ROUND DANCING — CHOREOGRAPHED BALLROOM

FIGURE DESCRIPTIONS

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Specific Figures
Quote

Quickstep—

4 beats/measure; 40-50 meas/min

The quickstep formed about 1925 out of a marching one step, a fast foxtrot, and some of the jazzy hops and skips of the charleston, which had originated as a solo dance in South Carolina and then was promoted by Ned Wayburn in the "Follies" of 1923 in New York. In the beginning, there was a lot of playful and even dangerous kicking to the side, which was smoothed out by 1926. Rise and fall came more from the ball of the foot and less from the knee, and the dance became more progressive, more gliding, and less choppy by 1927. The chasse was incorporated as a fundamental component of the dance.

So, very rapidly, the quickstep evolved into an up, light, airy, skipping sort of a dance. However, this is not the easy skipping of a child down the sidewalk. The quickstep is the skipping of a flat stone across a pond, especially at the end of the throw, where the skips are short and fast: bip-bip-bip-bip. Stay level. Don't slide the balls of your feet across the floor, but lift each foot and skim.

Use forward poise to keep your body and especially your head over your supporting foot. The fast flow of quickstep can easily get out of control when you want to change direction; momentum can become hard to overcome. So as you move forward, keep your head a little back. As you move back, keep your head forward, and as you change from forward to back, you won't have to fight to haul your body along.

There is a little rise and fall in the feet and knees, but rise to flexed knees only. If you straighten or lock the knees, you will pop up, and again, we are striving for a skipping look, not a jumping-jack look. Try to direct your rise laterally or even forward to achieve smooth progression rather than waltz-like rise and fall. Dance with a walking heel lead that puts you on the balls of your feet, and then stay up and in flight.

Two features that make quickstep an especially interesting, fun rhythm also make it difficult at first. These are the fast tempo and the almost perverse, ever changing combinations of quicks and slows (see the first column in the table below). Not only do figures vary one from another in the number and timing of their steps, but a given figure can vary at the choice of the choreographer, and I try to describe some of this variability below. There is a general rule that can help you decide which steps should be slow and which should be quick — usually, forward and back steps are slow and closing or locking steps are quick. Usually, exceptions to this rule will be clarified in the cue. For instance, the telemark to semi-closed position consists of three forward steps for the man (see below) and so uses three slow steps. If the cue is "quick open telemark," the count would be quick, quick, slow. However, given the fast tempo, you don't really have time to think through the rule as each figure is cued. You have to memorize the timing of each figure, as well as the steps (telemark is ss; s — quarter turns and progressive chasse is ss; qqs; sqq; s — V-six is qqs; sqq;) But this rich variety is half the fun. Mr. Alex Moore, one of the foremost teachers of English ballroom dance, has referred to the 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."

Figure Name, Roundalab Phase Level, & Timing

q=quick, 1 beat
s=slow, 2 beats
&=1/2 beat; a=1/4 beat

Steps and Actions That Make Up the Figure

Each description focuses on the man, with the woman's footwork in parenthesis. If a woman's step is not given, it is the natural opposite or follow of the man's. Help: basic dance positions and steps, actions, directions, and abbreviations. Non-standard punctuation: a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occurring in a single beat.

Here are some sequences to help you visualize the figure in context.

Quarter Turns and Progressive Chasse

phase IV

ss; qqs; sqq; s

This is a fairly long, phase IV figure, to choose to begin the quickstep list, but it is found in almost every quickstep.

In closed position DLW step fwd L (woman back R), -, fwd turning right face, -; side, close, sd & bk, -; bk turning LF, -, sd, cl; sd & fwd to banjo, DLW, trail foot free.

In international ballroom, this figure begins with the man's right foot, not the left. The figure begins with the second slow count above. Therefore, some cuers will cue, "forward to quarter turns and progressive chasse," the "forward" telling you to take the first slow step with your lead and to begin the quarter turns with your trail foot. This issue isn't fully agreed upon, so you have to be flexible: if your left foot is free, begin the figure with two slow steps; if your right is free, begin with only one.

We find some ambiguity at the end of this figure, too. It used to be described by RAL with an additional slow step to banjo (4 full meas) to end with lead feet free, and the ballroom progressive chasse does contain the final feathering step with the trail foot. I imagine that choreographers will offer us both versions until the new RAL description becomes familiar.

As long as we are considering variability, let me say that many choreographers (a majority in my experience) have called this figure "quarter turn and progressive chasse" (singular rather than plural). On the one hand, the figure does contain two turns, one to the right and then one to the left. "Quarter turns" reminds us of this fact. On the other hand, the figure "progressive chasse" by itself (see below) contains at least a little LF turn. So the singular cue, "quarter turn and progressive chasse" is telling us to do one quarter turn to the right and then a progressive chasse (which turns us back to the left again).

In the Palmquists' I Wanta Quickstep the dance begins with an apart point; tog tch; quarter turns and progressive chasse - fwd;;;; fwd lk fwd; maneuver sd cl; pivot two; walk two;

Although the above is an old cue sheet where much is step-cued, it seems to me that the figure begins with the lead foot and ends with the trail foot free, as is standard, now.

In Istanbul by Voelkl, part A begins with quarter turns & progressive chasse;;; ,, open natural ,;; (again, beginning with the lead foot and ending trail foot free)

In Top Hat, White Coat & Tails by the Rotscheids, we begin with an apart point; tog tch; quarter turns & progressive chasse;;;; running fwd locks;; (this one begins with the lead foot & ends with the lead foot free)

In Hot Licks by Finch there is fwd fwd lk fwd - manuv sd cl - hesitation change;;;; six quick twinkle & fwd;; quarter turn prog chasse;;; fwd fwd lk to contra check;; (this one begins with the trail foot & ends with the trail foot free)

In Ritzy Quickstep by Rother, part A begins with fwd to qtr trn prog chasse;;;; running locks;; manuv sd cl; (finally, this one begins with the trail foot & ends with the lead foot free)

I give the above examples only to show the variability that exists, not to imply that any choreography is wrong.

Quarter Turns

phase IV

ss; qqs; ss;
(ss; qqs; sqq;)

In closed position DLW, step forward L (woman back R), -, fwd R turning RF 1/8, -; chasse with a side L, close R, and side and back L to face DRW, -; step back R beginning a heel pivot, -, bring your L to R without weight and pivot on the R heel LF (woman steps fwd L, -, side R turning, and closes L); Notice that the man takes 6 weight changes and the woman 8. We end with lead feet free.

As in quarter turns and progressive chasse (above), the ballroom approach is to begin with the trail feet, so you might hear the cue, "forward to quarter turns." Or you might encounter choreography that asks you to begin quarter turns with your trail feet, as in "fwd lk fwd; quarter turns ;; ,,"

At the end of the figure, we have our lead feet free. The ballroom description ends with a fwd L (W bk R) (S).

Let me add that ballroom splits this figure and recognizes a Quarter Turn To Right beginning with the trail feet (SQQS) and a Quarter Turn To Left (trail feet, SQQS).
In Almost Like Being In Love by the Cantrells, there is an open natural turn (sqq); open impetus (sss) thru chasse to bjo (sqqs);;; quarter turns to right and left - double reverse spin;;;;

Note, quarter turns, here, start with the trail foot.
Progressive Chasse

phase IV

sqq; s
In CP, step bk R (W fwd L), -, sd L trng slightly LF, cl R; sd & slightly fwd L (W bk R) to BJO DLW, -,

May be danced with other facing directions.

In Something by the Schmidts, part A begins with a walk maneuver; sd cl - spin turn;; progressive chasse - quick open reverse;;; to a hover corte - back whisk;;;
Chasse

qqs;

In closed position, step side, close, side, -; In the Prows' So What's New, the introduction begins in butterfly wall, lead feet free, with a chasse left and a slight RF turn to sidecar; check back and recover; chasse right and a slight LF turn to banjo; check back and recover to contra banjo; and part A starts with a fwd lock fwd;
Double Chasse

qqqq;

This is not the same as a chasse twice.

In a facing position, step side, close, side, close;

In Billy Quickstep by the Scherrers, part A begins with a double chasse; walk and face; double chasse; walk to banjo check; whaletail;;
Continuous Chasse

q&q&q&q;

In closed position, step side/close, sd/cl, sd/cl, sd;

May be done in other facing positions and in any direction. Each side step may be taken with a slight hop to give a sideways skipping feeling.

Any hop should be powered not in the supporting leg but from a slight lift in the free leg. Raise the free knee and you will hop or skip on the supporting foot.

In It's Alright With Me by the Rumbles, the dance ends with a fwd/lk fwd in banjo position; maneuver side close; slow impetus to semi and thru hop;; continuous chasse; and pendulum 3 and hold;
Cross Chasse

phase IV

sqq; s

In closed position, step forward L (woman back R), -, fwd and sd R with right-side lead, close L still in closed position; fwd R now with strong left-side lead to end in banjo position, -,

Note the rocking shape change that occurs during the figure, from right to left shoulder lead. If you don't include this feature of the figure, the final step will be more awkward as the man tries to step outside of the woman. With the shape change, she takes her right hip back and you can blend into a good contra shape.

In 42nd Street by Pierce, there is a fwd lk fwd; fwd cross chasse;; trn L & R chasse ; ,, bk trng R and chasse to LOD , ;; fwd lk fwd ;
Reverse Chasse Turn

(or Chasse Reverse Turn)

phase IV

sqq; ss;
(sqq; sqq;)

In closed position, diagonal line and center, step forward L turning LF (woman back R), -, side R continuing turn, close L facing reverse line of dance; back R turning LF, -, touch L to R with no weight and continue turning on R with a heel pivot (woman steps side R, close L); Notice that the man makes only 4 weight changes and the woman 6.

Some teach this figure with the same footwork for both, that is, two left turns. I think that if you dance it that way, you will progress a bit farther. If the man omits the second "side, close," then the woman will turn more sharply around him, something like what happens in a Double Reverse Spin.

You will also find this figure written with a final slow step for a total of 2 1/2 measures.

In the Kincaids' Hardly Quickstep, part A begins with 2 fwd two-steps;; strut 4;; reverse chasse turns;; fwd check; fishtail; to quarter turns and progressive chasse;;;;
Side Lock Chasse

sqq; s

In semi-closed position perhaps facing line and wall, step thru R (W thru L), -, side and forward L, sway a little right (W left) and lock RIB of L (W LIBR); turn back to SCP and step side & fwd L to SCP again facing DLW with trail feet free, -, In Puttin' On the Ritz by the Moores, the ending begins with an open telemark to a side lock chasse;;; open natural; open impetus to a chasse to banjo;;;
Viennese Turns

phase IV

sqq; sqq;

In closed position facing LOD, step forward L beginning LF turn, -, side R continuing turn, cross L in front of R (woman close R to L); back R turning, -, side L turning, close R to L (woman XLIFR) to end in closed position facing LOD; One full turn.

One of the problems that arises in doing these turns on the cardinal directions (RLOD; LOD) is that we don't quite achieve a full turn. The steps are fast. We need to get all the way around in what seems like a moment, and we don't make it. What if there are two measures of Viennese Turns? We fall behind on the first set, further behind on the second, and we're way out of position for whatever comes next.

We can maintain dance position and get all the way around if we dance this figure on the diagonal. Do the first turn to face reverse and center (woman line and wall) with strong right side lead (man's right shoulder back). Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk, and it interrupts your momentum.

Now do the second turn to face diagonal line and wall with the man's left shoulder leading and the woman's right shoulder strongly back. Again, keep your left side to your partner. Her crossing step will flow easily.

You can dance any number of full Viennese Turns and never fall behind if the man throws his right shoulder down the line, and then his left, right, left … Focus on progressing down line with both your step and your shoulder, and the turns will happen.

In Something by the Schmidts, part B begins with a walk maneuver; sd cl - closed impetus;; box finish; viennese turns;;;; cross chasse - fwd lk;; fwd maneuver;
Chasse Roll

phase V

qqs;

In closed position LOD, step side R (woman sd L), close L to R with left-side stretch and a rolling action in the shoulders turning RF, step forward R between the woman's feet (woman bk L) pivoting RF and looking right (woman looking left), -; The total turn is up to 1/2 RF.

This is the Natural Chasse Roll. The Reverse Chasse Roll begins with the lead feet free and turns LF.

I should mention that the cue chasse roll sometimes is used for a totally different figure: in closed position facing wall, step side L (W sd R), close R, sd L, cl R turning 1/8 RF over the four steps to face DRW;

The timing for this version is qqqq;

In Fortuosity by the Rothers, the cue sheet presents step cues, but part A is sometimes cued: quarter turns and progressive chasse;;;; fwd lk fwd; maneuver side cl; open impetus and face;; chasse roll; left turning lock to a manerver side close and pivot 3;;;;

In Tijuana Taxi by the Prows, they have used the figure from Fortuosity but called it a Right Rolling Chasse, eliminating this confusion. Their sequence, from part A, is chasse 5 to semi-closed position step thru;; right rolling chasse; pivot 2; fwd lk fwd lk;

Tipple Chasse

phase V

sqq; s

The "Forward Tipple Chasse" begins in banjo or in closed position. Step forward R (woman bk L) turning RF 1/4, -, sd L with left-side stretch, close R; side and back L turning 1/8 more to end in closed position, -,

The "Back Tipple Chasse" begins in closed position. Step back L (woman fwd R) turning RF. On the "quick, quick" do a side, close, turning and with slight left-side stretch (woman right-side). Finally, step side on the trail foot turning another 1/8 for a total turn of about 3/8.

You may start back on the trail foot and turn to the left, and the figure can begin facing line or RLOD. The amount of turn may vary. The "tipple" in this figure is the slight tipping of the shoulders in the direction of progression. It is like looking over a low fence and is a gently, rolling movement. We might do a forward tipple chasse – back lock back – back tipple chasse – forward lock forward;;;;; Softly roll from the left sway of the forward tipple chasse, to no sway, to right sway during the back tipple chasse, and then no sway during the forward lock forward. Don't be sharp or jerky at any of these changes, but blend in a rolling wave.

In the Szabos' Lady Is a Tramp, part B has a half natural; pivot 2 to closed position line of dance; forward L turning RF and tipple chasse to face diagonal reverse and center;; back R turning RF and tipple chasse to face line again;; into Viennese Turns;; and strut 4;;
Ripple Chasse

sqq; s

This is a fox trot figure, but we ought to be able to use it in quickstep, much as the tipple chasse is used. The ripple chasse starts in semi. Both dancers step thru with the trail feet and blend to CBMP. Do a side, close with left-side stretch (woman right-side) and looking right (woman left). Finally, step side into semi or banjo position. The "ripple" in this figure is the slight tipping of the shoulders away from the direction of progression.

Again, notice that a ripple chasse includes an inclination of the shoulders away from the direction of travel and the tipple chasse includes an inclination of the shoulders toward the direction of travel.

Do an impetus to semi and then a ripple chasse;;; maneuver, -, side, close; tipple chasse to a telemark to semi;;;
Close Point

q&

In any position, bring the free foot to the weighted foot, take weight, and extend the newly free foot to the side and point the toe.
Pendulum 3

qqs;
In loose closed position, M facing wall, and with trail feet free and extended to the side, close R to L (W L to R) pushing the lead leg to the side, allowing it to swing out pendulum-like, swing the lead leg back in and close pushing the trail leg out, and swing the trail in and close pushing the lead leg out again, -; End with the lead foot pointed toward line.

Try not to hop up and down, but execute a smooth, straight-leg, swinging "close point, close point, close point. May be done with either foot, facing any direction, and any reasonable number of times.
In It's Alright With Me by the Rumbles, the dance ends with a slow impetus to semi & thru hop;; continuous chasse; pendulum 3 & hold;
Fishtail

qqqq;

In banjo position, the man crosses left in back of right, and the woman crosses right in front. Step side R, progressing a little down line. Step fwd L (woman bk R), and lock behind (woman in front).

To put a little more swivel in it and make it more "fishy," begin with right shoulder lead (so not contra-banjo) and maintain that lead during the XLIB of R. On the side R, lose the right-side lead and lead a bit with the left shoulder. Step fwd L with R-side lead again, and lock R behind L with L-side lead. You might call this a "swivel fishtail."

If you use the diagonals and good upper-body rotation, you can get good progression on all four steps as well as a nice "fishtail" swing to the lower body.

Walk two and check in banjo; fishtail; walk two;

In the Carpenters' The Lady is a Tramp Quickstep, part A begins with quarter turns and progressive chasse;;;; fwd, -, check banjo, -; slow fishtail;;

Whaletail

phase III

qqqq; qqqq;

In banjo position, cross the lead foot behind (woman in front) and turn 1/4 RF. Step to the side, forward on the lead with left side leading, and finally, lock behind (woman in front). In the second measure, step: sd, cl, xib, sd; End in banjo. In the Parkers' Diamonds, there is a walk two to banjo checking; whaletail;; walk two; running forward locks;;
Hover

phase III

ss; s

In banjo or closed position, step forward on the lead, forward and side, rising to the ball of the trail foot and brushing the lead foot to the trail without taking weight. Finally, step out on the lead in semi-closed position, diagonal line and center. The hover has a little LF rotation and is generally followed by left-turning figures. Do a hover to semi, thru to banjo checking; whaletail;; walk and face; whisk, wing;;;
Back Hover

phase III

ss; s

In closed position, step back (W fwd), -, step side and back (W sd & fwd and brush free foot to supporting foot) with a little rise, -; and recover to closed position, -,

May begin with either foot. The starting and ending positions can vary, and the woman may have some body turn. For instance, in a Back Hover to Semi, she will turn RF.


Hover Fallaway

phase III

ss; s

In semi-closed position, step forward with trail feet, -, forward on lead with rising action, -; and recover back on trail still in semi, -, The "fallaway" action is stepping back in semi position.
Natural Hover Fallaway

phase IV

ss; s

In semi-closed position, step thru with the trail feet beginning to turn RF. Step forward L on toe turning to the right with slow hovering rise (woman forward R between man's feet). On third step, recover back toward line or line and center on trail feet, still in semi-closed. The total turn during the fallaway is 1/4 to 1/2 RF.

Note that all steps progress.


Reverse Fallaway

phase IV

sqq;

In closed position, line of dance, step forward L turning LF (woman back R), -, side R, cross L in back of R to semi-closed position facing reverse and center;

Can also be done in semi-closed position beginning with the trail feet. Step thru R turning LF (woman thru L), -, forward L turning, recover back R to semi reverse and center;

"Fallaway" is a step back to semi-closed position.

In Jelly Roll by Hurd we dance qtr trn & prog chasse ;;; ,, manuv sd cl , ; ,, bk chasse to CP , ; ; rev fallaway; feather fin; nat fallaway; feather fin;
Reverse Fallaway from Semi

phase V

sqq;

In SCP step thru with the trail feet and with slight body turn LF, -, fwd L (W bk R) completing 3/8 turn, recover back to tight SCP;

You might start facing DLC and end facing RLOD.

Reverse Fallaway and Slip

phase V

sqq; s

In closed position, facing line and center, step forward L turning LF (woman back R), -, back R to fallaway position facing RLOD, back L well under body in tight fallaway; slip R past L and step back R (woman slips forward L) turning to closed position facing line and wall, -,

Foxtrot timing of sq&q or sqq& can also be used.

The "slip" is really a slip pivot, so the figure name is a bit of an abbreviation.


Hover Corte

phase IV

ss; s

In closed position normally facing reverse, step back R beginning to turn LF (woman forward L), -, step side and forward L turning LF and with a rising hovering action, -; and then recover R to banjo position facing line and wall, -,

Starting and ending directions can vary.

In the Goss' Five Guys Named Moe, there is a quick open reverse to a slow hover corte;;; back hover; and in & out runs;;
Reverse Corte

phase VI

ss; s

In closed position, step back R (woman fwd L) turning LF, -, continue upper body roatation with left side stretch leading woman to step fwd R turning, -; finish 1/2 turn and touch L to R (woman closes L to R) in banjo, -,

Note woman has three weight changes; man only one.

In Lazy Crazy Days by the Vogts, there is an open impetus - quick open reverse;;; reverse corte - back; to running bk lks;;
Hover Telemark

phase IV

ss; s

In closed position, step forward L (woman back R), step diagonally side and forward R with a rising hovering action and turning 1/8 to 1/4 RF, and forward L on toes to semi-closed position. In Man Wanted by Hurd, there is a slow pivot 3 to wall , ;; 2 qk sd closes LOD; sd draw close SCP ; qk sway change 3 RLR no wt chg ; slo hover telemark ; ,, in & out runs , ;; ,, slo open natural , ;;
Whisk

phase III

ss; s

In banjo or closed position, facing wall, step forward on the lead, forward and side, rising to the ball of the trail foot and brushing the lead foot to the trail. On the third "slow," both cross the lead feet behind and turn slightly to semi-closed position and fully risen on the balls of the feet. In the Esquedas' Quickstep For 4, part C begins with a whisk - thru chassee to semi;;; to in & out runs;; open natural - impetus to half open;;;
Left Whisk

phase IV

ss; s

Often in semi-closed position, step thru with the trail feet, side and forward (woman side and back) to closed position, and cross trail behind lead foot to end in reverse semi-closed position.

As you take steps 2 & 3, your hips will be turning RF (woman LF), but your upper body should lag behind, producing a strong LF "wind-up" in the torso. Stay flat - does not have the rise of the normal whisk.


Back Whisk

phase IV

ss; s

In closed position, step back L (woman forward R), -, back and side R, -; and then both cross lead feet behind trail to end in semi-closed position, -,

Sometimes danced qqs;


Back Turning Whisk

phase V

ss; s

Begin in closed or banjo position. You might be facing reverse and center. Step back L beginning to turn RF with slight right-side stretch (woman fwd R turning), -, side and back R (woman side and fwd L) continuing upper body turn, -; cross L in back of R (woman XRIB of L) to tight semi-closed position facing line and center, -,

You may dance this figure from other starting positions and turn it 1/4 to 3/8 RF. Sometimes danced sqq;


Hairpin

phase V

sqq;

Usually in closed position facing LOD, step forward R (woman bk & sd L) turning RF, -, fwd L with left-side stretch and banking into the turn, fwd R to tight contra-banjo and upper-body rotation to face RLOD or even reverse and center;

This should be a tightly banked turn, much as a "hairpin" is sharply bent. The Curved Feather in foxtrot is more gentle.


Pivot To Hairpin

phase VI

ss; qq

In closed position facing RLOD, step back L (woman fwd R) pivoting 1/2 RF, -, fwd R between her feet, -; fwd L curving strongly RF, fwd R to BJO facing reverse and wall but body facing RLOD or even reverse and center—strong left side lead,

One teacher told me to take the third step of this figure as though I had just gotten goosed. Step sharply into her and turn to BJO. I don't know …

In the Caseys' St Michel's Quickstep, there is a natural turn; pivot to a hairpin–tipple chasse;;; fwd lock fwd; natural turn; spin turn–V-6–fwd;;;; fwd lk fwd;
Chair and Slip

phase IV

sqq;

In semi-closed position facing diagonal line and wall, check through with trail feet with a lunging action as in dancing a chair (e.g., see foxtrot figures), -, recover L rising and turning LF (woman recovers R), back R (woman swivels LF on her R and steps forward L outside man's right foot to closed position;

May also be danced ss; s over 1 1/2 measures. Cuer will cue "slow chair & slip" or "chair & slip 3 slows."

Contra Check

phase V

s

In closed position, lead feet free, lower into your right knee (woman left), begin LF rotation, and slide the left foot forward. Your left foot is moving forward as your right side is leading strongly. This is the contra body action. Of course, the woman is lowering and stepping back R, allowing her toe to slip across the floor. His left thigh is actually pushing into her right thigh. Only when she feels the man stop and begin to change weight, will she stop that slipping foot movement and take weight herself. She must wait. The LF rotation causes the man to turn his left foot out. If he is facing DLW, his toes will be pointing LOD. This angled foot placement helps a great deal in maintaining balance. The woman steps straight back R, but her CBM causes her left foot to angle out and may turn her right foot a bit in. All four feet end up pretty much in one straight row (her R, his L, her L, his R), but the foot angles and the tight contact at the thighs helps maintain balance. Hips are in—toplines are well apart—heads left.

Timing varies. A slow contra check can easily span a whole measure.

In Lazy Crazy Days by the Vogts, the dance starts in closed position facing DLW with a slow contra check; recover; switch; to a fwd tipple chasse - bk lk bk - bk tipple chasse;;;; fwd lk fwd;
Contra Check and Slip

phase V

sqq;

In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R). Keep your hips in and up and your shoulders well apart. On the first "quick" recover R, and then slip back L (woman fwd R).
Contra Check and Switch

phase V

sqq;

In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R) in strong contra-body position. Keep your hips in and up and your shoulders well apart. On the first "quick" recover R beginning to turn RF, and then slip back L (woman fwd R) continuing to turn about 1/4.
Traveling Contra Check

phase VI

ss; s

In closed position, step forward L with contra body motion (upper body turned LF, right side leading), -, close R to L turning RF still in closed position and rising, -; step forward L to semi-closed position, -,
Wing

phase III

ss; s

In semi-closed position, trail feet free, step forward on beats 1 & 2. Draw the left to the right, leading the woman to turn LF and step forward around the man on 3 & 4. The man provides this lead by stretching the right side and turning the upper body LF. On 1 & 2 of the next measure, hold while the woman takes her third forward step, completing 1/2 turn to sidecar position. One weight change for the man. If the figure begins facing LOD or DLC, it ends facing DLC. In Top Hat, White Coat & Tails by the Rotscheids, there is a maneuver; back to running back locks ~ open impetus;;;; wing ~ open telemark;;; maneuver; heel pull;
Zig Zag

phase V

sqq; qq

In semi-closed position, step thru with the trail feet and turn to contra banjo position, -, side L turning RF 1/8, back R turning LF 1/8 to contra sidecar; sd L with left-side stretch, fwd R to contra banjo,

The "zig zag" action is the alternate turning between banjo and sidecar as you progress, and it can begin in a variety of positions. Another option begins in closed position with a count of ss; ss; s. Step fwd L turning LF, -, sd R turning, -; bk L in banjo,  -, trn RF and step sd R a small step (heel pull), -; fwd L, -,


Impetus to Semi-Closed Position or Open Impetus

phase III

ss; s

In closed or banjo position facing reverse line, step back and begin a right-face turn. Draw the right to left for a heel turn while the woman steps side and forward around the man and brushes right to left. Finally, both step forward in semi-closed position, diagonal line and center, trail feet free. In Stepping Out Quickstep III by the Nelsons, part B starts with a whisk and wing;;; telemark to banjo and forward chasse to banjo;;; forward & lock 6;;
Closed Impetus

phase IV

ss; s

In closed or banjo position facing reverse line, step back and begin a right-face turn. Draw the right to left for a heel turn while the woman steps side and forward around the man and brushes right to left. Finally, step back in closed position line of dance. Maneuver (one step) to an impetus;; back, -, chasse;
Spin Turn

phase III

ss; s

In closed position facing reverse line, step back on the lead foot (woman fwd R) and begin a toe pivot RF. Step forward between the woman's feet, continuing the pivot and leaving the lead foot extended behind. Finally, recover side and back in closed position diagonal line and wall.

A second standard ending position is CP DRW, a turn of 7/8. The preferred cue is Spin Overturn.

Again, the standard figure ends DLW (5/8 turn), but the figure may underturn to face LOD or overturn to face reverse and wall or even RLOD. When the amount of turn wanted is other than 5/8 or 7/8, the cue should be, spin turn to a particular facing direction, such as wall.

The figure can begin in other facing directions, such as CP LOD, but I don't think I've ever seen this in quickstep.
Maneuver (one step) to a spin turn checking;; fwd, -, chasse;
Spin Overturn
aka Overspin Turn

ss; s

In closed position facing RLOD, step back left pivoting RF, -, step forward between lady’s feet rising and completing turn, -; recover side and back, -,

End facing reverse and wall.

Sometimes, dancers feel that they can't get far enough around when they are asked to overturn a Spin Turn. The secret is in the second step. First, ladies, keep a strong left head. This will add to your turning momentum. If you pull in to your man, you can stop the rotation dead. Second, milk that step (beats 3 & 4 of the first measure). Don't be in a hurry to put your lead foot down. Ride the spin until you are where you need to be, and only then recover onto the lead feet. If that isn't until somewhat into the second measure, that's okay. Don't even think about that third step, and certainly don't plan a leaping or lunging side step at the end, thinking that this might take your farther around. The woman drives as she steps forward on her left. The man drives as he steps forward on his left. Right here, think of your frame as a rectangle, instead of an oval, and ladies, put your head in that back left corner. Then ride the momentum around. Let the free lead leg just hover behind the weighted leg, and you should actually feel the need to put the brakes on as you spin even to RLOD.


Spin and Twist

phase VI

sqq; &qqs;

In closed position facing RLOD, step back L (woman fwd R between man's feet) pivoting RF with left side stretch, -, fwd R turning, side L toward diagonal wall with no stretch (woman close R to L facing diagonal center); cross R in back of L with partial weight/unwind RF (woman steps fwd L/fwd R around man), continue to unwind and change weight to R (woman fwd L turning), side L (woman fwd R between man's feet) turning, -; Ends in closed position; may also end in semi-closed on last step to face line and center. There is 1 5/8 to 1 7/8 total turn.

If you would like to unwind so that your feet end up parallel and together, begin with the heel of the front foot and the toe of the back foot in contact with the floor. Let those points be the pivot points and your end position will be neat. Use any other combination, and you will end with feet apart.


Spin and Double Twist

phase VI

sqq; &qqs; &qqs;

In closed position facing RLOD, step back L (woman fwd R between man's feet) pivoting RF with left side stretch, -, fwd R turning, side L to face reverse & wall with no stretch (woman close R to L facing diagonal center); cross R in back of L with partial weight/unwind RF (woman steps fwd L/fwd R around man), continue to unwind and change weight to R (woman fwd L turning), side L (woman fwd R between man's feet) turning to face reverse & wall, -; cross R in back of L with partial weight/unwind RF (woman steps fwd L/fwd R around man), continue to unwind and change weight to R (woman fwd L turning), side L (woman fwd R between man's feet) turning, -; Ends in closed position; may also end in semi-closed on last step to face line and center. There is 2 5/8 to 2 7/8 total turn.
Outside Spin

phase V

ss; s

Begin in contra banjo, usually facing reverse and wall. The first thing the man does is use upper body rotation and right side lead to cause the woman to take a big step forward, outside, and turning RF. In the process of leading this movement, he takes a little step back, toeing in. Don't think of taking a back step. Just let your weight shift to the left foot, toe to the instep of the right foot, as you rotate about 3/8 RF. The man's second step is a long forward step outside of the woman in CBMP and again turning about 3/8 RF. She draws her left to right and does a heel turn. Finally, he steps side and back L, and she steps forward between his feet to closed position, completing one full turn during the figure. In I Can Cook Too by Filardo, there is an open rev trn; back lock 4; outside check; outside spin; ,, V6 ,;; ,, slo fwd ,; fishtail;
Pivot Right Face Double

phase IV

ss; ss;

The pivot is a progressive figure in which the couple steps down line, turns 1/2, steps down line, turns 1/2, and so on. Choreography could call for a "pivot 1," "pivot 2," "pivot 4," or most anything else that bravery allowed.

This figure is the "pivot 4." In closed position facing reverse, step back L (woman forward R) and rotate 1/2 RF on the ball of the foot. Stay soft in the knees, close at the hips and apart above, and keep your heads closed. On the second slow, step forward R and turn 1/2. Normally, the one stepping forward will drive and power the turn (although the man is supposed to lead the woman to do that when it is her turn on the first and third steps ). Finish the figure by repeating the first two steps and completing two full rotations.

In I Wanna Be Like You by the Worlocks, there is a maneuver side close; pivot to DLC (ss); telemark to banjo; fwd fwd lk fwd & fwd tipple chasse;;;

Note that this sequence contains a single pivot (not double).

Reverse Pivot

phase VI

s or q or &

This is a one step turn to the left. In closed position, step back R (woman fwd L) and pivot 1/2 LF on the ball of the foot.
Cross Hesitation

phase IV

sqq;

In semi-closed position facing line and center, step through with the trail feet on the slow. During the "quick, quick;" the man turns LF 1/4 and leads the woman to step side R turning LF, and then she closes L to end in contra banjo man facing reverse and center.

May begin in other facing positions. Total turn varies from 1/4 to 3/8.


Drag Hesitation

phase IV

ss;

In a facing position, step forward, turning LF. Step side on the trail feet, continuing to turn to banjo position, and draw the lead feet as you turn. End in banjo, diagonal reverse and center, lead feet free. May begin in other facing positions. Total turn is about 3/8. Drag hesitation; to a back and a back, lock; back, -,
Hesitation Change

phase IV

ss; s

In closed position facing reverse line of dance, step back turning RF. Step side and continue to turn. Draw the lead foot to the trail foot, no weight change. End in closed position, line and center.

May begin in other facing positions. Total turn varies from 1/8 to 1/2.

Hesitation change to face diagonal center, telemark to semi diagonal wall;;;
Quick Hesitation

&ss;

A "quick" figure is often syncopated. In this case, a Hesitation Change is performed over three counts, but the counts are an "&" and two "slows," rather than three "slows."

In closed position facing reverse line of dance, step back L (woman fwd R) turning RF/step side R and continue to turn, -,draw the lead foot to the trail no weight; End in closed position, line and center.

In Something by the Schmidts, part C begins with a walk, maneuver; quick hesitation & hold; chasse reverse turn to fwd lock steps;;;; fwd fishtail and extra lock;;
Heel Pull

phase IV

ss (sqq);

In closed position facing reverse, step back L (woman forward R) starting a RF turn. The man continues the turn, pulling the right heel toward the left foot and then changing weight to the right as the woman steps side L and then draws R to L with no weight change. You end in closed position facing line and center, lead feet free.
Change of Direction

phase IV

ss; s or qqs;

In closed position facing line and wall, step forward L (woman back R), fwd turning 1/4 LF, draw L to R and ending in closed position facing line and center lead feet free, -;
Maneuver

sqq;

Step forward, beginning RF turn. Step side and forward across line of dance to closed position reverse. Close trail feet.

Also cued: maneuver, -, side, close;

In Go On By Quickstep by the Hurds, part A begins with quarter turns and progressive chassé;;;; running forward locks;; maneuver side close; hesitation change;

In Get Happy by Armstrong, there is a fwd lk fwd; to a manuv sd cl; spin trn & check back;;

Also in Get Happy is reverse chasse turns;; fwd manuv [SS - no sd close]; back 2; bk pivot 4 to wall;;
Natural Turn

phase IV

sqq; ss;

This figure turns 3/4 RF over 2 measures. In closed position facing line and wall, step forward R (woman back L) beginning to turn RF and rising to toe, side L across line of dance completing 1/4 turn, and close R to L lowering to face reverse. During the second measure, step back L (woman forward R) continuing to turn, -, heel pull R to L as woman steps side L across line of dance to end in CP facing line and center, -;

The cue Half Natural calls for the first measure only of the full natural turn.


Open Natural Turn

phase IV

sqq;

Step forward on the trail foot, and begin a RF turn (From CP, the woman steps back; from SCP, the woman steps forward.) Step side left across the line of dance and back right with strong right-side lead to banjo RLOD.

May be danced ss; s over 1 1/2 measures.

The half natural (above) or the open natural does pretty much what a maneuver does. You could follow with a back step to running back locks;;
In and Out Runs

phase IV

sqq; sqq;

In semi-closed position facing line, step forward on trail foot. The man starts to turn RF and steps side and back L toward line and wall to closed position facing reverse. She takes her second step between his feet. On the last beat of the first measure, he steps back R to contra banjo position facing reverse. During the second measure, he steps back L turning RF, side and forward R between the woman's feet continuing to turn, and forward L to semi-closed position facing line again.
Quick Open Reverse

phase V

ss; qq

In banjo position, usually facing line and center, step fwd R (woman bk L), -, fwd L turning LF blending to CP, -; side and back R, bk L with right-side stretch to banjo facing RLOD,

Any sort of reverse turn normally begins with the lead feet. Here, we have the trail feet free, and the figure allows us to take a preparatory step and then a "normal" Open Reverse. The Quick Open Reverse adds that extra preparatory step. It may also be danced from closed or semi-closed position (in which case, the woman would step forward L turning LF).


Outside Change

phase IV

sqq;

This figure takes the man in a LF turn from facing reverse to facing line and can end in banjo or in semi-closed position.

In closed or contra banjo position facing reverse, step back L (woman forward R), -, back R turning LF, and side and forward L; If the man maintains a little left side stretch during beats 3 & 4, the woman will keep her head closed and will step side and back R into contra banjo. If he uses right side stretch, she will open her head and step side and forward R into semi-closed position.

The cue will specify "to banjo" or "to semi."


Outside Swivel

phase IV

ss;

In banjo position, step back L (woman forward R), -, leading the woman to swivel RF on ball of her right foot, -;

To do this, the man will turn his upper body a little RF, causing his right foot to cross a little in front of his left, ending in semi-closed position.

A Quick Outside Swivel can be danced qq.


Charleston Points

ss; ss;

In open position, perhaps facing LOD, step forward R turning RF, -, point L fwd turning LF, -; back L turning RF, -, point R back turning LF, -;

May be done in other positions and orientations. May begin with left foot.

At it's simplest, it is only a "fwd – pt; bk – pt;" There are some things you can do to make it more Charleston-y:

  • Introduce a very little bounce or lilt into each step: down/up.
  • Layer a very little swivel onto each bounce: heels out/in.
  • Point or kick across instead of forward.
  • Instead of the "point," gently kick in front and then behind with each step.
In Juke Box Baby by the Gloodts, there is a maneuver side close; pivot 2; dip & recover; charleston points in closed position;; to vienesse turns;;
Charleston Crosses

phase V

qq

In loose closed or butterfly position with trail feet free, swivel on the ball of the L foot trng the L heel out (W R heel out) step sd & bk R with the R heel turned out (W sd & fwd L with heel out). You'll be "pigeon-toed." For the second step, swivel RF on the R and XLIF of R trng L heel out to right (W swvl on L & XRIB of L). You'll be "duck-toed" in a lock position. Repeat number of times specified.

One way to think about these is as a "back lock" but with swivels. The figure progresses, M backing.

May move to the left if lead feet are free. May be done in tandem or skaters if same feet are free.
In Fortuosity by Rother, we dance an open natural and back to BJO RLOD, charleston crosses 2 slow and 2 quick;;; bk lk bk; runing finish;
Telemark to Semi-Closed Position

phase IV

ss; s

In closed position, line and center, lead feet free, step forward beginning a LF turn. Step forward and side completing a 1/2 turn to closed reverse; woman does a heel turn. Turn to semi-closed, and step forward toward line and wall. In the Pierces' 42nd Street, there is a walk 2; telemark to semi and step thru;; side, tap, side, tap; walk & pickup; repeat;;;; to quarter turns and progressive chasse;;;;
Telemark to Banjo Position

phase IV

ss; s

In closed position, line and center, lead feet free, step forward beginning a LF turn. Step forward and side continuing to turn; woman does a heel turn. Step forward and side to banjo line and wall. In the Worlocks' Shall We Quickstep IV, there is a left turn; slow hover corte and back;; slow open finish and telemark to banjo;;; maneuver side close; two right turns;;
Telespin To Closed

phase VI

ss; s&s; ss;

Usually begins in closed position facing line and center. Step forward L turning LF and with left sway (W bk R with right sway), -, fwd & sd R turning (W draw L to R for heel turn and change weight), -;

In the second measure, the man steps sd & bk L with only partial weight maintaining sway and keeping left side forward (W fwd R trng). At this point, the woman has done an open telemark, but the man has held back and not taken that third step. The W may open her head at this point or may keep it closed throughout. On the &-count, M maintains partial weight on his L and continues upper-body LF rotation leading W to step fwd L with right shoulder in to partner. On the second "slow" he finally takes weight on his L and spins LF (W fwd R beginning LF toe spin).

In the third measure, he steps side R turning, -, (W closes L at end of toe spin) bk L turning (W fwd R) to CP RLOD (W closes head here if it has not been closed throughout), -;

Note that the man has five weight changes; the woman seven. The total turn is usually 1 3/8 LF.

I believe that this represents the first description of the telespin that we have had in round dancing. More commonly, we now dance a telespin to semi or a telespin to banjo (see below).


Mini Telespin

phase V

ss; s&qq;

Begin in closed position facing line and center. Step forward L turning LF and with left sway (woman bk R with right sway) , -, fwd & sd R turning (woman draw L to R for heel turn and change weight), -; sd & bk L with only partial weight maintaining sway and keeping left side forward, -, (woman fwd R, -/fwd L turning,) fwd L to closed position (woman fwd R) spinning LF, close R (woman close L) flexing knees in closed position RLOD; hold, -,

Note that the man has four weight changes; the woman six. The figure turns LF 1&1/4 to 1&3/8.


Telespin To Banjo

phase VI

ss; s&s; ss;

Usually begins in closed position facing line and center. Step forward L turning LF and with left sway (W bk R with right sway), -, fwd & sd R turning (W draw L to R for heel turn and change weight), -;

In the second measure, the man steps sd & bk L with only partial weight maintaining sway and keeping left side forward (W fwd R trng). At this point, the woman has done an open telemark, but the man has held back and not taken that third step. The W may open her head at this point or may keep it closed throughout. On the &-count, M maintains partial weight on his L and continues upper-body LF rotation leading W to step fwd L with right shoulder in to partner. On the second "slow" he finally takes weight on his L and spins LF (W fwd R beginning LF toe spin).

In the third measure, he steps side R turning, -, (W closes L at end of toe spin) side & fwd L turning (W sd & bk R) to banjo position facing line and wall (W closes head here if it has not been closed throughout), -;

The total turn is usually 1 3/4 LF.


Telespin To Semi-Closed

phase VI

ss; s&s; ss;

Usually begins in closed position facing line and center. Step forward L turning LF and with left sway (W bk R with right sway), -, fwd & sd R turning (W draw L to R for heel turn and change weight), -;

In the second measure, the man steps sd & bk L with only partial weight maintaining sway and keeping left side forward (W fwd R trng). At this point, the woman has done an open telemark, but the man has held back and not taken that third step. The W may open her head at this point or may keep it closed throughout. On the &-count, M maintains partial weight on his L and continues upper-body LF rotation leading W to step fwd L with right shoulder in to partner. On the second "slow" he finally takes weight on his L and spins LF (W fwd R beginning LF toe spin).

In the third measure, he steps side R turning, -, (W closes L at end of toe spin) side & fwd L turning (W sd & fwd R) to SCP with left sway facing line and wall (W opens head here if it has been danced closed to this point), -;

The total turn is usually 1 3/4 LF.


Develope

phase IV

ss;

Normally, the man steps forward outside partner. She steps back and then raises the free foot up the supporting leg to the knee and then straightens that leg in a controlled kick. The actual develope is the lifting of the knee and the kick, and it may be done with either leg and by either or both partners. Do a telemark to banjo~forward lady develope with right foot~drag hesitation~and impetus to semi;;;;;
Promenade Sway

phase IV

ss;

Step side and forward with the lead foot, turning to semi-closed position, and stretching the body up to look over the joined lead hands (left sway for the man). During the second slow count, relax the lead knee, allowing the trail leg to extend in a strong, straight line. This is a picture figure, so your bodies should be toned, parallel, graceful.
Throwaway Oversway

phase VI

s

In semi-closed position, step side & fwd L (woman sd & fwd R) pointing his left toe where he wants her to "throw" her left foot—toward diagonal line and wall or a little farther toward line maybe. The man changes to right sway and rotates his hips CCW to move the woman's left leg back, and then lowers by flexing the left knee so that she won't take weight on that foot but will continue to move it back behind her, exposing the sole of the foot to passers by. She looks well left. The man's motion is a little like "bowling the foot down the alley." It is a little more elegant for her to slide her foot back with the inside of the big toe touching the floor, rather than the tip of that toe.
Hinge

phase V

ss; s

From closed position, step back on the right foot and turn 1/4 LF. Step side on lead with strong left side stretch; continue to rotate hips LF, leading woman to collect her trail foot and change weight. His left and her right hips are tight together. Flex left knee to lower and cause her right foot to slide forward, leg straight. End in almost an L-position with man's left knee flexed and his right leg straight and extended to his right side, and woman's left knee flexed and her right leg straight and extended in front of her, parallel with his. She is almost sitting on his left thigh.

May begin in semi-closed position, in which case the first step is forward for both.


Running Forward Locks

phase IV

qqqq; qqs;

In banjo position facing line of dance, step forward L (W back R), lk, fwd, fwd; fwd, lk, fwd -;

When you "run" don't actually try to reach out for some sort of goal. We're not sprinting toward a finish line. Be light. Another technique that gives this figure lightness and ease is left-shoulder lead (ladies R shoulder back). This RF upper-body rotation or "slicing" action makes the locking steps happen so much more easily. Note: If we are progressing down LOD, the man's shoulders will be facing DLW and lady's shoulders will be facing DRC.

Quarter turns and progressive chasse;;;; to running forward locks;;

In Bassett's Bonaparte's Retreat, part B has a walk 2 to banjo; running fwd lks;; maneuver; overspin turn to a box finish and slow hover;;;; pickup, -, side, close;

Running Back Locks

phase IV

qqqq; qqs;

In banjo position facing reverse line of dance, step bk R (W fwd R), lk, bk, bk; bk, lk, bk -;

Remember to use side- or shoulder-lead. The M's R shoulder is back, allowing the locking steps to happen more smoothly.
In the Prows' Music Cubed, part B begins with reverse turn 1/2; progressive chasse and fwd tipple chassee;;;; running back locks;; open impetus to semi and pickup;;
Turning Lock

phase V

qqs; s

In banjo position facing reverse and wall, step back R (woman fwd L) with right-side lead and right-side stretch, lock L in front of R (woman locks in back), step back R beginning to turn LF, -; step side and fwd L turning to banjo line and wall, -, In the Rothers' Fortuocity, there is a maneuver side close; open impetus & face;; chasse roll–turning lock;;; maneuver side close; pivot to a hesitation–and six quick twinkles;;;;
Rolling Locks

s; qqs; qqs;

This is not a standard figure, and so far, I only know it from St. Michel's Quickstep. In that dance, it is essentially a thru and pickup to a fwd, lk, fwd, -; turn left to a bk, lk, bk;

Usually, I describe a figure as though it is begun at the start of a measure, but here I am beginning half-way through a measure so that the locking steps will be "on the measure."

In SCP, the man steps thru R (W thru L beginning to turn LF), -; [one slow count] fwd L (W sd R to CP), lk RIB of L with strong L sd lead (W lk LIF of R), fwd L to contra banjo DLC, -; trn LF step sd R, lk LIF of R (W lk RIB of L), bk R to tight contra banjo RLOD, -;

In St. Michel's Quickstep by the Caseys, part B begins with a natural turn; open impetus to rolling locks;;;; outside change to semi; open natural turn;
V 6

phase VI

qqs; sqq;

In banjo facing reverse and wall, step back R with strong right side lead and left sway (woman fwd L), lock LIF of R (woman RIB of L), bk R, -; bk L, -, bk R no sway turning 1/4 LF, side & fwd L to contra banjo facing line and wall;

Quickstep is fast, and when you get moving in one direction, it can get to feeling like a runaway train — it's hard to check your motion in time and get moving in another direction. On the fifth step of this figure (and always), keep your head weight over the supporting foot. Reach back with the R but don't actually go back. Reach and push. Keep your body weight forward. In this way, you won't have any backward momentum to fight, no runaway train.

In the Worlocks' Shall We Quickstep, there is a rumba cross; hairpin; running finish; fwd tipple chasse–V-6–maneuver side close–pivot;;;;; to a rudolph ronde and slip;
V-8

qqqq; ss;; qq

This is not the beverage but a V-6 preceded by an extra "back, lock."

In banjo facing reverse and wall, step back R with strong right side lead (woman fwd L), lock LIF of R (woman RIB of L), back R, lock LIF of R; bk R, -, bk L, -; bk R turning 1/4 LF, side & fwd L to BJO facing line and wall;

In Hit That Jive Jack by the Moores, there is a maneuver side close; overturn spin turn to a V-8;;;; quarter turn chasse ending;;; maneuver;
Double Reverse Spin

phase V

ss; qq

For the man, the timing is better thought of as ss; s. He steps forward L turning LF, -, side R turning, -; and then he draws L to R and spins LF on the third "slow" count, having taken only two weight-changes.

The woman steps back R turning, -, draws L to R and executes a heel turn of 1/2 and changes weight, -; steps side and back R turning, and crosses L in front of R, for a total of four weight-changes. The last "side, cross" for the woman is what spins the man during his third "slow."

You might begin this figure in closed position facing line and center. A "full" Double Reverse turns full around and you end in closed position line and center. It is often underturned to 7/8 or even 3/4.


Top Spin

phase V

&; qqqq;

In contra banjo position, lead feet free and extended back, use upper body rotation to spin on the trail foot 1/8 LF (on the "&"), and step back L on the first "Q" (woman forward R). Then the man steps back R turning and with left side stretch, forward L turning, and forward R to contra banjo, for a total rotation LF of 1/2;

The figure can also begin with the trail feet free and with a count of qqs; s

In closed position, step bk R turning LF, step sd & fwd L turning to contra banjo, fwd R outsd ptr and spinning LF on R toe, -; bk L to banjo, -,

The first form of the top spin is taken from foxtrot, and the second from waltz.


Rumba Cross

Phase VI

qqs; s

In closed position facing line of dance, step forward L (woman back R). Knees are soft. Use strong left side lead and left side stretch. On the second "quick" cross right in back of left (W left in front of right). Use a latin cross action with the heel leading, R toe to L heel, making a momentary "7" and turning RF up to 1/2. The left side lead will cause/allow the woman to cross in front. Slip back L with no sway pivoting RF (S). On the second "S," step forward R to closed position (no sway). Standard amount of total turn is a full turn but may be under or overturned.
Big Top

phase VI

ss; s

In semi-closed position, trail feet free, step thru with right side stretch, commencing a LF spin. The man leaves his left leg extended back with the left knee tucked behind his right knee. As he spins on his right, his left rotates "as one" and remains extended behind. During the second slow, the woman steps quickly forward around the man's left side with strong left head, continuing the spin, and then the man steps back, crossing his left well under his body. During the third slow, he rises, no sway, and slips back R (she forward L) to closed position. Total rotation is about 3/4 LF.

Notice that the timing is a little different for the man and the woman. She takes her second step at the beginning of the second slow, and he delays taking his step until the end of the second slow. It is hard to get the full spin. The man needs to use strong upper body rotation and right sway to lead the woman's second step and to close her head, and he needs to stay down during the spin. Rise only at the end of the spin and then slip back.

May be danced sqq;


Running Finish

phase V

sqq;

In a contra-banjo position facing RLOD, step back L (woman fwd R outside of partner) beginning to turn RF, -, side and fwd R turning, fwd L to contra-banjo facing line and center;

It feels something like an impetus turn or maybe an in and out run, but he turns less and so doesn't get to semi-closed.

In other smooth rhythms, we are used to the term "running" being used to indicate syncopation and the insertion of an extra, quick step. Quickstep is already quick, so here the "running" only refers to the two quicks in the figure, passing steps. Don't try to syncopate it.

Do an open natural; running finish; fwd, -, fwd, lk; fwd, -, to quarter turns and progressive chasse;;;;
Rudolph Ronde

phase VI

s

In closed position, lower and step forward R between the woman's feet rather like dancing a chair, and she will step back. Leave the left leg side and back, but lift and rotate the upper body RF with left side stretch to lead her to lift her R leg from the hip and ronde it CW. Keep the right leg soft. The lady's head should follow her foot and so move from closed position to strongly right. One weight change only.
Rudolph Ronde and Slip

phase VI

sqq; or ss; s

In closed position, lower and step forward R between the woman's feet, and she will step back L. Leave the left leg side and back, but lift and rotate the upper body RF to lead her to lift her R leg from the hip and ronde it CW. On the first quick, rise from your chair-like lunge and recover back on the left, and she steps back R beginning a LF pivot on the fall of the right foot. As she pivots, she keeps her thighs locked and her left leg extended. On the second quick, he steps back R rising, and she steps forward L in a slipping action, both rotating a bit LF (up to 3/8).
Flicker

phase IV

&q&q

Stand on both feet, up on toes, heels together, knees relaxed. Quickly in only half a measure, turn the heels out/bring them in, out/in,

Actually, you have a bit more than half a measure. You have 2 1/2 beats, as the first action occurs during the "&" of the previous beat (the last beat of the previous figure).
Do a hesitation change to a flicker;; and then telemark to banjo, maneuver, back;;; bk, lk, bk, -;
Scoop

phase V

ss;

In closed position, perhaps facing wall, step long side L (woman side R) with right sway, -, close R maintaining sway and turning 1/8 LF, -; In I Can Cook Too by the Filardos, part A begins with quarter turn progressive chasse;;;; four quick run; hitch 4; scoop to banjo; fishtail; to side stairs 8;;
Six Quick Twinkle

phase V

qqqq; qq

In closed position or in banjo, step sd & fwd L with right sway blending to BJO if not there already (W sd & bk R), cl R, bk L with no sway comm RF turn (W fwd R), cl R with left sway; fwd L with left-side lead, lk RIB of L (W lk LIF of R),
The Valentas' It Don't Mean a Thing begins with a slow flicker (&s&s); slow six quick twinkle;;; to quarter turns and progressive chasse;;;;
Truco Twinkle

qqq
In SCP step sd & fwd L (W sd & fwd R), cl R to L closing hips to ptnr, XLIB of R to SCP,

Figure should progress toward LOD with no progression to RLOD.
In Jelly Roll by Hurd we dance a chasse to SCP; Qk thru to truco twinkle 3X;;; pu sd cl;
Four Quick Run

phase VI

qqqq;

Begin in banjo or in closed position. Step forward L (woman bk R), lock RIB of L (woman LIF of R), fwd L, fwd R ending in contra banjo with strong left side lead;

The locking step may be done on step 4.

In the Goss' Shall We Dance, there is a spin turn–step back;; chasse to banjo; fwd to a quick open reverse;; back and turn LF to four quick run–to a fwd;; and tipple chasse;
Bunny Runs

qqqq; qqqq;

In banjo position facing RLOD, lead feet free, run back on your toes with  a slight lilt and body turn on each step.  Step back L (woman fwd R) turning slightly RF, bk R turning slightly LF, and repeat for a total of eight steps. You can think of it as a back run with contra action, but don't throw the side back; be cute, not violent.

In the Goss' We Are In Love, there is a spot pivot 4 to closed position facing DRW;; side R to DC, -, drag L to R, -; close L to R, -, back R to banjo DRW, -; bunny run 8;; outside change to semi; pick-up lock;
Stutter

phase V

qqs; qq

In contra banjo, step fwd L (woman bk R) with left-side lead, lock R in back of L, fwd L, -; side R with right-side stretch to closed position, fwd L with left-side lead to contra banjo,


A more "stuttery" timing is q&qqq; q&q. Step fwd L/XRIB of L, fwd L, sd R to closed, cl L; fwd R outside ptr/XLIB of R, fwd R to contra banjo,

Often, the choreographer will simplify the stutter or ask for only a part of the figure.

In Puttin' On the Ritz by the Rothers (1994), part A begins with a slightly modified quarter turns and progressive chasse;;;; fishtail to a forward lock forward;; stutter 4 quick; maneuver side close;   Here, the "stutter" is simply fwd R, sd & fwd L, sd & fwd R, fwd L;

In I'm In A Dancing Mood by Preskitt, we start with a slow side to 6 qk twinkle;; chasse rev trn;; stutter sqq; manuv sd cl;  Here the stutter is even simpler: fwd L to BJO, -, sd & fwd R to CP, fwd L to BJO;


Jete Point

phase V

q&

The actual Jete Point itself is very quick, just one beat of music. Normally in semi-closed position, step forward L (woman fwd R) turn to closed position/ lower with a springing action/ sway right (woman sway left)/ extend trail feet with inside edge of big toe on the floor/ and look toward extended foot,

In practice, a measure is usually given to the figure. You might have the trail feet free, and the cue might be, "thru to Jete Point" (slow quick/& hold). You could be in closed position for a "forward & Jete Point." Other orientations and positions are possible.

This "forward and point" could be done with either foot. Sway toward the extended foot.


Tipsy Point

phase V

s&s;

In semi-closed position, the man steps forward R and the woman steps forward L in contra body movement position (CBMP). That is, each steps forward with the trail foot but has left-side lead for the man and right-side lead for the woman. Begin 1/4 RF turn. Quickly step side on lead foot on the "&" count, and tap the trail toe behind the lead foot with left sway. Hold the last beat.

So it's a thru, -, side/tap, -; turning up to 1/4 RF.

In Lazy Crazy Days by the Vogts, there is an outside change to semi; thru chasse to semi - thru; tipsy point and hold; to a v-6;;
Tumble Turn

phase VI

ss; qq

In closed position facing RLOD, trail feet free, step back R lowering and beginning to turn LF. Step side and back L with R sway; the woman strongly side and forward R to remain in closed position. On the first quick, the man sneaks his R across to a contra banjo line of dance and rises with right side stretch, opening her head; she crosses behind. Lead feet brush up to trail as both swivel on the trail foot to face center, and he steps forward L and lowers into a "contra" closed position facing COH or DRC.

This last step contains the "tumble" action. It is a little like a contra check. The actual step is shorter, but she has stepped side and back to move from tight contra banjo to closed, and he steps forward into her with right side lead (contra), lowering.


Woodpeckers

phase V

&q

Standing on either foot, usually in closed position, hop and tap the toe of the free foot behind in one-and-a-half counts of music. Hop up on a half count, the end of the previous beat, and land and tap on the quick. Rarely would you do just one woodpecker—you might do four woodpeckers over a measure of music. It is also common to turn as a couple in place as you dance them—Turning Woodpeckers.

Whenever you hop, don't try for altitude. Make it a very light, skipping movement.

In the Gosses' We Are In Love, there is a cross hover to semi; thru sd tap; lift tap twice;; turning woodpeckers; bk lk bk; running finish; fwd fwd lock;
Crackerjack

&/1, -, &3, -; &/1, -, 3, 4; &/1, -, &3, -; 1, 2, &/3, -;

In closed position facing wall, close L (woman R)/and point R to reverse, hold, close R/point L to line, hold: close L/point R to reverse, hold, hop on L tapping R behind L twice; close R/point L to line, hold, close L/point R to reverse, hold; hop on L tapping R behind L twice,, close R/point L to line, hold;

More briefly, this is a four measure figure consisting of 3 close/points, 2 stork hops on lead feet, 2 close/points, 2 stork hops on lead feet, and 1 close/point.

In the Murbachs' Never-ending Quickstep, there is a side close vine 8 and point;;; crackerjack to semi;;;; quarter turns and progressive chassee;;;; rwd lock fwd; manuver side close; pivot 4;;
Pattacake Clap

qqqq; qqs;

In a facing position with no hands joined, slap both hands on thighs, clap both hands together, raise right hand and clap partner's right hand, clap both hands together; raise left hand and clap partner's left hand, clap both hands together, raise both hands and clap both partner's hands, -; (you've done this on the playground) In Bounce Me Brother by the Lillefields, man is facing partner and wall with lead feet free. Man holds while woman spins and closes; steps side and closes; man does a quick vine 8 and woman holds;; man holds while woman spins and closes; steps side and closes; pattacake clap;; to a strolling vine;;;;




dingbat




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