF back BH F LOD F DW 3/8 turn L Explosion to LF side, passé R IE of BH, Oblique Line leg into Oblique then WF, from FacP, (L- Line (point T of to-R HH) to RF) LSP Q&Q&S Double RF forward HB F DW F DW 2 full turns R syncopated LF side B Free Spin R from LSP to RF forward B waist wrap in LF side B RAP RF side BH, (IE of B of LF) QQS 3 Count turn L LF forward HB F DW F W 7/8 turn L from RAP to LSP RF closes to LF BH

LF side IE of BH, then WF, (IE of B of RF)

COMMENCE IN CP, F DC END IN PP, MOVING LOD CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS SQQ Contra Check and LF forward, check H F DC F DW 1/4 turn R Slip Pivot in CP Replace wt to RF B LF back, slip pivot BH SS Rock R and L (F RF side and BH F DW F DW Body turn R R turn) from CP slightly forward, to (Explosion in) lunge RSP, (L’s R hand LF side lunge BH Body turn L grabs L elbow) SQQ& Replace- Replace wt to RF BH F DW F W 7/8 turn L Telemark LF forward H w/partial wt on LF (F syncopated RF side BH Free Spin L, then quick Heel Turn LF side, partial wt Pressure and fwd step on on IE of B RF) from RSP, of LF (L’s R hand grabs L elbow) to RAP, (AH) QQS Telemark (lead LF forward H F W F W 1 full turn L F’s aerial ronde RF side BH turning L) from RAP to end in CP LF side, lunge IE of BH, (Challenge Line) then WF, (IE of B of RF) (SS) Throwaway FP held FW held F W F W Nil Oversway, back to Challenge Line FP held FW held S&S Spanish Drag, Draw RF toward Pressure F W P DW, 1/8 turn L and step tap from LF w/pressure on IE of B mov CP to PP of RF LOD RF closes to LF WF Tap LF to side IE of B of LF

COMMENCE IN CP, B DC END IN PP, MOVING LOD CT SUMMARY FOOT FOOT ALIGNMENT TURN AND DANCE POSITIONS WORK START END POSITIONS SQQ Contra Check RF back, check B B DC B DW 1/4 turn R and Slip Pivot in Replace wt WF CP forward to LF RF forward, slip BH pivot SS Back-turn R LF back BH B DW F W 5/8 turn R from CP to RF side, twist R BH, (IE of B Explosion Line, and Tap LF in of LF) twist and tap, front of RF ending in RSP, (R hand grabs F’s L elbow) Q&QQQ& Syncopated LF forward HB F W F DW 2-1/8 turn L Free Spin L, RF side B then quick Heel Turn and fwd LF forward, pivot BH step on RF from RF back BH RSP, (R hand grabs F’s L LF closes to RF, HB elbow) to RAP, (heel turn) (AH) RF forward BH Q(Q)S Aerial ronde LF forward, HB F DW F DC 1-1/4 turn L turning L from lunge RAP, (AH) to FP held, RF FW held, CP (Challenge forward ronde Point R Toe Line) RF forward, IE of BH, lunge then WF, (IE of B of LF) SS Throwaway Swivel RF, Point B of RF, (IE F DC F DC 1/4 turn L Oversway, back L toe back of B of LF) to Challenge Swivel RF, B of RF, (IE 1/4 turn R Line Replace LF to of B of LF) previous position S&S Spanish Drag, Draw LF toward Pressure on F DC P DC, Nil and step tap RF w/pressure IE of B of LF mov from CP to PP LF closes to RF WF LOD Tap RF to side IE of B of LF

Order Figure Count Ending No. No. Alignment 1. 4. Fallaway and Hammerlocks QQQQ, QQS, SQQ, QQS, F LOD SS, QQS, QQS, SS

2. 5 Left Side Check QQ&S, SS, QQS, QQS, F DW QQS, SQQ Mov LOD

3. 1. Double Ronde to Shadow SQQ, QQS, SS, SS F DC

4. 2. Shadow Viennese Crosses QQ&QQ&, QQS, SS, F DW QQS

5. 3. Promenade Taps to Right Side Curl QQS, QQ&QQ&, QQS, F DC QQS

6. 10. Teleronde and Throwaway Oversway SQQ, SS, SQQ&, QQS, FDW SS, S&S Mov LOD

7. 6. Pivots to Shadow Switches SQQ, QQS, QQS, QQS, F LOD QQS, QQS

8. 8. Stalks to Skater’s Walks SQQ, QQQQ, SS, SS, F W SS, SS

9. 7. Shadow Corté and Fallaway SS, QQQQ, QQQQ, SS, F DC QQS, QQS

10. 9. Oblique Line to Waist Wrap QQ&QQ&, SS, QQS, F W QQS

As danced by Michael Mead and Toni Redpath on Dance Vision’s American Style Gold Tango Syllabus DVD (DASMM356). Adjust alignments to accommodate floor size.

- Most figures transition in and out of popular positions used in Smooth, i.e. LSP, Shadow, Alternate Hold.

- Once in these positions you can "pad out" the figure with other syllabus figures danced from the same starting position. See suggestions in Blending Tips section.

- More basic entrances or exits from the Bronze, Silver or Gold syllabus can be used for any of the figures.

- More time can be added to figures, especially in regard to picture lines.

- Alternate entrances and endings can be used for figures.

1. Double Ronde to Shadow - More pivots can be danced before the Ronde.

- Follower can dance an inside UAT left after the Ronde to LSP.

2. Shadow Viennese Crosses - More Shadow Viennese Crosses can be danced.

- Alternate ending. Follower can dance 3 step UAT Left to CP, (instead of fwd 1/2 of Reverse Turn).

3. Promenade Taps & Right Side Curl - Can stay in Shadow Curl Position and hold last SS to maintain Shadow Hold to continue with any step danced in shadow position. This is a way to turn a corner and start a Shadow figure on a new LOD.

4. Fallaway to HammerLock - Can add Viennese crosses after slip pivot and before challenge line (slip pivot would then not underturn).

5. Left Side Check - Can be danced from Open Reverse Turn in closed position (Follower would turn under Leader’s left hand to LSP).

- When switched to Right Shadow position any Shadow figure can then be danced.

7. Shadow Corte and Fallaway - The Shadow Check (Corte and Slip Pivot) can be danced with the Alternate timing of SSSS.

- Once in Shadow position any shadow figure can be danced.

8. Stalks to Skaters Walks - Travelling Right Lunges, (Stalks), or Skaters Walks can be repeated.

- More pivots can be danced before commencing Stalks.

9. Oblique Line to Waist Wrap - Oblique Line can be held for 2 extra Slows.

- Waist Wrap can be held for 2 extra Slows.

10. Teleronde and Throwaway Oversway - Aerial Ronde can be replaced with another open Telemark to challenge line.

Viennese Waltz Contents

1. Swivel and Ronde……….…………………………………………………………... 94

2. Canter Pivots………………...... …………………………………………………….. 96

3. Reverse Turns with Free Spins……….…………………………………………… 98

4. Shadow Passing Right Turns…...……………………………………………….… 100

5. Right Side Ronde and Developé…………………………………………………… 102

6. Shadow Canter Grapevines...... …………………………………………………… 104

7. Horse and Cart...... ……………………..……………………………………...……. 106

8. Barrel Turns...... ………………..…………….……………………..……………… 108

9. Roll In and Out………………………….…………………………………………... 110

10. Advanced Standing Spin……………...….………………………………………. 112

Gold Viennese Waltz Routine………………………………………………………… 114

Figure Blending in Viennese Waltz…………………………………………………… 115

1. SWIVEL AND RONDE – LEADER

COMMENCE IN CP, F DW END IN LSP, F W CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 1-3 of Cross Body LF forward HT F DW B DW 1/2 turn L Lead in CP RF side and slightly T forward LF crosses in front of TH RF 223 4-6 of Cross Body RF back and slightly TH B DW F W 3/8 turn L Lead from CP to side PP LF side T RF closes to LF B to flat LF 3(23) Side (FUATL) LF side TH, (IE of F W F W Nil from PP to Trans T of RF) to LSP FP held FW held FP held FW held 4(23) Side RF side TH, (IE of F W F W Nil (F Swivels on LF) T of LF) from Trans to LSP FP held FW held to LSP FP held FW held 5(2)3 Side-canter rock LF side TH F W F W Nil (FUATR) from FP held FW held LSP to OFacP, Replace wt to RF TH (R-to-L HH) 6(23) Explosion Line LF side TH, (IE of F W F W Nil (F’s ronde and T of RF) cross behind) from FP held FW held OFacP, (R-to L FP held FW held HH) to RSP 7(2)3 Change of Place RF side HT F W F DW 7/8 turn R from RSP to Trans FP held FW held to LSP LF side TH

8(23) Finish Change of RF side TH, (IE of F DW F W 1/8 turn R Place ending in T of LF) LSP FP held FW held FP held FW held

COMMENCE IN CP, B DW END IN LSP, F W CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 1-3 of Cross Body RF back and slightly TH B DW F DW 1/2 turn L Lead in CP side LF side T RF closes to LF Foot flat 223 4-6 of Cross Body LF forward in CBMP HT F DW F LOD 1/8 turn L Lead RF forward T (no pivot at end) LF forward in CBMP TH from CP to PP 323 UATL from PP to RF back THB F LOD F LOD 2 full turns Trans to LSP LF forward T L RF back THB 4(23) Swivel from Trans LF forward, swivel HT, (IE F LOD F W 3/4 turn L to LSP to LSP of T of RF) FP held FW held FP held FW held 523 UATR from LSP to RF forward HT F W F C 1-1/2 turns OFacP, (R-to-L LF side T R HH) RF forward TH 6(2)3 Side-ronde in LF side, ronde R leg TH, (IE F C F W 1/2 turn R Explosion Line of T of and cross behind RF) from OFacP (R-to FP held FW held L HH) to RSP RF crosses behind TH LF, small step 7(2)3 Change of Place LF forward HT F W F DW 7/8 turn L from RSP to Trans FP held FW held ALOD to LSP RF side TH

8(23) Finish Change of LF side TH, (IE F DW F W 1/8 turn L Place ending in of T of ALOD LSP RF) FP held FW held FP held FW held

COMMENCE IN LSP, F W END IN LSP, F C, OR NEW LOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Twinkle from LF forward HT F W F LOD 1/4 turn L LSP to PP RF diag. forward T LF forward TH 2(2)3 Canter RF forward in CBMP, HT F LOD F LOD 1 full turn R Promenade pivoting action Pivot from PP to FP held FW held CP LF side and slightly back, THB pivot, RF held in CBMP 3(2)3 Canter Pivot in RF forward in CBMP, HBH F LOD F LOD 1 full turn R CP pivoting action FP held FW held LF side and slightly back, THB pivot, RF held in CBMP 4(2)3 Canter Pivot in RF forward in CBMP, HBH F LOD B LOD 1/2 turn R CP pivoting action FP held FW held LF side and slightly back THB 5(2)3 Lunge-replace RF forward, lunge H B LOD F LOD 1/2 turn R wt to LF (F’s FP held FW held canter ronde and Replace wt to LF TH cross behind) from CP to OFacP, (DHH) 6(2)3 Forward canter RF forward HT F LOD F 1/2 turn R fwd from OFacP, FP held FW held ALOD (DHH) to LF forward TH RCradP 7(2)3 Forward canter RF side HT F B DW 1-1/8 turn R (F backward) in FP held FW held ALOD RCradP LF side TH

8(23) Side, (release R RF side TH, (IE B DW F C 1/8 turn R hand), and open of T of from RCradP to LF) LSP FP held FW held FP held FW held

COMMENCE IN LSP, F W END IN LSP, F C, OR NEW LOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Passing turn RF forward HT F W F LOD 3/4 turn L from LSP to PP LF side T RF forward TH 2(2)3 Canter LF forward in CBMP HT F LOD B LOD 1/2 turn L Promenade FP held FW held Pivot from PP to RF forward between TH CP partner’s feet, pivoting action 3(2)3 Canter Pivot in LF side and slightly back, THB B LOD B LOD 1 full turn CP pivot, RF held in CBMP R FP held FW held RF forward in CBMP, HTB pivoting action 4(2)3 Canter Pivot in LF back and slightly side, THB B LOD F DC 3/8 turn R CP pivot, RF held in CBMP FP held FW held RF forward between HBH partner’s feet 5(2)3 Canter ronde LF side, ronde R leg TH, (IE of F DC F DC 1/2 turn R and cross T of RF) ALOD behind from CP FP held FW held to OFacP , RF crosses behind LF TH (DHH) 6(2)3 Canter forward LF forward HT F DC B LOD 1/8 turn L from OFaCP, FP held FW held ALOD (DHH) to RF side and slightly back TH RCradP 7(2)3 Canter LF back T B LOD B DW 3/8 turn R backwards in FP held FW held ALOD RCradP RF back TH

8(23) Side, (release L LF side TH, (IE of B DW F C 1/8 turn L hand), and open T of RF) ALOD from RCradP to FP held FW held LSP FP held FW held

COMMENCE IN CP, F DW END IN ROP, AH, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Forward half of LF forward HT F DW B DW 1/2 turn L Reverse Turn in RF side and slightly T CP forward LF crosses in front of RF TH 223 Back half of RF back and slightly side TH B DW F DW 1/2 turn L Reverse Turn LF side T (FUATL) from RF closes to LF B to flat CP to FacP, (AWH) 323 Forward half of LF forward HT F DW B DW 1/2 turn L Reverse turn in RF side and slightly T FacP, (AWH) forward LF crosses in front of RF TH 423 Back half of RF back and slightly side TH B DW F DW 1/2 turn L Reverse Turn (F LF side T Free Spin to L) RF closes to LF B to flat releasing and regaining FacP, (AWH) 523 Forward half of LF forward HT F DW B DW 1/2 turn L Reverse turn in RF side and slightly T Facp, (AWH) forward LF crosses in front of RF TH 623 Back half of RF back and slightly side TH B DW F DW 1/2 turn L Reverse Turn (F LF side T Free Spin to L) RF closes to LF B to flat releasing and regaining FacP, (AWH) 7(23) Forward LF forward H F DW B W 3/8 turn L Hesitation from FP held FW held FacP, (AWH) to FP held FW held FacP, (AH) 8(23) Side and slightly RF side and slightly back TH, (IE of B W B DW 1/8 turn L back from FacP, T of LF) (AH) to ROP, FP held FW held (AH) FP held FW held

COMMENCE IN CP, B DW END IN ROP, AH, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Back half of RF back and slightly TH B DW F DW 1/2 turn L Reverse Turn in side CP LF side T RF closes to LF B to flat 223 Forward UATL LF forward HT F DW B DW 1-1/2 turn L from CP to LF side T FacP, (AWH) LF forward TH

323 Back half of RF back and slightly TH B DW F DW 1/2 turn L Reverse Turn in side FacP, (AWH) LF side T RF closes to LF B to flat 423 Free Spin LF forward HT F DW B DW 1-1/2 turn L releasing and LF side T regaining FacP, LF forward TH (AWH) 523 Back half of RF back and slightly TH B DW F DW 1/2 turn L Reverse Turn in side FacP, (AWH) LF side T RF closes to LF B to flat 623 Free Spin LF forward HT F DW B DW 1-1/2 turn L releasing and LF side T regaining FacP, LF forward TH (AWH) 7(23) Side Hesitation RF side TH B DW F W 3/8 turn L from FacP, FP held FW held (AWH) to FacP, FP held FW held (AH) 8(23) Side and slightly RF side and slightly TH, (IE of F W F DW 1/8 turn L forward from forward T of RF) FacP, (AH) to FP held FW held ROP, (AH) FP held FW held

COMMENCE IN LSP, F LOD END IN OFACP OR CP, F DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 1(23) Side Hesitation LF side TH, (IE of F LOD F LOD Nil (canter turn R) T of RF) from LSP to FP held FW held RShadP FP held FW held 2(2)3 Canter in RF forward HT F LOD F DW 1/8 turn R RShadP FP held FW held LF forward TH 323 Running R turn RF forward HT F DW F LOD 7/8 turn R in RShadP LF side T RF back TH 423 LF back TH RF side, small step T LF forward TH 523 Passing UAT (F RF forward HT F LOD B LOD 1/2 turn on L side) from LF side T R RShadP, L-to-R RF back TH HH to LShadP, L-to-R HH 623 Passing Turn LF back TH B LOD F LOD 1/2 turn R from LShadP, RF side T L-to-R HH to LF forward TH RShadP, (F behind) in Leader’s L arm in Hammerlock 723 Forward run, RF forward HT F LOD F LOD Nil passing R hand LF forward T overhead ending RF forward TH in RShadP, (L- toL HH) 8(2)3 Canter forward LF forward HT F LOD F DC 1/8 turn L (F’s Free Spin L) FP held FW held from RShadP (L- RF forward TH to-L HH) to OFacP

COMMENCE IN LSP, F LOD END IN OFACP OR CP, B DC CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 1(2)3 Canter turn R RF forward HT F LOD F LOD 1 full turn R from LSP to FP held FW held RShadP LF side, small step TH 2(2)3 Canter in RF forward HT F LOD F DW 1/8 turn R RShadP FP held FW held LF forward TH

323 Running R turn RF forward HT F DW F LOD 7/8 turn R in RShadP LF side, small step T RF back TH 423 LF back TH RF side T LF forward TH 523 Passing UAT on RF forward HT F LOD B LOD 1/2 turn R L side from LF side T RShadP, (L-to-R RF back TH HH) to LShadP, (L-to-R HH) 623 Passing Turn LF back TH B LOD F LOD 1/2 turn R from LShadP, RF side T L-to-R HH to LF forward TH RShadP, (F behind), Leader’s L arm in Hammerlock 723 Forward run, RF forward HT F LOD F LOD Nil passing R hand LF forward T overhead ending RF forward TH in RShadP, (L-to-L HH) 823 LF forward 3 ct LF forward HT F LOD B DC 1-5/8 turn L Free Spin L from RF side T RShadP, (L-to-L LF forward TH HH) to OFacP

COMMENCE IN ROP, (AH), B DW END IN CP, F NLOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Back half of LF back TH B DW F DW 1/2 turn R Open R Turn in RF side T ROP, (AH) LF forward TH 223 Forward half of RF forward HT F DW B DW 1/2 turn R Open R Turn in LF side T ROP, (AH) RF back TH

3(23) Back hesitation LF back TH B DW F LOD 3/8 turn R canter (F canter FP held FW held turn) from ROP, FP held FW held (AH) to SFORSP 423 Forward canter RF forward HT F LOD F LOD 1 full turn turn R in FP held FW held R SFORSP, (NH) LF side TH 523 Forward canter RF forward HT, F LOD F W 1/4 turn R ronde forward in (point LF) SFORSP, (NH) L leg forward ronde FW held LF crosses loosely in TH front of RF 623 Back hesitation RF back, LF points to TH, (IE of F W B 1/4 turn L canter from side T of LF) ALOD SFORSP, (NH) FP held FW held to SFRSP, FP held FW held (R-to-L HH) 7(23) Hold Position (F FP held FW held B F LOD Nil developes L leg) FP held FW held ALOD in SFRSP, FP held FW held (R-to-L HH) 8(23) Side canter slip LF side T F LOD F 1/4 turn L pivot (F Free FP held FW held NLOD Spin L) from RF back in CBMP, slight TH SFRSP, (R-to-L pivot HH) to CP

COMMENCE IN ROP, AH, F DW END IN CP, B NLOD CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 Forward half of RF forward HT F DW B DW 1/2 turn R an Open R Turn LF side T in ROP, (AH) RF back TH 223 Back half of LF back TH B DW F DW 1/2 turn R Open R Turn in RF side T ROP, (AH) LF forward TH

3(2)3 Forward canter RF forward HT B DW F LOD 7/8 turn R turn from ROP, FP held FW held (AH) to trans to LF side TH SFORSP, (NH) 4(2)3 Forward canter RF forward HT F LOD F LOD 1 full turn R turn R in FP held FW held SFORSP, (NH) LF side TH 523 Forward canter RF forward HT, F LOD F W 1/4 turn R ronde forward in (point LF) SFORSP, (NH) L leg forward ronde FW held LF crosses loosely TH in front of RF 6(23) Back ronde L leg RF back TH, (IE of F W F DC 5/8 turn L from SFORSP, T of LF) ALOD (NH) to SFRSP, L leg ronde, then FW held (R-to-L HH) closes toward RF FP held FW held

(723) Develope in FP held Point T, F DC F DC Nil SFRSP, LF ALOD ALOD (R-to-L HH) FP held FW held FP held FW held

823 Free Spin L from LF forward HT F DC B 1-3/8 turn L SFRSP, (R-to-L RF side T ALOD NLOD HH) to CP LF forward TH

COMMENCE IN CP, F DW END IN CP, F DC CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE POSITIONS WORK START E ND 123 L Twinkle from CP to LF forward HT F DW F LOD 1/8 turn L OTOPP, RF diag forward T (L-to-R HH) LF diag forward TH 2(2)3 Forward canter walk LF forward HT F LOD F LOD Nil (FUATL) from FP held FW held OTOPP, LF forward TH (L-to-R HH) to RShadP 3(2)3 Shadow Canter RF forward HT F LOD B DC 3/8 turn R Grapevine from RShadP to LShadP FP held FW held

RF side and slightly TH back 4(2)3 Shadow Canter RF back T B DC F DW 1/4 turn L Grapevine from FP held FW held LShadP to RShadP LF side and slightly TH forward 523 Overturned RF forward HT F DW F DC 3/4 turn L Progressive Twinkle turning R from LF side T RShadP to LShadP RF diag forward TH

623 3 Progressive walks RF forward HT F DC F LOD 1/8 turn R forward from LShadP LF forward, small step T to RShadP LF forward, small step TH 7(2)3 Forward canter turn L RF forward HT F LOD B DC 3/8 turn R (F 3 count turn R) from RShadP to FP held FW held LOP, (AH) LF side and slightly TH back 823 Back half of Reverse RF back TH B DC F DC 1/2 turn L Turn (F 3 count turn LF side T L) from LOP, (AH) to RF closes to LF B to flat Prep for CP

COMMENCE IN CP, B DW END IN CP, B DC CT SUMMARY AND FOOT POSITIONS FOOT- ALIGNMENT TURN DANCE POSITIONS WORK START END 123 L Twinkle from CP to RF back TH B DW F LOD 3/8 turn R OTOPP, LF diag back T (L-to-R HH) RF diag forward TH 223 UATL from OTOPP, LF forward HT F LOD F LOD 1 full turn L (L-to-R HH) to RF side T RShadP LF forward TH 3(2)3 Shadow Canter RF forward HT F LOD B DC 3/8 turn R Grapevine from FP held FW held RShadP to LShadP LF side and slightly TH back 4(2)3 Shadow Canter RF back T B DC F DW 1/4 turn L Grapevine from FP held FW held LShadP to RShadP LF side and slightly TH forward 523 Overturned RF forward HT F DW F DC 3/4 turn L Progressive Twinkle turning R from LF side T RShadP to LShadP RF diag forward TH

623 3 progressive walks LF forward HT F DC F LOD 1/8 turn R forward from LShadP RF forward T to RShadP LF forward TH 723 3 count turn R from RF forward HT F LOD F DC 7/8 turn R RShadP to LOP, (AH) LF side T RF forward TH 823 3 count turn L from LF forward HT F DC B DC 1-1/2 turn L LOP, (AH) to Prep for LF side T CP RF forward TH

COMMENCE IN CP, F DW END IN RSHADP, F DW CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS WORK START END POSITIONS 123 Overturned LF forward HT F DW F DC 1/4 turn L Progressive from RF side T CP to OCPP, (L-to- LF closes to RF TH R HH), Free arms pass over heads to L side (F’s R side) 223 3 Running steps RF forward HT F DC F LOD 1/8 turn R forward from CPP, LF forward T L-to-R HH to LSP RF forward TH 323 3 Running steps LF forward HT F LOD F W 3/4 turn L forward (F RF forward T hesitation) from LSP to RSP LF side TH 4(2)3 Canter rock in Replace wt to RF T F W F DW 1/8 turn L place (F 3 ct turn L, FP held FW held rolling into arm) Replace wt to LF TH from RSP to RShadP 5(23) Back-ronde L leg RF diag back, TH, (IE of T F DW F DW 2 full turns L (Horse and Cart) ronde L leg of LF) In RShadP FP held B of RF, heel skims floor, (IE of T of LF) FP held FW held (623) FP held FW held FP held FW held FP held FW held (723) FP held FW held

FP held FW held FP held FW held 8(23) Hesitation onto LF LF side, point RF TH, (IE of T F DW F DW Nil in RShadP to side of RF) FP held FW held FP held FW held

COMMENCE IN CP, B DW END IN RSHADP, F DW CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Overturned RF back TH B DW F W 3/8 turn L Progressive from LF side, small step T CP to OCPP, (L- RF closes to LF TH to-R HH), Free arms pass over heads to L side (F’s R side) 223 3 Running steps LF forward HT F W F LOD 1/4 turn L forward from CPP, RF forward T (L-to-R HH) to LF forward TH LSP 3(23) Forward RF forward H F LOD F W 1/4 turn R hesitation, point Point LF to side IE of T of LF to side from LF LSP to RSP FP held FW held 423 3 Count turn L, LF forward HT F W F DW 1-1/8 turn L (rolling into arm) RF side T from RSP to LF forward TH RShadP 523 Forward-ronde L RF forward, small HT F DW F DW 2 full turns L leg (Horse and step Cart) LF forward T In RShadP RF forward T 623 LF forward T RF forward T LF forward T 723 RF forward T

LF forward T RF forward TH 8(23) Hesitation onto LF LF side, point RF to TH, (IE of F DW F DW Nil in RShadP side T of RF) FP held FW held FP held FW held

COMMENCE IN CP, F DW END IN OFACP, F DW CT SUMMARY AND DANCE FOOT FOOT ALIGNMENT TURN POSITIONS POSITIONS WORK START END 123 Fwd half of Rev Turn LF forward HT F DW B DW 1/2 turn L (F back half of Rev Turn) in RF side and T CP slightly forward LF crosses in front TH of RF 22(3) Back half of Rev Turn, RF back and TH B DW F DW 1/2 turn L hesitation on LF slightly side (F LF Fwd overturned LF side TH, (IE ot Progressive ) from CP to T of RF) RAP, (R-to-R HH) FP held FW held

323 Fwd Progressive (F fwd half RF forward HT F DW F DW Nil of Nat Turn) from RAP, (R- LF side T to-R HH) to SFRShadP, RF closes to LF B to flat (XHH, L on top) 423 Fwd half of Rev turn (F back LF forward HT F DW B LOD 5/8 turn L half of Nat Turn) from LF side and T SFRShadP, (XHH, L on top) slightly back to SFLShadP, (XHH, R on RF crosses in front TH top) (FB) of LF 523 Back half of Rev turn (F fwd RF back TH B LOD F DW 3/8 turn L half of Nat Turn) from LF side T SFLShadP, (XHH, R on top) RF closes to LF B to flat (FB) to SFRShadP, (XHH, L on top) 623 Fwd half of Rev Turn (F back LF forward HT F DW B LOD 5/8 turn L half of Nat Turn) from RF side and T SFRShadP, (XHH, L on top) slightly back to SFLShadP, (XHH, R on LF crosses in front TH top) (FB) of RF 72(3) Back half of Rev Turn RF back TH B LOD F DW 3/8 turn L Hesitation on LF (F fwd half LF side TH of Nat Turn) from FP held FW held SFLShadP, (XHH, R on top) (FB) to RSP, (L’s R hand on F’s L wrist) 8(23) Replace wt to RF (F Free Replace wt to RF TH, (IE of F DW F DW Nil Spin L from RSP to OFacP, T of LF) (L-to-R HH FP held FW held FP held FW held

COMMENCE IN CP, B DW END IN OFACP, B DW CT SUMMARY AND FOOT FOOT ALIGNMENT TURN DANCE POSITIONS POSITIONS WORK START END 123 Back half of Reverse RF back TH B DW F DW 1/2 turn L Turn in CP LF side T RF closes to LF B to flat 223 Overturned Fwd LF forward HT F DW F LOD 1/8 turn L Progressive from CP to RF side, small T RAP, (R-to-R HH) step LF closes to RF TH 323 Fwd half of Nat Turn RF forward HT F LOD B DC 3/8 turn R from RAP, (R-to-R HH) to LF side T RShadP, (XHH, L on top) RF closes to LF TH 423 Back half of Nat Turn LF back TH B DC F DC 1/2 turn R from SFRShadP, (XHH, RF side T L on top) to SFLShadP, LF closes to RF B to flat (XHH, R on top) (FB) 523 Fwd half of Nat Turn RF forward HT F DC B DC 1/2 turn R from SFLShadP, (XHH, LF side T R on top) (FB) to RF closes to LF TH SFRShadp, (XHH, L on top) 623 Back half of Nat Turn LF back TH B DC F DC 1/2 turn R from SFRShadP, (XHH, RF side T L on top) to SFLShadP, LF closes to RF B to flat (XHH, R on top) (FB) 72(3) Underturned fwd half of RF forward H F DC F DW 1/4 turn R Nat Turn from Point LF to side IE of T SFLShadP, (XHH, R on of LF top) (FB) to RSP, (L’s R FP held FW held hand on F’s L wrist) 8(23) Free Spin L from RSP to LF forward HT F DW B DW 1-1/2 turn L OFacP, (L-to-R HH) RF side T LF forward TH

COMMENCE IN LSP, F LOD END IN ROP, B DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 1(23) Hesitation on LF LF side TH F LOD F LOD Body turn L (F 3 count turn FP held FW held R) from LSP to FP held FW held LCradP 223 5th Position Back RF crosses behind T F LOD F C 3/4 turn R Spot Turn (F 3 LF, Toe to Heel, count turn L) Toes turned out from LCradP to LF side T LSP RF side TH 3(23) Repeat previous LF side TH F C F C Body turn L 2 measures FP held FW held ending in LSP FP held FW held 423 RF crosses behind T F C F 3/4 turn R LF, Toe to Heel, ALOD Toes turned out LF side T RF side TH 5(23) Swivel LF forward, swivel, HT, (IE of F F LOD 1/2 turn L Hesitation from RF points to side T of RF) ALOD LSP to RSP FP held FW held FP held FW held 6(23) Hesitation on RF RF forward H F LOD F DW 1/8 turn R (F Free Spin L) FP held FW held from RSP to FP held FW held OLSP 723 Free Spin L LF forward HT F DW B DW 1-1/2 turn L (F Hesitation on RF side T RF) from OLSP LF forward TH to trans to ROP, (AH) 8(23) Hesitation on RF RF side and slightly TH, (IE of B DW B DW Nil (F Hesitation on back, point LF to side T of LF) LF) in ROP, FP held FW held (AH) FP held FW held

COMMENCE IN LSP, F LOD END IN ROP, F DW CT SUMMARY FOOT POSITIONS FOOT ALIGNMENT TURN AND DANCE WORK START END POSITIONS 123 3 Count turn R RF forward HT F LOD F W 1-1/4 turn R from LSP to LF side, small step T LCradP RF, side small step TH 223 3 Count turn L LF forward and HT F W F C 1/2 turn R from LCradP to across in CBMP, LSP pivot RF back T LF side TH 323 Repeat previous RF forward HT F C F LOD 1-1/4 turn R 2 measures LF side, small step T ending in LSP RF, side small step TH 423 LF forward and HT F LOD F 1/2 turn R across in CBMP, ALOD pivot RF back T LF side TH 5(23) Swivel RF forward, swivel, HT, (IE of F F LOD 1/2 turn L Hesitation from LF points to side T of LF) ALOD LSP to RSP FP held FW held FP held FW held 623 Free Spin L from LF forward HT F LOD B DW 1-3/8 turn L RSP to OLSP RF side T LF forward TH 7(23) Hesitation on RF RF side, turning L TH B DW F W 3/8 turn L from OLSP to FP held FW held trans to ROP, FP held FW held (AH) 8(23) Hesitation on LF LF side and slightly TH, (IE of F W F DW 1/8 turn L in ROP, (AH) forward, point RF to T of RF) side FP held FW held FP held FW held

COMMENCE ROP, (AH), B DW END IN OFACP, F LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Back half of Open R LF back TH B DW F DW 1/2 turn R Turn in ROP, (AH) RF side T (L slides L arm LF forward TH down to ROP)

223 Forward half of RF forward HT F DW F C 5/8 turn R Open R Turn LF side T (overturned) (F RF side TH Back rock and fwd step) from ROP to ORAP, (L-to-R HH) 3(23) Hesitation on LF (F LF side TH, (IE of F C F C Nil Passing Turn) from T of RF) ORAP, (L-to-R HH) FP held FW held to RShadP FP held FW held 4(2)3 Forward canter in RF forward HT F C F DW 5/8 turn R RShadP (F’s Left FP held FW held ALOD arm over L’s Left LF forward TH shoulder trans. from RShadP to OPP, (AH) 523 6 Count runaround RF forward HT F DW F 1-5/8 turn (F’s Standing Spin LF forward T ALOD ALOD R in RF forward RF forward T attitude line) in 623 LF forward T OPP, (AH) RF forward T LF forward TH 7(2)3 Canter to OFacP, RF forward HT F F LOD 1/2 turn R (AH) FP held FW held ALOD LF side TH 8(23) Hesitation on RF Replace wt to RF TH, (IE of F LOD F LOD Nil from OFacP, (AH) T of LF) to OFacP (L-to-R FP held FW held HH) FP held FW held

COMMENCE ROP, (AH), F DW END IN OFACP, B LOD CT SUMMARY AND FOOT POSITIONS FOOT ALIGNMENT TURN DANCE WORK START END POSITIONS 123 Forward half of RF forward HT F DW B DW 1/2 turn R Open R Turn in LF side T ROP, (AH) (L slides RF back TH L arm down to ROP)

223 Back rock and LF back in CBMP TH B DW F LOD 5/8 turn R forward step from RF diag forward, small T ROP to ORAP, (L- step to-R HH) LF forward TH

323 Passing Turn from RF forward HT F LOD F LOD Nil ORAP, (L-to-R HH) LF forward T to RShadP RF diag forward, small TH step 4(2)3 Back canter in LF back T F LOD B DC 3/8 turn R RShadP Left arm FP held FW held over L’s Left RF back TH shoulder to trans. from RShadP to OPP, (AH) 5(23) Standing Spin on LF back, extend RF T, point R B DC B LOD 1-1/8 turn RF, (LF forward in forward in attitude line Toe R attitude line) in FP held FW held OPP, (AH) FP held FW held (623) FP held FW held FP held FW held FP held FW held (72)3 Hesitation on RF to FP held FW held F F Nil OFacP, (AH) FP held FW held ALOD ALOD RF crosses behind LF TH 8(23) Hesitation on RF LF side TH, (IE of F F LOD Nil from OFacP, (AH) T of RF) ALOD to OFacP (L-to-R FP held FW held HH) FP held FW held

Order Figure Count Ending No. No. Alignment 1. 3. Reverse Turns with Free Spins 123, 223, 323, 423, 523, 623, 723, B DW 823

2. 5. Right Side Ronde and 123, 223, 323, 423, 523, 623, 723, F NLOD Developé 823

3. 1. Swivel and Ronde 123, 223, 323, 423, 523, 623, 723, F W 823

4. 2. Canter Pivots 123, 223, 323, 423, 523, 623, 723, F C or 823 NLOD

5. 4. Shadow Passing Right Turns 123, 223, 323, 423, 523, 623, 723, F DC 823

6. 9. Roll In and Out 123, 223, 323, 423, 523, 623, 723, B DW 823

7. 10. Advanced Standing Spin 123, 223, 323, 423, 523, 623, 723, F LOD 823

8. 8. Barrel Turns 123, 223, 323, 423, 523, 623, 723, F DW 823

9. 6. Shadow Canter Grapevines 123, 223, 323, 423, 523, 623, 723, F DC 823

10. 7. Horse and Cart 123, 223, 323, 423, 523, 623, 723, F DW 823

As danced by Michael Mead and Toni Redpath on Dance Vision’s American Style Gold Viennese Waltz Syllabus DVD (DASMM357). Adjust alignments to accommodate floor size.

- Alternate ending. Any step that ends with the Follower dancing a three count turn left to closed position can be replaced with the forward half of a Reverse Turn, or a forward hesitation swivel on the left foot.

- Alternate timings. Figures that are danced with three steps to three counts (1 measure of basic timing) can be replaced with the timing of Canter and Hesitation (over 2 measures) or Hesitation and Canter (over 2 measures).

-Most figures and parts of figures from Waltz can cross over to Viennese Waltz (using the appropriate Viennese Waltz timing).

-Most figures transition in and out of popular positions used in Smooth, i.e. LSP, Shadow, Alternate Hold.

-Once in these positions you can "pad out" the figure with other syllabus figures danced from the same starting position. See suggestions in Blending Tips section.

-More basic entrances or exits from the Bronze Silver or Gold syllabus can be used for any of the figures.

Blending Tips

1. Swivel and Ronde

- Alternate entrance. Begin figure after the cross body lead, starting in LSP. Dance a change of place, keeping left to right handhold, ending in OTOPP, (L-to-R HH). Dance the rest of the Swivel and Ronde from measure 3. (demonstrated in dvd)

2. Canter Pivots

-Alternate entrance – Twinkle to PP.

- Alternate ending – after the Ronde, Follower can do an inside canter UAT left (instead of cuddle position) still ending in LSP.

3. Reverse Turns with Free Spins

- You can dance the Reverse Turn in waist hold without the free spin.

- More shadow figures can be added (e.g. Shadow Right Turns).

- Alternate ending – Follower can dance forward half of the Reverse Turn (in place of free spin left).

5. Right Side Ronde and Develope` - More open right turns can precede the ladies free spin to RSP.

- Alternate ending – Follower can dance forward half of the Reverse Turn (in place of free spin left).

6. Shadow Canter Grapevines - Alternate ending. Any figure that ends in shadow can precede the Canter Grapevine.

- Shadow right turns can be added before the Grapevine, or the Overturn Right or the canter turn to ending.

7. Horse and Cart to Shadow - Can dance more Hand-To-Hand's before the Ronde set up.

8. Barrel Turns - Barrel Turns can be danced with alternate Hesitation and Canter timing as demonstrated on DVD

- Alternate ending – Follower can dance forward half of the Reverse Turn (in place of free spin left).

9. Roll In and Out - Role in and outs can be danced with alternate Canter and hesitation timing as demonstrated on the DVD.

10. Advanced Standing Spin - Follower can keep right foot down and run with the Leader on the Advanced Standing Spin.

Backward Walk The precise, specific way to take a backward step in the Smooth 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.