Introduction to International Waltz

Transcription

1 Introduction to General - The waltz is a dance for couples in 3/4time. The dance was developed from the Weller, a German peasant dance and the Laendler, an Austrian dance. The two most danced forms of the waltz are the Viennese Waltz and the Slow Waltz. The International waltz is a structured form of the Slow waltz and is in the smooth category of ballroom dances. The character of is that it has a late over the basic three steps which can be described as step, balance and elevation. This is also further described as down, down, up, to contrast it with down, up, up as used in American style. - The timing for is 3/4, or three beats to each standard measure (bar) of music. The BPM, or bars per minute, used can vary from 29 to 31. Although there is an accent on the first beat, the most important consideration is the long 2 count (2 & 5 on standard weaves) which allows for a momentary suspension of the body flight where most adjustments in direction are made. Rhythm - The normal rhythm of the waltz is 1, 2, 3. Each number represents a beat in a bar (measure) of music. Frequently, however, there will be figures with more than three steps taken over one measure. Where there are more than three steps taken, there will be syncopation. This syncopation can be on any beat of the measure. In describing the figures, in this manual, each beat in the measure will have an equal amount of time associated with it. These beats will be numbered 1, 2 and 3. If there is syncopation, some steps win share a single beat of the measure. In the manual this is shown by using the symbol &. For example, if the timing of a figure is 1&, 2, 3, then steps 1 and 2 would share beat I in a measure of music, etc. Body Mechanics - The use of correct body mechanics makes the much easier to dance. We have listed a few key points. The dancers must keep their body weight over the supporting leg. If the partners' feet are slightly apart, this is easier to accomplish. A good top line (head to rib cage area) is a necessity, with the head and spine aligned and maintained over the feet. Keep the knees relaxed - never locked. Hold the arms up with the muscles of the back of the upper arm (triceps) instead of the front muscles (biceps), while keeping the shoulders down. Movement - Movement in the Waltz generally involves steps with turning action and a lot of sway. The second step is usually longer than the others because of the turning action and the sway necessary to accomplish this action. On most left turning actions there is no true CBM, due largely to the position of the man to the lady s right side and with both orienting the upper bodies slightly to the left. On all turns the sways are somewhat downward with floor pressure on the supporting foot, giving the appearance of a longer step. Forward Movement Forward movement begins by lowering into the knee of the supporting foot. To describe this, let's assume that we are standing on the right foot. We swing the free foot (left) forward from the hip, after lowering to the heel on the previous step. The heel of the supporting foot (right) releases as the heel of the free foot (left) is about to strike the floor. There is a slight push off the right toe before the left heel contacts the floor. This WZ Intro - 1 S6 2002

2 Introduction (continued) push off would be the same as the push off in a normal walking step. As weight transfers onto the new supporting foot (left), the other (right) gathers under the body. The second and third steps, most often, are on the toe or ball of the foot. three may be taken in Contrary Body Movement Position (CBMP). For example, every step taken outside partner, in banjo, is in CBMP- Occasionally CBM accompanies CBMP. Backward Movement The knee of the supporting foot (left, for purposes of explanation) bends, lowering into the supporting leg. The free foot (right), leg and hip move back with the toe leading. As the weight transfers to the free foot, the heel of the supporting foot drags back until it collects under the body with no foot. Rise and - "Rise" is the increased elevation created by the bracing of the muscles of the legs, the straightening of the knees and the stretching upwards of the body. A rising of the heel or heels from the floor usually accompanies this action. "" is the lowering of the supporting foot from the toe to heel and the subsequent flexing of the knees while preparing for the next step. Instructions referring to no foot (NFR), mean that there is a body while the heel of the supporting foot does not leave the floor. No foot generally occurs on backing steps, for the lady, when the man uses a normal rising action. The man's forward poise and swing, in all forward movements (e.g., the closed change), will result in the lady having a body, with no foot. The man will have no foot on all heel pulls. Ladies' have no foot during a heel turn until they begin a forward step. The and fall in Waltz is generally achieved by beginning to at the end of step one, continuing the on steps two and three, and lowering at the end of step three. There are several types of and fall in the Waltz. Five types are described below. Type 1 Start to EO1, continue to on 2 and 3, lower E03. This is used when closing the feet on step 3 and changing weight, and as the man in the Cross Hesitation. Type 2 Start to EO1, continue to on 2, up on 3 and lower E03. This is used when the feet finish apart on step 3, e.g., an Outside Change, Wing as the lady, etc. This type and fall also applies to a Whisk or Back Whisk. Type 3 Start to EO1, continue to on 2 and 3, up on 4 and lower E04. This type is use when rising over 4 steps, e.g., a chassé, a turning lock, etc. Type 4 Rise slightly EO1 with No Foot Rise, continue to on 2, up on 3 and lower E03. This is the lady's and fall for a Heel Turn. Type 5 Rise EO1, up on 2 and 3, lower E03. WZ Intro - 2 S6 2002

3 Introduction (continued) This is the man's and fall when the lady dances a Heel Turn. Heel Turn - The term heel turn is almost a misnomer. The turn happens on the ball or whole foot of the supporting foot, keeping the moving or closing foot parallel to it. Trying to accomplish a heel turn on the heel of the foot will cause the toes to come off the floor. This will not allow for any body or natural forward progression at the end of the turning action. Transfer the weight to the closing foot at the end of the turn. The lady does a heel turn on the second step of such figures as the Open Telemark and the Double Reverse Turn. The Pull is a type of heel turn, used by the man, in some backward Natural Turns (e.g., the Open Impetus Turn for the man). The feet may be kept apart instead of closed, and the weight is more forward than in a heel turn. The second step of an Impetus Turn is a heel turn for the man that is almost like the lady's heel turn. Brush - A brush occurs when the moving foot (generally for the woman) moves from one open position to another. The word "Brush" means that the moving foot must first close toward the foot supporting the weight of the body, but without the weight changing. During the Brush step it is advisable to keep the knees relaxed and brush with the moving foot's toe about level with the supporting foot's instep. It is not necessary for the-toes of both feet to touch when brushing. Side Leads A right or left side lead occurs when the body is moved in the direction of foot placement. It is basically a lead from the entire side, but not to be confused with CBM. Side leads are nearly always accompanied with some, but no foot. Contra (Contrary) Body Movement - Contra (contrary) Body Movement (CBM) is the action of turning the opposite hip and shoulder toward the direction of the moving leg. If the left leg moves forward the right side of the body would move forward. Most turning movements begin with CBM. When stepping forward, using CBM, the leg must move on a straight line. If the foot and leg turn with the body, you will be moving into the space of the partner moving backward. While backing, using CBM, a slight turn of the foot and leg is allowed as you are vacating the partner's space. Contra (Contrary) Body Movement Position - Contra (contrary) Body Movement Position (CBMP) is the position attained by placing the moving foot in the same track as the supporting foot. s taken in Banjo (BJO) position or Sidecar (SDCAR) position should end in CBMP. Sometimes it will be necessary to use CBM to end a step in CBMP. If the previous step does not have a shoulder leading, you will have to use CBM. With a shoulder leading, the body is in position for a step in CBMP. Sway - Using sway is not only for effect but to improve the balance and the execution of many figures. Initiate the action of the sway at the ankles and progresses upward through the hips, then through the diaphragm, but not the shoulders. Because of the many turning figures in the waltz, sway is very important. Sway should develop as a natural effect of lengthening the opposite side of the body from the direction of sway. This must be combined with the catching up of the upper body to the pointed foot on turns which occurs on step three. There are three types of Sway: S IW Intro - 3

4 Introduction (continued) Normal Sway Normal Sway is the natural (normal) inclination of the body from the ankles, upward AWAY FROM the moving leg. You use this Sway on nearly all figures that curve, wave or turn. The exception is a spin, such as, Pivots, Double Reverse Spin, Outside Spin, and Lock s. Hover Sway The Hover Sway is the natural inclination of the body from the ankles up toward the moving leg. Use this sway to hover to Semi-Closed Position. Broken Sway Broken Sway is a top of the body sway that is from the waist upwards. We use it in the Change of, Hesitation Change, and the Tipsy for example. WZ Intro - 4 S6 2002

5 Table of Contents Introduction Back Turning Whisk Back Whisk Backward Passing Change Big Top Chair & Slip Pivot Change of Chassé Chassé to the Right Checked Natural Turn & Slip Pivot Checked Reverse Turn & Slip Pivot Closed Change (Left Foot) Closed Change (Right Foot) Closed Impetus Closed Telemark Closed Wing Contra Check Contra Check & Slip Contra Check & Switch Cross Hesitation Curved Feather Developé Double Open Telemark Double Reverse Spin Drag Hesitation Eros Line away Whisk (after 3 of Natrl Trn) Forward Tipple Chassé Hairpin Heel Pull Hesitation Change Hinge Hover Corté Hover Cross Ending Jeté Point Left Turning Lock Left Whisk (following a Whisk) Left Whisk (from Closed Position).. WZ-Int-1.. WZ-68.. WZ-52.. WZ-01.. WZ-06.. WZ-72.. WZ-70.. WZ-22.. WZ-23.. WZ-07.. WZ-08.. WZ-45.. WZ-44.. WZ-64.. WZ-09.. WZ-53.. WZ-10.. WZ-63.. WZ-60.. WZ-58.. WZ-27.. WZ-13.. WZ-11.. WZ-12.. WZ-73.. WZ-40.. WZ-49.. WZ-65.. WZ-43.. WZ-69.. WZ-18.. WZ-42.. WZ-20.. WZ-41.. WZ-36.. WZ-31.. WZ-50.. WZ-51 S WZ - TOC - 1

6 Table of Contents Lilt Pivot Link to Promenade Mini Telespin Natural Hover Cross Natural Hover away Natural Telemark Natural Turn Natural Weave Open Impetus Open Natural Turn Open Reverse Turn Open Telemark Outside Change Outside Change to SCP Outside Spin Promenade Sway Promenade Weave Quick Lock-Slow Lock Quick Open Reverse Reverse Corté Reverse away Reverse away and Slip Pivot Reverse Turn Right Lunge Roll & Slip Right Turning Lock to SCP Ripple Chassé Rising Lock Ronde & Slip Rudolph Rondé and Slip Pivot Rumba Cross Running Open Natural Turn Running Spin Turn Same Foot Lunge Spin & Twist Turn Spin Turn Split Ronde Telespin Three aways.. WZ-80.. WZ-25.. WZ-61.. WZ-21.. WZ-74.. WZ-14.. WZ-46.. WZ-75.. WZ-56.. WZ-17.. WZ-76.. WZ-03.. WZ-02.. WZ-02.. WZ-19.. WZ-71.. WZ-04.. WZ-28.. WZ-16.. WZ-57.. WZ-77.. WZ-15.. WZ-47.. WZ-62.. WZ-30.. WZ-66.. WZ-29.. WZ-81.. WZ-34.. WZ-35.. WZ-37.. WZ-24.. WZ-32.. WZ-26.. WZ-05.. WZ-82.. WZ-33.. WZ-78 WZ -TOC - 2 S9 2005

7 Table of Contents Throwaway Oversway.. WZ-39 Tipple Chasse.. WZ-79 Top Spin.. WZ-67 Traveling Contra Check.. WZ-38 Weave from Prom. (SCP End - Notes).. WZ-04 Weave from Promenade (BJO End)_.. WZ-04 Whiplash.. WZ-59 Whisk.. WZ-48 Wing (following an Open Impetus).. WZ-54 Wing (following an Open Telemark).. WZ-55 S WZ -TOC - 3

8 Backward Passing Change * 1 measure Level of Difficulty 4 CP backing DLW - bk R, trng slightly left bk L, bk R in CP; CP moving DLW - fwd L, trng slightly left fwd R, fwd L in CP; Body Turn Footwork Rise & 1 1 DRC bk R nil TH none NFR 2 2 DRC bk L sltly LF TH begin to 3 3 RLOD bk R sltly LF TH Up lwr R sway NFR R sway NFR Body Turn Footwork Rise & 1 1 DLW fwd L nil H none slight L sway 2 2 DLW fwd R sltly LF HT begin to 3 3 LOD fwd L sltly LF TH up lwr L sway L sway NARRATIVE DESCRIPTION Start in Closed Dance Position backing to diagonal line of dance and the wall. [ 1.] The right foot moves back, toe heel and no foot. [ 2.] The left foot moves back, toe heel and no foot. You will start a slight turn to the left with right sway. [ 3.] The right foot moves back, toe heel and no foot, while you are continuing the slight right turn to face reverse line of dance. The sway is still to the right. You will lower into the next step at the end of step 3. The sway disappears on the lowering action. Start in Closed Dance Position moving forward to diagonal line of dance and the wall. [ 1.] The left foot moves forward, heel leading. [ 2.] The right foot moves forward, heel toe. You will start a slight turn to the left with left sway. [ 3.] The left foot moves forward, toe heel, while you are continuing the slight right turn to face line of dance. The WZ B Fig 1-3

9 Backward Passing Change (continued) sway is still to the right. You will lower into the next step at the end of step 3. The sway disappears on the lowering action. GENERAL NOTES This figure is very much like the Foxtrot Three with partner changing roles. The feeling is that all 3 steps are down, though the body is evident on steps 2 and 3. The strong action on step 1 is the preparation for a sort of follow through action on steps 2 and 3. Make the normal turn of 1/8 to the left during the last two steps. You can make a turn of up to 1/4 to the left, depending upon the desired starting and ending positions. * There is a variation of the Backward Passing Change, which normally follows a Natural Turn, which begins with the opposite foot. In this case the man would normally start backing diagonal to line of dance and center on his left foot. The lady would, of course, be opposite. Again this figure can turn up to 1/4 right face if needed. The sways would be opposite also. This variation often goes by the name of Backward Curving Three. WZ - Fig - 1-4

10 Back Turning Whisk 1 measure Level of Difficulty 5 Start in CP DLC - Bk L strtng RF trn, sd & sltly bk R comp 1/4 RF trn & leading W to SCP, loosely XLIB to SCP DLW. Start in CP DRW - Fwd R strtng RF trn, sd L comp 3/8 RF trn, loosely XRIB cont to turn RF 1/8 to fc DLC in SCP. 1 1 DLC 2 2 DLW bk L DLW sd & sltly bk R Wall loose XLIB Body Turn Footwork Rise ¼ RF btw 1 & T & in bdy EO1 CBMP 2 T cont L sway nil TH up, lwr DRW 2 2 COH 3 3 DLC fwd R DLW sd L wide stp Wall loose XRIB Body Turn Footwork Rise & 3/8 RF HT EO1 CBMP btw 1 & 2 T cont R sway 1/8 RF TH up, lwr - NARRATIVE DESCRIPTION Start in Closed Position DLC. [ 1.] back left starting to turn right face and rising in body at the end of the step. [ 2.] Continuing to turn to complete 1/4 right face rotation step side and slightly back on right toe with left sway, continuing the body and, at end of step, starting to lead lady to a Compact Semi-Closed Position. [ 3.] On toe, cross left foot loosely behind right foot maintaining left sway and, at end of step, lower to flat foot softly. Start in Closed Position DRW. [ 1.] Starting a right face turn step forward on right foot between man s feet, heel to toe, rising at the end of the step. [ 2.] S WZ Fig

11 Back Turning Whisk (continued) Continuing to turn to complete 3/8 right face turn step side on left toe being careful to stay well in man s right arm and continuing the body. [ 3.] On toe, cross right foot loosely behind left foot continuing to turn right face body an additional 1/8 and lower softly to flat foot straightening left knee to develop a slight left sway. The head may turn to the right on. GENERAL NOTES In this figure the man may turn up to 3/8 RF. The amount of turn is greater for the lady (up to3/4) as she is on the outside of the turn and must achieve a tight Semi- Closed Position. WZ Fig S6 2002

12 Back Whisk 1 measure Level of Difficulty 5 CP fcng DLW - Bk L, diag bk R, XLIBR in SCP; CP fcng RLC - Fwd R to BJO strtng a RF trn, sd L trng 1/8 RF, XRIBL trng 1/8 RF in SCP; Body Turn Footwork Rise & 1 1 DLW bk L DRC nil TH 2 2 DLW diag bk R to DRC 3 3 DLW XLIBR - T slt bdy trn RF TH EO1 cont up lwr CBMP & slt CBM - NFR L sway L sway - end fcg DLW in SCP Body Turn Footwork Rise & 1 1 DRC fwd R start RF HT 2 2 DRC sd L 3 3 COH XRIBL 1/8 RF btw 1 & 2 1/8 RF btw 2 & 3 T TH EO1 EO2 up lwr CBMP & CBM R sway - end fcg COH R sway - end fcg DLC in SCP NARRATIVE DESCRIPTION Start in Closed Position facing DLW. [ 1.] back on the left foot, toe heel, no foot or body leading lady to start a right face turn. [ 2.] diagonal back on toe of right foot continuing to with a slight left sway continuing to turn the lady right face to SCP. [ 3.] Cross the left foot behind the right foot, toe, much like the action of a fallaway maintaining the slight left sway and. Lower at the end of the count to heel finishing in SCP facing DLW. Start in Closed Position facing RLC. [ 1.] forward CBM and CBMP outside man toward DRC on the right foot heel to toe beginning to at the end of the step and commence a right turn. [ 2.] side on the toe of the left foot continuing WZ - Fig

13 Back Whisk (continued) to, with a right sway turning 1/8 right between steps 1 and 2. [ 3.] Turning 1/8 right in a fallaway action cross the right foot behind the left foot, toe. Maintain the right sway and, lowering at the end of the step to the heel ending in SCP facing DLC. GENERAL NOTES The back Whisk may be turned 1/4 right face by man with lady turning 1/2 right face. Release the heel from contact with the floor when crossing the left foot behind the right foot on step 3. Use a right shoulder lead when turning right with the Back Whisk. The first step is outside man when figures preceding the Back whisk end outside man (Banjo position). WZ - Fig

14 Big Top 1 measure - 1&23 Level of Difficulty 8 SCP DLC - fwd R DLC beginning LF turn/cont LF turn on R keeping L under body, trng LF transfer wt to L, cont LF turn on L slipping R bk to CP DLW; SCP DC - Fwd L DC turning LF to CP/sd R cont LF turn, cont trng LF feet together, slip L fwd to CP; Body Turn Footwork Rise & 1 1 LOD fwd R slight LF HT up EO1 CBMP in SCP 2 & LOD trng on R 1/8 LF T up spinning on R toe with L tucked under body in CBMP 3 2 RLOD bk L small step 3/8 LF T up Continue turn on R transferring wt to L at end of ct DW bk R small step 3/8 LF TH lower Slip Pivot Body Turn Footwork Rise & 1 1 COH fwd L DLC slight LF HT up EO1 CBMP in SCP 2 & COH sd R DLC 1/8 LF btw 1 & 2 T up fwd ending sd 3 2 DRW trng on R 1/4 LF T up spin on R toe - L brush to R 4 3 DLW fwd L 1/2 LF TH lower Slip L fwd(slip Pivot) WZ - Fig 6-17

15 Big Top (continued) NARRATIVE DESCRIPTION Start in Semi-Closed Position moving DLC. [ 1.] Forward right with a heel lead rising to the toe and beginning a left face turn. [ 2.] While allowing the lady to turn to Closed Position, continue to turn left face on the toe of the right foot. Keep the left foot behind the right in CBMP. [ 3.] Continue a strong left face turn on the right toe and place the left foot under the body and slightly back. [ 4.] Continue the turn on the left foot slipping the right foot slightly back to Closed Position facing DLW. Start in Semi-Closed Position moving DLC. [ 1.] forward left with a heel lead rising to the toe. [ 2.] Starting a left face turn to Closed Position, turning the head left, step side on the right toe. The leg starts forward. The turn causes the foot to end side. [ 3.] Continue the left face turn on the right toe. Allow the left foot to brush to the right. [ 4.] Continue the turn slipping the left foot forward in Closed Position. GENERAL NOTES The man must not pull the lady to her left on steps one and two. He must let her dance her own steps. The man's left foot will feel as though it has crossed in back of his left foot before he takes weight on step three. WZ - Fig 6-18

16 Chair and Slip Pivot 1 measure SCP DLW - Fwd R w/strong lwrng and ckng action, rec L & start trng LF, comp 1/4 LF turn slip R bk to CP DLC; SCP DLW - Fwd L w/strong lwrng and ckng action, rec R & start trng LF, comp 3/4 LF turn slip L fwd to CP DRW; - Start in SCP fcg DLW - End in CP DLC 1 1 DLW ck fwd R DLW rec L 3 3 DLC slip bk R DRW Body Turn Footwork Rise & Nil HF down start 1/4 LF btw 2 & 3 comp 1/4 LF Strong lowering. Head R B EO2 Head back to L TH lwr pull R toe in an arc toward L then back. 1 1 DLW ck fwd L DLW rec R 3 3 DRW slip fwd L DRW Body Turn Footwork Rise & Nil HF down 1/2 LF btw 2 & 3 B EO2 1/4 LF TH lwr Strong lowering. Head L Keep L leg extended in front with thighs together NARRATIVE DESCRIPTION Start in Semi-Closed Position fcg DLW. [ 1.] forward on the right foot, heel to flat, lowering into the knee with a strong checking action and leaving the left foot in place, body erect, head to right. [ 2.] Recover on the ball of the left foot starting to turn left. [ 3.] Completing 1/4 LF turn pull right toe in an arc past the left foot and step back right to Closed Position DLC; Start in Semi-Closed Position fcg DLC. [ 1.] forward on the left foot, heel to flat, lowering into the knee with a strong checking action and leaving the right foot in place, body erect, head to left. [ 2.] Recover on the right foot and, keeping S WZ Fig 72 1

17 Chair and Slip Pivot (continued) the left leg extended in front with thighs together, turn 1/2 to left on the ball of the right foot. [ 3.] Completing 3/4 LF turn on the ball of the right foot step forward left to Closed Position DRW; GENERAL NOTES In Round Dancing, the choreography may impose variations in the poise of the Chair. The standard poise has the weight distributed evenly over the entire foot but a more forward poise may be requested in which case the weight would be mostly over the ball and toes of the foot. A more backward poise would require a smaller step with the weight mostly over the heel. In all cases however the upper body would remain erect with no lean or sway. WZ Fig 72 2 S9 2005

18 Change of 1 measure Level of Difficulty 5 Start in CP DLW Fwd L starting slt LF trn, fwd R contng slt LF trn, swvlng on R comp ¼ LF trn to fc DLC & draw L to R; Start in CP DRC Bk R starting slt LF trn, bk L contng slt LF trn, swvlng on L comp ¼ LF trn to fc DRW & draw R to L; Body Turn Footwork Rise & 1 1 DLW fwd L DLW start LF HF down CBM slight 2 2 DLW/ fwd R IE of body 1/8 LF LOD DLW/LOD WF EO2 3 3 DLC draw L to R 1/8 LF IE of L toe down R shoulder lead slt L sway. No transfer of weight Body Turn Footwork Rise & 1 1 DRC bk R DLW start LF TH down CBM slight 2 2 DRC/ bk L IE of body 1/8 LF RLOD DLW/LOD TH EO2 3 3 DRW draw R to L 1/8 LF IE of R toe down L shoulder lead slt R sway. No transfer of weight NARRATIVE DESCRIPTION Start in Closed Position DLW. [ 1.] forward on the left foot heel to toe using CBM to prepare for a LF turn. [ 2.] With a right shoulder lead to turn slightly left face step forward on the inside edge of the right foot. [ 3.] With a slight left sway complete 1/4 left face trn by swiveling on the ball of the right foot with a slight body which will cause the inside edge of the left toe to brush to the right foot. S WZ - Fig

19 Change of (continued) Start in Closed Position DRC. [ 1.] back on the right foot toe to heel using CBM to prepare for a LF turn. [ 2.] With a left shoulder lead to turn slightly left face step back on the inside edge of the left toe lowering to the inside edge of the whole foot. [ 3.] With a slight right sway complete 1/4 left face turn by swiveling on the ball of the left foot with a slight body which will cause the inside edge of the right toe to brush to the left foot. GENERAL NOTES The amount of turn may vary from 1/8 to 1/2, the most common in Round Dancing being 1/4. A common mistake is to take the second step to the side rather than forward, doing so commits the weight to the foot too quickly resulting in a loss of smoothness. WZ - Fig S7 2002

20 Chassé to the Right 1 measure - 12&3 Level of Difficulty 4 CP LOD - fwd L LOD trng LF, sd & bk R DLW in bjo/cl L to R, bk R DLW; CP RLOD - bk R LOD trng LF, sd & fwd L DLW in bjo/cl R to L, fwd L DLW; Body Turn Footwork Rise & 1 1 LOD fwd L LOD slight LF HT down, EO1 CBM 2 2 LOD sd & bk R DLW 1/4 LF btw 1 & 2 T cont to Continue gradual body 3 & COH cl L to R nil T cont to Complete gradual 4 3 COH sd & bk R DLW nil TH up, lwr Lower with slight right face body turn - foot backing DLW Body Turn Footwork Rise & 1 1 RLOD bk R LOD slight LF TH down, EO1 CBM 2 2 RLOD sd & fwd L DLW 1/4 LF btw 1 & 2 T cont to Continue gradual body 3 & wall cl R to L nil T cont to Complete gradual 4 3 wall sd & fwd L DLW nil TH up, lwr Prepare to step out-side man in CBMP - foot pointing DLW WZ - Fig 23-51

21 Chassé to the Right (continued) NARRATIVE DESCRIPTION Start in Closed Position facing LOD. [ 1.] Turning left face, step forward, LOD, on the left foot, heel leading, rising to the toe. [s 2 & 3.] While the left face turn continues, step side and back, DLW, on the right toe. Continuing with syncopated timing, 2 &, the left foot will close to the right, on the toe, controlling the closing step. [ 4.] side and back, DLW, on the right toe. Then lower to the heel while turning the body slightly to the left, preparing to lead the lady outside on the following step. Start in Closed Position facing RLOD. [ 1.] Turning left face, step back, LOD, on the right foot, toe/heel. [s 2 & 3.] While the left face turn continues, step side and forward, DLW, on the left toe. Using syncopated timing, 2 &, you will close the right foot to the left, on the toe, controlling the closing step. [ 4.] side and forward, DLW, on the left toe and then lower to the heel while turning the body slightly to the right, preparing to step outside the man on the following step. GENERAL NOTES The body in the Chassé should be gradual, reaching maximum height on the closing step and then lowering after the fourth step. The closing step is most easily controlled by keeping a little pressure on the toe of the closing foot, preventing the closing step from being taken too quickly. WZ - Fig 23-52

22 Chassé 1 measure - 12&3 Level of Difficulty 4 SCP DLW - fwd R in SCP DLW, sd & fwd L DLW left shoulder leading/cl R to L, fwd L left shoulder leading DLW; SCP DLW - fwd L in SCP DLW trng LF, sd & bk R DLW right shoulder leading/cl L to R, bk R right shoulder leading DLW; Body Turn Footwork Rise & 1 1 wall fwd R DLW slight LF HT down, EO1 CBMP in SCP 2 2 Wall sd & fwd L DLW 3 & wall cl R to L 4 3 wall fwd L DLW nil T cont to nil T cont to nil TH up, lwr Continue gradual body - toe pointed DLW Complete body. Toe pointed DLW - Slight right body turn while lowering Body Turn Footwork Rise & 1 1 LOD fwd L DLW slight LF HT down, EO1 CBMP in BJO, turning left to contra banjo, head L 2 2 COH sd & bk R DLW 1/8 LF btw 1 & 2 T cont to Continue gradual body - foot backing DLW 3 & COH cl L to R 4 3 COH bk R DLW nil T cont to nil TH up, lwr Complete Foot backing DLW - Slight right body turn while lowering WZ - Fig 22-49

23 Chasse (continued) NARRATIVE DESCRIPTION Start in Semi-Closed Position moving DLW. [ 1.] forward, DLW, on the right foot with a heel lead, rising to the toe with a slight left face body turn. [s 2 & 3.] In syncopated timing, 2 &, step side and forward, DLW, on the left toe. As you complete the body, you close the right foot to the left, on the toe. Control the closing step. [ 4.] forward, DLW, on the left toe and then lower to the heel turning slightly right face, preparing to step forward outside the lady. Start in Semi-Closed Position moving DLW. [ 1.] forward, DLW, on the left foot with a heel lead. Rise to the toe and turn left face to Banjo Position, with the head to the left. [s 2 & 3.] In syncopated timing, 2 &, step side and back, DLW, on the right toe continuing to turn slightly to the left. Close the left foot to the right, on the toe. Control the closing step and complete the body. [ 4.] back, DLW, on the right toe and then lower to the heel, turning slightly right face as the man prepares to step outside on the following step. GENERAL NOTES The body in the Chassé should be gradual, reaching the maximum height with the closing step and then lowering after taking the fourth step. You can also dance the Chassé from Closed Position, following a spin turn for example. Dancing the figure from this position, the man's first step is a back step, on which he turns approximately one fourth to the left, adjusting to Contra Banjo. Complete the Chassé in the new line of direction, such as DLC. You control the closing step, most easily, by keeping a little pressure on the toe of the closing foot. This prevents you from taking the closing step too quickly. WZ - Fig 22-50

24 Checked Natural Turn and Slip Pivot 1 measure Level of Difficulty 5 CP DLW - fwd R DLW trng RF, sd and fwd L twd LOD checking RF trn, bk R trng LF (Slip Pivot) to fc DC; CP DRC - bk L DLW trng RF, sd and fwd LOD trng head well R, pivoting LF on R fwd L DRW (Slip Pivot); Body Turn Footwork Rise & 1 1 DLW fwd R slight RF HT down, EO1 CBM rising sharply to the toe 2 2 DLW sd & fwd L slight RF T up Check RF turn looking LOD & shaping well to the left. Keep R in place. 3 3 wall bk R DRC 3/8 LF TH lwr Begin LF turn on L drawing R bk under body past L to complete turn. Body Turn Footwork Rise & 1 1 DRC bk L DLW slight RF TH down, EO1 CBM - Body only, no foot 2 2 DRC sd & fwd R slight RF T up Look LOD shaping well to the right. Keep L in place. 3 3 COH fwd L 3/8 LF TH lwr Pivot LF on R slipping L fwd in CP. NARRATIVE DESCRIPTION: Start in Closed Position DLW. [ 1.] Turning slightly right face, step forward right heel DLW. Then sharply to the toe while turning right to face the wall. [ 2.] Stopping the RF turn step side LOD on the left toe, shaping left, with the head well left. [ 3.] Pivoting left face on the left toe, draw the right foot back under the body, past the left, and take weight on the right toe. Complete the pivot and lowering to the heel in Closed Position facing DLC. WZ - Fig 7-19

25 Checked Natural Turn and Slip Pivot (continued) Start in Closed Position facing DRC. [ 1.] Turning slightly right face step back left DLW toe to heel, rising through the body. [ 2.] Rising to the left toe, step side on right toe twd LOD, turning the head well to the right and shaping right. [ 3.] Pivot left face on the right toe and turn the head left, slip pivot left foot forward, to Closed Position. Lower to the heel, facing DRW. GENERAL NOTES You may accelerate the movement between the first and second steps and hold the position briefly, creating a line before dancing the Slip Pivot. The lady may close her feet instead of stepping side if desired although this will also depend on the man's body movement. WZ - Fig 7-20

26 Checked Reverse Turn & Slip Pivot 1 measure Level of Difficulty 7 CP DLC - trng LF fwd L DLC, sd & fwd R LOD checking trn & shaping R with head R, transfer wt to L pivoting RF to DLW in CP; CP DRC - trng LF bk R DLC, sd & fwd L LOD shaping L, pivoting RF on L slip R fwd; Body Turn Footwork Rise & 1 1 DLC fwd L slight LF HT down, EO1 CBM 2 2 DLC sd & fwd R slight LF T up Check the turn - head well R keeping L in place. 3 3 COH rplc L 3/8 RF TH lwr Replace wt to L pivoting RF to DLW. Body Turn Footwork Rise & 1 1 DRW bk R DLC slight LF TH down, EO1 NFR CBM with body 2 2 DRW sd & fwd L slight LF HT up Rise sharply to toes shaping well L 3 3 wall fwd R 3/8 RF TH lwr Pivoting RF on L slip R fwd to CP NARRATIVE DESCRIPTION Start in Closed Position DLC. [ 1.] Turning left face step forward left DLC, on the heel rising sharply to the toe. [ 2.] Checking the turn and shaping well to the right with the head right, step side and forward, LOD, creating a line with the left toe kept in place. [ 3.] Transfer your weight to the left toe pivoting right face to DLW, lowering to the L heel. Start in Closed Position facing DRW. [ 1.] Turning left face, step back right, DLC, toe heel, rising through the body. [ 2.] Rising sharply to the R toe, step side and forward on the left toe, LOD, shaping well to the left, looking LOD. [ 3.] Pivoting right face on the left toe, slip the right foot forward in Closed Position. Then lower to the heel. WZ - Fig 8-19

27 Checked Reverse Turn & Slip Pivot (continued) GENERAL NOTES By accelerating the movement between steps one and two you may create a line before dancing the Slip Pivot. If preferred, the lady may dance a Heel Turn instead of stepping to the side on count two. WZ - Fig 8-20

28 Closed Wing 1 measure Level of Difficulty 5 Contra BJO fcng DLC - fwd R in BJO, comm to cl L to R, cl L to R w/o wgt in SCAR; Contra BJO fcng DRW - bk L in BJO twd DRW, sd & sltly bk R sml stp, fwd L to SCAR; Body Turn Footwork Rise & 1 1 DLC 2 2 DRC 3 3 DLW fwd R DLC otsd ptnr comm to cl L to R cl L to R no wgt nil H down CBMP in BJO slt LF bdy trn btw 2 & 3 R ft in plc IE of L toe R ft on 2 & 3 NFR draw L in 2 counts to R - end in SCAR Body Turn Footwork Rise & 1 1 DRW 2 2 DRW 3 3 DRW bk L twd DLC sml stp sd & slt bk R twd DLC fwd L otsd ptnr L sd twd DRW nil TH - T slt LF TH EO1 cont up lwr CBMP BJO slt L sway slt L sway - CBMP - end in SCAR NARRATIVE DESCRIPTION Start in Contra-Banjo facing DLC. [ 1.] forward outside lady on heel of right foot in line with left foot CBMP toward DLC. [ 2.] Start a slow drawing action to bring the left foot toward the right foot while keeping pressure on the inside edge of the left toe, making a very slight body and body turn to the left. [ 3.] Continue to slowly draw the left foot to the right foot with slight body (no foot ) and body turn to the left to adjust to lady's third step, ending in Sidecar. Start in Contra Banjo facing RLW. ( 1.] back on left foot CBMP, toe heel, with a slight body (no foot ) at the end of the step). [ 2.] side and slightly back a small step on the toe of right foot continuing to, now on man's left side [ 3.] Maintain and step forward on left foot CBMP with a slight body WZ - Fig

29 Closed Wing (continued) turn, toe heel, to Sidecar. GENERAL NOTES The lady's head should be well to the left on step 3 and her poise back. WZ - Fig

30 Closed Change (Left Foot) 1 measure Level of Difficulty 3 CP fcg DLW- fwd L DLW, sd & sltly fwd R, cl L to R; CP fcg DRC - bk R DLW, sd & sltly bk L, cl R to L; Body Turn Footwork Rise & 1 1 DLW fwd L DLW sd & sltly fwd R nil HT strt E/O 1 - T cont to cl L to R - TH cont to lwr E/O 3 slt CBM L sway L sway starting end of step Body Turn Footwork Rise & 1 1 DRC bk R DLW sd & sltly bk L - TH E/O 1 - T cont to cl R to L - TH cont to lwr E/O 3 slight CBM R sway R sway starting end of step NARRATIVE DESCRIPTION Start in Closed Position facing DLW. [ 1.] With a very slight left face body turn step forward DLW with the left foot, heel leading, and then to the toe beginning to swing the right foot forward under the body. [ 2.] Swinging the right foot forward and, creating a slight left sway, step forward and side on the right toe continuing to. [ 3.] Continuing to draw the left toe toward the right foot, closing the feet and straighten while lowering to the left heel. WZ - Fig 45-97

31 Closed Change (Left Foot) (continued) Start in Closed Position facing DRC. [ 1.] Turning the body slightly left face step back DLW with the right foot, toe to heel, and then begin to through the body only (NFR). [ 2.] Rising onto the right toe swing the left foot back under the body creating a slight right sway, step side slightly back on the left toe continuing to. [ 3.] Continuing to draw the right toe toward the left foot, closing the feet and straighten while lowering to the right heel. GENERAL NOTES The primary use of the Closed Change step is to change from a man's left foot lead to a right foot lead. The term Forward Change is an alternative cue for the Closed Change. WZ - Fig 45-98

32 Closed Change (Right Foot) 1 measure Level of Difficulty 3 CP fcng DLC- fwd R DLC, sd & sltly fwd L, cl R to L; CP fcng DRW - bk L DLC, sd & sltly bk R, cl RL to R ; Body Turn Footwork Rise & 1 1 DLC fwd R DLC sd & sltly fwd L nil HT strt E/O 1 - T cont to cl R to L - TH cont to lwr E/O 3 slt CBM R sway R swy strgtn end of stp Body Turn Footwork Rise & 1 1 DRW bk L DLW sd & sltly bk R nil TH E/O 1 NFR - T cont to cl L to R - TH cont to lwr E/O 3 slt CBM rt sway rt swy strgtn end of stp NARRATIVE DESCRIPTION Start in Closed Position facing DLC. [ 1.] With a very slight right face body turn step forward DLC with the right foot, heel leading, and then to the toe beginning to swing the left foot forward under the body. [ 2.] Swinging the left foot forward and, creating a slight right sway, step forward and side on the left toe continuing to. [ 3.] Continuing to draw the right toe toward the left foot, closing the feet and straighten while lowering to the right heel. WZ - Fig 44-95

33 Closed Change (Right Foot) (continued) Start in Closed Position facing DRW. [ 1.] Turning the body slightly right face step back DLC with the left foot, toe to heel, and then begin to through the body only (NFR). [ 2.] Rising onto the left toe swing the right foot back under the body creating a slight left sway, step side slightly back on the right toe continuing to. [ 3.] Continuing to draw the left toe toward the right foot, closing the feet and straighten while lowering to the left heel. GENERAL NOTES The primary use of the Closed Change step is to change from a man's right foot lead to a left foot lead. The term Forward Change is an alternative cue for the Closed Change. WZ - Fig 44-96

34 Closed Impetus 1 measure Level of Difficulty 5 Man Start in CP RLOD - Bk L trng RF, heel trn on L cl R, cont RF trn bk L to CP DLW; Lady Start in CP LOD Fwd R btw M s ft trng RF, cont RF trn sd L arnd M, brush R ft to L & fwd R btw M s ft to CP DRC; Body Turn Footwork Rise & 1 1 RLOD bk L LOD start RF TH down CBM, start L sway heel trn on L then xfr cl R (heel 3/8 RF Rise 2 2 DRC HT wt to R w/slight L trn) btw 1 & 2 EO2 sway 3 3 DLW bk & sd L DRC 1/4 RF btw 2 & 3 TH up lwr no sway Body Turn Footwork Rise & 1 1 LOD 2 2 DLW 3 3 DRC fwd R LOD btw M s ft sd L across LOD fwd & sd R DRC start RF HT down 3/8 RF btw 1 & 2 ¼ RF btw 2 & 3 T TH EO2 up lwr CBM, strong fwd swing R sway brush R to L before fwd stp, no sway NARRATIVE DESCRIPTION Start in Closed Position RLOD. [ 1.] back on left foot turning body to right. [ 2] Heel turn RF on left heel bringing right foot close to left then change weight to right foot and to ball. [ 3.] Continue rising and turning RF on ball of right foot then step back left in CP on toe and lower to heel at end of step keeping weight over ball of foot. Start in Closed Position LOD. [ 1.] Forward right on heel between man s feet swinging body well forward and starting to turn RF. [ 2.] Turning RF step side left on ball of foot around man across the line of dance and in body at end of step. [ 3.] The man s at the end of 2 causes the lady to brush her right foot against the left before stepping forward and side on right toe between the man s feet in CP. Lower to heel at end of step 3 but keep body up. WZ - Fig S6 2002

35 Closed Impetus (continued) GENERAL NOTES When the figure starts man facing DRC the amount of turn is slightly reduced (still 3/8 between 1 & 2 but only 1/8 between 2 & 3) but still ends DLW. WZ - Fig S6 2002

36 Closed Telemark 1 measure Level of Difficulty 5 CP DLC - trng LF fwd L DLC, continuing LF trn sd R DLC, fwd L DLW with L shoulder lead preparing to step fwd outside ptr; CP DRC - trng LF bk R DLC, continuing LF turn cl L to R (Heel Turn) and tnsfr wt to L, bk R DLW with R shoulder lead; Body Turn Footwork Rise & 1 1 DLC fwd L DLC slight LF HT down, EO1 CBM 2 2 DLC sd R DLC 1/4 LF btw 1 & 2 T up leg moves fwd, foot ends sd due to LF trn 3 3 DRC fwd L 3/8 btw 2 & 3 TH up, lwr foot pointing DLW body facing wall with left shoulder leading Body Turn Footwork Rise & 1 1 DRW bk R DLC slight LF TH dwn, sltly EO1, NFR CBM 2 2 DRW cl L to R 3/8 LF btw 1 & 2 HT cont to Heel Turn 3 3 LOD bk R DLW 3/8 LF btw 2 & 3 TH up, lwr body fcg COH foot bkng DLW with right shoulder leading WZ Fig 9-23

37 Closed Telemark (continued) NARRATIVE DESCRIPTION Start in Closed Position facing DLC. [ 1.] Turning left face (CBM), step forward left, DLC, with a heel lead. Rise to the toe, to lead the lady's heel turn. [ 2.] Continuing the left face turn, bring the right foot forward under the right hip. As the body turns, your right foot will end side, DC, on the toe. The turn continues, on the right toe, to move DLW. [ 3.] forward, DLW, on the left toe. Lower to the heel, with a slight left side lead, preparing to step forward outside the lady. Start in Closed Position facing DRW. [ 1.] Turning left face (CBM), step back right, DLC, toe/heel. [ 2.] Continuing the left face turn, draw the left foot to the right. Completing the heel turn, transfer your weight to the left foot, beginning to to the toe. [ 3.] Completing the turn on the left toe, step back, DLW, lowering to the heel with a slight right side lead. GENERAL NOTES The movement between steps one and two will create a slight left sway that will be corrected as the turn continues on count two. WZ Fig 9-24

38 Contra Check and Slip 1 measure Level of Difficulty 7 Start in CP DLC - Lwr into R leg trng body sltly LF fwd L look at ptr, rec R trng body sltly RF, cont RF trn as slip L bk past R ft to CP DLW; Start in CP DRW - Lwr into L leg trng body sltly LF bk R into relaxed R knee look well to L, rec L trng body sltly RF, cont RF trn as slip R fwd past L ft to CP DRC; Body Turn Footwork Rise & 1 1 DLC fwd L slt LF HF down rec R strt RF B 3 3 DLW bk L comp 1/4 RF TH EO2 lwr w/ R sd ldng lower into R knee before stepping in CBMP 1/4 RF trn btw 2 & 3 pull L toe in an arc toward R then bk. Body Turn Footwork Rise & 1 1 DRW bk R slt LF B down rec L start RF B 3 3 DRC fwd R comp1/4 RF TH EO2 lwr w/ L sd ldng lower into L knee before stepping in CBMP 1/4 RF trn btw 2 & 3 pull R toe in an arc toward L then fwd NARRATIVE DESCRIPTION Start in closed position DLC. [ 1.] Lowering into the right leg and turning the body slightly left, step forward left with right shoulder lead, heel to flat keeping the right foot in place looking at partner. [ 2.] Recover onto the ball of the right foot returning to original Closed Position starting to pull the left foot back toward the right foot. [ 3.] Continue to pull the left foot back in an arc past the right foot and step back L completing 1/4 RF turn. Start in closed position DRW. [ 1.] Lowering into left leg and turning the body slightly left, step back on right ball of foot and relax R knee keeping left foot in place with straight leg and with the head well to the left. Keep right heel off the floor. [ 2.] Recover onto the ball of the left foot returning to original Closed Position starting to pull the right foot forward S WZ - Fig

39 Contra Check And Slip (continued) toward the left foot. [ 3.] Continue to pull the right foot forward in an arc past the left foot and step forward R completing 1/4 RF turn. GENERAL NOTES The Contra Check and Slip can be danced from a number of facing alignments. The amount of turn of the Slip varies from 1/8 to 3/8 RF. WZ - Fig S7 2003

40 Contra Check & Switch 1 measure Level of Difficulty 7 CP WALL - Lwrng into R leg while trng body sltly LF fwd L, rec R trng 1/2 RF, bk L; CP COH - Lwrng into L leg while trng body sltly LF bk R, rec L trng 1/2 RF, fwd R; Body Turn Footwork Rise & 1 1 WALL fwd L slight LF HF down lwr & turn sltly LF bfr step trng head R bfr step or when wt is taken on L in CBMP 2 2 WALL rec R RF B 3 3 COH bk L nil TH slt EO2 up, lwr on ball & turn 1/2 RF btwn 2 & 3, both feet remain in plc return of weight Body Turn Footwork Rise & 1 1 COH bk R slight LF B down 2 2 COH rec L RF B EO2 3 3 WALL fwd R nil TH up, lwr CBMP - keep heel up helps keep hips up. Head L on ball & turn 1/2 RF between 2 & 3, both feet remain in plc return of weight NARRATIVE DESCRIPTION Start in Closed Position facing the wall. [ 1.] Lowering into the right leg and turning the body slightly left, step forward, heel/flat, in CBMP. Turn your head right, either before stepping forward or when the taking weight on the left foot. [ 2.] Recover back, onto the ball of the right foot, turning the head back to the left and turning the body 1/2 right. Left foot remains in place. Maintain closed position, rising before taking step 3. [ 3.] Recover back on the left toe, lowering to the heel at the end of step three. Start in Closed Position facing COH. [ 1.] Lowering into the left leg and turning S WZ - Fig

41 Contra Check & Switch (continued) slightly left face, step back onto the right ball in CBMP, with the head well to the left. Keep the heel off the floor. [ 2.] Recover forward onto the ball of the left foot, in closed position, rising with the man & turning the body 1/2 right face. Right foot remains in place. [ 3.] Recover forward onto the right foot, TBH. GENERAL NOTES You can dance the Contra Check & Switch from a number of facing alignments. The amount of turn of the Switch may be adjusted to fit the following figure alignment. WZ - Fig S5 2001

42 Contra Check 1 measure Level of Difficulty 7 CP wall - Lowering into R knee & trng body sltly LF fwd L, rec bk R, bk L; CP COH - Lowering into L knee & turning body sltly LF bk R, rec fwd L, fwd R; Body Turn Footwork Rise & 1 1 wall fwd L slight LF HF down Lower & turn slightly LF before step turning head R before step or when wt is taken on L in CBMP 2 2 wall bk R slight RF T EO2 Rise on toe preparing to step back L in CP 3 3 wall bk L nil TH up, lwr Body Turn Footwork Rise & 1 1 COH bk R slight LF T down CBMP. Keeping heel up helps keep hips up. Head L 2 2 COH fwd L slight RF T EO2 3 3 COH fwd R nil TH up, lwr NARRATIVE DESCRIPTION Start in Closed Position facing the wall. [ 1.] Lowering into the right knee and turning the body slightly left, step forward, heel/flat, in CBMP. Turn your head right, either before stepping forward or when the taking weight on the left foot. [ 2.] Recover back, onto the right toe, turning the head back to the left and the body slightly right. Maintain closed position, rising, before stepping back on the left. [ 3.] back on the left toe, lowering to the heel at the end of count three. WZ - Fig 10-23

43 Contra Check (continued) Start in Closed Position facing COH. [ 1.] Lowering into the left leg and turning slightly left face, step back onto the right toe in CBMP, with the head well to the left. Keep the heel off the floor. [ 2.] Recover forward onto the left toe, in closed position, rising with the man at the end of count two. [ 3.] forward onto the right toe lowering to the heel. GENERAL NOTES You can dance the Contra Check from a number of facing alignments. There are also other endings, such as turning the lady to Semi-Closed Position after recovering onto the right foot and pivoting to the right after stepping back onto the left foot. You may end in Banjo Position by recovering forward and allowing the lady to step bk and outside partner on step three. WZ - Fig 10-24

44 Cross Hesitation (following an Open Impetus) 1 measure Level of Difficulty 4 SCP DLC - Fwd R, cl L to R no wgt, h1d; SCP DLC - Fwd L XIFR strt trng LF, cont trng comp a 1/4 LF trn sd R, cont trng 1/8 LF cl L to R to fc DRW; Body Turn Footwork Rise & 1 1 LOD 2 2 LOD fwd R ptg DLC cl L to R no wgt nil slt LF HT T both feet 3 3 DLC hld pos nil TH of R EO1 cont up lwr CBMP end fcg DLC end in CP fcg DLC 1 1 COH 2 2 btw COH & DRC fwd L XIFR ptg COH sd R twd COH 3 3 RLOD cl L to R Body Turn Footwork Rise & start LF trn 1/4 LF btw 1 & 2 1/8 LF btw 2 & 3 HT T TH EO1 cont up lwr CBM & CBMP L sway - end fcg RLOD L sway - end fcg DRW NARRATIVE DESCRIPTION Start in SCP facing DLC. [ 1.] forward right in CBMP, heel toe, toward DLC with body facing LOD. [ 2.] Close the left to right turning body left slightly to face DLC and continue to to toes of both feet. [ 3.] Hesitate, continuing to then lower toe to heel of the right foot at the end of the count in Closed Position facing DLC. Start in SCP DLC. [ 1.] Moving DLC step forward left CBM and CBMP, heel toe, across the right with the left foot pointing toward COH commencing a left turn and S WZ - Fig

45 Closed Impetus (continued) beginning to. [ 2.] Continue turning completing a 1/4 left face turn stepping side on the toe of the right foot continuing to and sway left to face RLOD. [ 3.] Continue turning 1/8 left face and close the left foot to the right foot, toe heel, lowering at the end of the count to end in Closed Position facing DRW in closed position. GENERAL NOTES The Cross Hesitation may start from other positions and be overturned. Use foot swivel only when overturning the figure. WZ - Fig S6 2002

46 Curved Feather 1 measure Level of Difficulty 6 CP DLW - fwd R DLW turning RF, fwd L cont RF turn, swiveling RF on L fwd R outside lady(cbmp); CP DCR - bk L DLW turning RF, bk R cont RF turn, swiveling RF on R place L behind R (CBMP) with head well left; Body Turn Footwork Rise & 1 1 DLW fwd R slight RF HT down, EO1 CBM 2 2 wall fwd L 1/4 RF T up Right sway. 3 3 RLOD fwd R TH up, CBMP - lwr Body Turn Footwork Rise & 1 1 DCR bk L slight RF TH body, NFR CBM 2 2 COH bk R 1/4 RF T up Right sway. 3 3 LOD bk L - TH up, lwr CBMP NARRATIVE DESCRIPTION Start in Closed Position facing DLW. [ 1.] Turning slightly right face, step forward on the right heel rising to the toe. [ 2.] forward, left shoulder leading, on the left toe continuing the right turn and swaying to the right. [ 3.] Swiveling right face on the left toe to create the proper body position, step forward on the right toe toward the wall. As you lower to the heel, continue the turn to exit backing DLC with a right shoulder lead. Start in Closed Position facing DRC. [ 1.] Turning right face step back DLW on the left toe/heel with a body (no foot ). [ 2.] back toward DLW on the right toe, WZ - Fig 27-61