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Round Dance Tips by
Tim Eum—
Two Advanced Foxtrot
Figures That Each Contain A Feather Finish
Top Spin – (Phase 5 Foxtrot)
The Top Spin in foxtrot is much easier than the Top Spin in waltz so it
behooves the dancer to learn it in foxtrot first. In the classic phase
4+2 foxtrot by the Blackfords “Rainbow Foxtrot” you flow into a Top
Spin with the following sequence: Maneuver; Closed Impetus; Feather
Finish into a; Top Spin ; In the popular phase 4+2 foxtrot by the
Finchs “Sam’s New Pants” you do the Top Spin twice in a row and it is
cued Double Top Spin. Note that you flow into the Top Spin – that is
because this is one of the few figures that you must actually begin in
the last half beat of the previous figure. What does that mean?
Consider that in “Rainbow Foxtrot” the figure before the Top Spin is a
Feather Finish, which starts in closed position. We dance back (fwd for
lady) with trail foot, - , side left (right for lady), and XRif (lady
XLib) to BJO. If you began the Feather Finish facing DLW you end facing
DLC with lead foot free.
If the next figure is the Top Spin, the key action occurs immediately
after taking weight onto the third step of the Feather Finish --- i.e.,
turn your hips and upper body frame left face (LF) causing you to
swivel about 1/8 to 1/4 as a couple staying in banjo. As the couple
swivels in this Top Spin action, the man carries his left foot behind
him while the lady lets her right foot stay in front of her left as she
swivels LF. The timing for this figure previous to the Top Spin is
SQQ&, where in this case the Feather Finish is done on the SQQ and
the Top Spin action is done on the &-count just before the next
measure.
After the Top Spin action done in the previous measure, there are just
four steps to complete the Top Spin figure --- back left, back right,
side turning LF, XRif still in BJO (lady’s steps are opposite). Stay in
BJO for the entire figure. You might recognize these last four steps as
also being a Weave Ending. Thus a Top Spin in foxtrot is simply a Weave
Ending preceded by the Top Spin action. Just as a Weave Ending usually
turns between 1/4 and 3/8 LF (it can turn more), so does the last four
steps of the Top Spin. The timing for these last four steps is a simple
QQQQ, one step per beat. So the timing for the entire Top Spin is
written as &; QQQQ;
Note that the Double Top Spin is easier than a single Top Spin because
you turn less in the Double Top Spin. When you do two Top Spins in a
row, i.e., the Double Top Spin you only need to turn each Top Spin
figure one half, whereas a single Top Spin usually turns at least 5/8
and often 3/4 or even 7/8 as in “Rainbow Foxtrot.”
Here’s a tip – if you must turn the Top Spin figure a lot, don’t
overturn the Top Spin action -- still only turn the Top Spin action 1/8
to 1/4 LF -- make up the rest of the turn by overturning in the four
steps of the Weave Ending part of the Top Spin figure. It will feel
much more comfortable this way.
Tumble Turn (Phase 6 Waltz, Foxtrot, Quickstep)
The Tumble Turn is four steps that can be described essentially as a
“Feather Finish in 3 steps rising, followed by a forward Left Pivot
lowering in one step.” It starts in CP or BJO (perhaps it could also
start in SCAR), goes through BJO on the third step, and finishes in CP
after the fourth step. Thus from starting position (usually facing DRW)
the man steps back (lady forward) with trail foot turning LF, then the
man steps side and forward (lady side and back) with lead foot toward
LOD continuing LF turn, then man steps forward (lady back) to BJO
(generally to DLW) with trail foot rising up onto the toe still
continuing LF turn, and finally steps forward (lady back) with lead
foot toward DLC quickly lowering and pivoting LF to end in CP DRC. You
can turn this even more to end facing RLOD (i.e., 7/8 total turn rather
than ¾).
Roundalab is inconsistent in the timing of the Tumble Turn. Roundalab
specifies for waltz -- 1&23; – which means the first two steps are
done very quickly and the last two take more time – I prefer this
timing. Roundalab specifies for foxtrot – SQ&Q; – which means the
first step is very slow, while the second & third steps are double
fast, and the last step is quick. I don’t like this timing because it
means the third step is rushed instead of “preparing” the tumbling
fourth step. The third step is the rising, perhaps even “hovering,”
step, and doing this double-quick makes it difficult to hover into the
“tumble.” Roundalab specifies the timing for the quickstep Tumble Turn
as SSQQ – which is just backwards from the way it is defined for waltz.
Here the first two steps are slow and the last two quick – I think it
is better to dance this instead as QQSS (like the waltz) despite what
Roundalab says. This allows more time for the key parts of the Tumble
Turn which occur on the third and fourth steps.
Note some common errors that dancers do in the Tumble Turn:
- Overturning the third step -- Yes, the first three steps
turn LF, but especially while hovering up on the third step, there is a
tendency to overturn so much that instead of taking the fourth tumbling
step toward DLC (i.e., continuing progression toward LOD) dancers will
end up taking their fourth step going towards DRC. You instead want to
keep progressing generally toward LOD on all four steps of the Tumble
Turn.
- Being too far apart -- Note that this figure progresses
toward LOD along diagonals -- first man backing to DLC, then forward to
DLW (on 2nd & 3rd steps) and finally forward to DLC rotating to
face DRC. If the dancers do not remain in good frame and in contact
with each other, they will not move together the same way at the same
time in the same direction and that makes things uncomfortable.
- Being off-balance on the pivoting, tumble step -- Keep in
good frame and keep body balanced over the weighted foot. Note that you
are not supposed to tumble off-balance onto the floor in the "Tumble"
Turn.
Tim
Eum has
prepared many Round Dance Tips for Calls 'n' Cues,
WASCA, for his weekly Rocket Rounds email reports, and for
other
publications. DRDC is
grateful for permission to collect and reprint. A Tim Eum archive.

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