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Figures Without Phase
Ratings V
by Roy &
Phyllis Stier
August, 1991
BOUNCE FALLAWAY REVERSE: The
"bounce" in this figure is a down and up action coupled
with a timing change from the generic foxtrot version. Starting in
CP, usually facing DLC, the man uses the normal CBM (shaping LF) and
goes from heel to toe with a quick rise as the lady steps back on her
R toe with quick body rise. Step 2 is to the side on the man's R and
lady's L on the "&" count while continuing the LF turn
where both partners lower to the heel while bringing the body down to
a flexed knee position and moving to fallaway. At this point, the man
should leave his L foot pointed toward DRC while the lady's R is
pointing RLOD. Both must position their feet on step 3 along with a
quick body rise. As the man steps back on his L with a swiveling
action, the lady crosses R in back of L. This figure calls for a
fourth step on the "&" count where the man brings his R
back in a curving action (T/H) with body rise ready for the next
figure. At this point, he keeps the R toe in contact with the floor
as he does a little quicker than normal Slip Pivot. The lady has two
actions as in any Slip Pivot and ends blending back to CP on her L
between the man's feet. The placement and swiveling action emulates
the movements of a ballet dancer. There is a bit of lilting action on
the first 3 steps, however, this along with the lady's Slip Pivot,
must be a continuous action to preserve the smooth feel of the
foxtrot.
Timing is S&S& where
the "&" is taken from the preceding slow count. Not
counting for the CBM at the start, we normally turn 1/8 LF between
counts 2 & 3, 1/4 LF between 3 & 4, and an additional 1/4 LF
on 4. The total amount of turn is up to 7/8 LF (used when starting
facing LOD), but the normal is 3/4 LF as used with the starting
position given above.
TRIPLE REVERSE WAVE: Before
describing this figure, we would like to quote the late Alex Moore
with reference to its performance. "This is a figure danced
badly by intermediate-level dancers but with obvious enjoyment."
We should point out that our equivalent in round dancing would be at
the advanced level and would be applicable to several other figures,
such as the Left Eros and the Split Ronde.
The preparation for the
Triple Reverse Wave is the same as for the Reverse Wave except that
it is advantageous to underturn the Reverse Turn (3 stps) so that the
man is backing between wall and DLW. Counting the first step of the
wave as 4, the man commences with a heel pull on his L as he steps
back on his R for step 4, still holding the between wall and DLW
alignment. The strength for the heel pull (step 5) comes from the
thigh and calf muscles, and the L ball does not come into contact
with the floor until passed by the R. His left shoulder is brought
back a little to create the LF curve starting on 5. Step 6 is a
continuation of the curving action as the man steps back on his R,
now backing LOD on the toe for a lowering to the heel at the end.
Ladies have the man's part in his Three Step, where they lead
strongly on the L heel, then go heel/toe, toe with strong forward
body motion coupled with body and foot rise. The man's pull step
enables her to make her connection for the CP in full body flight.
On step 7, the man again
steps backward LOD on his L while commencing a heel pull on his R
(not quite so vigorous as step 5) and blending to contra body with a
right shoulder lead in order to bring the lady to his right side.
After lowering to the heel of the R he steps backward on the L moving
a little toward DLW while starting to lose some of the left sway
created by the right shoulder lead. Ladies step forward in CBMP on 7
going from heel to toe as they start outside the man's right side
with a driving step. Step 8 is outside the man on her L toe as she
steps forward LOD with a L shoulder lead. On 9 she steps forward on
the R toe, then lowers to the heel as she remains in partial contra
body (slight RF curve).
Note: We are describing
steps 7-9 as a modified Back Feather which is the up-to-date version
performed by most dancers. The classic version which is favored by
the "keen" dancers brings the lady back in line on step 9
after only a diminished CBMP on 8. The more accomplished dancers also
develop a little hovering action between the first and second wave
but do not stop any motion in the process.
Steps 10-12 are the same as
4-6 except that a maximum of 1/8 LF curve is taken after the man's
heel pull on his L. The usual follows is the Open Impetus Turn,
however, a backward curving figure is often used. Because of the long
sequence, we will recap the footwork and sways:
Man: H/T, T, T/H; T/H, T,
T/H; T/H, T, T/H; T/H, T, T/H; (all SQQ)
Lady: T/H, H/T, T; H, H/T,
T; H/T, T, H/T; H, H/T, T; (all SQQ)
Man: S,L,L; S,R,R; S,L,*l;
S,R,R;
Lady: S,R,R; S,L,L; S,R,*R;
S,L,L;
*On the classic version,
blend back to straight. Note also that the classic version curves
only slightly toward the wall on the second wave.
FOUR WAVES: Strangely
enough, this has only three waves in it but has persisted with the
same title for many years. The Four Waves have the same basic 12
steps as the Triple Reverse Wave (all SQQ) but keeps the lady in line
throughout. There is still a right-shoulder lead on step 8 where the
lady can use either a heel or ball of her L, depending upon the
amount of body height retained. The lady can also turn to a closed
head on 8 & 9 as well as 11 & 12. This is also a Reverse
Wave, Back Feather, Reverse Wave sequence but minimizes the amount of
curve on the waves with little or very little curve on the second
wave.
We have completed our
descriptions for the waltz and foxtrot sections and will continue
with those quickstep figures not previously covered in conjunction
with the above.
Next Time: Flicker
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, May 2013.
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