Viennese Waltz - DISVV170 Therefore DVIDA Will Improve Our Manuals with Each New

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GOLD MANUAL (MISG12)

Edition: June 2018

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

ACKNOWLEDGMENTS: We would like to thank the author, Tom Slater, for writing this syllabus. We appreciate his commitment to excellence, and desire to support dance teachers and students through this detailed documentation of the technique.

DISCLAIMER: This manual is intended for information only. Please check with your physician prior to beginning any new physical activity. The publisher and author do not intend that any user of this manual endure undue exertion or strain. Copyright 2000-2018 by W.D. Eng, Inc. dba Dance Vision All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means (including information storage and retrieval systems) without written permission of the publisher. Published by W.D. Eng, Inc. Las Vegas, Nevada, USA June 2018

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

THE DANCE VISION DIFFERENCE The people of DVIDA did everything possible to make these syllabus manuals clear and precise. The corresponding Our comprehensive syllabus videos featuring world-class DVDs/videos are designed to give you a visual guide to the champions Victor Veyrasset & Heather Smith will patterns. The DVDs/videos, with demonstrations by United compliment States Champions, show advanced styling and competitive and simplify your learning experience. technique. . In some instances the technique may differ Waltz - DISVV162 from the basic written technique in order to provide you with Foxtrot - DISVV163 concepts and theories that will take your dancing to an even Tango - DISVV164 higher level. Quickstep - DISVV165 We realize that perfection is a never-ending goal and Viennese Waltz - DISVV170 therefore DVIDA will improve our manuals with each new

revision. To order DVDs or subscribe to DV on Demand, The World of Dance is always in motion and DVIDA will visit us at www.dancevision.com continue to lead those who aspire to be the best

Dear Dedicated Dancer, It is with great pleasure that Dance Vision introduces the revised DVIDA GOLD BALLROOM MANUAL.

This new edition has been written to fulfill our commitment to all dance enthusiasts seeking to improve their dancing or teaching by studying the technical elements that contribute to the beauty and accuracy of the Ballroom dances.

This new edition includes: 1. Studying the Charts – A complete guide to understanding the elements, plus Foot Position, Turn and Alignment Charts. 2. Abbreviation Key – To help you read the manual and understand the terms with ease. 3. Dance Positions – A thorough definition of each dance position with corresponding photos. 4. Musical Information – A glossary of musical terms, specific musical information for each dance, and examples for counting in beats and bars. 5. Glossary – Definitions of the most important terms used to better understand and teach these dances. 6. Certification – Helpful information for both student medal tests and professional examinations. 7. Additions to the Dance Charts a. Dance Position Column: Enables the dancer to understand the relationship to their partner on each and every weight change. b. Summary Column: Allows for quick recall for each measure or group of steps within a figure and develops consistent terminology for components of figures to aid in learning and teaching. 8. Fact Pages – Contains the history, characteristics, footwork, rise and fall, musical information and general technical tips for each dance. 9. Routines – Routines for each dance choreographed to include most or all of the figures for that level. They are the same routines as demonstrated on the Syllabus videos for ease of learning. These routines are suitable for student and professional exams. 10. Precedes and Follows – A new and improved way of choreographing based on starting and ending alignments, dance positions and foot that is free. 11. Notes – Thorough descriptions to explain the unique technical aspects of various figures.

We believe that using written dance words creates an indelible foundation for deeply understanding the principles of great ballroom dancing. Certified dance instructors report that studying the syllabus has profoundly enhanced their dancing and teaching.

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

We also thank Hannah Cole for so clearly transcribing the routines from the Gold Syllabus videos.

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

Tom Slater Diane Jarmolow World Exhibition Champion Founder and Director, Ballroom DVIDA Regional Examiner Dance Teachers College (Indiana) DVIDA National Examiner Owner, YOUnique Studio www.teachballroomdancing.com [email protected] www.movelikeachampion.com (812) 345-0805 [email protected] (510) 336-9426

Table of Contents Tango Certification ...... 1 Tango Facts ...... 82 24. Fallaway Four Step ...... 87 Studying the Charts 25. Fallaway Slip Pivot...... 89 Definitions of Chart Elements ...... 4 26. Contra Check ...... 91 Foot Positions ...... 10 27. Chase ...... 93 Abbreviation Key ...... 12 28. Chasse’ to the Right ...... 95 Dance Position Definitions ...... 13 29. Oversway ...... 97 Photos of Dance Positions ...... 15 30. Mini Five Step ...... 99 Alignment Diagram ...... 17 31. Five Step ...... 101 Amount of Turn Diagrams ...... 18 Tango Precedes and Follows ...... 103 Tango Routines ...... 110

Musical Information Musical Terms ...... 19 Quickstep Musical Information Chart ...... 22 Quickstep Facts ...... 111 Counting in Beats and Bars ...... 23 24. Rumba Cross ...... 114 25. Hover Corte ...... 116 26. Tipsy Chasse to the Right ...... 118 Waltz 27. Tipsy Chasse to the Left ...... 120 Waltz Facts ...... 25 28. Zig Zag Back Lock Running Finish ...... 122 28. Running Spin Turn ...... 29 29. Six Quick Run ...... 124 29. Fallaway Reverse Slip Pivot ...... 31 30. Running Spin Turn ...... 126 30. Contra Check ...... 33 31. Cross Chasse’ ...... 128 31. Fallaway Natural Turn ...... 35 32. Running Cross Chasse’ ...... 130 32. Fallaway Whisk ...... 37 33. Passing Natural Turn ...... 132 33. Turning Lock to Right ...... 39 34. Change of Direction ...... 134 34A. Left Whisk from Promenade Position...... 41 Quickstep Precedes and Follows ...... 136 34B. Left Whisk from Closed Position ...... 41 Quickstep Routine ...... 141 35. Hover Corte ...... 43 36. Closed Wing ...... 45 Waltz Precedes and Follows ...... 47 Viennese Waltz Waltz Routines ...... 53 Viennese Walz Facts ...... 142 7. Reverse Fleckerl ...... 145 8. Contra Check...... 147 Foxtrot 9. Natural Fleckerl ...... 149 Foxtrot Facts ...... 54 Viennese Waltz Routine ...... 151 24. Bounce Fallaway with Weave Ending ...... 58 25. Curved Feather to Back Feather ...... 60 Glossary ...... 152 26. Curved Feather from Promenade Position ...... 62 27. Curved Three Step ...... 64 28. Extended Reverse Wave ...... 66 29. Fallaway Reverse and Slip Pivot...... 68 30. Natural Zig Zag from Promenade Position ...... 70 31. Natural Hover Telemark ...... 72 Foxtrot Precedes and Follows ...... 74 Foxtrot Routines ...... 81

Certification

DVIDA Student Medal Program

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

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

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

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

ProDVIDA Professional Certification

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

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

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

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

ProDVIDA Professional Certification (Continued)

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

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

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

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

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

Sample Junior Associate exam (available on the ProDVIDA website at www.ProDVIDA.com)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Waltz Quickstep Foxtrot V. Waltz

Foot level (i.e. the dance floor) The horizontal line represents the level of the hips at normal standing position before the dance begins. The curved lines show the change of elevation (Rise and Fall). Tango is not shown as there is no change in elevation. ® ® Copyright © 2018 DVIDA Chart Elements DVIDA All Rights Reserved 6

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

L The hollow foot is the moving foot.

LL The solid foot is the standing foot.

Forward and Variations R R R R

LL LL LL LL

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

L L L L

RR RR RR RR

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

For Forward and Across in CBMP, see Promenade.

Back and Variations

LL LL LL LL

R R R R

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

RR RR RR RR

L L L L

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

For Back and Across in CBMP, see Fallaway.

Side and Variations

R LL R LL LL R

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

L L RR RR RR L

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

Promenade

L R L R

Leaders > L R

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

R L L R L R R Followers >

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

Fallaway

L L

L L R R

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

Leaders Followers

A – Against FUATL – Follower’s OFacP – Open Facing Position Underarm ANLOD – Against New Line of TuFrnU LAeTftR – Follower’s OPP – Open Promenade Dance Underarm Position B – Backing/Ball of foot TuHrn –Rig Hehet l of foot OTPP – Overturned Promenade Position BCT – Body Completes Turn HB – Heel Ball P – Pointing

BTBP – Back to Back Position HH – Handhold PP – Promenade Position BF – Ball Flat HT – Heel Toe Prep – Preparation (for) BH – Ball Heel IE – Inside Edge Pres - Pressure BTL – Body Turns Less IE of B – Inside Edge of Ball Q – Quick btw - between IE of BH – Inside Edge of Ball R – Right C – Center/Counter HeIeEl of T – Inside Edge of Toe RF – Right Foot

CBM– Contra Body Movement L – Left ROP – Right Outside Position CBMP – Contra Body LF – Left Foot RSP – Right Side Position Movement PoCsiCtioWn – Counter Clockwise LUATL – Leader’s Underarm SHH – Single Handhold Com - Commence TuLUrn LAeTftR – Leader’s Underarm ShadP –Shadow Position Turn Right Cont- Continue LOD – Line of Dance S – Slow

CortéP – Corté Position LOP – Left Outside Position T – Toe CP – Closed Position LSP – Left Side Position TTO- Toe Turned Out CPP – Counter Promenade meas – Measure(s) TH – Toe Heel Position ct – Count mpm – Measures per minute UA – Underarm CW – Clockwise N – New UAT – Underarm Turn DC – Diagonal Center NFR – No foot rise W – Wall DHH – Double Handhold OCPP – Open Counter WF – Whole Foot DW – Diagonal Wall ProOmEe –n aOduet sPidoes itEiodng e wt - weight

e/o – end of OffsetLP – Offset left position w/o - without F – Facing OffsetRP – Offset right XHH – Cross Handhold FacP – Facing Position posOitPio –n Outside Position (Outside Partner) FallP – Fallaway 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

Promenade Position (PP)

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

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

® ® Copyright © 2018 DVIDA Dance Positions DVIDA All Rights Reserved 16 Alignment Alignment refers to where the foot is pointing relative to the room. You must rst determine which line of dance you are on since a room with four walls will have exactly four lines of dance, each one running parallel to the closest wall. Then, based on your line of dance, you must be able to clearly see eight possible alignments on that line of dance. When you are giving alignments, you will start by giving the words “Facing, “Backing or “Pointing”. You will use “Facing” when moving forward, “Backing” when moving backward, and “Pointing” when stepping sideways when the body is facing a dierent alignment from the foot. When taking a step in promenade position,the alignment will frequently be given in two parts because the direction you are moving is more often than not, dierent from the alignment of the foot. An example is the rst two steps of a Promenade Basic in Foxtrot. Step One: Moving Down Line of Dance, Facing Diagonal Wall. Step Two: Also Moving Down Line of Dance, Facing Diagonal Wall. In Tango, all forwardand backward steps are given as direction rather than alignment, because the combination of CBM, CBMP, and Side Leads create a movement where the feet and body are never quite in the same alignment.

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

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

Diagonal Center Diagonal Wall

Moving with (Facing) Line ofof DanceDance

START HERE

Center Wall Moving Against (Backing) Line of Dance

Diagonal Center Diagonal Wall Against Line Against Line of Dance of Dance

Against Line of Dance

Diagrams L R 1 full turn No turn

R R

7/8 turn 1/8 turn R

3/4 turn 1/4 turn

5/8 turn 3/8 turn

R R

1/2 turn

Turns to the Left

L R No turn 1 full turn

L L

1/8 turn 7/8 turn L L

1/4 turn 3/4 turn

3/8 turn 5/8 turn

L L

1/2 turn

Musical Terms

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

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

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

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

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

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

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

Musical Terms (Continued)

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

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

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

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

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

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

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

Musical Terms (Continued)

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

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

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

Musical Information Chart

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

Notes:

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

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

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

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

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

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

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

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

Counting In Beats And Bars (Continued)

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

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

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

Waltz Facts…...…………………………………………………….…………..25

Syllabus Figures

INTERMEDIATE GOLD

28. RUNNING NATURAL SPIN TURN** ………………………….....……..29

29. FALLAWAY REVERSE SLIP PIVOT* ..…………………………..……..31

30. CONTRA CHECK* ..……………….………………………………………33

31. FALLAWAY NATURAL TURN** ..…………...…………………….…….35

32. FALLAWAY WHISK* ..………………………….…………….……….…..37

FULL GOLD

33. TURNING LOCK TO RIGHT* …...…………………………………...... 39

34A. & 34B. LEFT WHISK (FROM PP AND FROM CP)* ..……………...... 41

35. HOVER CORTE* …....….…………………………………………………43

36. CLOSED WING* .....……………………………………………………….45

Precedes and Follows…..…………………………………………………………..…….……47 Routine……………………………………………………………..…….……..53

* Represents figures approved for NDCA Closed Gold Competition ** Represents figures that are not approved for NDCA Competition

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

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

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

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

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

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

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

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

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

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

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

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

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

Rise and Fall

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

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

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

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

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

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

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

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

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

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

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

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

28. RUNNING SPIN TURN – LEADER Intermediate Gold

Commence in CP, B LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF back, CP B LOD, 1/2 1 Nil THB 1 S 1st Meas: TTI (pivot), end turn R LF back RF held F LOD on 1 to forward in Running CBMP Spin Turn 2 RF forward CP F LOD Cont 2 Nil HT 2 S to turn R 3 LF side CP B DC 3/8 Nil Com to T & S and slightly turn R rise e/o back btw 2 3 & 3 4 RF back, Prep B DC Nil Nil Cont to T 3 L R side ROP rise on 4 leading 5 LF back in ROP B DC Nil Nil Up on 5, TH & L CBMP, lower small step e/o 5

28. RUNNING SPIN TURN – FOLLOWER Intermediate Gold

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF CP F LOD, 1/2 1 Nil HT 1 S 1st Meas: forward, end turn R RF forward (pivoting B LOD on 1 to Running action) Spin Turn 2 LF back CP B LOD Cont Nil Nil T 2 S and slightly to turn leftwards R 3 RF forward CP F DC 3/8 Nil Com to T & S and slightly turn R rise e/o rightwards btw 2 3 & 3 4 LF forward, Prep F DC Nil Nil Cont to T 3 R L side ROP rise on 4 leading 5 RF forward ROP F DC Nil Nil Up on 5, TH & R in CBMP lower e/o 5

29. FALLAWAY REVERSE SLIP PIVOT – LEADER Intermediate Gold

Commence in CP, F DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward CP F DC Com to 1 Rise HT 1 S 1&: turn L on 1 e/o 1 Fallaway 2 RF back, FallP B LOD 3/8 turn L Nil Up on 2 T & S Reverse R side mov btw 1 & 2 leading DC 3 LF back in FallP B DC 1/8 turn L Nil Up on TH 2 S 2: CBMP to btw 2 & 3, 3, NFR Slip CP BTL Pivot 4 RF back, CP To C, 1/8 turn L 4 Up on THB 3 S 3: TTI, (pivot) end btw 3 & 4, 4, NFR, Reverse LF held in F DW then 1/8 lower pivot CBMP turn L on 4 e/o 4

Notes: 1. The following timings may also be used: a. 1, 2, 3 & b. 1, 2 &, 3

2. This figure may end F LOD by turning 1/4 turn L on step 4.

3. This figure may be underturned into a corner, commencing F DW or FLOD. Follow with a Reverse figure on new LOD either F DC or F LOD.

29. FALLAWAY REVERSE AND SLIP PIVOT – FOLLOWER Intermediate Gold

Commence in CP, B DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B DC Nil 1 Rise e/o TH 1 S 1&: 1, NFR Fallaway Reverse 2 LF back, FallP B DC Nil Nil Up on 2 T & S L side leading 3 RF back in FallP B DC, 1/2 turn Nil Up on 3 T 2 S 2: CBMP, to CP end F L on 3 Slip Pivot small step DC (pivot), LF held in CBMP 4 LF forward CP To 1/8 turn 4 Up on 4, TH 3 S 3: in CBMP Center, L btw 3 lower Reverse (pivot), end B & 4, then e/o 4 Pivot RF held in DW 1/8 on 4 CBMP

Notes: 1. The following timings may also be used: a. 1, 2, 3 & b. 1, 2 &, 3

2. This figure may end B LOD by turning 1/4 turn L on step 4.

3. This figure may be underturned into a corner, commencing B DW or B LOD. Follow with a Reverse figure on new LOD either B DC or B LOD.

30. CONTRA CHECK – LEADER Intermediate Gold

Commence in CP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward CP To DW, Body 1 Down, H 1 S 1st Meas: in CBMP Pointing turn L knees LF forward almost flexed to Contra to LOD Check from 2 Transfer Prep B DC Body Nil Rise T 2 S CP to PP weight PP ALOD turn R e/o 2 back to RF 3 LF side PP F DW, Nil Nil Up on TH 3 S mov 3, LOD Lower e/o 3

Notes: 1. Step 1 may be danced as BF or Flat.

2. Turn L may be made over steps 2 and 3 to end in PP moving DC.

30. CONTRA CHECK – FOLLOWER Intermediate Gold

Commence in CP, B DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back in CP To DW Body 1 Down, T 1 S 1st Meas: CBMP feet turn L knees RF back to almost flexed Contra backing Check from LOD CP to PP 2 Transfer Prep F DC Body Nil Rise e/o 2 T 2 S weight PP ALOD turn R forward to LF 3 RF side PP F DC, 1/4 Nil Up on 3, TH 3 S mov turn R Lower e/o LOD btw 2 3 & 3

Note: If Leader turns L over steps 2 and 3, Follower makes no turn and step 3 will be in PP moving DC ALOD.

31. FALLAWAY NATURAL TURN – LEADER Intermediate Gold

Commence in PP, F DW STEP # FOOT DP ALIGN TURN RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF fwd in PP F W 1/8 turn 1 Com to HT 1 S 1st CBMP R btw 0 rise e/o Meas: & 1 Open Natural 2 LF fwd, PP F DW 1/8 turn Nil Cont to T 2 S Turn L side ALOD R btw 1 rise on 2 from PP leading & 2 to FallP

3 RF back, FallP B DC Nil Nil Up on 3, TH 3 S R side lower e/o 3 leading 4 LF back in FallP B C 1/8 turn Nil Rise e/o 4, TH 1 S 2nd CBMP to L btw 3 NFR Meas: CP & 4 Slip 5 RF back, CP B C, end 1/8 turn 5 Up on 5 T 2 S Pivot pivot F DW L on 5, BTL 6 LF side Prep F DW Nil Nil Up on 6, TH 3 S and slightly ROP lower e/o 6 fwd

31. FALLAWAY NATURAL TURN – FOLLOWER Intermediate Gold

Commence in PP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd and PP P DW 1/8 turn Nil Com to HT 1 S 1st Meas: across in R btw 0 rise e/o Open CBMP and 1, Natural BTL Turn from PP to 2 RF fwd PP F DW BCT on Nil Cont to T 2 S FallP 2 rise on 2

3 LF diag FallP B DC Nil Nil Up on 3, TH 3 S back, L ALOD, lower e/o side mov C 3 leading 4 RF back FallP B DC 1/4 turn 4 Rise e/o 4 T 1 S 2nd and across to ALOD, L on 4 Meas: in CBMP, CP mov C Slip Pivot TTI, pivot to F DC 5 LF fwd, CP F DC to 1/4 turn 5 Up on 5 T 2 S pivot B DW L on 5, BTL 6 RF side Prep B DW Nil Nil Up on 6, TH 3 S and slightly ROP lower e/o back 6

Note: “Toe turned in (TTI)” on step 4 is so the Follower can maintain Fallaway Position and not peel R hip away from Leader. .

32. FALLAWAY WHISK – LEADER Intermediate Gold

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL

1 LF back CP B LOD Com to 1 Com to TH 1 R 1st Meas: turn R rise e/o Left foot on 1 1, NFR back to 2 RF side and CP P DC 3/8 turn Nil Cont to TH 2 S Fallaway slightly back R btw 1 rise on 2 Whisk from & 2, CP to FallP BTL

3 LF crosses FallP F DC Body Nil Lower TH 3 L loosely cont to on 3 behind RF turn R on 3

Notes: 1. On step 2 Footwork of “T” may be used.

2. Back Whisk rise and fall may be used for the Fallaway Whisk.

32. FALLAWAY WHISK – FOLLOWER Intermediate Gold

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF forward CP F LOD Com to 1 Com to HT 1 L 1st Meas: rise e/o 1 turn R on 1 RF forward 2 LF side CP B DC 3/8 turn Nil Cont to TH 2 S to Fallaway turn R rise on Whisk from btw 1 & 2 2 CP to FallP 3 RF crosses FallP F DC 1/4 turn Nil Lower TH 3 R loosely ALOD R btw 2 on 3 behind LF & 3, Body cont to turn R

33. TURNING LOCK TO RIGHT – LEADER Full Gold

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back, CP B DW 1/8 Turn R Nil Com to T 1 R 1st Meas: R side btw 0 & 1 rise e/o 1 Back leading Turning 2 LF crosses CP F C 1/8 turn R Nil Cont to T & R Lock loosely in btw 1 & 2 rise on 2 from CP front of RF & 3 to PP 3 RF side and Prep F DC 1/8 turn R Nil T 2 S slightly fwd, PP btw 2 & 3

small step, btw partner’s feet 4 LF diag fwd, PP P DC, Slight Nil Up on 4, TH 3 S L side body F body lower leading LOD turn R e/o 4

Note: This figure is danced after an overturned Natural Spin Turn or an underturned Outside Spin, both ending B LOD.

33. TURNING LOCK TO RIGHT– FOLLOWER Full Gold

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd, CP F DW 1/8 turn Nil Com to T 1 L 1st Meas: L side R btw 0 rise e/o 1 Forward leading & 1 Turning Lock from 2 RF crosses CP B C 1/8 turn Nil Cont to T & L CP to PP loosely R btw 1 rise on 2 behind LF & 2 & 3

3 LF side Prep B DC 1/8 turn Nil T 2 S and slightly PP R btw 2 back & 3

4 RF side, PP P C, 3/8 turn Nil Up on 4, TH 3 S having mov R btw 3 lower e/o brushed to DC & 4, 4 LF BTL

Notes: 1. This figure is danced after an overturned Natural Spin Turn or an underturned Outside Spin, both ending F LOD.

2. The Follower will not brush on step 5 of the overturned Natural Spin Turn when it precedes the Turning Lock.

34 A. LEFT WHISK (FROM PP) – LEADER Full Gold

Commence in PP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF forward PP F DW, Nil Nil Nil H 1 S 1st Meas: and across mov Left in CBMP LOD Whisk 2 LF side and CP P DW Body Nil Nil TH 2 S from PP slightly com to to CFallP forward turn L

3 RF crosses Left F DW Body Nil Nil T 3 R behind LF WhiskPos turn to of L RF

Notes: 1. Leader should not lower heel of RF until the next step is taken. 2. The term “Facing” may be used on step 2.

3. The Leader should look towards Follower’s face, rather than over Follower’s R shoulder. 4. This variation is not shown on the DVD.

34B. LEFT WHISK (FROM CP) – LEADER

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B LOD Com 1 Nil TH 1 S 1st Meas: to turn Left L turning 2 LF side and CP P DW 3/8 Nil Nil TH 2 S Whisk slightly fwd turn L from CP btw 1 to CFallP & 2, BTL 3 RF crosses Left F DW Body Nil Nil T 3 R WhiskPos cont behind LF turn to L

Notes: 1. Leader should not lower heel of RF until the next step is taken. 2. The term “Facing” may be used on step 2. 3. The Leader should look towards Follower’s face, rather than over Follower’s R shoulder NOTE: Follower may overturn to left on step 3, with head turned strongly to left.

3434A. EF

34A. LEFT WHISK (FROM PP) – FOLLOWER Full Gold

Commence in PP, P DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY FALL POSITION

1 LF forward PP F DC Com to 1 Nil HT 1 S 1st Meas: and across mov turn L Left turning in CBMP LOD on 1 Whisk from 2 RF side and CP B DW 1/4 turn Nil Nil TH 2 S PP to CFallP slightly back L btw 1 & 2

3 LF back in Left B LOD 1/8 turn Nil Nil TH 3 L CBMP Whisk L btw 2 Pos & 3

34B. LEFT WHISK (FROM CP) – FOLLOWER

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd CP F LOD Com to 1 Nil HT 1 S 1st Meas: turn L on Left turning 1 Whisk from 2 RF side CP B DW 3/8 turn Nil Nil TH 2 S CP to and slightly L btw 1 CFallP back & 2 3 LF back in Left B LOD 1/8 turn Nil Nil TH 3 L CBMP Whisk L btw 2 Pos & 3

Notes: 1. Follower may overturn to left on step 3, with head turned strongly to left. 2. This variation is not shown on the DVD.

35 . HOVER CORTE – LEADER Full Gold

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B LOD Com to 1 Com TH 1 S 1st Meas: turn L to rise RF back on 1 e/o 1, to Hover NFR Corte 2 LF side CP P DW 3/8 turn Nil Cont T 2 R and slightly L btw 1 to rise forward & 2, on 2 BTL Cont body turn L on 2 3 Transfer Prep B DC Nil Nil Up on TH 3 S weight to ROP ALOD 3, RF side lower and slightly on 3 back

Notes: 1. The first step of the next figure will be “LF back in CBMP” in ROP (Follower stepping forward in ROP).

2. May be danced with an extra measure of music by adding more time on step 2 and slowly brushing RF towards LF. In this case the counts will be: • Step 1: 1 • Step 2: 2, 3, 1, 2 • Step 3: 3

35 . HOVER CORTE – FOLLOWER Full Gold

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward CP F Com to 1 Com to HT 1 S 1st Meas: LOD turn L on rise e/o LF forward 1 1 to Hover 2 RF side, CP F C to 1/4 turn L Nil Cont to T 2 L Corte LF brushes end btw 1 & rise on towards F DC 2, cont to 2 RF ALOD turn 1/8 to L on 2 3 LF diag Prep F DC Nil Nil Up on TH 3 S forward ROP ALOD 3, lower on 3

Notes: 1. The first step of the next figure will be “RF fwd in CBMP” in ROP.

2. May be danced with an extra measure of music by adding more time on step 2 and slowly brushing LF to RF. In this case the counts will be: • Step 1: 1 • Step 2: 2, 3, 1, 2 • Step 3: 3

36 . CLOSED WING – LEADER Full Gold

Commence in Prep ROP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF forward ROP F DW Nil Nil Nil H 1 S 1st Meas: in CBMP RF forward 2 LF com to Prep F DW Slight Nil Slight WF of 2 S to Closed close to RF LOP body rise over RF, Wing from 3 LF closes LOP F DW turn L Nil 2-3, NFR pressu 3 S ROP to to RF w/o on 2-3 re on LOP weight IE of B of LF

36 . CLOSED WING – FOLLOWER Full Gold

Commence in Prep ROP, B DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF back in ROP B DW Nil Nil Com to TH 1 S 1st Meas: CBMP rise e/o LF back 1, NFR to Closed 2 RF side and Prep B DW Nil Nil Cont to T 2 L Wing slightly back LOP rise on 2 (slight) from (small step) ROP to 3 LF forward LOP F DC Slight Nil Up on 3, TH 3 L LOP in CBMP ALOD body lower (slight) turn to L e/o 3

Note: Follower keeps head turned strongly to left on step 3, keeping poise back.

DVIDA WALTZ PRECEDES AND FOLLOWS BY ALIGNMENT

In this table, alignments and free foot are for the Leader. Superscripts refer to the following notes: 1. This figure is not allowed in NDCA competitions. 2. This figure is Bronze Level for NDCA competitions. F DW, RF free to go FORWARD Precedes (figures that end F DW, RF free) Follows (figures that begin F DW, RF free) BRONZE Unless noted otherwise, these figures can begin in • LF Closed Change (ends CP) CP or ROP. • Chasse from PP (ends Prep ROP) • Basic Weave (ends Prep ROP) BRONZE • Outside Change (ends Prep ROP) • Natural Turn • Weave from PP (ends Prep ROP) • RF Closed Change (starts in CP) • Natural Hesitation Change SILVER • Natural Spin Turn • Closed Telemark (ends Prep ROP) • Turning Lock (ends Prep ROP) GOLD • Outside Spin (ends CP) • Closed Wing (starts in ROP)

GOLD • Fallaway Natural Turn1 (ends Prep ROP)

F LOD, RF free to go FORWARD Precedes (figures that end F LOD, RF free) Follows (figures that begin F LOD, RF free) BRONZE BRONZE • LF Closed Change • RF Closed Change

F DC, RF free to go FORWARD Precedes (figures that end F DC, RF free) Follows (figures that begin F DC, RF free) BRONZE BRONZE • Natural Turn • RF Closed Change • LF Closed Change

F DW, RF free to go FORWARD in PP Precedes (figures that end F DW, RF free) Follows (figures that begin F DW, RF free) BRONZE BRONZE • Whisk A • Chasse from PP • Back whisk • Basic Weave ending in PP SILVER • Outside Change ending in PP • Wing (4-6 Open Telemark to Wing) At a corner • Cross Hesitation (4-6 Open Telemark to Cross • Whisk B Hesitation) • Back Whisk beginning B LOD or B DW GOLD SILVER • Fallaway Natural Turn1 • Weave from PP ending in PP • Left Whisk • Turning Lock ending in PP • Open Telemark (1-3 Open Telemark to Wing or 1-3 Open Telemark to Cross Hesitation)

GOLD • Contra Check

F DC, RF free to go FORWARD in PP Precedes (figures that end F DC, RF free) Follows (figures that begin F DC, RF free) SILVER SILVER • Open Impetus • Weave from PP • Wing (4-6 Open Telemark to Wing) GOLD • Cross Hesitation (4-6 Open Telemark to Cross • Fallaway Whisk2 Hesitation) • Turning Lock to Right

F LOD, RF free to go FORWARD in PP Precedes (figures that end F LOD, RF free) Follows (figures that begin F LOD, RF free) BRONZE SILVER • Whisk C • Weave from PP • Wing (4-6 Open Telemark to Wing) SILVER • Cross Hesitation (4-6 Open Telemark to Cross • Open Impetus Hesitation)

GOLD • Contra Check

F DW, LF free to go FORWARD Precedes (figures that end F DW, LF free) Follows (figures that begin F DW, LF free) BRONZE Unless noted otherwise, these figures can begin in • RF Closed Change (ends CP) CP or LOP. • Reverse Turn (ends CP) • Reverse Pivot (ends CP) BRONZE • Double Reverse Spin (ends CP) • LF Closed Change (starts in CP) At a corner • Whisk A • 4-6 of Reverse Turn (from Underturned • Double Reverse Spin Natural Spin Turn; ends CP) • 4-6 of Reverse turn (underturned after SILVER Natural Spin Turn; ends CP) • Drag Hesitation • Natural Hesitation Change (ends CP) • Reverse Pivot (ends CP) GOLD • Double Reverse Spin (ends CP) • Contra Check (starts in CP) At a corner SILVER • Fallaway Reverse Slip Pivot • Wing (4-6 Open Telemark to Wing; ends Prep LOP)

GOLD • Fallaway Reverse Slip Pivot (ends CP)

F LOD, LF free to go FORWARD Precedes (figures that end F LOD, LF free) Follows (figures that begin F LOD, LF free) BRONZE Unless noted otherwise, these figures can begin in • RF Closed Change (ends CP) CP or LOP. • Reverse Pivot (ends CP) • Double Reverse Spin (ends CP) BRONZE • LF Closed Change (starts in CP) SILVER • 1-3 of Reverse Turn into Basic Weave • Wing (4-6 Open Telemark to Wing; ends • Double Reverse Spin Prep LOP) At a Corner SILVER • 4-6 of Reverse Turn from underturned • Drag Hesitation Natural Spin Turn or Closed Impetus (ends CP) GOLD • Natural Hesitation Change (ends CP) At a corner • Reverse Pivot (ends CP) • Fallaway Reverse Slip Pivot

GOLD • Fallaway Reverse Slip Pivot (ends CP) At a corner • Fallaway Reverse Slip Pivot (ends CP)

F DC, LF free to go FORWARD Precedes (figures that end F DC, LF free) Follows (figures that begin F DC, LF free) BRONZE Unless noted otherwise, these figures can begin in • RF Closed Change (ends CP) CP or LOP. • 4-6 of Reverse Turn from B DC ALOD (underturned; ends CP) BRONZE • Reverse Pivot (ends CP) • LF Closed Change (starts in CP) • Double Reverse Spin (ends CP) • Reverse Turn At a corner • Progressive Chasse to Right • Natural Hesitation Change (ends CP) • Double Reverse Spin • Reverse Pivot (ends CP) SILVER SILVER: • Closed Telemark • Wing (ends prep LOP) • Open Telemark to Wing • Open Telemark to Cross Hesitation GOLD • Drag Hesitation • Closed Wing (ends prep LOP) At a corner GOLD • Fallaway Reverse Slip Pivot • Fallaway Reverse Slip Pivot

B DC, RF free to go BACK Precedes (figures that end B DC, RF free) Follows (figures that begin B DC, RF free) BRONZE BRONZE • Natural Spin Turn • 4-6 of Reverse Turn At a corner • Reverse Corté • Closed Impetus • Natural Spin Turn SILVER • Turning Lock SILVER • Outside Spin

GOLD • Running Spin Turn1

B DW, RF free to go BACK Precedes (figures that end B DW, RF free) Follows (figures that begin B DW, RF free) BRONZE BRONZE • 1-3 of Reverse Turn (underturned) • Reverse Corté • Basic Weave

B LOD, RF free to go BACK Precedes (figures that end B LOD, RF free) Follows (figures that begin B LOD, RF free) BRONZE BRONZE • 1-3 of Reverse Turn • Reverse Corté • Reverse Pivot GOLD • Natural Spin Turn (overturned) GOLD • Turning Lock to Right • Left Whisk (commencing in CP) • Hover Corté

B C, RF free to go BACK Precedes (figures that end B C, RF free) Follows (figures that begin B C, RF free) BRONZE BRONZE • Natural Spin Turn (underturned) • 4-6 of Reverse Turn At a corner • Reverse Pivot • Natural Spin Turn (underturned)

B W, RF free to go BACK Precedes (figures that end B W, RF free) Follows (figures that begin B W, RF free) BRONZE BRONZE • 1-3 of Rev Turn • Basic Weave

B DC ALOD, RF free to go BACK Precedes (figures that end B DC ALOD, Follows (figures that begin B DC ALOD, RF free) RF free) BRONZE BRONZE • Closed Impetus • 4-6 of Reverse Turn • Natural Spin Turn (underturned) • Reverse Corté At a corner • Reverse Pivot • Natural Spin Turn (underturned)

B LOD, LF free to go BACK Precedes (figures that end B LOD, LF free) Follows (figures that begin B LOD, LF free) BRONZE Unless noted otherwise, these figures can begin in • Progressive Chasse to Right (ends Prep CP or ROP. ROP) • Reverse Corté (ends Prep ROP) BRONZE • Closed Impetus SILVER • Drag Hesitation (ends Prep ROP) SILVER • Open Impetus GOLD • Left Whisk and untwist GOLD • Running Spin Turn1 • Fallaway Whisk1

B DC, LF free to go BACK Precedes (figures that end B DC, LF free) Follows (figures that begin B DC, LF free) BRONZE BRONZE • 1-3 Natural Turn (underturned) • Outside change

B DW, LF free to go BACK Precedes (figures that end B DW, LF free) Follows (figures that begin B DW, LF free) BRONZE Unless noted otherwise, these figures can begin in • Progressive Chasse to the Right (ends Prep CP or ROP. ROP) • Back Lock (ends Prep ROP) BRONZE • Reverse Corté (ends Prep ROP) • Back Lock (starts in ROP) • Closed Impetus SILVER • Back Whisk • Drag Hesitation (ends Prep ROP) SILVER • Open Impetus • Outside Spin (starts in ROP)

DVIDA® GOLD INTERNATIONAL WALTZ ROUTINE (as demonstrated on video)

Starting Ending Figure Name Count Alignment Alignment

Wall 1 (Long)

LF forward (Preparation step) F DW F DW 3 *1-3 of Natural Turn F DW B LOD 1 2 3 Running Natural Spin Turn B LOD B DC 1 2 & 3 & 4-6 of Reverse Turn (overturned) B DC F DC 1 2 3 Fallaway Slip Pivot F DC F DW 1 & 2 3 Contra Check (ends in PP) F DW F DW 1 2 3 Fallaway Natural Turn F DW F DW 1 2 3, 1 2 3 1-3 Natural Turn F DW B LOD 1 2 3 Fallaway Whisk (ends in PP) B LOD F DW NLOD 1 2 3

Wall 2 (Short)

Chasse from Promenade F DW F DW 1 2 & 3 Natural Spin Turn (overturned) F DW B LOD 1 2 3, 1 2 3 Turning Lock to Right (ends in PP) B LOD F DC 1 & 2 3 Left Whisk F DC F DW 1 2 3 Open Impetus (end in PP) B DC ALOD F DW 1 2 3 Hover Corte (starts in PP, extended F DW B DC ALOD 123 123 timing) Back Whisk B DC ALOD F DW 1 2 3 Chasse from Promenade F DW F DW 1 2 & 3 Closed Wing F DW F DW 1 2 3 Whisk at a Corner (ends in PP) F DW F DW NLOD 1 2 3

Wall 3 and Wall 4

Chasse from Promenade F DW F DW 1 2 & 3 *Repeat

Foxtrot Foxtrot Contents

Foxtrot Facts…………………………………………………..……..54

Syllabus Figures

INTERMEDIATE GOLD

24. BOUNCE FALLAWAY WITH WEAVE ENDING*…………...…58

25. CURVED FEATHER TO BACK FEATHER* …..……………....60

26. CURVED FEATHER FROM PROMENADE POSITION* ….…62

27. CURVED THREE STEP**………....…………...…………………..64

FULL GOLD

28. EXTENDED REVERSE WAVE **……………………………….....66

29. FALLAWAY REVERSE AND SLIP PIVOT*……………..……....68

30. NATURAL ZIG ZAG FROM PROMENADE POSITION*…….…70

31. NATURAL HOVER TELEMARK*………….…..………………….72

Precedes and Follows……………………………………..……….…74 Routines……………………………………………………..…………..81

* Represents figures approved for NDCA Closed Gold Competition.

** Represents figures that are not approved for NDCA Competition

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Footwork The main types of footwork used in Foxtrot are:

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

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

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

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

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

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

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

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

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

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

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

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

Commence in CP, F DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward CP F DC Com to 1 Rise e/o 1 HT S S S&QQ: turn L on Bounce 1 Fallaway 2 RF back, FallP B DW 1/4 turn Nil Up on 2, T & S from CP, R side R btw 1 lower e/o 2 thru FallP leading & 2 to end in 3 LF back in FallP B DW Nil Nil Down, rise T Q S Prep ROP CBMP e/o 3 4 RF side and Prep B DW Nil Nil Up on 4, T Q S slightly back ROP lower e/o 4 5 LF back in ROP B LOD 1/8 turn Nil Down, rise T Q S QQQQ: CBMP L btw 4 e/o 5 Weave & 5, BTL Ending 6 RF back ROP B LOD Nil 6 Up on 6 T Q S 7 LF side and Prep P DW 3/8 turn Nil Up on 7 T Q R slightly fwd ROP L btw 7 & 8, BTL 8 RF fwd in ROP F DW Nil Nil Up on 8, TH Q R CBMP lower e/o 8

Note: There is a slight flexing of the knees on 2 and 4. The heel lowers towards the floor and may lightly touch.

Commence in CP, B DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B DC Nil Nil Rise e/o 1 THT S S S&QQ: 2 LF back, FallP B DC, Nil Nil Up on 2, T & S Bounce L side mov lower e/o Fallaway leading LOD 2 from CP thru FallP to 3 RF back FallP B DC, Com to 3 Down, T Q S end Prep and across mov turn to L rise e/o 3 ROP in CBMP LOD 4 LF side Prep P LOD 3/8 turn Nil Up on 4, T Q S and ROP L btw 3 lower e/o slightly fwd & 4, 4 BTL 5 RF fwd in ROP F LOD Slight Nil Down, T Q S QQQQ: CBMP body rise e/o 5 Weave turn L Ending 6 LF fwd CP F LOD Com to 6 Up on 6 T Q S turn L 7 RF side Prep B W 1/4 turn Nil Up on 7 TH Q L ROP L btw 6 & 7 8 LF back in ROP B DW 1/8 turn Nil Up on 8, TH Q L CBMP L btw 7 lower e/o & 8, 8 BTL

Note: There is a slight flexing of the knees on 2 and 4. The heel lowers towards the floor and may lightly touch.

Commence in CP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF forward CP F DW Com to 1 Rise e/o HT S S SQQ: turn R 1 R turning on 1 Feather 2 LF diag Prep F W 1/8 turn Nil Up on 2 T Q R from CP to fwd, L side ROP R btw 1 ROP leading & 2 3 RF fwd in ROP B DC 1/8 turn 3 Up on 3, TH Q R CBMP R btw 2 lower & 3 e/o 3 4 LF back in ROP B DC 1/8 turn 4 Com to TH S S CBMP R over rise e/o 4-6 4, NFR 5 RF back, Prep Toward Nil Cont to T Q L SQQ:Back R side ROP alignment rise on 5 Feather in of 6 leading ROP 6 LF back in ROP B LOD Nil Up on 6, TH Q L CBMP lower e/o 6

Notes: 1. There is gradual rise on the Back Feather 2. The normal ending is a Feather Finish.

25. CURVED FEATHER TO BACK FEATHER -- FOLLOWER Intermediate Gold

Commence in CP, B DW STE FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY P # POSITIO FALL N 1 LF back CP B DW Com to 1 Rise e/o 1, TH S S SQQ: turn R on NFR R turning 1 Feather 2 RF back, Prep B W 1/8 turn R Nil Up on 2 T Q L from CP to RF back, ROP btw 1 & 2 ROP R side leading 3 LF back ROP B DW 1/8 turn R 3 Up on 3, TH Q L in CBMP ALOD btw 2 & 3 lower e/o 3

4 RF fwd in ROP F DC Com to 4 Com to HT S S SQQ: CBMP turn R on rise e/o 4 Forward 4 Feather in 5 LF fwd, Prep Almost 1/8 turn R Nil Cont to T Q R ROP L side ROP F LOD over 5-6 rise on 5 Leading 6. RF fwd in ROP F LOD Nil Up on 6, TH Q R CBMP lower e/o 6

Notes: 1. There is gradual rise on the Back Feather 2. The normal ending is a Feather Finish 3. May commence B LOD

26. CURVED FEATHER FROM PROMENADE POSITION -- LEADER Intermediate Gold

Commence in PP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL

1 RF forward PP F DW Com to 1 Rise HT S S SQQ: and across turn R e/o 1 R turning in CBMP on 1 Feather from 2 LF diag Prep F DC 1/4 turn Nil Up on 2 T Q R CP to ROP fwd, L side ROP ALOD R btw 1 leading & 2 3 RF fwd in ROP B LOD 1/8 turn Nil Up on TH Q R CBMP R btw 2 3, lower & 3 e/o 3

26. CURVED FEATHER FROM PROMENADE POSITION -- FOLLOWER Intermediate Gold

Commence in PP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF fwd in PP F DC Com to Nil Rise e/o HT S S SQQ: CBMP turn R 1, NFR R turning on 1 Feather 2 RF side and Prep Toward 1/8 turn Nil Up on 2 T Q L from CP slightly ROP alignment R over to ROP back, R side of 3 1-3 leading 3 LF back in ROP F LOD Nil Nil Up on 3, TH Q L CBMP lower e/o 3

27. CURVED THREE STEP -- LEADER Intermediate Gold

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN C RISE & FW C SWAY SUMMARY POSITION B FALL T M 1 LF forward CP F LOD 1/8 turn 1 Com to HT S S SQQ: L btw 0 rise e/o 1 Three Step & 1 curved to L 2 RF fwd, CP F C 1/8 turn Nil Cont to T Q L R side R btw 1 rise on 2 leading & 2 3 LF fwd CP B LOD 1/4 turn Nil Up on 3, TH Q L R btw 2 lower e/o & 3 3

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B LOD 1/8 turn L 1 Com to TH S S SQQ: btw 0 & 1 rise e/o Three Step 1, NFR curved to L 2 LF back, L CP B C 1/4 turn R Nil Cont to T Q R side btw 1 & 2 rise on 2 leading 3 RF back CP F LOD 1/8 turn R Nil Up on 3, TH Q R btw 2 & 3 lower e/o 3

Note: Follower may keep head left, or turn head to right.

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF back CP B LOD Nil Slight Com to TH S S SQQ: rise e/o 1, Three steps NFR back LRL 2 RF back, Prep B LOD Nil Nil Cont to T Q S from CP to R side ROP rise on 2 ROP leading 3 LF back in ROP B LOD Nil Nil Up on 3, TH Q S CBMP lower e/o 3

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF fwd CP F LOD Nil Slight Com to HT S S SQQ: rise e/o 1 Three steps 2 LF fwd, Prep F LOD Nil Nil Cont to T Q S forward L side ROP rise on 2 RLR from leading CP to ROP 3 RF fwd in ROP F LOD Nil Nil Up on 3, TH Q S CBMP lower e/o 3

Note: Follower’s head may stay left, or turn to right.

Commence in CP, F DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF CP F DC Com to 1 Rise e/o HT Q S QQQ: forward turn L 1 Fallaway on 1 Reverse 2 RF back, FallP B DW, 1/4 turn Nil Up on 2 T Q S Turn R side Mov R btw 1 leading LOD & 2 3 LF back in FallP B 1/8 turn Nil Up on 3, T Q S Q: CBMP LOD R btw 2 lower Slip Pivot & 3, e/o 3 BTL 4 RF back, FallP B DC, 1/8 turn 4 Nil THB Q S TTI , end end L btw 3 (pivot), CP F DW & 4, small step then 1/4 turn R on 4

Notes: 1. This figure may also end F LOD by turning 1/4 L on step 4. 2. On step 4, the foot should be pressed into the floor as it moves. 3. The Footwork on step 2 is “T”. If the R heel lowers, the Leader’s weight is likely to move too far back. 4. When this figure is danced into a corner, commence F DW or F LOD to end with a reverse figure danced F DC of the new LOD.

Commence in CP, B DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B DC Nil Nil Rise e/o TH Q S QQQQ: 1, NFR Fallaway 2 LF back, L FallP B DC, Nil Nil Up on 2 T Q S Reverse side leading Mov Turn and LOD Slip Pivot 3 RF back in FallP B DC, 5/8 turn 3 Up on 3, T Q S CBMP, small end L on 3 lower step (pivot), F C e/o 3 LF held in CBMP 4 LF fwd in FallP To 1/8 turn 4 Nil TH Q S CBMP , end center, L btw 3 (pivot), RF CP end & 4, held in B then CBMP DW 1/4 turn R on 4

Note: A compact position on the Fallaway is easier if the Follower keeps head to L.

Commence in PP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF forward PP F DW, Nil 1 Rise e/o 1 HT S S S: and across mov RF walk in in CBMP LOD PP 2 LF side Prep B DC 1/4 turn Nil Up on 2 T Q S QQQQ: LOP R btw 1 Grapevine & 2, side, back, BTL side, 3 RF back in LOP B DC Com to 3 Up on 3 T Q S forward, CBMP turn L (from LOP on 3 to ROP) 4 LF side and Prep P DW 1/4 turn Nil Up on 4 T Q R (Weave slightly fwd ROP L btw 3 Ending) & 4, BTL 5 RF fwd in ROP F DW Nil Nil Up on 5, TH Q R CBMP lower e/o 5

Commence in PP, F DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward PP F DW, Nil Sligh Rise e/o HT S S S: and across mov t 1 LF walk in in CBMP LOD PP

2 RF diag Prep F DC Nil Nil Up on 2 T Q S fwd LOP QQQQ: 3 LF fwd in LOP F DC Com to 3 Up on 3 T Q S Grapevine CBMP turn L on forward, 3 forward, side, back 4 RF side Prep B W 1/8 turn Nil Up on 4 TH Q L (from LOP ROP L btw 3 to ROP) & 4 (Weave 5 LF back in ROP B DW 1/8 turn Nil Up on 5, TH Q L ending) CBMP L btw 4 NFR, & 5, BTL lower e/o 5

Commence in CP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITIO FALL N 1 RF fwd CP F DW Com to 1 Rise e/o HT S S SQQS: turn R 1 Natural on 1 Telemark 2 LF side CP B DC 1/4 turn Nil Up, TH Q R and hold R btw lower 1 & 2 e/o 2 3 RF side CP F DC 1/2 turn Nil Down H, IE of F, Q L (heel R btw 2 on 3, WF pull) & 3 rise e/o 3 4 L knee CO F DC Nil Nil Up T of RF, S L veers pressure inward on IE of T of LF 5 LF diag Prep F DC Nil Nil Up T Q L QQ: fwd, ROP Hover L side Feather leading 6 RF fwd ROP F DC Nil Nil Up, TH Q S in CBMP lower e/o 6

Commence in CP, B DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF back CP B DW Com 1 Rise TH S S SQQS: to turn slightly Natural R on 1 e/o 1, Telemark, NFR RF brushes 2 RF closes CP F LOD 3/8 Nil Cont to HT Q L to LF to LF turn R rise on (heel turn) btw 2, NFR 1 & 2 3 LF side CP B DC 3/8 Nil Down T Q R turn R on 3, btw rise e/o 2 & 3 3 4 RF CP B DC Slight Nil Up T of LF, S R brushes body IE of T to LF turn R of RF on 4 5 RF diag Prep B DC Nil Nil Up TH Q R QQ: back, ROP Hover R side Feather leading 6 LF back ROP B DC Nil Nil Up on TH Q S in CBMP 6, NFR, lower e/o 6

PRECEDE STARTING FOLLOWS ALIGNMENT In this table, alignments and free foot are for the Leader. Superscripts refer to the following notes: 1. This figure is not allowed in NDCA competitions. 2. This figure is Gold Level for NDCA competitions. 3. This figure is Silver Level for NDCA competitions.

F DW, RF free to go FORWARD Precedes (figures that end F DW, RF Follows (figures that begin F DW, RF free) free) BRONZE Unless noted otherwise, these figures can begin in • Three Step CP or ROP.

At a corner BRONZE • Three Step • Feather Step • Natural Turn • Natural Turn • Natural Weave SILVER • Closed Telemark SILVER At a corner • Quick Natural Weave1 Hover Telemark ending in Prep ROP • Natural Twist Turn2 • Hover Cross • Natural Telemark

GOLD • Curved Feather to Back Feather • Natural Hover Telemark

® ® Copyright © 2018 DVIDA FOXTROT DVIDA All Rights Reserved 74 F LOD, RF free to go FORWARD Precedes (figures that end F LOD, RF Follows (figures that begin F LOD, RF free) free) BRONZE BRONZE • Three Step • Feather Step At a corner • Natural Turn • Three Step • Natural Weave • Natural Turn • Reverse Wave3 SILVER • Change of Direction • Quick Natural Weave1 • Natural Twist Turn2 At a corner • Natural Telemark

GOLD • Curved Feather to Back Feather

F DC, RF free to go FORWARD Precedes (figures that end F DC, RF free) Follows (figures that begin F DC, RF free) BRONZE Bronze • Natural Turn • Feather Step • Reverse Wave3 At a corner • Natural Turn • Reverse Wave3 • Change of Direction

F DC, RF free to go FORWARD in PROMENADE POSITION Precedes (figures that end F DC, RF free) Follows (figures that begin F DC, RF free) SILVER SILVER • Hover Telemark ending in PP • Weave from Promenade Position • Natural Twist Turn with Open Impetus Ending2 • 1-7 of Open Telemark, Natural Turn, Outside Swivel with Feather ending • Open Impetus

F C, RF free to go FORWARD in PROMENADE POSITION Precedes (figures that end F C, RF free) Follows (figures that begin F C, RF free) SILVER SILVER • 1-7 of Open Telemark, Natural Turn, • Feather ending into Top Spin, moving DC Outside Swivel with Feather ending ALOD (underturned) • Weave from PP using Basic Weave alignments

F DW, RF free to go FORWARD in PROMENADE POSITION Precedes (figures that end F DW, RF free) Follows (figures that begin F DW, RF free) SILVER GOLD • Natural Twist Turn with Open Impetus • Curved Feather from PP Ending2 • Natural Zig Zag from PP At a corner • Hover Telemark ending in PP • Open Impetus

® ® Copyright © 2018 DVIDA FOXTROT DVIDA All Rights Reserved 76 F DW, LF free to go FORWARD Precedes (figures that end F DW, LF free) Follows (figures that begin F DW, LF free) BRONZE BRONZE • Feather Step • Three Step • Reverse Turn with Feather Finish • Reverse Wave3 • Basic Weave • Change of Direction • Natural Weave SILVER SILVER • Hover Telemark • Quick Open Reverse1 • Quick Natural Weave1 GOLD • Top Spin (overturned along side of room) At a corner • Open Telemark with Feather Ending • Fallaway Reverse and Slip Pivot • Weave from Promenade Position • Reverse Pivot1 At a corner • Hover Cross • Hover Feather • Natural Twist Turn with Hover Feather Ending2 • Natural Twist Turn with Closed Impetus and Feather Finish Ending2

GOLD • Bounce Fallaway with Weave Ending • Fallaway Reverse Slip Pivot • Natural Zig Zag from PP

® ® Copyright © 2018 DVIDA FOXTROT DVIDA All Rights Reserved 77 F DC, LF free to go FORWARD Precedes (figures that end F DC, LF free) Follows (figures that begin F DC, LF free) BRONZE BRONZE • Feather Step • Reverse Turn with Feather Finish • Closed Impetus with Feather Finish At a corner • Reverse Wave3 SILVER • Steps 1-2 of a Hover Telemark (with S S SILVER timing) • Quick Open Reverse1 • Natural Twist Turn with Hover Feather • Open Telemark, Natural Turn, Outside Swivel ending2 with Feather Finish Ending • Natural Twist Turn with Closed Impetus • Open Telemark with Feather Ending and Feather Finish Ending2 • Closed Telemark • Open Telemark, Natural Turn, Outside Swivel with Feather Finish Ending • Hover Feather (this figure may only be • Open Telemark with Feather Ending preceded by figures ending with a heel pull, • Hover Cross or Steps 1-2 of a Hover Telemark with S,S • Natural Telemark timing) • Hover Feather

At a corner: GOLD • Top Spin Open Telemark, Natural Turn, • Bounce Fallaway with Weave Ending Outside Swivel (underturned) with • Fallaway Reverse Slip Pivot Feather Finish Ending • Hover Cross • Natural Telemark

GOLD • Natural Hover Telemark At a corner • Fallaway Reverse and Slip Pivot to end F DC of NLOD

F C, LF free to go FORWARD Precedes (figures that end F C, LF free) Follows (figures that begin F C, LF free) BRONZE BRONZE At a corner • Basic Weave • 1-4 of Reverse Turn ending B W NLOD

GOLD At a corner • Curved Feather to Back Feather (with RF back check) to end B W of NLOD

F LOD, LF free to go FORWARD Precedes (figures that end F LOD, LF free) Follows (figures that begin F LOD, LF free) Bronze BRONZE • Feather Step • Three Step At a corner • Reverse Wave3 • Closed Impetus with Feather Finish At a corner • Change of Direction GOLD • Fallaway Reverse Slip Pivot GOLD • Curved Three Step1 At a corner • Fallaway Reverse and Slip Pivot

F DC ALOD, LF free to go FORWARD Precedes (figures that end B DW, LF free) Follows (figures that begin F DC ALOD, LF free) BRONZE BRONZE • 1-4 of Reverse Turn • Basic Weave • 1-4 of Reverse Wave3

B DC, RF free to go BACK Precedes (figures that end B DC, RF free) Follows (figures that begin B DC, RF free) BRONZE SILVER At a corner • Reverse Pivot1 • Closed Impetus

B LOD, RF free to go BACK Precedes (figures that end B LOD, RF free) Follows (figures that begin B LOD, RF free) BRONZE BRONZE At a corner • Feather Finish • Closed Impetus

GOLD • Curved Feather to Back Feather • Curved Three Step1 (ends F ALOD) • Extended Reverse Wave1

® ® Copyright © 2018 DVIDA FOXTROT DVIDA All Rights Reserved 79 B DC ALOD, RF free to go BACK Precedes (figures that end B DC ALOD, RF Follows (figures that begin B DC ALOD, RF free) free) BRONZE BRONZE • Closed Impetus • Feather Finish • Reverse Pivot1

B DW, LF free to go BACK Precedes (figures that end B DW, LF free) Follows (figures that begin B DW, LF free) BRONZE BRONZE • Closed Impetus with Feather Finish 1-3 of Natural Turn 1-6 of Reverse Wave3 SILVER • Open Impetus SILVER • 1-5 of Natural Twist Turn2 GOLD • Extended Reverse Wave1 (the preceding figure must end in CP) GOLD • Curved Feather From PP

DVIDA GOLD INTERNATIONAL FOXTROT ROUTINE (as demonstrated on video)

Figure Name Starting Ending Count Alignment Alignment

Wall 1 (Long)

LF forward (Preparation Step) F DC F DC S *Feather F DC F DC SQQ Bounce Fallaway F DC F DW S&QQ QQQQ Three Step F DW F DW SQQ Curved Feather to Back Feather F DW F DC NLOD SQQ SQQ (overturned)

Wall 2 (Short)

Feather F DC F DC SQQ Curved Three Step F DC B LOD SQQ Feather Finish B LOD F DW SQQ Hover Telemark to Promenade F DW P DW SQQ Curved Feather from Promenade F DW B LOD SQQ Open Impetus (underturned) B LOD P DC NLOD SQQ

Wall 3 (Long)

Feather Ending P DC F DC SQQ Reverse Turn F DC F DW SQQ SQQ Three Step F DW F DW SQQ Natural Hover Telemark F DW F DC SQQ SQQ Fallaway Reverse and Slip Pivot F DC F LOD QQQQ Open Telemark F DC P DW, body SQQ FW Natural Zig Zag from Promenade Position F DW, mov F DW SQQ QQ LOD Top Spin B ALOD F NLOD QQQQ

Wall 4 (Short)

1-6 Reverse Wave F LOD B LOD SQQ SQQ Extended Reverse Wave B LOD B LOD SQQ 4-6 Reverse Wave B LOD B LOD SQQ Open Impetus B LOD P DC SQQ Feather Ending P DC F DW SQQ NLOD Wall 1 (Long) Change of Direction F DW F DC SQQ Repeat from *

Tango Facts……………………………………………..….82

Syllabus Figures

INTERMEDIATE GOLD

23. FALLAWAY FOUR STEP *…………………….87

24. FALLAWAY SLIP PIVOT *……………………..89

25. CONTRA CHECK *…………………………...... 91

FULL GOLD

26. CHASE *………………………………………….93

27. CHASSE TO THE RIGHT*……………………...95

28. OVERSWAY *……………………………………97

29. MINI FIVE STEP*…………………………………99

30. FIVE STEP *………………………………….…101

Precedes and Follows…………………………….103 Routines……………………………………………..110

* Represents figures that are approved for NDCA Closed Gold Competition

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

General Technical Tips

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

See next page for additional information on the Walks.

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

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

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

Commence in CP, F LOD STEP FOOT DP DIREC / ALIGN TURN CBM FW CT SUMMARY # POSITION 1 LF fwd in CP Down LOD Com to turn 1 H Q QQQQ: CBMP L on 1 4 steps from 2 RF side and FallP To W, B DW 1/8 turn L Nil BH Q CP, to FallP, slightly back ALOD btw 1 & 2 to PP 3 LF back in FallP To W, B DW Nil Nil BH Q CBMP ALOD 4 RF closes to PP F DW NLOD Nil Nil BH Q LF slightly back

Notes: 1. This figure may also be danced at the side of room to end F DC.

2. At a corner, the Leader may commence F DW making 1/4 turn L (Follower making no turn) to end as in chart.

23. FALLAWAY FOUR STEP – FOLLOWER Intermediate Gold

Commence in CP, B LOD STEP FOOT DP DIREC / ALIGN TURN CBM FW CT SUMMARY # POSITION 1 RF back in CP Down LOD Com to turn Nil BH Q QQQQ: CBMP L on 1 4 steps from 2 LF side and FallP To W, B DW 1/8 turn R Nil BH Q CP, to FallP, slightly back btw 1 & 2 to PP 3 RF back in FallP To W, B DW Nil Nil BH Q CBMP 4 LF closes to RF PP F DC NLOD Nil Nil BH Q slightly back

Notes: 1. This figure may also be danced at the side of room to end F DC ALOD.

2. When the Leader commences F DW at a corner, the Follower will make no turn (Leader makes 1/4 turn L) to end as in chart.

Commence in CP, F DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 LF fwd in CBMP CP DC Com to L on 1 1 H Q QQQQ: 2 RF back, R side FallP B DW, 1/4 turn L btw Nil IE of Q LF forward leading mov LOD 1 & 2 BH to Fallaway & Slip Pivot 3 LF back in FallP LOD 1/8 turn L btw Nil BH Q CBMP 2 & 3 4 RF back, TTI CP To C, 1/4 to L btw 3 4 BHB Q (pivot), LF held end F & 4, 1/8 turn in CBMP DW L on 4

Note: The Leader may make 1/4 turn L on step 4 to end F LOD.

Commence in CP, B DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 RF back in CP DC Com to Nil BH Q QQQQ: CBMP turn L on RF back to 1 Fallaway & 2 LF back, L side FallP B DC, mov Nil Nil IE of Q Slip Pivot leading LOD BH 3 RF back in FallP DC, end F 5/8 turn L 3 B Q CBMP (pivot), C on 3 LF held in CBMP 4 LF fwd in CP To C, end B 1/8 turn L 4 BH Q CBMP (pivot), DW on 4 RF held in CBMP

Note: When the Leader makes 1/4 turn L on step 4 to end F LOD, the Follower will make 1/4 turn L on 4 to end B LOD.

Commence in CP, F DW STEP FOOT POSITION DP DIREC / TURN CBM FW CT SUMMARY # ALIGN 1 LF fwd in CBMP, Contra DW, Body 1 BF S SQQ: knees flexed Check P almost turns L on LF forward (checking action) LOD 1 to Contra 2 Transfer wt back CP DC Body Nil BH Q Check from to RF ALOD turns R CP to PP on 2 3 LF to side w/o wt PP F DW Nil Nil IE of B Q of LF

Commence in CP, B DW STEP FOOT POSITION DP DIREC / TURN CBM FW CT SUMMARY # ALIGN 1 RF back in Contra DW, Body 1 B S SQQ: CBMP, knees Check B almost turns L RF back to flexed (checking LOD Contra action) Check from 2 Transfer wt fwd CP DC Body Nil BH Q CP to PP to LF ALOD turns R 3 RF to side w/o wt PP F DC 1/4 turn Nil B of LF Q R btw 2 (foot & 3 flat), IE of B of RF

Commence in PP, P DW STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 LF side PP Down Nil Nil H S SQQ: LOD, 1-3 of P DW Closed 2 RF fwd and PP Down Com to 2 H Q Promenade across in LOD, turn R on 2 ended FW CBMP P DW from PP to 3 LF to side Prep F W 1/8 turn R Nil IE of BH Q Prep ROP and slightly ROP btw 2 & 3 fwd 4 RF fwd in ROP Almost 1/4 turn R 4 BH Q QQS: CBMP ALOD btw 3 & 4 RF Forward 5 LF back in ROP Almost 1/8 turn R 5 BH Q turning CBMP DW btw 4 & 5 Rock in ROP, end in PP 6 RF side, PP F DC 1/4 turn R Nil BH, then S small step btw 5 & 6 IE of B of LF

Notes: 1. Turn body sharply to R on step 4.

2. This figure may end in CP by underturning the Follower over steps 3-6.

3. Alternative endings after step 5 are: a. Chasse to R (RLR), cross LF behind RF in PP into Whisk, RF forward and across in PP and CBMP, place LF to side in PP w/o wt (Q&QSQQ or Q&QQQS) b. Chasse and Whisk as above, steps 2-3 of Promenade Link (Q&QSQQ or Q&QQQS) c. Chasse and Whisk as above, close RF to LF, place LF to side in PP w/o wt (Q&QS&S) d. Chasse to R (RLR), Progressive Link (Q&QQQ). This variation may be danced at a corner.

Commence in PP, P DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 RF side PP Down LOD, Nil Nil H S SQQ: P DC 1-3 of 2 LF fwd and PP Down LOD, Com to turn 2 H Q Closed across in P DC L on 2 Promenade CBMP from PP to 3 RF to side and Prep B W 1/8 turn L Nil IE of Q Prep ROP slightly back ROP btw 2 & 3 BH 4 LF back in ROP Almost 1/4 turn R 4 BH Q QQS: CBMP ALOD btw 3 & 4 LF Back 5 RF fwd in ROP Almost DW 1/8 turn R 5 H Q turning CBMP btw 4 & 5 Rock in ROP, end in PP 6 LF side, RF PP B DC, end 1/4 turn R Nil BH of S placed to side F DC ALOD btw 5 & 6, LF, IE w/o wt then 1/4 of B turn R on 6 of RF

Notes: 1. The Leader may end in CP in which case the Follower will turn 1/4 turn less over steps 3-6 to end B DC.

2. See alternative endings under Leader’s chart.

27. CHASSE TO THE RIGHT – LEADER Full Gold

Commence in CP, FC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 RF side CP FC Nil Nil BH Q QQS: RF chasse to R 2 LF closes to RF CP FC Nil Nil BH & 3 RF side CP FC Nil Nil BH Q

27. CHASSE TO THE RIGHT – FOLLOWER Full Gold

Commence in CP, B C STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 LF side CP B C Nil Nil BH Q QQS: 2 RF closes to RF CP B C Nil Nil BH & LF chasse to L 3 LF side CP B C Nil Nil BH Q

Commence in CP, F DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 LF fwd in CP DC Com to 1 H Q QQ: CBMP turn L on 1-2 of 1 Reverse 2 RF side and CP B LOD 3/8 turn Nil BH Q turn slightly back L btw 1 & 2 3 LF back, CP to Down LOD, L 3/8 turn Nil IE of S SS: end side Challenge toe Points L btw 2 BH of LF side to Line btw W and & 3 LF Challenge DW (R toe (IE of T Line and pointing DW of RF) Oversway ALOD) 4 Position Oversway Align held Slight Nil FW S held, L knee body held flexes turn L

Notes: 1. Endings: a) Transfer wt to RF and place LF to side in PP w/o wt (QQ) b) Close RF to LF and place LF to side in PP w/o wt (&S) c) Chasse to R (RLR) (Q&Q) then Cross LF behind RF in PP into: • Whisk, 2-3 of Promenade Link (SQQ or QQS) • Whisk, close RF to LF and place LF to side in PP w/o wt (S&S) d) Spin to R (RLR) (QQQ) up to a complete turn, and then place LF to side in PP w/o wt (Q) e) Spin to R (RL) (QQ), then continue as C above

2. Challenge Line: This is a strong Promenade Position where the Leader stretches both sides of the body strongly with a slight sway to the left, left leg straight and right leg extended to the side

3. Drop Oversway: This is a dramatic version of the Oversway. It is accomplished by holding very still on step 3 (Challenge Line) and abruptly dropping into the Oversway by strongly flexing L knee, using strong sway to right (Follower to left), lowering R shoulder and turning head to right.

Commence in CP, B DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 RF back in CP DC Com to turn 1 BH Q QQ: CBMP L on 1 1-2 of 2 L heel CP L toe 3/8 turn L Nil WF Q Reverse closes to R pointing btw 1 & 2, turn heel (heel down LOD BTL close) 3 RF fwd, end CP to Down 1/4 turn L Nil BH of S SS: side Challenge LOD, end btw 2 & 3 RF RF side to Line BW (IE of T Challenge (L toe of LF) Line and points DC Oversway ALOD) 4 Position Oversway Align held Body turns L Nil FW S held, held R knee flexes

See Leader’s notes for the various endings for the Oversway and descriptions for the Challenge Line and Drop Oversway.

Commence in CP, F DW STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 LF fwd in CP DW Nil Nil H Q QQQQ: CBMP 1-4 of Open 2 RF side and Prep B DC Nil Nil BH Q Reverse Turn slightly back ROP ALOD without turn 3 LF back in ROP DC ALOD Nil Nil BH Q CBMP 4 RF back CP DC ALOD Nil Nil BH Q 5 LF placed PP P DW Nil Nil IE of S S: side w/o wt B LF to side (w/o wt) in PP

Note: An alternate timing of QQS&S may be used.

Commence in CP, B DW STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 RF back in CP DW Nil Nil BH Q QQQQ: CBMP 1-4 of Open 2 LF side and Prep F DC ALOD Nil Nil WF Q Reverse slightly fwd ROP Turn 3 RF fwd in ROP F DC ALOD Nil Nil H Q without turn CBMP 4 LF fwd CP F DC ALOD Nil Nil B Q 5 RF placed PP P DC 1/4 turn Nil Lower L S S: side w/o wt btw 4 & 5 heel, IE of RF to side B of RF (w/o wt) in PP

Note: An alternate timing of QQS&S may be used.

Commence in CP, F DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 LF fwd in CP DC Com to 1 H Q QQQQ: CBMP turn L on 1 1-4 of 2 RF side and Prep ROP B LOD 3/8 turn L Nil BH Q overturned slightly back btw 1 & 2 Open 3 LF back in ROP DC 1/8 turn L Nil BH Q Reverse CBMP btw 2 & 3, Turn BTL 4 RF back CP DC Com to 4 BH Q turn L 5 LF placed PP P DW 1/4 turn L Nil IE of B S S: side w/o wt btw 4 & 5 LF to side (w/o wt) in PP

Notes: 1. The Five Step may start in other alignments or make different amounts of turn: a) F DW, 1/4 turn L then body turn R on 5 to end P DW NLOD b) F DC, 1/2 turn L to end P DW ALOD c) F DC, 5/8 turn L to end P W

2. An alternate timing of QQS&S may be used.

Commence in CP, B DC STEP # FOOT DP DIREC / TURN CBM FW CT SUMMARY POSITION ALIGN 1 RF back in CP DC Com to turn 1 BH Q QQQQ: CBMP L on 1 1-4 of 2 LF side and Prep P LOD 3/8 turn L Nil WF Q overturned slightly fwd ROP btw 1 & 2, Open BTL Reverse 3 RF fwd in ROP DC Slight body Nil H Q Turn CBMP turn L 4 LF fwd CP DC Nil Nil B Q 5 RF placed side PP P DC Nil Nil Lower L S S: w/o wt heel, IE RF to side of B of (w/o wt) in RF PP

Notes: 1. The Five Step may start in other alignments or make different amounts of turn: a) B DW, 1/4 turn L then body turn R on 5 to end P DC NLOD b) B DC, 1/2 turn L, then 1/4 turn R to end P DW c) B DC, 5/8 turn L, then 1/4 turn R to end P LOD

2. An alternate timing of QQS&S may be used.

DVIDA Tango Precedes and Follows by Alignment

In this table, alignments and free foot are for the Leader. F DC, LF free to go FORWARD Precedes (figures that end F DC, LF free) Follows (figures that begin F DC, LF free) BRONZE BRONZE • RF forward walk • LF forward walk (may not follow RF forward • Closed Promenade walk) • Natural Rock Turn • Progressive Side Step Reverse Turn • Open Promenade • Progressive Side Step • Back Corté • Open Reverse Turn (in ROP) • Basic Reverse Turn SILVER • Open Reverse Turn (in Line) • Promenade Link (also called Reverse Promenade Link) SILVER • Outside Swivel (turning left from Open • Outside Swivel (from Reverse Turn) Promenade) • Four Step GOLD At a corner • Fallaway Slip Pivot • Four Step • Oversway • Four Step Change • Five Step At a corner GOLD • Fallaway Slip Pivot • The Chase (ending in CP) • Chasse to Right At a corner • Fallaway Slip Pivot

F LOD, LF free to go FORWARD Precedes (figures that end F LOD, LF free) Follows (figures that begin F LOD, LF free) BRONZE BRONZE • RF forward walk • LF forward walk (may not follow RF forward • Closed Promenade walk) • Natural Rock Turn • Progressive Link • Open Promenade • Progressive Side Step

SILVER GOLD • Brush Tap At a corner • Fallaway Four Step GOLD • Fallaway Slip Pivot At a corner • Chasse to Right

F DW, LF free to go FORWARD Precedes (figures that end F DW, LF free) Follows (figures that begin F DW, LF free) BRONZE BRONZE • RF forward walk • LF forward walk (may not follow RF forward • Closed Promenade walk) • Progressive Side Step Reverse Turn • Progressive Link • Natural Rock Turn • Progressive Side Step • Open Promenade • Open Reverse Turn (in ROP) SILVER • Back Corte • Four Step • Basic Reverse Turn • Brush Tap • Open Reverse Turn (in Line) • Four Step Change At a corner • Natural (Right Rock Turn) • GOLD • Contra Check SILVER • Mini Five Step • Promenade Link At a corner • Brush Tap • Fallaway Four Step • Back Open Promenade (turn 1/4 L on 1st • Fallaway Slip Pivot step of next figure)

GOLD • Fallaway Reverse Slip Pivot At a corner • Chasse to Right

F W, LF free to go FORWARD Precedes (figures that end F W, LF free) Follows (figures that begin F W, LF free) BRONZE BRONZE • RF forward walk • LF forward walk (may not follow RF forward • Closed Promenade walk) • Open Promenade • Progressive Link At a corner • Natural Rock Turn SILVER • Four Step • Four Step Change (overturned) SILVER • Promenade Link • Outside Swivel (from Reverse Turn) • Back Open Promenade (turn 1/8 L on 1st step of next figure)

F C, LF free to go FORWARD Precedes (figures that end F C, LF free) Follows (figures that begin F C, LF free) GOLD • Progressive Link At a corner

• Chasse to Right

F DW ALOD, LF free to go FORWARD Precedes (figures that end F DW ALOD, Follows (figures that begin F DW ALOD, LF free) LF free) BRONZE BRONZE • RF forward walk • LF forward walk (may not follow a RF forward walk) SILVER • Progressive Side Step • Back Open Promenade SILVER • Four Step Change (overturned) • Four Step (overturned)

P DW, LF free in PP Precedes (figures that end P DW, LF free) Follows (figures that begin P DW, LF free) BRONZE BRONZE • RF forward walk (turn to PP) • Closed Promenade • Progressive Link • Natural Twist Turn • Natural Twist Turn • Natural Promenade Turn At a corner • Open Promenade • Natural Twist Turn • Natural Promenade Turn SILVER • Promenade Link SILVER • Fallaway Promenade • Four Step • Back Open Promenade

GOLD GOLD • Contra Check • The Chase • Five Step • Mini Five Step At a corner • Fallaway Four Step • Five Step

P DC, LF free in PP Precedes (figures that end P DC, LF free) Follows (figures that begin P DC, LF free) BRONZE BRONZE • RF forward walk (turn to PP) • Closed Promenade • Progressive Link • Open Promenade • Natural Twist Turn • Natural Promenade Turn (along side of room)

GOLD • Fallaway Four Step (along side of room) • The Chase

P W, LF free in PP Precedes (figures that end P W, LF free) Follows (figures that begin P W, LF free) BRONZE BRONZE • RF forward walk (turn to PP) • Closed Promenade • Open Promenade SILVER • Fallaway Promenade

GOLD • Five Step

P LOD, LF free in PP Precedes (figures that end P LOD, LF free) Follows (figures that begin P LOD, LF free) BRONZE BRONZE • RF forward walk (turn to PP) • Closed Promenade • Progressive Link • Open Promenade • Natural Twist Turn • Natural Promenade Turn (danced along SILVER side of room) • Promenade Link

SILVER • Four Step At a corner • Four Step

F DW, RF free to go FORWARD Precedes (figures that end F LOD, RF free) Follows (figures that begin F LOD, RF free) BRONZE BRONZE • LF forward walk • RF forward walk • Progressive Side Step • Natural Rock Turn At a corner • 1-3 of Natural Promenade Turn

F LOD, RF free to go FORWARD Precedes (figures that end F LOD, RF free) Follows (figures that begin F LOD, RF free) BRONZE BRONZE • Progressive Side Step • RF forward walk

® ® Copyright © 2018 DVIDA TANGO DVIDA All Rights Reserved 107 F C, RF free to go SIDE Precedes (figures that end F LOD, RF free) Follows (figures that begin F LOD, RF free) GOLD GOLD • 1-5 of The Chase • Chasse to Right

F DC, RF free to go FORWARD Precedes (figures that end F DC, RF free) Follows (figures that begin F DC, RF free) BRONZE BRONZE • Progressive Side Step • RF forward walk • 1-3 of Natural Promenade Turn (along side of Room)

F W, RF free to go FORWARD Precedes (figures that end F W, RF free) Follows (figures that begin F W, RF free) GOLD Gold • Oversway • Transfer wt to RF to PP

B LOD, LF free to go BACK Precedes (figures that end B LOD, LF free) Follows (figures that begin B LOD, LF free) BRONZE BRONZE • RF forward walk (ending F ALOD) • LF back walk • 1-4 of Progressive Side Step Reverse Turn • 5-10 of Progressive Side Step Reverse Turn • RF Rock • Back Corté (moving DC) At a corner • LF Rock • Natural Twist Turn (ending in CP)

B DC, LF free to go BACK Precedes (figures that end B DC, LF free) Follows (figures that begin B DC, LF free) BRONZE BRONZE • RF forward walk (ending F DW ALOD) • LF back walk • Natural Twist Turn (ending in CP) • Back Corté (moving LOD) • RF Rock At a corner • Natural Twist Turn (ending in CP)

B DC ALOD, LF free to go BACK Precedes (figures that end B DC ALOD, Follows (figures that begin B DC ALOD, LF free) LF free) BRONZE SILVER • RF forward walk (ending F DW) • Outside Swivel (Turning Left) Taken From • Natural Twist Turn (ending in CP) Open Promenade • Back Corté (moving C)

B LOD, RF free to go BACK Precedes (figures that end B LOD, RF free) Follows (figures that begin B LOD, RF free) BRONZE BRONZE • LF Rock • Closed or Open Finish • RF Rock

DVIDA GOLD INTERNATIONAL TANGO ROUTINE (as demonstrated on Video)

Starting Ending Figure Name Count Alignment Alignment

Wall 1 (Short)

2 Tango Walks F DW F LOD SS Fallaway Four Step F LOD F NLOD QQQQ (underturned)

Wall 2 (Long)

Promenade Link F LOD F DC QQ Fallaway Slip Pivot F DC F DW QQQQ Contra Check F DW F DW SQQ Chase F DW F DC SQQQQS Promenade Link F DC F DC SQQ Five Step (3/4 turn) F DC F DW QQQQS Promenade Link F DW F DW SQQ Mini Five Step (1/4 turn) F DW F DW of NLOD QQQQS

Wall 3 (Short)

1-5 of Chase F DW F DW SQQQQ Chasse to R F DW F DW NLOD Q&Q

Wall 4 (Long)

Progressive Link F DW F DC QQ Promenade Link F DC F DC SQQ Fallaway Slip Pivot F DC F DC QQQQ Oversway F DC F DW QQSS Recover to PP F DW F DW QQ Promenade Link F DW F DW N LOD SQQ Repeat from Wall 1

Quickstep Facts111…….………………………………………………..111

Syllabus Figures

INTERMEDIATE GOLD

24. RUMBA CROSS*………..……….………………………….…114

25. HOVER CORTE*…………....…………………………………116

26. TIPSY CHASSE TO THE RIGHT*...………..………..………118

27. TIPSY CHASSE TO THE LEFT*.………….…………………120

28. ZIG ZAG BACK LOCK RUNNING FINISH**…………..……..122

FULL GOLD

29. SIX QUICK RUN*…..………………………………..………….124

30. RUNNING SPIN TURN***..…….……………………….……..126

31. CROSS CHASSE**…………………………..………………...128

32. RUNNING CROSS CHASSE***...….……………….……….…130

33. PASSING NATURAL TURN***……………………..……………132

34. CHANGE OF DIRECTION**………………………...………...…134 Precedes and Follows……………………………………………….136 Routines………………………………………………………………..141

* Represents figures approved for NDCA Closed Gold Competition ** Represents figures approved for NDCA Closed Bronze Competition ***Represents figures that are not approved for NDCA Competition

Quickstep History Quickstep developed from the original Foxtrot with its kicks, fast pace and high spirits. As Foxtrot slowed down and smoothed out, its predecessor, “Quick Time Foxtrot” (sometimes referred to as “Quick Time Foxtrot and Charleston”) developed into “Quick Step Foxtrot” and eventually Quickstep.

The English continued to refine and develop Quickstep, including Waltz like elements and retaining its high-energy Charleston influences, runs, skips and fast chassés, reminiscent of Harry Fox’s Trot.

Frank Ford and Molly Spain from England danced their version of the Quickstep at the 1927 Star Championships, as a couple’s dance (rather than as a solo dance), without the Charleston leg action. The couple’s part stuck, yet, in competition today, the kicks, Charleston moves, and fast footwork have returned.

The late Alex Moore describes Quickstep as “… a dance that can never grow stale, a dance that is unquestionably the most attractive expression of rhythm the world has ever known.”

Characteristics: Quickstep is light and quick, exciting and fun to dance, employs rise and fall, changes of rhythm, swing and sway.

Musical Information • Time Signature: 4/4 • Tempo: 48-52mpm (192-208bpm) for Pro/Am, Professional, and Amateur Competitions • Count (most common for Bronze Level): SQQS, SQQ, SSS • Beat Value: Slow = 2 beats Quick = 1 beat, SQQS = 2,1,1,2 SQQ =2-1-1, SSS = 2,2,2 • Counting in Beats and Bars: 1234, 2234, 3234, 4234, etc. • Counting in Phrases: 12345678, 2234568, 32345678, 42345678, etc. • It is best to start dancing at the beginning of a 4-measure (16 count) phrase.

Similarities to Waltz Quickstep and Waltz share some common figures: • Impetus • Spin turn • Chassés • Locks

Footwork SQQS Footwork SQQS Footwork SQQ Footwork SQQ Footwork (starting forward) (starting backward) (starting forward) (starting backward)

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

Rise and Fall The Rise and Fall will be a bit faster in Quickstep because of the speed of the music.

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

In Quickstep, most figures fall into two categories; figures with 4 weight changes (Chassés and Locks), and figures with 3 weight changes (1-3 of Natural turn, Chassé Reverse Turn). The rise and fall for these two types of figures are:

Four step figures • Forward Movement o Commence to rise end of 1. o Continue to rise on 2 and 3. o Up on 4, lower end of 4. • Backward Movement o Commence to rise end of 1, NFR. o Continue to rise on 2 and 3. o Up on 4, lower end of 4.

Three step figures: • Leader’s part (Commencing Forward) o Commence to rise end of 1. o Up on 2. o Up on 3, lower end of 3. • Follower’s part (commencing Backward) o Commence to rise end of 1, NFR. o Up on 2. o Up on 3, lower end of 3.

The following is a list of some of the figures that contain exceptions to these rules. The “rise and fall” for these figures is clearly outlined in the charts:

• Quarter Turn to Left • Closed Impetus • Natural Spin Turn • Running Finish • Natural Pivot Turn • Natural Turn with Hesitation

Preparation Step: This is a forward step on the LF for Leader and a backward step on the RF for Follower that is danced on counts 7, 8 of the last measure of the introductory phrase of music. This allows for a natural way to get started, since most basic figures begin with the Leader’s right foot (between the Follower’s feet), which without the preparation step, would be an uncomfortable start.

Single Walk: A forward walk for Leader (with a corresponding back walk for Follower) may be used as a connector between figures.

The single walk is danced with a “Slow” count, with no rise. The footwork is heel for Leader, and “Toe-heel” for Follower. The LF forward walk is danced in line, whereas the RF forward walk may be danced in line or in right outside position.

Examples: • Quarter Turn to Left, LF forward walk in line, Natural Spin Turn. • Natural Pivot Turn, RF walk in line, Progressive Chassé to the Right. • Running Finish, RF forward walk outside partner, Chassé Reverse Turn.

Movement Due to the speed of the music, the steps: 1. The size of a step with a “Slow” (2 beats) should be comfortable enough to transfer the body weight from one foot to the next within the 2 beats. A corresponding Q (1 beat) would be half the size of the S and a corresponding & (1/2 beat) would be half the size of a Q. 2. Compared to Waltz and Foxtrot there is less time to rise and lower. Therefore, the dance appears to be on straighter legs.

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

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward, CP F LOD Slight Nil Rise HT Q S QQS: long step turn R at e/o 1 Rumba 2 RF crosses CP F W end of Nil Up T Q R Cross in behind LF step 1 CP

3 LF side and CP B 1/4 turn Nil Up on THB S S slightly back LOD, R btw 2 & 3, lower (pivot), RF end F 3, then e/o 3 held in LOD 1/2 turn CBMP R on 3

Notes:

1. If Rumba Cross is preceded by 1-5 of Natural Turn, L sway would be used on step 5, which could be held at the beginning of step 1.

2. The Rumba Cross may be danced twice.

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CB RISE & FW CT SWAY SUMMARY POSITION M FALL 1 RF back, CP B LOD Slight turn Nil Rise e/o T Q S QQS: long step R at end of 1 Rumba step 1 Cross in CP 2 LF crosses CP B W 1/4 turn R Nil Up T Q L in front of btw 1 & 2 RF 3 RF fwd btw CP F 1/4 turn R Nil Up on 3, TH S S partner’s LOD, btw 2 & 3, lower feet end then 1/2 e/o 3 (pivoting B LOD turn R on 3 action)

Notes:

1. If Rumba Cross is preceded by 1-5 of Natural Turn, R sway would be used on step 5, which could be held at the beginning of step 1.

2. The Rumba Cross may be danced twice.

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back CP B LOD Com to Nil Com to TH S S SSS: turn L on 1 rise e/o 1, Hover NRF Corté 2 LF side CP F C, 3/8 turn L Nil Cont to T S R and slightly end F btw 1 & 2, rise on 2 fwd DC BTL, body ALOD cont to turn L on 2 3 Transfer wt Prep B DC Nil Nil Up on 3, TH S S to RF, side ROP ALOD lower e/o and slightly 3 back

Note: May be commenced B DC, in which case 1/4 or 3/8 turn may be made.

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd CP F Com to Nil Com to HT S S SSS: LOD turn L on 1 rise e/o 1 Hover 2 RF side, LF CP F C, 1/4 turn L Nil Cont to T, S L Corté brushes end F btw 1 & 2, rise on 2 IE of toward LF DC cont to turn T of ALOD 1/8 L on 2 LF 3 LF diag fwd Prep F DC Nil Nil Up on 3, TH S S ROP ALOD lower e/o 3

Note: May be commenced F DC, in which case 1/4 or 3/8 turn may be made.

Commence in CP, APF (According to Previous Figure) STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF side, CP APF Nil, or Nil Slight rise T Q S Q&Q: small step APF up to on 1 & 2, A RF 2 LF moves CP APF 3/8 to Nil lower e/o 2 T & L chassé toward RF L or R to the 3 RF side, CP Nil Down w/ IE of T Q L Right, small step sharp of RF, RLR flexing of IE of T the knees of LF

Note: 1. When danced after a LF forward, any turn on Tipsy may only be to L. When danced after a LF back, any turn on Tipsy may only be to R. 2. An alternate sway of “SSR” may be used.

Commence in CP, APF (According to Previous Figure) STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF side, CP APF Nil, or Nil Slight rise T Q S Q&Q: small step APF up to on 1 & 2, A LF 2 RF moves CP APF 3/8 to R Nil lower e/o T & R chassé to toward RF or L 2 the Left, 3 LF side, CP Nil Down IE of T Q R LRL small step w/sharp of LF, flexing of IE of T the knees of RF

Notes: 1. When danced after a LF forward, any turn on Tipsy may only be to L. When danced after a LF back, any turn on Tipsy may only be to R.

2. An alternate sway of “SSL” may be used.

Commence in CP, APF (According to Previous Figure) STEP # FOOT DP ALIGN TURN C RISE & FW CT SWAY SUMMAR POSITION B FALL Y M 1 LF side, CP APF Nil, or Nil Slight rise T Q S Q&Q: small step APF up to on 1 & 2, A LF 2 RF moves CP APF 3/8 to R Nil lower e/o 2 T & L chassé toward RF to the 3 LF side, CP Nil Down IE of T Q L Right, small step w/sharp of RF, RLR flexing of IE of T the knees of LF

Notes: 1. May be preceded by a step back in CP, or in ROP and CBMP 2. An alternate sway of “SSL” may be used.

Commence in CP, APF (According to Previous Figure) STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF side, CP APF Nil, or Nil Slight rise T Q S Q&Q: small step APF up to on 1 & 2, A RF 2 LF moves CP APF 3/8 to Nil lower e/o 2 T & R chassé to toward RF R the Right, 3 RF side, CP Nil Down w/ IE of T Q R RLR small step sharp of RF, flexing of IE of T the knees of LF

Notes: 1. May be preceded by a step forward in CP, or in ROP and CBMP 2. An alternate sway of “SSL” may be used.

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward CP F LOD Com to 1 Nil HT S S SSS: turn L Quick Open on 1 Reverse 2 RF side Prep B W 1/4 Nil Nil TH S S (danced ROP turn R SSS) btw 1 & 2 3 LF back in ROP B DW 1/8 Slig Com to rise TH S S QQS: CBMP turn R ht e/o 3, NFR 2-4 of Back btw 2 Lock & 3, BTL 4 RF back ROP B DW Nil Nil Cont to rise T Q S on 4 & 5

5 LF crosses ROP B DW Nil Nil T Q S in front of RF 6 RF diag ROP B DW Nil Nil Up on 6, TH S S back lower e/o 6 7 LF back in ROP B DW Com to 7 Rise e/o 7 T S L SQQ: CBMP turn R Running on 7 Finish 8 RF side CP P LOD 3/8 Nil Up T Q L and slightly turn R forward btw 7 & 8, BTL 9 LF forward, Prep F LOD Body Nil Up on 9, TH Q S L side ROP turn R lower e/o 9 leading

Notes: 1. On steps 4 & 6 “Right Side Leading” is not necessary as the R side is already leading due to the BTL between steps 2 & 3.

2. An alternate count of “QQS” may be used on steps 7-9.

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITIO FALL N 1 RF back CP B LOD Com to turn 1 Nil TH S S SSS: L on 1 Quick Open 2 LF closes Prep P DW 3/8 turn R Nil Nil H S S Reverse to RF, ROP btw 1 & 2, (danced (heel BTL SSS) turn) 3 RF fwd in ROP F DW Nil Slig Com to HT S S QQS: CBMP ht rise e/o 3 2-4 of Back 4 LF diag ROP F DW Nil Nil Cont to T Q S Lock fwd rise on 4 5 RF ROP F DW Nil Nil & 5 T Q S crosses behind LF 6 LF diag ROP F DW Nil Nil Up on 6, TH S S fwd lower e/o 6 7 RF fwd in ROP F DW Com to turn 7 Rise e/o 7 HT S R SQQ: CBMP R on 7 Running 8 LF side CP B DC 1/4 turn R Nil Up T Q R Finish btw 7 & 8 9 RF back, Prep B LOD 1/8 turn R Nil Up on 9, TH Q S R side ROP btw 8 & 9 lower e/o leading 9

Notes:

1. On steps 4 & 6 “Left Side Leading” is not necessary as the L side is already leading due to the BTL between steps 2 & 3.

2. An alternate count of “QQS” may be used on steps 7-9.

Commence in CP, B DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back ROP B DC Com 1 Rise e/o T Q Nil QQQ: to turn preceedi RF back, L on 1 ng step, side and NFR, Up slightly fwd, 2 LF side and Prep P DW 1/4 Nil Up T Q Nil RF fwd in slightly fwd ROP turn L CBMP from btw 1 CP to ROP & 2, BTL 3 RF forward ROP F DW Nil Nil Up T Q Nil QQQ: in CBMP 2-4 of Forward Lock 4 LF diag fwd ROP F DW Nil Nil Up T Q Nil

5 RF crosses ROP F DW Nil Nil Up T Q Nil behind LF 6 LF diag fwd Prep F DW Nil Nil Up on 6, TH Q Nil ROP Lower e/o 6

29. SIX QUICK RUN -- FOLLOWER Full Gold

Commence in CP, F DC STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 LF fwd ROP F DC Com to 1 Rise e/o T Q Nil QQQ: turn L preceeding Leader’s on 1 step, Up Quick Open 2 RF side Prep P DW 1/ turn Nil Up T Q Nil Reverse, and slightly ROP L btw 1 (danced back & 2, QQQ) BTL 3 LF back in ROP B DW Nil Nil Up T Q Nil QQS: CBMP 2-4 of 4 RF diag ROP B DW Nil Nil Up T Q Nil Forward back Lock 5 LF crosses ROP B DW Nil Nil Up T Q Nil in front of RF 6 RF diag Prep B DW Nil Nil Up on 6, TH Q Nil back ROP Lower e/o 6

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF back CP B LOD, 1/2 turn 1 Nil THB S Nil SS: (pivot), end F R on 1 4-5 of RF held in LOD Natural CBMP SpinTurn 2 RF forward CP F LOD Cont to 2 Rise HT S Nil in CBMP turn R e/o 2 on 2 3 LF side and CP B DC 3/8 turn Nil Up on 3 T Q Nil QQS: slightly back R btw 2 3 back & 3 steps (LRL) 4 RF back, R Prep B DC Nil Nil Up on 4 T Q L from CP to side leading ROP ROP 5 LF back in ROP B DC Nil Nil Up on TH S L CBMP, 5, lower small step e/o 5

Commence in CP, F LOD STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF fwd CP F LOD, 1/2 turn 1 Nil HT S Nil SS: (pivoting end B R on 1 4-5 of action) LOD Natural 2 LF back CP Toward Cont to Nil Rise T S Nil SpinTurn and slightly Alignment turn R e/o 2 side of 3 on 2 3 RF fwd CP F DC 3/8 turn Sligh Up on 3 T Q Nil QQS: and slightly R btw 2 t 3 forward side & 3 steps (RLR) 4 LF fwd, L Prep F DC Nil Nil Up on 4 T Q R from CP to side ROP ROP leading 5 RF fwd in ROP F DC Nil Nil Up on TH S R CBMP 5, lower e/o 5

Commence in Prep ROP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF fwd in ROP F DW Nil Nil Nil H S S SS: CBMP 2 forward 2 LF fwd CP F DW Nil Nil Rise e/o 2 HT S S walks in ROP 3 RF side CP F DW Nil Nil Up on 3 T Q L ending in CP QQ: Chassé R

Commence in Prep ROP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP B DW Nil Nil Rise e/o 2, TH S S QQ: NFR Chassé L 2 LF side CP B DW Nil Nil Up on 3 T Q L 3 RF closes CP B DW Nil Nil Up on 4, TH Q L to LF lower e/o 4

Commence in PREP ROP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF forward in ROP F DW Nil Sligh Com to HT S S SSQQ: CBMP t rise e/o 1 Running 2 LF forward CP F DW Nil Sligh Cont to T S R Cross t rise on 2 Chassé 3 RF diag CP F DW Nil Nil Up on 3 T Q R forward

Commence in PREP ROP, B DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF back in ROP B DW Nil Slight Com to rise TH S S SSQQ: CBMP e/o 1, NFR Running 2 RF back CP B DW Nil Slight Cont to rise T S L Cross on 2 Chassé 3 LF diag CP B DW Nil Nil Up on 3 T Q L back

Commence in PP, P DW STEP # FOOT DP ALIGN TURN CBM RISE & FW C SWAY SUMMARY POSITION FALL T 1 RF forward PP P DW Com to 1 Com to HT S S SQQ: in CBMP Mov turn to R rise e/o 1 Passing LOD on 1 Natural 2 LF side CP B DC 1/4 turn Nil Cont to T Q R Turn and slightly R btw 1 & rise on 2 back 2 3 RF back, R Prep B LOD 1/8 turn Nil Up on 3, TH Q R side ROP R btw lower e/o leading 2 & 3 3 (see note)

Note:

On step 3, the body turns slightly farther than the feet to create R side leading.

Commence in PP, P DC STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF forward PP P LOD Com to 1 Com to HT S S SQQ: and across turn to rise e/o 1 Passing in CBMP R on 1 Natural 2 LF forward, CP F LOD 1/8 turn Nil Cont to T Q L Turn small step R btw 1 rise on 2 btw & 2 partner’s feet 3 LF fwd, L PreP F LOD Nil Nil Up on 3, TH Q L side leading ROP lower e/o 3

Commence in CP, F DW STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd CP F DW Com to 1 Nil H S S SSS: turn L Change 2 RF diag CP Toward 1/4 turn Nil Nil IE of S S of fwd, R side Alignment L over TH Direction leading of 3 2 - 3 3 LF closes to CP F DC Nil Nil IE of S S RF, slightly T of fwd w/o wt. LF ends in CBMP

Commence in CP, B DW STEP FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY # POSITION FALL 1 RF back CP F DW Com to 1 Nil TH S S SSS: turn L Change 2 LF diag CP Toward 1/4 turn Nil Nil T of S S of back, L side Alignment L over LF, Direction leading of 3 2 - 3 then IE of T of LF, TH 3 RF closes CP B DC Nil Nil IE of T S S toward LF, of RF slightly back w/o wt. w/o wt.

DVIDA QUICKSTEP PRECEDES AND FOLLOWS BY ALIGNMENT

In this table, alignments and free foot are for the Leader. Due to the fact that the Tipsy Chassé to Right and Tipsy Chassé to Left take their starting alignment from the previous figure, they are listed separately at the end of this chart with their precedes and follows. Superscripts refer to the following notes: 1. This figure is not allowed in NDCA competitions. 2. This figure is Gold Level for NDCA competitions. 3. This figure is Bronze Level for NDCA competitions. 4. This figure is not allowed in NDCA competitions and does not have a figure chart in the Syllabus. It is used only in the dance demonstration on the DVD.

F DW, RF free to go FORWARD Precedes (figures that end F DW, RF free) Follows (figures that begin F DW, RF free) BRONZE Unless noted otherwise, these figures can begin in • Progressive Chassé (ends Prep ROP) CP or ROP. • Forward Lock (ends Prep ROP) • Tipple Chassé to Right (ends Prep ROP) BRONZE At a corner • Quarter Turn to Right • Running Finish (ends Prep ROP) • Forward Lock (starts in ROP) • Tipple Chassé to Right (ends Prep ROP) • Natural Turn with Hesitation • Natural Pivot Turn (ends CP) • Natural Spin Turn • Natural Turn and Back Lock SILVER • Natural Pivot Turn • V6 (ends ROP) At a corner • Four Quick Run (ends Prep ROP) • Natural Spin Turn • Fishtail (ends Prep ROP) • Closed Telemark (ends Prep ROP) SILVER • Running Right Turn GOLD • Fishtail (starts in ROP) • Six Quick Run (ends Prep ROP) • Tipple Chassé to Left1 • Cross Chassé3 (ends Prep ROP) GOLD • Cross Chassé3 (starts in ROP) • Running Cross Chassé1 (starts in ROP)

F DC, RF free to go FORWARD Precedes (figures that end F DC, RF free) Follows (figures that begin F DC, RF free) BRONZE SILVER • Progressive Chassé • Fishtail • Running Finish

SILVER • Cross Swivel2

F LOD, RF free to go FORWARD Precedes (figures that end F LOD, RF free) Follows (figures that begin F LOD, RF free) BRONZE All figures can begin in CP or ROP. • Progressive Chassé (ends Prep ROP) • Running Finish (ends Prep ROP) BRONZE • Natural Pivot Turn (ends in CP) • Quarter Turn to Right At a corner At a corner • Running Finish (ends Prep ROP) • Natural Turn and Back Lock • Natural Pivot Turn (ends in CP)

SILVER • V6 (ends Prep ROP) • Running Right Turn (ends in CP)

GOLD • Rumba Cross (ends in CP) • Zig Zag Back Lock and Running Finish3 (ends Prep ROP)

P DW, RF free to go FORWARD in PP Precedes (figures that end P DW, RF free) Follows (figures that begin P DW, RF free) SILVER GOLD Open Telemark4 • Passing Natural Turn1

F DW, LF free to go FORWARD Precedes (figures that end P DW, LF free) Follows (figures that begin P DW, LF free) BRONZE BRONZE • Quarter Turn to Left • Double Reverse Spin • Double Reverse Spin • Reverse Pivot SILVER At a corner • Cross Swivel2 • Natural Turn with Hesitation • Reverse Pivot GOLD • Cross Chassé • Running Cross Chassé1 • Change of Direction3

F DC, LF free to go FORWARD Precedes (figures that end F DC, LF free) Follows (figures that begin F DC, LF free) BRONZE BRONZE • Natural Turn with Hesitation • Progressive Chassé to Right • Double Reverse Spin • Double Reverse Spin • Reverse Pivot • Chassé Reverse Turn At a corner • Natural Turn with Hesitation SILVER • Reverse Pivot • Quick Open Reverse • Closed Telemark GOLD • Change of Direction3 GOLD • Zig Zag Back Lock and Running Finish3

F LOD, LF free to go FORWARD Precedes (figures that end F LOD, LF free) Follows (figures that begin F LOD, LF free) BRONZE BRONZE • Quarter Turn to Left • Progressive Chassé to Right • Natural Turn with Hesitation • Double Reverse Spin • Double Reverse Spin • Reverse Pivot SILVER At a corner • Quick Open Reverse • Natural Turn with Hesitation • Reverse Pivot GOLD • Rumba Cross • Zig Zag Back Lock and Running Finish3

B LOD, RF free to go BACK Precedes (figures that end B LOD, RF free) Follows (figures that begin B LOD, RF free) BRONZE BRONZE • Quarter Turn to Right • Quarter Turn to Left • Chassé Reverse Turn • Progressive Chassé • Reverse Pivot SILVER • Quick Open Reverse SILVER • Tipple Chassé to Left1 • Four Quick Run

GOLD • Hover Corté

B DC, RF free to go BACK Precedes (figures that end B DC, RF free) Follows (figures that begin B DC, RF free) BRONZE BRONZE • Quarter Turn to Right • Quarter Turn to Left • Natural Spin Turn Progressive Chassé At a corner • Reverse Pivot • Natural Spin Turn • Closed Impetus SILVER • Four Quick Run SILVER • Tipple Chassé to Left (underturned)1 GOLD • Hover Corté GOLD • Six Quick run • Running Right Turn1 (ends Prep ROP)

B C, RF free to go BACK Precedes (figures that end B C, RF free) Follows (figures that begin B C, RF free) BRONZE BRONZE • Natural Spin Turn (underturned) • Reverse Pivot

B DC ALOD, RF free to go BACK Precedes (figures that end B DC ALOD, Follows (figures that begin B DC ALOD, RF free) RF free) BRONZE BRONZE • Natural Spin Turn (underturned) • Progressive Chassé • Closed Impetus • Reverse Pivot

B DW, LF free to go BACK Precedes (figures that end B DW, LF free) Follows (figures that begin B DW, LF free) BRONZE BRONZE • Progressive Chassé to Right (ends Prep • Back Lock ROP) • Running Finish • Back Lock (ends Prep ROP) • Tipple Chassé to Right (along side of room) At a corner • Closed Impetus • Natural Turn and Back Lock (ends Prep ROP)

B LOD, LF free to go BACK Precedes (figures that end B LOD, LF free) Follows (figures that begin B LOD, LF free) BRONZE BRONZE • Natural Turn and Back Lock • Running Finish • Closed Impetus GOLD • Passing Natural Turn1 (ends Prep ROP) GOLD • Running Spin Turn1 Due to the fact that the Tipsy Chassé to Right and Tipsy Chassé to Left take their starting alignment from the previous figure, they are listed separately below with their precedes and follows. TIPSY CHASSÉ TO RIGHT Precedes Follows BRONZE BRONZE • 1-4 of Natural turn • 2-5 of Forward Lock • Back Lock • Progressive Chassé to Right GOLD • Reverse Pivot and LF forward walk • Tipsy Chassé to Left • Double Reverse Spin and LF forward walk SILVER • Cross Swivel2 GOLD • Tipsy Chassé to Left • Hover Corté TIPSY CHASSÉ TO LEFT Precedes Follows BRONZE BRONZE • 1-4 of Tipple Chassé to Right • 2-5 of Back Lock • 2-8 of Tipple Chassé GOLD SILVER • Tipsy Chassé to Right • 2-12 of V6 GOLD • Tipsy Chassé to Right

DVIDA GOLD INTERNATIONAL QUICKSTEP ROUTINE (as demonstrated on video)

Beginning Ending Figure Name Count Alignment Alignment

Wall 1 (Short)

LF forward (Preparation Step) F DW F DW S *Natural Pivot Turn F DW F LOD SQQS RF Forward F LOD F LOD S Rumba Cross F LOD F LOD QQS Natural Spin Turn (underturned) F LOD B DC Against SQQ SSS NLOD

Wall 2 (Long)

Progressive Chasse (overturned) B DC ALOD F LOD SQQS Quick Open Reverse F LOD B LOD SQQ Hover Corte B LOD B DC ALOD SSS LF Back Walk BDC ALOD B DC ALOD S Tipsy Chasse to R B DC ALOD F ALOD Q&Q Tipsy Chasse to L F ALOD B DW Q&Q 2-4 of Back Lock B DW B DW QQS Running Finish B DW F LOD SQQ Natural Turn (with Hesitation) F LOD F NLOD SQQ SS(S)

Wall 3 (Long)

Zig Zag, Back Lock, Running F LOD F LOD SSS QQS Finish SQQ Fishtail F LOD F DW SQQQQS 1-3 Natural F DW B LOD SQQ Running Spin Turn B LOD B DC SS QQS Six Quick Run B DC F DW QQQQQQ Change of Direction F DW F DC NLOD SSS

Wall 4 (Short)

Open Telemark F DC P DW body F W SSS Passing Natural Turn P DW Body B LOD SQQ FW Running Finish B LOD F DW NLOD SQQ

Wall 1 (Long)

Viennese Waltz Facts…….………………………………………142

Syllabus Figures

FULL GOLD

7. REVERSE FLECKERL **..…………..…………………………145

8. CONTRA CHECK* ...…………………………………………....147

9. NATURAL FLECKERL*………………..………………………..149

Routines……………………………………………………………..151

• Represents figures that are approved for NDCA Closed Gold Competition. • Represents figures that are approved for NDCA Closed Silver Competition.

Viennese Waltz History

Viennese Waltz is both the oldest and newest Ballroom dance, having originated in the Sixteenth Century, but not being added to the International Style Syllabus until the 1950s.

Viennese Waltz is the precursor to Waltz (see “Waltz History”) as they share a common ancestry.

In 1787, Waltz began to appear on the operatic stages of Vienna. As the popularity of Waltz increased in Vienna, so did its tempo. Sometime in the early 1800s, Austrian composers such as Johann Strauss and Franz Lanner, increased the number of measures per minute in their Waltzes. The faster music required dancers to have greater technique and endurance.

This new version of Waltz became known as Viennese Waltz. Like Waltz, many considered the dance to be immoral. In a book written about good manners by the English author Miss Celbart, she advised that while it was permissible to dance Viennese Waltz if a lady were married, it was “too loose of character for maidens to perform.” Despite such contentions, Viennese Waltz continued to be extremely popular in Europe and America until the First World War, when it lost popularity and almost disappeared from the dance scene.

Early in the 1930s, it began a comeback in Germany largely thanks to Paul Krebs and a retired military man, Karl von Mirkowitsch who danced it in society mixers and ballrooms. In 1938, Mirkowitsch is credited with having it integrated in the International Ballroom dancing program.

In 1951, Paul Krebs successfully combined the Austrian Waltz tradition with the English style to become Viennese Waltz at the 1951 Blackpool Dance Festival in England. It was this merging -- the traditional rotary nature of Viennese Waltz and the newer patterns in Waltz – that was included into the International Style Dances.

In America, Viennese Waltz got its greatest boost from Slovenian settlers in and around Cleveland, Ohio. Frankie Yankovic, the Polka King, took it up enthusiastically and featured it around the world.

Differences between Ballroom (International Style) Viennese Waltz and Smooth (American Style) Viennese Waltz

Ballroom Viennese Waltz contains only closed figures (where the feet close on count 3), and the couple remains in closed position throughout the dance.

Smooth (American) Viennese Waltz contains both closed and open figures (where the feet pass on count 3) and may be danced in closed positions, open positions (with single, double, or no hand holds), and shadow positions.

Dance Characteristics Viennese Waltz is a progressive dance, moving counter clockwise around the floor in a series of left (reverse) and right (natural) turns linked by a 3-count forward “change step” to switch directions. Because of the speed of the music, the rise and fall is less than in Waltz, and the goal is create smooth and seamless weight transfers.

Musical Information

Time Signature: 3/4 • Tempo: 56-58mpm (168-174bpm) for Pro/Am, Professional, and Amateur Competitions • Count: 123, 123 • Beat Value: 1-1-1 • Alternative Teaching Count: 123, 456 • Counting in Beats and Bars, and Phrases: 123, 223, 323, 423, 523, 623, 723, 823 • It is best to start dancing at the beginning of an 8 measure (24 count) phrase. • Choreography: It is desirable to choreograph Viennese Waltz by phrasing in measures of eight. One way to accomplish this is to dance the Reverse Turns for eight measures, and then dance the Natural Turns for the next eight measures (accomplished by using change steps on measures 1 and 8). Then alternate throughout the dance.

Preparing to dance: There are three ways of starting to dance Viennese Waltz: 1. If starting with a Reverse Turn: Leader stands with weight on right foot and winds slightly rightward on the last measure of the introduction, to initiate movement on step 1 of the Reverse Turn.

2. If starting with a Natural Turn: Leader stands with weight on right foot and then steps back and slightly side with the left foot on the last measure of the introduction, winding slightly to the left to initiate movement on step 1 of the Natural Turn.

3. Alternative way of starting with a Natural Turn: Leader stands with weight on right foot and steps forward on left foot on the last measure of the introduction, winding slightly to the left to initiate movement on step 1 of the Natural Turn.

Sway Sway is used in the Natural Turn as a counterbalancing action to balance the swing and movement of the couple. The Reverse Turn does not use sway, because the action is more stepping rather than swinging. The change steps have slight sway, but not as much as the Natural Turn, since the change steps are used to change direction, so there cannot be as much swing.

Footwork • Natural and Reverse Turns o Starting forward: Heel-toe, Toe, Toe-heel o Starting backward: Toe Heel, Toe, Ball to flat

• Right and Left Foot Change o Starting forward: Heel Toe, Toe, Toe Heel o Starting backward: Toe Heel, Toe, Toe Heel

Rise and Fall Rise and Fall is less than in Waltz, due to the speed of the music and the desire to keep the dance relatively level and smooth. A rule of thumb is that you are never higher than your standing height, even when on your toes. This is accomplished by a corresponding soft bending of the knees to prevent popping up or rising too high. It is also important to remember to maintain the rise over counts 2 and 3, rather than continuing to rise on count 3 as in Waltz.

The term “slight rise” is used on count 2 in Viennese Waltz to indicate just a small amount of rise (as compared to Waltz which uses “continue to rise”).

• Forward half of Natural Turns, Reverse Turns, and Changes: Commence to rise e/o 1 Slight rise on 2 Maintain rise on 3, lower e/o 3

There is no foot rise (NFR) on back steps on count 1, only commencement of leg rise. • Back half of Natural Turns, Reverse Turns, and Changes: Commence to rise e/o 1, NFR Slight rise on 2 Maintain rise on 3, lower e/o 3

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

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

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd and CP May turn 1 Nil BH 1 S 1st Meas: slightly across, between 1 to 2 First half of btw partner’s complete turns Reverse feet to the left over Fleckerl 2 RF fwd, part wt. CP the 6 steps. Nil Nil B 2 S 3 LF crosses CP Alignment is Nil Nil BH 3 S loosely in front variable of RF depending on the turn made. 4 RF fwd CP Nil Nil BHB 1 S 1st Meas: 5 LF crosses CP Nil Nil B 2 S Second half behind RF, part of Reverse wt, twisting Fleckerl action 6 RF side CP Nil Nil BH 3 S

Notes: 1. Because of the strong rotation, there must be a swivel on the ball of the foot on each step.

2. When crossing the LF in front of the RF (on step 3), the toe of the LF should remain in place, which will result in the crossed position.

3. This figure should be danced in the center of the dance floor to not interfere with the dancers travelling on the outside of the floor.

4. This figure is danced after a Reverse Turn and followed by a Contra Check.

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF side and CP May turn between Nil Nil BHB 1 S 1st Meas: slightly back 1 to 2 complete First half of 2 LF crosses CP turns to the left Nil Nil B 2 S Reverse behind RF part over the 6 steps. Fleckerl wt, twisting Alignment is action variable 3 RF side, small CP depending on the Nil Nil BH 3 S step turn made. 4 LF fwd and CP 4 Nil BH 1 S 1st Meas: slightly across, Second half btw partner’s of Reverse feet Fleckerl 5 RF fwd, part wt CP Nil Nil B 2 S 6 LF crosses CP Nil Nil BH 3 S loosely in front of RF

Notes: 1. Because of the strong rotation, there must be a swivel on the ball of the foot on each step.

2. When crossing the LF in front of the RF (on step 6), the toe of the LF should remain in place, which will result in the crossed position.

3. This figure should be danced in the center of the dance floor to not interfere with the dancers travelling on the outside of the floor.

4. This figure is danced after a Reverse Turn and followed by a Contra Check.

Commence in CP, F LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF fwd in Contra F DC 1/8 turn L 1 Nil Foot 1 S 1st Meas: CBMP, Check btw 0 & 1 flat Contra small step Check 2 Transfer wt CP B 1/8 turn R Nil Nil T 2 S changing back to RF ALOD btw 1 & 2 from 3 LF side and CP B DC 1/8 turn R Nil Nil TH 3 S Reverse to slightly ALOD btw 2 & 3 Natural back, TTI rotation

Notes: 1. This figure is danced after the Reverse Fleckerl or Reverse Turn and followed with a Natural Fleckerl or Natural Turn.

2. Think of “Base, body, head” for correct execution of the Contra Check.

3. The alignments given in the charts are for reference only. The starting alignment may vary depending on the ending alignment of the previous figure.

Commence in CP, B LOD STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF back in Contra B DC 1/8 turn 1 Nil B 1 S 1st Meas: CBMP, small Check L btw 0 Contra step & 1 Check 2 Transfer wt CP F ALOD 1/8 turn Nil Nil BF 2 S changing fwd to LF R btw 1 from & 2 Reverse to 3 RF fwd, CP F DC 1/8 3 Nil BH 3 S Natural small step, ALOD turn R rotation btw partner’s btw 2 & feet 3

Notes: 1. This figure is danced after the Reverse Fleckerl or Reverse Turn and followed with a Natural Fleckerl or Natural Turn.

2. Alternative Footwork for step 2 is “Foot flat”.

3. The alignments given in the charts are for reference only. The starting alignment may vary depending on the ending alignment of the previous figure.

Commence in CP, in any alignment STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 RF fwd and CP May turn between 1 1 Nil BH 1 S 1st Meas: slightly to 2 complete turns First half of across btw to the right over the Natural partner’s feet 6 steps. Alignment is Fleckerl 2 LF fwd, part CP variable depending Nil Nil B 2 S wt. on the turn made. 3 RF loosely CP Nil Nil BH 3 S crosses in front of LF 4 LF side and CP Nil Nil H 1 S 1st Meas: slightly fwd Second half 5 RF crosses CP Nil Nil B 2 S of Natural behind LF, Fleckerl part wt, twisting action 6 LF side CP Nil Nil BH 3 S

Notes: 1. Because of the strong rotation, there must be a swivel on the ball of the foot on each step.

2. When crossing the RF in front of the LF (on step 3), the toe of the RF should remain in place, which will result in the crossed position.

3. This figure should be danced in the center of the dance floor to not interfere with the dancers travelling on the outside of the floor.

4. This figure may be danced after a Natural Turn or a Contra Check and followed with a Natural Turn.

Commence in CP, in any alignment STEP # FOOT DP ALIGN TURN CBM RISE & FW CT SWAY SUMMARY POSITION FALL 1 LF side and CP May turn Nil Nil H 1 S 1st Meas: slightly fwd between 1 to 2 First half of 2 RF crosses CP complete turns to Nil Nil B 2 S Natural behind LF part the right over the Fleckerl wt, twisting 6 steps. action Alignment is 3 LF side CP variable Nil Nil BH 3 S depending on the 4 RF fwd and CP 4 Nil BH 1 S 1st Meas: turn made. slightly across, Second btw partner’s half of feet Natural 5 LF side and CP Nil Nil B 2 S Fleckerl slightly fwd, part wt 6 RF crosses CP Nil Nil BH 3 S loosely in front of LF

Notes: 1. Because of the strong rotation, there must be a swivel on the ball of the foot on each step.

2. When crossing the RF in front of the LF (on step 6), the toe of the RF should remain in place, which will result in the crossed position.

3. This figure should be danced in the center of the dance floor to not interfere with the dancers travelling on the outside of the floor.

4. This figure may be danced after a Natural Turn or a Contra Check and followed with a Natural Turn.

Starting Alignment Meas Figure Name Count and Notes 1-6 Natural Turns F DC 123 x 6 7 RF Forward Closed Change F DC 123 8 1-3 of Reverse Turn F LOD 123 1 RF Back Closed Change B LOD 123 2 4-6 of Natural Turn B LOD 123 3-5 Natural Turns F DC 123 x 3 6 LF Back Closed Change B LOD 123 7 4-6 of Reverse Turn B LOD 123 8 Reverse Turn F DC Moving to 123 x 2 1 Center 2-5 Reverse Fleckerls Danced in Center 123 x 5 6 Contra Check 123 7-8 Natural Fleckerls 123 x 2 1-2 Natural Fleckerls 123 x 2 3-8 Natural Turns F DW Moving to 123 x 6 Outside 1 RF Forward Closed Change F DC 123 2-3 Reverse Turn Move to Center 123 x 2 4-7 Reverse Fleckerls Danced in Center 123 x 4 8 Contra Check 123 1-4 Natural Fleckerls 123 x 4 5-8 Natural Turns Move to Wall 123 x 4 1 1-3 of Natural Turn F DC 123 2 LF Back Closed Change B LOD 123 3 4-6 of Reverse Turn B LOD 123 4 1-3 of Reverse Turn F DW 123 5 RF Back Closed Change B LOD 123 6 4-6 of Natural Turn B LOD 123 7-8 Natural Turn F DC 123 x 2 1 RF Forward Closed Change F DC Move to 123 Center 2-7 Reverse Fleckerls Danced in Center 123 x 6 8 Contra Check 123 1-4 Natural Fleckerls 123 x 4 5 - 7 Natural Turns F DW Moving to 123 x 3 Outside 8 Roll Follower out to finish B LOD 123

Glossary of Ballroom Dance Terms

Action 1. A weight change that closely simulates a common movement or technique. See Pivot Action.

2. A movement, assigned a step number in the chart, that has no weight change associated with it. An example is steps 2 and 3 of the Quarter Turn Left - for Leader, in Quickstep.

Alignment This refers to the direction the feet are aimed relative to the room and to the line of dance. Alignment is used in Ballroom because dances progress around the dance floor. See also: CHART TERMS and ALIGNMENT DIAGRAM.

Amalgamation A combination of two or more movements, components, or complete figures.

Amount of Turn A measurement in fractions, of how much turn is made on one foot, or between two or more steps. The amount of turn, therefore, is determined by the feet, (not body). See also: CHART TERMS and AMOUNT OF TURN DIAGRAM.

Arc The natural “up and down” effect of the body when stepping from foot to foot. As the feet divide, the body moves closer to the floor. As the feet collect, the body returns to normal height. One can observe the arc effect and compare height differences, with feet apart vs. together, by walking toward a mirror. Note: Rise & fall are affected by arc.

Axis Center of rotation. There are three axes: 1. The point between two feet that twist, around which both sides of the body rotate evenly, also called Central, or Spinal Axis; 2. The point on one fixed side of the body, around which the free side rotates, also called Side Axis; 3. The point outside the perimeter of the body, in other words a point around which both the Leader and Follower may rotate, but neither occupy, also called Outside Axis, or Shared Axis

Backward Walk The precise, specific way to take a backward step in the Ballroom dances, which is essential for moving with grace and power. The example below uses the RF moving backward. The technique is the same for the LF.

• Stand in an upright position with the feet together. Weight is on the LF, poised slightly forward. • Begin by swinging the R leg backward from the hip joint, first with the ball of the foot in contact with the floor, then extending the foot so the toes skim the floor. As the toes of the RF move past the L heel, the toes of the LF begin to release from the floor, commencing to transfer weight onto the ball of the RF. • At the fullest extent of the stride, the weight is equally divided between the ball of the RF foot and the heel of the LF, with the R knee slightly flexed and the L knee straight. • The LF then commences to move backward, first with the heel and then with ball of the foot skimming the floor. • As the LF moves backward toward the RF, the R heel will lower slowly and with control. • When the weight is fully taken onto the RF, the LF will be almost closed to the RF without weight. • In Tango the feet will be slightly lifted off the floor and placed into position, rather than skimming the floor.