The Viennese Waltz II

by Roy & Phyllis Stier
March, 1992

FORWARD CHANGE: Usually called just Change Steps because it includes going from reverse to natural and natural to reverse, we will describe the features of both.

Reverse to Natural: From ending the Reverse Turn with the man facing LOD, he steps forward on his L (H/T) as he starts a LF turn with a slight lowering of the body. Ladies step backward on their R (T/H) and also slightly lower their body height while lowering to the heel. Step 2 is the completion of the LF turn as the man steps forward and partially sideward on his R toe, now facing DLC. Ladies step diagonally back on their L toe as both have slight body rise accompanied by a little left sway for the man (right for the lady). Step 3 is a closing one for both with no further turn as the sway is still maintained until what would be a shaping action to follow. In the Viennese there is no normal CBM or shaping as the rotation action does not require it. Both partners go from heel to toe as they lower at the end of step 3.

Natural to Reverse: Footwork for both partners is the same as in the Reverse to Natural, however, the 1/8 RF turn is made between the preceding step (on the man's L and lady's R) and the first step of the figure. There is a slight lowering of the body as the man's R is placed forward facing LOD and the lady's L on a backward step. With step 2 there is no further turn but the man's body is turned slightly more RF as he steps forward on his L toe with his left shoulder leading. Ladies have the opposite movement using the R toe moving backward with a right shoulder lead. Step 3 is a normal closing one where the man still faces LOD and both lowering at the end of the step. Note: The left sway for the man (lady right) is maintained on step 1, but the bodies straighten on 2 and remain so on 3.

RIGHT HINGE: This figure normally follows a Natural Turn (6 steps), which ends with the man facing DLC. Because of the faster dance tempo this hinge line takes six counts, including the recovery movement required. Step 1 for the man is to the side on his R to face approximately LOD where he lowers to a flat foot. Ladies have opposite footwork as they position themselves slightly to the man's right side. On step 2 the man holds his R in place and starts a RF body rotation with a small rise while developing a left sway. This will cause his L knee to veer inward as he keeps his right hip centered over the R leg. Ladies brush their R toward their L and start a RF turn. On step 3 the man continues his sideward movement and allows his R knee to flex a little more while maintaining his upper body position. Ladies will feel like they are starting a Fallaway as they continue the movement of their R having continued past the L in the brushing action. On step 4 the man holds his flexed right knee in position and moves his L toe sideward toward DRC while continuing a slight RF body turn. Ladies complete the actual Hinge by stepping side and slightly back on their R toward the wall (T/H). On step 5 the man starts the recovery with a slight rise from his R leg while starting a LF turn and bringing in the L toward the R. Ladies start a body rise with a LF turn toward the man while stepping sideward on the R. On the last count the man will close L to R without weight, now in normal CP and facing DLC. Ladies blend back to CP by closing L to R, or more often than not, allowing the L to cross in front of R as in the Reverse Turn.

THROWAWAY OVERSWAY: This also differs from the International waltz version with six counts in the figure, again including the recovery phase. It requires a continuation of a LF turning figure where the man, in our alignment description, starts facing approximately LOD. His first step is sideward L toward DRC ending with a slight body rise. Ladies have opposite footwork and also have a small body rise in preparation for centralizing the weight. Step 2 is in place for the man where he continues an upper body rotation to the left while losing his left sway. Ladies brush L toward R and prepare to move backward on their L. On count 3 the man extends to his left and allows the R leg to veer inward as he changes sway to a slight rightward one. Ladies are still in the process of moving their L backward and have not yet reached full extension. On count 4 the Oversway line develops as the man flexes his L knee and allows his R to extend sideward DLW on the inside edge of the toe. Ladies extend their L backward, taking care not to hook behind while taking weight and looking strongly to the left accompanied by a left sway. As they flex their R knee, the R toe is turned toward the man with a light touch on the outside edge. Count 5 starts the recovery as the man rises from his L leg while starting a RF rotation. Ladies slide their R toe slightly forward as they start to rise and commence a RF turn. On count 6 the man closes R to L without weight now facing DLW in CP. Ladies continue to turn RF to CP on the R toe, then brush L to R ready to lower and step backward on their L into the next figure.

Note: The brushes indicated for the lady are not deliberate and can best be described as "almost brushes." The Throwaway Oversway is often used as a link between the two Fleckerls, which we will describe next time.

Next Time: Fleckerl

This column comes from a series published in Cue Sheet Magazine between 1987 and 1992, and is reprinted with permission. The full series is collected in an 86-pg booklet, available for $30.00 plus postage. E-mail Fran Kropf at cutecuer@cox.net. This article was published in the Dixie Round Dance Council (DRDC)  Newsletter, February 2014.