Introduction to International Tango

Transcription

1 Introduction to General - is in the smooth ballroom category of dances along with Waltz, Quickstep, Slow Foxtrot and Viennese Waltz. Staccato movement and quick head changes are some distinct characteristics. is danced without rise or fall and usually no sway. This should make it easier to dance than the other smooth dances. Musical Timing - Technically the musical timing of is 2/4. That means two beats to one bar or measure of music. It is counted, however, 1 & 2 &, 1 & 2 &, etc. This seems like four beats to a measure or bar. The step or dance timing is QQS. Each quick is on a half beat and each slow is on a whole beat. This makes the first quick on 1, the second quick on &, and the slow on 2 &. If we try to choreograph a routine using this timing, it will soon become confusing on the cue sheet. We have many figures in routines that use a quarter beat and we call this a & step. This step would use half a 1 or 2 beat or half a & beat. To eliminate confusion, this section of the manual will consider that the musical timing is 4/4, though it is technically incorrect. Using 4/4 will allow us to use the & step and can put it in a cue sheet as a half beat in a measure. Footwork - The footwork in is different from the other smooth rhythms. With no rise or fall, there usually are no references to steps taken on the toe. s on the toe are normally after rising or preceding a lowering action. Instead of steps on the toe, in Tango they are on the ball of the foot (usually, but not always, this is on a backing step). There also will be many references to inside edge. This means that the inside edge is the first part of the foot to contact the floor. It could be the inside edge of the ball of the foot or the whole foot. On a tap, the inside edge of the toe is in contact with the floor. A tap does not take weight, because it only has contact with the floor. A forward step, by the man or the lady, uses a heel lead, no matter whether it is a quick or slow, in Closed Dance Position (CP) or Promenade (PP or SCP). We also must be aware of the positions of the feet, one to the other, when we bring them together or close them. When closing the feet, the ball of the right foot is at the instep of the left foot. It is the same for the man and the lady. This puts the man s right foot slightly back from his left and the lady s right foot slightly forward from her left. Placing the feet properly will tuck the knees in so that the back knee feels tucked behind the forward knee. When dancing the, the use of Contra (Contrary) Body Movement (CBM), Contra (Contrary) Body Movement Position (CBMP) and shoulder leading is essential. CBM is a body action while taking a step. In taking a forward step using CBM, the opposite shoulder must come forward also. CBM normally starts a turning figure. This, however; is not always true. A step completed with the feet on the same line and the body in contra is in CBMP. The most obvious example of this position is the Contra Check. A step using CBM could end in CBMP but does not necessarily have to. A step into Closed Position, from outside partner, (BJO or SDCAR), requires CBM, however; partners could end square to each other. It might not require CBM to end in CBMP. The through step with the inside foot in Promenade (SCP) is in TG - Intro - 1

2 Introduction (continued) CBMP, however; the shoulder is already forward and the step requires no body turn to be in CBMP. Shoulder leads will require the same foot and shoulder to move in the same direction, forward or backward. If in CBMP, the shoulder remains in its same position as the forward or backward step occurs. If the right foot and right shoulder are moving forward, we have a right shoulder leading. Dance Position - The dance position for is different from the other smooth rhythms. It is more compact and the lady moves more to the left in the man s right arm. Do not think of the man reaching further around the lady, but the lady moving further to her left. There is a lowering of the body through the legs so that there is contact between the dancers from the waist to the knees. The lady moves her left arm and hand to the underside of the man s right arm and there should be a solid connection with these arms. The man bends his left arm more, so that the hand moves toward the lady s head slightly. This is so the lady s right arm will not be straight when she moves further to the left. The feeling, when we get into the proper position, is that we are down in the legs and up in the body. It is important to maintain this position and feeling throughout, even while performing picture figures. Terminology - The terms Promenade Position (PP) and Semi-Closed Position (SCP) are the same. Promenade is the term that we will see in all the reference manuals used in International Ballroom. When we use the term Banjo (BJO) the ballroom definition is Outside Partner. For Sidecar (SDCAR) the ballroom definition is Outside Partner Left Side. These terms are also interchangeable. Most of the figures used in our higher level routines come from these manuals. We use many other ballroom terms for figures. We, therefore, must become more familiar with the remainder. We can use our own terminology, but we must understand theirs if we are going to use the figures out of their manuals. Let s think of it as the best of both worlds. - Following this introduction, each Figure Description will have a beginning alignment. This alignment is not the only alignment from which the figure can begin or end. Some starting point is necessary to show the amount of turn while accomplishing the figure. The actual beginning alignment, in a routine, is the choreographer s prerogative. The step timing for each figure will be the timing used in the most common reference books. Do not consider this timing the only one to use. Again this is choreographers prerogative. If we describe a figure as danced QQS, it may also be correct if danced QQQ or QQ&. Amounts of Turn - There are two amounts of turn noted in the figure Descriptions. One is the amount of turn made by the foot. This turn will be noted in the Direction column. The other is the amount of turn which the body makes on a given step. We will note this turn in the Body Turn column. While dancing some figures, the feet will make more turn than the body, on a particular step. The body usually catches up on the next step. We note this by the term Body Turns Later or Body Turns Less. TG - Intro - 2

3 Table of Contents Introduction.. TG-Int-1 Back Corté.. TG-17 Back Open Promenade.. TG-18 Basic Reverse Turn.. TG-15 Brush Tap.. TG-05 Chase, The.. TG-04 Closed Promenade.. TG-12 Contra Check - Hi Line & Slip.. TG-46 Contra Check & Slip.. TG-45 Contra Check & Switch.. TG-43 Contra Check & Tap.. TG-40 Double Closed Promenade.. TG-19 Double Open Promenade.. TG-20 Drop Oversway (from Closed Pos.).. TG-21 Drop Oversway (from Prom. Pos.).. TG-22 Fallaway Four.. TG-23 Fallaway Promenade.. TG-24 Five.. TG-25 Four By Five.. TG-26 Four.. TG-11 Four Change.. TG-27 Left Foot Back Rock.. TG-28 Natural Fallaway Twist Turn.. TG-29 Natural Promenade Turn.. TG-06 Natural Twist Turn.. TG-07 Open Promenade.. TG-13 Open Rev Turn (Lady In-line) Closed Fin.. TG-09 Open Rev. Turn (Lady In-line) Open Fin.. TG-35 Open Rev. Turn (Lady Otsd) Closed Fin.. TG-08 Open Rev. Turn (Lady Otsd) Open Fin.. TG-34 Open Reverse Turn Closed Finish.. TG-08 Outside Swivel.. TG-48 Outside Swivel Promenade Link.. TG-10 Oversway (from Closed Position).. TG-30 Oversway (from Promenade Pos.).. TG-31 Progressive Link.. TG-03 Progressive Side.. TG-02 S# TG TOC - 1

4 Table of Contents Promenade Promenade Link Promenade Quarter Beat Promenade Sway Quarter Beats Reverse Fallaway Reverse Fallaway And Slip Reverse Turn Closed Finish Reverse Turn Open Finish Right Foot Back Rock Right Lunge Roll And Slip Rock Turn Rudolph Rondé & Slip Rumba Cross Same Foot Lunge Spanish Drag Stalking Walks Tango Walks Throwaway Oversway Turning Five Turning Four Viennese Turn Closed Finish Viennese Turns.. TG-32.. TG-01.. TG-14.. TG-47.. TG-42.. TG-53.. TG-51.. TG-09.. TG-35.. TG-33.. TG-55.. TG-36.. TG-49.. TG-44.. TG-50.. TG-41.. TG-37.. TG-16.. TG-54.. TG-39.. TG-38.. TG-15.. TG-52 TG TOC - 2 S#9 2005

5 Back Corté 1 1/2 measures - SQQ S Level of Difficulty 4 CP fcng DRW - bk L in CP, -, bk R in CBMP & CP trng 1/8 LF, sd & slt fwd L trng 1/8 LF; cl R to L slt bk in CP, -, CP fcng DLC - fwd R in CP, -, fwd L in CBMP & trng 1/8 LF, sd & slt bk R trng 1/8 LF; cl L to R slt fwd in CP, -, Direction Body Turn Footwork 1 S DRW bk L DLC nil IE of BH none L shldr ldng 2 Q WALL bk R COH 1/8 LF BH - in CBMP 3 Q DLW sd L DLW - IE of WF - LF is sd & slt fwd, ptng DLW 4 S - cl R to L DLW nil WF - Direction Body Turn Footwork 1 S DLC fwd R DLC nil H none R shldr ldng 2 Q COH fwd L COH 1/8 LF H - CBMP 3 Q DRC sd R DLW - IE of BH - RF is sd & slt bk 4 S - cl L to R DLW nil WF - NARRATIVE DESCRIPTION Start in Closed Position facing DRW and moving DLC. [ 1.] straight back using the inside edge of ball heel of the left foot and with the left shoulder leading. [ 2.] back ball heel on the right foot turning left face 1/8 turn in CBMP, backing COH. [ 3.] side and slightly forward with the inside edge of the left foot turning 1/8 left to face DLW. [ 4.] Close the right foot to the left foot slightly back and whole foot. End facing DLW still in Closed Position. Start in Closed Dance Position facing and moving DLC. [ 1.] forward toward TG - Fig 17-35

6 Back Corté (continued) DLC with the right foot, heel leading and right shoulder leading. [ 2.] Turning left face 1/8 turn, step forward in CBMP with the left foot, heel leading. [ 3.] to the side and slightly back with the inside edge of ball heel with the right foot turning left face 1/8 turn. [ 4.] Close the left foot to the right foot, slightly forward. GENERAL NOTES The Back Corté essentially is a backward walk with the man s left (woman s right) foot followed by a Closed Finish. It obviously is used to change the line of dance 90 degrees to the left. If the Back Corté begins in Contra Banjo Position, as it would if it followed a figure that ended with an Open Finish, then the foot positions will be different on the first step. Instead of being back with the inside edge of ball heel and a shoulder lead, it will be back, ball heel, in CBMP with the lady outside. The lady will be in Closed Position by the end of step two. TG - Fig 17-36

7 Back Open Promenade 1 1/2 measures - SQQ S SCP fcng LOD - sd L in SCP, -, fwd R in SCP, trng RF 1/4 sd & slt bk L; bk R, -, SCP fcng LOD - sd R in SCP, -, fwd L in SCP, trng RF 1/4 sd & slt fwd R; fwd L, -, Direction Body Turn Footwork 1 S DLW 2 Q - sd L LOD nil H none SCP fwd R LOD - H - CBMP SCP 3 Q - sd & slt bk L 1/4 RF BH - trn is a swvlg on R btw 2 & 3 to CP 4 S DRW bk R slt LF BH - slt bdy trn L Direction Body Turn Footwork 1 S DLC 2 Q - 3 Q - sd R LOD nil H none SCP fwd L LOD - H - CBMP SCP sd & slt fwd R - BH - CP 4 S - fwd L slt LF WF - slt bdy trn L NARRATIVE DESCRIPTION Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the left foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the right foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] Swiveling 1/4 turn right face on the right foot, step side and slightly back on the left foot ball heel across the lady s line of dance into closed position. Man is backing DLC. [ 4.] back ball heel with the right foot well under the body, ending with a slight body turn to the left. Weight should be kept forward causing the lady not to take a heel lead on step 4. TG - Fig 18-37

8 Back Open Promenade (continued) Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the right foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the left foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] side and slightly forward ball heel on the right foot between the man s feet into Closed Position facing DLC. [ 4.] forward left using the whole foot into Closed Position, ending with a slight body turn left face. GENERAL NOTES On steps one and two, the steps are both side and forward as they are taken in Semi-Closed Position. On step three when the man crosses the lady s track, he must not hinder her movement. He must keep his body moving along the line of dance. His left foot really moves side and back but ends as a back step, landing ball heel, not with the inside edge of the foot and swiveling to the heel. A more advanced way of dancing the Back Open Promenade is on step 4 to turn the body more to the left using a strong contra body movement, placing step 4 in CBMP. TG - Fig 18-38

9 Brush Tap 1 measure - QQ&S Level of Difficulty 4 CP fcng DLW - fwd L, trng slt LF sd R, brush L to R slt sd L no wgt, -; CP fcng DRC - bk R, trng slt LF sd L, brush R to L slt sd R no wgt, -; Direction Body Turn Footwork 1 Q DLW fwd L nil H none CBMP 2 Q - sd R 1/8 L BH - R shldr ldng 3 & LOD brush L to R nil off the fl - half-beat is taken from following SLOW 4 S - slt sd L - IE of B no wgt - Direction Body Turn Footwork & Fall 1 Q DRC bk R nil BH none CBMP 2 Q - sd L 1/8 L WF - L shldr ldng 3 & RLOD brush R to L nil off the fl - 4 S - slt sd R - IE of B no wgt - NARRATIVE DESCRIPTION Start in Closed Dance Position moving DLW. [ 1.] forward with the left foot, heel leading, in CBMP. [ 2.] Turn slightly to the left and step side with the Right foot, ball heel, right shoulder leading using the full count of a quick. [ 3.] The left foot brushes quickly toward the right foot while keeping it almost on the floor. [ 4.] Quickly move the left foot a small distance to the side. The inside edge of the ball of the left foot remains in contact with the floor. Start in Closed Dance Position backing DLW. [ 1.] back on the right foot, ball heel, in CBMP. [ 2.] Turn slightly to the left while stepping side on the left foot, whole foot. [ 3.] The right foot brushes quickly toward the left, keeping it almost on the floor. [ 4.] The right foot moves quickly to the side, a small step. The inside edge of the ball of the right foot is in contact with the floor. TG-Fig 5-11

10 Brush Tap (continued) GENERAL NOTES This figure is sometimes cued as FORWARD SIDE BRUSH TAP. The use of this figure, in Tango, is much like a small change of direction in the other smooth rhythms. Take care not to "pop up" on step two. In Tango, dancers must remember to remain at the same level nearly all of the time. TG-Fig 5-12

11 Chase 2 measures - SQQ QQS Level of difficulty 7 SCP fcng LOD - sd & fwd L in SCP, -, fwd R LOD in CBMP in SCP trng slt LF, trng slt RF sd & slt fwd L; trng sharply RF fwd R in CBMP in BJO ck, bk L in CBMP in BJO trng 1/8 RF to BJO DRC, trng RF sd R a sml stp in SCP with L slt sd no wgt ready to move DLC, -; SCP fcng LOD - sd & fwd R in SCP, -, fwd L LOD in CBMP in SCP, trng LF into CP sd & slt bk R; trng RF bk L in CBMP in BJO ck, fwd R in CBMP in BJO trng 1/8 RF, trng RF sd L ending in SCP with R slt sd no wgt ready to move DLC, -; Direction Body Turn Footwork 1 S DLW sd L LOD nil H none SCP 2 Q - fwd R LOD slt LF H - 3 Q - sd & slt fwd L 1/8 RF BH - 1/8 RF & 1/8 RF after 4 Q WALL fwd R wgt is taken BH - 5 Q RLOD bk L 1/8 RF BH - 6 S DRC sd R 1/4 RF BH & IE of B of L - CBMP, SCP, signal trng to CP for lady trn is btw 2 & 3 preparing to stp outsd lady CBMP in BJO outside ptr - travng along LOD - trn to fc RLOD. CBMP in BJO lady outsd trn on L 1/8 then pl the R ft trng to SCP DLC Direction Body Turn Footwork 1 S DLC sd R LOD nil H none SCP 2 Q - fwd L LOD nil H - CBMP in SCP 3 Q - sd & slt bk R 4 Q COH bk L 1/8 LF btw 2 & 3 BH - 1/8 RF & 1/8 RF after wgt is taken BH - trn btw 2 & 3 greater with the ft than bdy. CBMP in BJO - The bdy progression should be along LOD 5 Q LOD fwd R 1/8 RF H - 6 S DLW sd L 1/4 RF BH & IE B of R - CBMP in BJO outsd ptr 1/8 trn on R then pl the L ft trng to SCP DLC TG - Fig 4-9

12 The Chase (continued) NARRATIVE DESCRIPTION Start in Semi-Closed Position moving LOD. [ 1.] side & forward on the left foot, heel leading, in Semi-Closed Position. [ 2.] forward on the right foot In Semi- Closed Position with a heel lead in CBMP. Start turning the lady into Closed Dance Position after taking weight. [ 3.] side and slightly forward on the left foot, ball heel and your body turns slightly to the right. This turn is a preparation to step outside your partner in Banjo Position. [ 4.] Turn the body sharply to the right while stepping forward with the right foot, outside partner in Banjo, on the whole foot. After taking weight on the right foot, make a turn further to the right to end facing DRW. This step should not progress toward reverse line of dance. It moves toward line of dance and the wall while the body is still progressing down line of dance. [ 5.] Turning slightly right face, step back on the left foot LOD, ball heel, in CBMP in the Banjo Position, end facing DRC. [ 6.] Starting to turn to the right take a small step side on the ball of the right foot. Continue to turn right face to end in Semi-Closed Position facing DLC ready to move DLC. With the turn completed, allow the heel to contact the floor. All weight is now on the whole foot. The left foot is slightly to the side and in contact with the floor, on inside edge of ball with no weight. Start in Semi-Closed Position moving LOD. [ 1.] side & forward on the right foot, heel leading, in Semi-Closed Position. [ 2.] forward on the left foot, in Semi-Closed Position, heel leading in CBMP. Start turning into closed dance position after taking weight. [ 3.] side and slightly back on the right foot, ball heel, and the body turns slightly to the right. The man is preparing to step outside partner in Banjo Position. [ 4.] Turning your body to the right, step back with the left foot in Banjo, ball heel. It should feel as though the foot is placed under your body. After you take weight on the left foot, continue to turn further to the right to end facing DLC. This step should not progress toward RLOD. It moves toward DLW and the while the body is still progressing LOD. [ 5.] forward on the right foot LOD, heel ball, in CBMP and Banjo, outside partner. [ 6.] Start turning right face on the right and step side and back with the left on the ball of the foot. Taking weight, continue to turn to the right to end in semi-closed position facing DRC ready to move DLC. After completing the turn, allow the heel to contact the floor. All weight is now on the whole foot with the right slightly to the side touching the floor on the inside edge of ball with no weight. GENERAL NOTES The Chase is a moving figure. It moves along the chosen line of dance on all steps. s three and four curve to the right; however, they do not move in a direction opposite the first two steps. The body of the man turns to end backing for step five; but, he is still moving along line of dance. four, for the lady, which started as a back step, should be well under her body with a crossing action ready to push off, forward, on step five. Many dances, to date, have been choreographed to omit the last step of the figure and cued simply as CHASE. Instead they have used some type of Chassé. six can also be adjusted to keep the lady in Closed Dance Position. From there you can dance steps four five and six again making it a Double Chase. TG - Fig 4-10

13 Closed Promenade 1 1/2 measures - SQQ S Level of Difficulty 5 SCP fcng LOD - sd & fwd L in SCP, -, fwd R in SCP, sd & slt fwd L; cl R to L slt bk, -, SCP fcng LOD - sd & fwd R in SCP, -, fwd L in SCP, trn LF sd & bk R in CP; cl L to R slt fwd, -, Direction Body Turn Foot work 1 S DLW sd & fwd L LOD nil H none SCP 2 Q - fwd R LOD - H - CBMP & SCP 3 Q - sd & slt fwd L slt LF IE of WF - A slt LF bdy trn btw stp 2 & 3 to cause the lady to trn to CP 4 S - cl R to L slt bk nil WF - now in CP Direction Body Turn Footwork 1 S DLC sd & fwd R LOD nil H none SCP 2 Q - fwd L LOD - H - CBMP & SCP 3 Q - sd & slt bk R 1/8 LF btw 2 & 3 IE of BH - bdy ends fcng COH, T in ft bkng DLW 4 S COH cl L to R slt fwd 1/8 LF WF - no ft trn or svl. The bdy trns to the pos of the ft on the previous stp. NARRATIVE DESCRIPTION Start in Semi-Closed Position moving along LOD. [ 1.] side and forward on the left foot, heel leading in Semi-Closed Position. [ 2.] forward on the right foot, in CBMP and Semi-Closed along LOD, heel leading. A slight indication of a body turn to the left, after the step, will cause the lady to start turning to Closed Position on her next step. [ 3.] side and slightly forward on the left foot, on the inside edge of the whole foot. The foot will point diagonal to line and wall. [ 4.] The right foot closes to the left, slightly back, whole foot. You are now in Closed Dance Position facing DLW. TG - Fig 12-25

14 Closed Promenade (continued) Start in Semi-Closed Position moving along LOD. [ 1.] side and forward on the right foot, heel leading in Semi-Closed. [ 2.] forward on the left foot, in CBMP and Semi-Closed along LOD, heel leading. After the step, the man should suggest a left turn with a slight left face turn of his body. This will cause you to turn into Closed Dance Position between this step and step three. [ 3.] Place the right foot side & slightly back on the inside edge of ball then heel. A small turn to the left to face center of the hall will be necessary. The foot should be pointing diagonal to reverse and center. Until releasing the left foot, the feet should be pigeon toed. The head should turn to Closed Position naturally. [ 4.] After turning to the left, to match the body to the right foot, the left foot closes to the right, slightly in front, whole foot. You are now in Closed Dance Position and facing DRC. Delay closing the feet until you feel the man close his feet. GENERAL NOTES The Closed Promenade turns 1/8 right face. Some key actions occur in the Closed Promenade. The "through" action on step two is a three-track movement, as are all Semi- Closed steps. The man's left foot is on one "track," the lady's right foot is on another "track" and their inside feet share a "track." Therefore, the man must precede the lady in steps in Semi-Closed because of the couples' basic positioning. The slight body turn by the man between steps two and three is just that - slight. The term "body shrug" would be a better description and should be no more than 1/32. The purpose of the "shrug" is to cause the lady to place her third step in closed position pointing DRC. The third step leaves the lady in a very "pigeon-toed" stance for a moment. This will be until she releases the left foot and picks it up and closes it on step four. This "pigeon-toed" foot placement is very common in tango since most steps are placed, not swiveled. Note also that the lady's body catches up to the turn of the foot in the following beat by turning to the same alignment as the feet. As in all Tango basics take care to maintain the same height throughout the figure. It should be noted that the first three steps of Closed Promenade and Open Promenade are identical. It is not until step four that the lady knows which figure is being danced. TG - Fig 12-26

15 Contra Check and Slip 1 measure - SQQ Level of Difficulty 5 CP fcng DLW - Ck fwd L in CBMP sltly flexing knees strong R sd ld, -, rec R, slip bk L trng RF; CP fcng DRC - Ck bk R in CBMP sltly flexing knees strong L sd ld, -, rec L, slip fwd R trng RF; Direction Body Turn Footwork 1 S DLW fwd L 1/8 LF BF none 2 Q LOD rec R 1/8 RF BH - end 3 Q DRW bk L 1/4 RF BF - Direction Body Turn Footwork 1 S DRC bk R 1/8 LF B none 2 Q RLOD rec L 1/8 RF BH - end 3 Q DLC fwd R 1/4 RF BF - CBMP on stp 1, keep some wt on R slip pivot small step CBMP on stp 1, keep some wt on L slip pivot small step NARRATIVE DESCRIPTION Start in closed position facing DLW. [ 1.] forward with left foot into CBMP. Body turns left face about 1/8 on this step. Retain some weight (say 30%) on ball of right foot. [ 2.] Recover onto right foot turning right face 1/8 to return to original closed position. [ 3.] Slip left foot back, small step, turning right 1/4 to face DRW. End in closed position with soft knees and right leg slightly forward. Start in closed position facing DRC. [ 1.] back on right foot into CBMP. Body turns left face about 1/8 on back step. Retain some pressure on left foot. Extend head smartly to left. [ 2.] Return head to normal closed position and recover to left foot turning right face about 1/8 to normal closed position. [ 3.] Slip right foot forward turning right face 1/4 to face DLC. End in closed position with soft knees and left foot slightly back. S# TG Fig 45-91

16 Contra Check & Slip (continued) GENERAL NOTES Using the alignment as described, this figure may be followed by a Closed Finish (or similar left turning figure). The Slip Pivot may be turned from 1/8 to 3/8 RF. Do not let arms extend for lady s contra check as would be done in Waltz or Foxtrot. Lady s head change on step 1 is a smart turn LF, not a body extension. TG Fig S#6 2002

17 Contra Check and Switch 1 measure - SQQ Level of Difficulty 5 CP fcng DRC - Ck fwd L in CBMP sltly flexing knees strong R sd ld, -, rec R comm RF trn leaving L in plc, cont RF trn to DLW rec L soft knees R xtnded fwd btwn W s legs; CP fcng DLW - Ck bk R in CBMP sltly flexing knees strong L sd ld, -, rec L comm RF trn leaving R in plc, cont RF trn to DRC rec R soft knees L xtnded bk; Direction Body Turn Footwork 1 S DRC fwd L 1/8 LF BF none 2 Q RLOD rec R 5/8 RF B - end btwn 2 & 3 3 Q DLW rec L BF - Direction Body Turn Footwork 1 S DLW bk R 1/8 LF B none 2 Q LOD rec L 5/8 RF BF - end btwn 2 & 3 3 Q DRC rec R BF - lwr bfr taking stp, CBMP on stp 1, keep some wt on R keep both feet in place and knees soft lwr bfr taking stp, CBMP on stp 1, keep some wt on L keep both feet in place and knees soft NARRATIVE DESCRIPTION Start in closed position facing DRC. [ 1.] forward with left foot into CBMP. Turn body left face about 1/8 on this step to end facing RLOD. Look over woman s head. Retain some weight (say 30%) on ball of right foot. Do not soften arms as in Foxtrot or Waltz to allow woman s extra extension. [ 2.] Recover onto right foot turning right face 1/8 to face DRC keeping left foot in place and returning head to normal closed position. [ 3.] Recover to left foot turning right 1/2 to face DLW. End in closed position with soft knees and right leg forward between woman s legs. S# TG Fig 43-87

18 Contra Check & Switch (continued) Start in closed position facing DLW. [ 1.] back on right foot into CBMP. Turn body left face about 1/8 on back step to end facing LOD. Retain some pressure on left foot (say 30%). Extend head smartly to left without further body extension near the end of the two beats allowed for this step. [ 2.] Return head to normal closed position and recover to left foot turning right face about 1/8 to face DLW. Keep right foot in place. [ 3.] Recover to right foot turning right face 1/2 to face DRC. End in closed position with soft knees and left foot extended back. GENERAL NOTES Lady may use a slip pivot action with right foot on step 3. This figure may be executed from other facing positions. The total amount of body turn may vary. Generally it will approach 1/2 turn right face from the initial facing position. TG Fig S#6 2002

19 Contra Check & Tap 1 measure - SQQ Level of Difficulty 5 CP fcg DLW - Fwd L in CBMP sltly flexing knees, -, rec R, L ptd to sd in SCP; CP fcg DRC - Bk R in CBMP sltly flexing knees, -, rec L, R ptd to sd in SCP; # Timing Direction Body Turn Footwork & Fall 1 S DLW fwd L 1/8 LF BF - Lwr bfr tkg stp, CBM on stp 1, keep some wt on R 2 Q LOD rec R 1/8 RF BH - pt L to sd IE 3 Q DLW w/o wt - B of L - # Timing Direction Body Turn Footwork & Fall 1 S DRC bk R 1/8 LF B - Lwr bfr tkg stp, CBM on stp 1, keep some wt on L 2 Q RLOD rec L 1/8 RF BH - pt R to sd IE 3 Q DRC w/o wt - B of R - NARRATIVE DESCRIPTION Start in closed position facing DLW. [ 1.] Lower on right foot and step forward with CBM into CBMP. Body turns left face about 1/8 on forward step. Retain a significant portion of weight (say 30%) on ball of right foot. [ 2.] Recover to right foot turning 1/8 right face to return to original closed position. [ 3.] Change from closed position to SCP by placing left foot side and forward pointing with inside edge of ball of left foot in contact with the floor. Start in closed position facing DRC. [ 1.] Lower on left foot and step back right with CBM into CBMP. Body turns left face about 1/8 on back step. Retain some pressure on left foot. Extend head smartly to left. [ 2.] Return head to normal closed position and recover to left foot turning about 1/8 right face to normal closed position facing DRC. [ 3.] Turn 1/4 right face between steps 2 and 3 to SCP placing right foot to the side and forward pointing with inside edge of ball of right foot in contact with the floor. S# TG Fig 40-81

20 Contra Check & Tap (Continued) GENERAL NOTES This figure is also danced using the timing QQS. The alignment may vary depending upon the preceding and or following figures. Do not let arms extend with lady as would normally be done in Waltz or Foxtrot. Lead lady to SCP on last step with a very slight RF body turn. Lady's head change on 1 is a smart turn LF, not a body extension. TG Fig S#5 2001

21 Contra Check Hi Line and Slip 1 measure SQQ& Level of Difficulty 6 CP fcng DLW - Fwd L in CBMP sltly flexing knees, -, rec R, sd L/R bk in CBMP fcg DLC; CP fcng DRC - Bk R in CBMP sltly flexing, -, rec L, sd R/L fwd in CBMP fcg DRW; Direction Body Turn Footwork 1 S DLW fwd L 1/8 LF BF - 2 Q DLW rec R 1/8 RF BH - 3 Q DLW sd L - BH - 4 & DLC bk R 1/4 LF BH - CBMP - keep some wt on R small step, L sd leading step back toward RLOD in CBMP, turn R toe in, hold L in CBMP Direction Body Turn Footwork 1 S DRC bk R 1/8 LF B - 2 Q DRC rec L 1/8 RF BH - 3 Q DRC cl R - BH - 4 & DRW fwd L 1/4 LF BH - CBMP on stp 1, keep some wt on L R sd leading step fwd toward LOD in CBMP, hold R in CBMP NARRATIVE DESCRIPTION Start in closed position facing DLW. [ 1.] forward on left foot into CBMP. Body turns left face about 1/8 on forward step. Retain a significant portion of weight (say 30%) on ball of right foot. [ 2.] Recover to right foot turning right face 1/8 to return to original closed position. [ 3.] side on left foot (small step) with left side leading, stretch right side for high-line with no foot rise. [ 4.] Turn right toe in and step back on right foot in CBMP toward RLOD turning left face 1/4. End facing DLC. S# TG Fig 46-93

22 Contra Check Hi Line & Slip (continued) Start in closed position facing DRC. [ 1.] back on right foot into CBMP. Body turns left face about 1/8 on back step. Retain some pressure on left foot. Extend head smartly to left. [ 2.] Return head to normal closed position and recover to left foot turning right face about 1/8 to normal closed position. [ 3.] Close right foot to the left foot with right side leading. [ 4.] Turn right toe in and step forward on left foot in CBMP toward RLOD turning left face 1/4. End facing DRW. GENERAL NOTES This figure might be danced with other timings such as; S&QQ, or SQQS. Do not let arms extend for lady s contra check as would be done in Waltz or Foxtrot. Lady s head change on step 1 is a smart turn LF, not a body extension. TG Fig S#6 2002

23 Double Closed Promenade 2 measures - SQQ QQS Level of Difficulty 6 SCP fcng LOD - sd & fwd L in SCP, -, fwd R in SCP, slt LF trng sd & fwd L to CP; slt RF trng to SCP fwd R, slt LF trng sd & fwd L to CP, cl R to L slt bk, -; SCP LOD - sd & fwd R in SCP, -, fwd L in SCP, trng LF to CP sd & bk R; trng RF to SCP fwd L, trng LF to CP sd & bk R, cl L to R slt fwd, -; Direction Body Turn Footwork 1 S DLW sd & fwd L LOD nil H none In SCP 2 Q - fwd R LOD - H - In SCP 3 Q - sd & fwd L LOD slt LF trng H - ld lady to CP 4 Q - fwd R LOD slt RF trng H - ld lady to SCP 5 Q - sd & fwd L LOD slt LF trng H - ld lady to CP 6 S - cl R slt bk - HF - end CP DLW Timing Direction Body Turn Footwork 1 S DLC sd & fwd R LOD nil H none SCP 2 Q - fwd L LOD - H - SCP 3 Q - 4 Q DRC 5 Q DLC trng LF to CP sd & bk R 1/4 LF BH - trng RF to SCP fwd L LOD 1/4 RF BH - trng LF to CP sd & bk R 1/4 LF BH - 6 S DRC cl L slt fwd nil BF - end CP TG - Fig 19-39

24 Double Closed Promenade (continued) NARRATIVE DESCRIPTION Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the left foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the right foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] With slight LF turn of body, lead lady to turn to momentary Closed Position while stepping side and forward left, heel leading. [ 4.] With slight RF turn of body, lead lady to turn to Semi-Closed Position while stepping forward and slightly across on the right foot, in CBMP and Semi- Closed along LOD, heel leading. [ 5.] With slight LF turn of body, lead lady to turn to Closed Position while stepping side and forward on the left foot, heel leading in Semi-Closed Position. [ 6.] Close the right foot to the left slightly back in normal Tango closed-feet position. Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the right foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the left foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] While turning 1/4 LF, step side and back ball heel toward LOD with the right foot to momentary Closed Position. [ 4.] Turn sharply to Semi-Closed Position and step through with the left foot ball heel toward LOD. [ 5.] While turning 1/4 LF, step side and back on the right foot, ball heel toward LOD to Closed Position. [ 6.] Close the left foot to the right slightly forward in CP. GENERAL NOTES On steps one, two, and four, the steps are side and forward as they are taken In Semi-Closed Position. s two and four are across the center line of the body, that is, through steps. The figure starts in Semi-Closed Position, to Closed Position, to Semi-Closed Position, and ends in Closed Position. The figure is identical to Double Open Promenade through the first five steps. This is because on step three the bodies are momentarily in Closed Position, even though the feet are open. Both Double Open Promenade and Double Closed Promenade are identical to both Open Promenade and Closed Promenade through the first three steps. TG - Fig 19-40

25 Double Open Promenade 2 measures - SQQ QQS Level of Difficulty 6 SCP fcng LOD - sd & fwd L in SCP, -, fwd R in SCP, slt LF trng sd & fwd L to CP; slt RF trng to SCP fwd R, slt LF trng sd & fwd L to CP, fwd R outsd lady to BJO, -; SCP fcng LOD - sd & fwd R in SCP, -, fwd L in SCP, trng LF to CP sd & bk R; trng RF to SCP fwd L, trng LF to CP sd & bk R, bk L in CBMP, -; Direction Body Turn Footwork 1 S DLW sd & fwd L LOD nil H none In SCP 2 Q - fwd R LOD - H - In SCP 3 Q - sd & fwd L LOD slt LF trn H - ld lady to CP 4 Q - fwd R LOD slt RF turn H - ld lady to SCP 5 Q - sd & fwd L LOD slt LF trn H - ld lady to CP 6 S - fwd R outsd lady to BJO nil HF - L shldr ld Direction Body Turn Footwork 1 S DLC sd & fwd R LOD nil H none SCP 2 Q - fwd L LOD - H - SCP 3 Q - 4 Q DRC 5 Q DLC 6 S DRC trn LF to CP sd & bk R 1/4 LF B - trn RF to SCP fwd L LOD 1/4 RF H - trn LF to CP sd & bk R 1/4 LF B - bk L in CBMP nil BF - end BJO TG - Fig 20-41

26 Double Open Promenade (continued) NARRATIVE DESCRIPTION Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the left foot, heel leading in semi-closed position. [ 2.] forward and slightly across on the right foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] With slight LF turn of body, lead lady to turn to momentary closed position while stepping side and forward left, heel leading. [ 4.] With slight RF turn of body, lead lady to turn to semi-closed position while stepping forward and slightly across on the right foot, in CBMP and Semi- Closed along LOD, heel leading. [ 5.] With slight LF turn of body, lead lady to turn to Closed Position while stepping side and forward on the left foot, heel leading in semi-closed position. [ 6.] through with the right foot to Contra Banjo Position, left shoulder leading. Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the right foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the left foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] While turning 1/4 LF, step side and back ball heel toward LOD with the right foot to momentary closed position. [ 4.] Turn sharply to Semi-Closed Position and step through with the left foot ball heel toward LOD. [ 5.] While turning 1/4 LF, step side and back on the right foot, ball heel toward LOD to Closed Position. [ 6.] back with the left foot in CBMP to Banjo Position. GENERAL NOTES On steps one, two, and four, the steps are side and forward as they are taken in semi-closed position. s two and four are across the center line of the body, that is, through steps. The figure starts in Semi-Closed Position, to Closed Position, to Semi-Closed Position, and ends in Banjo Position. The figure is identical to Double Closed Promenade through the first five steps. This is because on step three the bodies are momentarily in Closed Position, even though the feet are open. Both Double Open Promenade and Double Closed Promenade are identical to both Open Promenade and Closed Promenade through the first three steps. TG - Fig 20-42

27 Drop Oversway (from Closed Position) 1 2 measures - QQS S Level of Difficulty 4 CP fcng DLC - fwd L in CBMP, trng LF sd & slt bk R, cont LF trng sd L LOD,-; sharply sway & look R,-, CP fcng DRW - bk R, trng LF cl L H to R H T ptg DLW, cont trng fwd & sd R LOD,-; sharply sway & look well L, -, Direction Body Turn Footwork 1 Q DLC 2 Q - 3 S DRC fwd L DLC comm LF trng nil H none trng LF sd & slt bk R 1/4 LF BH - cont trng sd L LOD 3/8 LF IE of B - head to L, broken sway to L, very still upright poise 4 S WALL slt LF IE of R toe - sharply sway & look R, flex L knee Direction Body Turn Footwork 1 Q DRW 2 Q - 3 S DLW bk R in CBMP nil BH none trng LF cl L H to R H T ptg DLW 1/4 LF WF - cont LF trng fwd & sd R LOD 3/8 LF BH - head to R, broken swy to R, very still upright poise 4 S COH slt LF IE of L - sharply swy & look well to L, flex R knee NARRATIVE DESCRIPTION Start in Closed Position facing DLC. [ 1.] forward, heel leading, with the left foot toward DLC, commencing a left face turn. [ 2.] Turning 1/4 left face step side and slightly back right, ball heel, causing the lady to close her feet. [ 3.] Continuing the LF turn, step side toward LOD with the inside edge of the ball of the left foot and lower to the TG - Fig 24-43

28 Drop Oversway (continued) heel, toe pointing between DLW and WALL. [ 4.] Keeping lady in Closed Position, sharply change sway and look right over the lady s left shoulder, flexing left knee and touching the inside edge of the toe of the right foot toward RLOD. Start in Closed Position facing DRW. [ 1.] back with the right foot, ball heel, toward DLC in CBMP. [ 2.] Turning 1/4 left face, close the left heel to the right heel with toe pointed DLW, weighting the whole foot (no heel turn). [ 3.] Continuing the turn on the ball of the left foot, step forward and side on the right foot, ball heel. [ 4.] Sharply change sway and look well to the left, flexing right knee and touching the inside edge of the left foot toward RLOD. GENERAL NOTES Drop Oversway is one of the few figures that is executed differently depending on the starting position. When starting from Closed Position, Drop Oversway uses the first two steps to facilitate the turn to Promenade for the Oversway. When starting from Promenade Position with lead foot free, a single step is used for Oversway. The essence of the Oversway Position is the upright poise and slight sway to left for the man (right for the lady), head slightly left (right) in Promenade Position, and straight leg over the flat, weighted foot. It is particularly important that the Oversway Position be kept quite still until the Drop, which must be done very sharply. TG - Fig 24-44

29 Drop Oversway (from Promenade Position) 1 measure - SS Level of Difficulty 2 SCP fcng LOD - sd & fwd L LOD, -; SCP fcng LOD - sd & fwd R LOD, -; Direction Body Turn Footwork 1 S DLW sd & fwd L LOD nil IE of BH - head to L, broken sway to L 2 S - sharply sway & look R slt LF IE of toe RF - flex L knee sharply Direction Body Turn Footwork 1 S DLC sd & fwd R LOD nil IE of BH - head to R, broken sway to L 2 S - sharply sway & look well L - IE of RF - flex R knee sharply NARRATIVE DESCRIPTION Start in Promenade Position facing LOD. [ 1.] side and forward toward LOD with the inside edge of ball heel of the left foot. [ 2.] Keeping lady in Closed Position, sharply change sway and look right over the lady s left shoulder, flexing left knee and touching the inside edge of the toe of the right foot toward RLOD. Start in Promenade Position facing LOD. [ 1.] side and forward toward LOD with the inside edge of ball heel of the right foot. [ 2.] Sharply change sway and look well to the left, flexing right knee and touching the inside edge of the left foot toward RLOD. GENERAL NOTES Drop Oversway is one of the few figures that is executed differently depending on the starting position. When starting from Closed Position, Drop Oversway uses the first two steps to facilitate the turn to Promenade for the Oversway. When starting from Promenade Position TG - Fig 22-45

30 Drop Oversway from PP (continued) with lead foot free, a single step is used for Oversway. The essence of the Oversway Position is the upright poise and slight sway to left for the man (right for the lady), head slightly left (right) in Promenade Position, and straight leg over the flat, weighted foot. It is particularly important that the Oversway Position be kept quite still until the Drop, which must be done very sharply. TG - Fig 22-46

31 Fallaway Four 1 measure - QQQQ Level of Difficulty 4 CP fcng DLW - fwd L in CP, sd & slt bk R RLOD in SCP, bk L in SCP, cl R to L in SCP; CP fcng DRC - bk R in CP, sd & slt bk L RLOD in SCP, bk R in SCP, cl L to R in SCP; Direction Body Turn Footwork 1 Q DLW fwd L DLW nil H none slt CBMP 2 Q - sd & slt bk R slt RF BH - end in Fallaway Pos 3 Q - bk L in SCP nil BH - stp under bdy in CBMP 4 Q - cl R to L SCP LOD - BH - cl R slt bk of L Direction Body Turn Footwork 1 Q DRC bk R in CP nil BH none slt CBMP 2 Q - sd & slt bk L 1/4 RF BH - end in Fallaway Pos 3 Q DLC bk R in SCP nil BH - stp under bdy in CBMP 4 Q - cl L to R SCP LOD - BH - cl L slt bk of R NARRATIVE DESCRIPTION Start in Closed Position facing DLW and moving DLW. [ 1.] forward, heel leading, with the left foot in slight CBMP preparing to indicate a right face turn to semiclosed position to the lady. [ 2.] With a slight right face turn of the upper body to indicate Semi-Closed Position to the lady, step side and slightly back, ball heel, with the right foot toward RLOD, right side leading. [ 3.] back with the left foot well under the body toward RLOD, ball heel, in CBMP and Fallaway Position. [ 4.] Close the right foot, ball heel, slightly back of the left foot, still in Semi-Closed Position. The left foot releases to the inside edge of ball of foot as weight is taken on the right foot, preparing to move to LOD. Start in Closed Position facing DRC and moving DLW. [ 1.] back toward DLW on the right foot, ball heel, in a slight CBMP. [ 2.] With a slight foot swivel and body turn 1/4 on the right foot, step side and slightly back, ball heel, on the left foot toward RLOD TG - Fig 23-47

32 Fallaway Four (continued) in Fallaway Position. [ 3.] back, ball heel, with the right foot well under the body in CBMP and Fallaway Position. [ 4.] Close the left foot, ball heel, slightly back of the right foot, in Semi-Closed Position preparing to move to LOD. The right foot releases to the inside edge of ball of foot. GENERAL NOTES Because the man will be leading a right face turn for the lady on step two, there should be less CBMP in step one. The slight right face turn for the man on step two is just that - slight, no more than 1/16. As is the norm in Tango, the man s slight turn is amplified by the lady as she turns 1/4 right face to create the Semi-Closed Position of the Fallaway. Take care on the closing step, step four, not to settle in. Since it is a quick step, you must be prepared to move immediately into the next figure. The Fallaway Four, like the Four, is a figure danced in four quick steps and usually without turn, as measured by the man s facing position. The figure moves from Closed Position DLW to Semi-Closed Position LOD. At the risk of helping some people but maybe confusing others, one might say that the first two steps of a Fallaway Four are similar to a Progressive Link, except that it will continue to move backward, so the second step is ball heel instead of inside edge of whole foot. TG - Fig 23-48

33 Fallaway Promenade 2 measures - SQQ SQQ Level of Difficulty 7 SCP fcng LOD - sd L in SCP, -, fwd R in SCP & CBMP suggest R trn, trng RF 1/4 sd L in SCP; bk R in falwy, -, bk L in CBMP & falwy, cl R to L in SCP; SCP fcng LOD - sd R in SCP, -, fwd L in SCP & CBMP, trng RF 1/4 sd R in SCP; bk L in falwy, -, bk R in CBMP & falwy, cl L to R in SCP; Direction Body Turn Footwork 1 S DLW sd L LOD nil H none SCP 2 Q - fwd R LOD slt RF H - CBMP SCP 3 Q - sd L DLW almost 1/4 RF BH - SCP 4 S DRW bk R COH nil IE of BH - comp trn in falwy 5 Q - bk L COH - BH - CBMP SCP ft trn 1/8 LF 6 Q - cl R to L DLW 1/8 LF BH - SCP bdy trns later Direction Body Turn Footwork 1 S DLC sd R LOD nil H none SCP 2 Q - fwd L LOD - H - CBMP SCP 3 Q DLW fwd R LOD almost 1/4 RF H - CBMP SCP 4 S - bk L COH nil IE of BH - comp trn in falwy 5 Q - bk R COH - BH - CBMP SCP 6 Q LOD cl L to R DLW 1/8 LF WF - SCP TG - Fig 24-49

34 Fallaway Promenade (continued) NARRATIVE DESCRIPTION Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the left foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the right foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] Swiveling slightly right face on the right foot, step side and forward on the left foot ball heel slightly across the lady s line of dance, so that she will remain in position after the turn. [ 4.] back ball heel with the inside edge and ball heel of the right foot well under the body toward COH with right shoulder lead in Fallaway Position. [ 5.] back ball heel with the left foot in CBMP and Semi-Closed Position turning the foot LF to point DLW. [ 6.] Close the right foot to the left slightly back ending with a slight body turn to the left, causing the lady to close whole foot. Start in Semi-Closed Position moving LOD. [ 1.] side and forward on the right foot, heel leading in Semi-Closed Position. [ 2.] forward and slightly across on the left foot, in CBMP and Semi-Closed along LOD, heel leading. [ 3.] forward heel leading on the right foot between the man s feet in CBMP and Semi-Closed Position and turning almost 1/4 turn right face with the right foot to stay in position on the man s right side. [ 4.] back toward COH completing the turn with the inside edge and ball heel of the left foot, left shoulder leading in Fallaway Position. [ 5.] back ball heel toward COH with the right foot in CBMP and Fallaway Position. [ 6.] Close the left foot to the right slightly back ending with a slight swivel turn to the left, closing whole foot. GENERAL NOTES On steps one and two, the steps are both side and forward as they are taken in semi-closed position. On step three when the man crosses the lady s track, he must not hinder her movement. He must keep his body moving along the line of dance. During steps 2 and 3, the man completes a 1/4 right face turn with his body. Note that throughout the lady s third step her body is turning right face as she steps forward toward LOD such that by the time the step is completed, she is in CBMP body facing almost DLW. TG - Fig 24-50

35 Five 1 2 measures - QQQQ S Level of Difficulty 6 CP fcng DLW - fwd L, sd & bk R, bk L in BJO, sml bk R; trn sharply to SCP & tap, -, CP fcng DRC - bk R, sd & fwd L, fwd R in BJO, fwd L in-line; trn sharply to SCP & tap, -, Direction Body Turn Footwork 1 Q DLW fwd L DLW 1/8 LF H none in CBMP 2 Q LOD sd & bk R DRW nil BH - R shldr ldng 3 Q - bk L in BJO - BH - in CBMP 4 Q - sml bk R DRW - B - ld lady in-line 5 S - trn SCP DLC & tap RF bdy trn H (RF) IE of B (LF) - Direction Body Turn Foot work 1 Q DRC bk R DLW 1/8 LF BH none in CBMP 2 Q RLOD sd & fwd L DRW nil WF - L shldr ldng 3 Q - fwd R DRW - H - in CBMP and BJO 4 Q - fwd L DRW - B - to in-line pos 5 S - trn SCP DLC and tap 1/4 RF H (LF) IE of B (RF) - NARRATIVE DESCRIPTION Start in Closed Position facing DLW. [ 1.] forward on the left foot, heel leading, in CBMP making 1/8 left face turn with the body. [ 2.] side and back, ball heel, with the right foot, right shoulder leading. [ 3.] back ball heel with the left foot with a slight right face turn of the upper body in CBMP, taking the lady to Banjo Position. [ 4.] back and slightly side a small step using the ball of the right foot toward DRW and with a slight left face turn of the upper body to bring the lady to an in-line position. [ 5.] With a sharp right face turn of the upper body, cause the lady to quickly turn to Semi-Closed Position, and turn the left knee in so that the left foot is in tap position using the inside edge of the ball of TG - Fig 25-51

36 Five (continued) the foot and lower onto the right heel. Start in Closed Position facing DRC and backing DLW. [ 1.] back ball heel on the right foot in CBMP, making 1/8 left face turn with the body. [ 2.] Recover side and forward on the left foot with the whole foot, left shoulder leading. [ 3.] forward and slightly across with the right foot, heel leading, outside the man in CBMP. [ 4.] forward on the ball of the left foot toward DRW into an in-line position. [ 5.] Sharply turn 1/4 right face to Semi-Closed Position, turn the right knee in so that the right foot is in tap position using the inside edge of the ball of the foot, and lower onto the left heel. GENERAL NOTES The Five figure moves from closed position, through banjo, to an in-line position, and ending in semi-closed position. On step five, the man s sharp right face turn is slight, no more than 1/16. As is the norm in Tango, the man s slight turn is amplified by the lady as she turns 1/4 to create the Semi-Closed Position. The man will turn his head slightly left at the end of the figure. Note also that in step five the man s right (and lady s left) heel does not lower until the lady has completed her turn to Semi-Closed Position. This position must be achieved quickly and then held motionless until the end of the slow count. The Line Of Dance for a standard Five changes from DLW (in CP) to DLC (in SCP), a 1/4 left face turn. However, if it starts facing DLC, it will usually be overturned to end facing either DRW (2 turn), or wall (5/8 turn), or DLW (3/4 turn). The amount of turn over the whole of this figure is, or should be, determined by the amount of turn over the first two steps. In particular, the direction the man s body is facing after step two should be the same direction it is facing after step five. This is accomplished by overturning step one and pivoting on the ball of the left foot between step one and step two. TG - Fig 25-52