ROUND DANCING — CHOREOGRAPHED BALLROOM

phase IV

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phase III

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phase III

sqq; sqq; sqq; sqq;

phase IV

sqq; sqq; sqq; sqq;

In Valenta's Bye Bye Baby, there is a quarter diamond turn to a feather finish;; and again;;

phase IV

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Another neat sequence from LeBlanc's Remember When is a quick diamond in four progressing down line and ending facing reverse; dip back, -, recover, -; quick diamond in four to reverse; dip back, -, recover, -; to a 3-step down line;

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phase IV

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In all right-turning figures, the actual foot turn tends to be early, accompanied by upper-body turn. (In left-turning figures, upper-body turn precedes foot turn, and the foot turn is late.) So here, the man begins with his toes pointing toward DLW. He signals a right turn with upper body rotation, but at the same time allows his foot to turn as he steps forward R. As he takes weight, his toes are already pointing toward the wall. Foot turn has occurred early, before the step has even been taken. This is comfortable because the woman is naturally on his right side and so on the inside of the turn, as he dance around her.

phase IV

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phase V

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In semi-closed position facing line and wall, step thru R (woman thru L) beginning to turn RF, -, side and back L with left side stretch/back R with right-side lead, back L with slight right-side stretch to end in contra banjo facing RLOD;

phase IV

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Notice that the woman is not at all holding back or dancing in place to allow the man to get across. She is dancing forward, as is the man in the second measure. Those steps are much like a man's hover telemark: fwd, fwd, fwd, turning RF. If she does hold back, then when he gets across, he will tend to "scoop her up" in his left arm, and the resulting push will not feel good to her.

phase IV

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The common error is for the man to dance down line and think that he has to dance "around" his lady. If you do this, she will be led to progress, will not be able to do the heel turn, and you will end in banjo at the end of the first measure (I speak from long experience). Instead, take steps 1 & 2 DLC, turning your body as you move through her left side; dance a straight line, not a curved path around her.

Remember too that foxtrot has early rise. Begin each figure with a slight lowering action but rise by the end of the first step. Making your turn in this "up" position will stop the woman's progression and help to lead her heel turn. In contrast, in waltz, we extend our rise over the first two steps. This more gradual rise lets the woman step back and then side in a Left Turn, and there is no heel turn.

phase IV

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Notice that in a Reverse Turn, there is a Heel Turn and so less progression down line. In an Open Reverse, there is no Heel Turn by the woman and so more progression.

phase V

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phase IV

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It is interesting to compare the open telemark, the first measure of a reverse turn, and the first measure of a reverse wave. All three figures begin with the same lowering into a forward step and a rising into another forward that leads a lady's heel turn. You stay in closed position through these three beats of music, and you turn as a couple. In the open telemark, you turn 1/2, from diagonal center to diagonal reverse and wall. In the reverse turn, you turn 3/8, stopping so that the man faces reverse. In the reverse wave, you only turn 1/4, ending diagonal reverse and center, so you can do the curving "wave" part during the second measure.

phase V

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Try hard not to bounce. This is a soft and gentle "down, up."

May be done from closed, banjo, or sidecar positions.

Here, the double back lilt begins with the man's L and the count is s&s&;

phase V

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The man turns left to lead the pickup, but often he really doesn't pivot much. The "pivot" in this Lilt Pivot is really the woman's as she turns to face him.

phase IV

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phase IV

ss;

phase IV

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phase IV

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In closed position facing diagonal reverse and center, step back L turning RF, -, continue to turn on your left heel as you draw your right heel toward your left and change weight (woman side L and draw R to L no weight) , -;

End in closed position, usually facing line and center, although the amount of turn can vary. Feet should be a little apart (second step not a true "close"). Lead feet are free.

q&

phase V

q&

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phase IV

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phase V

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Starting position and amount of turn can vary.

phase V

q&qs;

Sometimes cued Left Turning Lock to distinguish it from the Right Turning Lock (a waltz figure).

phase IV

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Increasingly, we are being cued to "whiplash to banjo." Usually, this means banjo facing approximately LOD, so the woman swivels almost 1/2 and the man only shapes a little left to lead her swivel and then right to contra banjo position.

Shibata's This Can't Be Love has a hover to semi; whiplash and freeze; quick change sway and check back; double reverse;

phase III

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ss;

This figure might be cued, "Pivot Two." As you might imagine, a choreographer might ask for any number of these one-step actions (depending on how sadistic…)

phase IV

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In closed position facing reverse, step back L turning 1/2 RF. Having left the right leg extended between the woman's feet, step forward R continuing the turn for a full turn over one measure. Do it again.

One key to success is to stay low, with soft knees. Once you rise, you stop turning.

phase VI

s or q or &

phase III

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There is a general rule associated with slip movements that says, if there is no or only a little LF rotation of the couple, then the woman steps L outside the man's R. The man will use his frame to control this. If the man intends to turn the partnership, say, 1/4 LF, then he will guide her to step L between his feet. This will allow him to turn LF during the third step and end in closed position. If she had slipped outside his feet, the turn would have put them in banjo.

phase IV

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phase IV

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phase IV

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phase IV

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phase VI

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phase III

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End facing line and wall with the standard figure but may underturn to face line or overturn to face reverse and wall or even RLOD.

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End facing reverse and wall.

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

phase VI

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In closed position facing RLOD, step back L (woman fwd R) pivoting 1/2 RF, -, fwd R turning/side L (woman bk L/sd R), bk R to contra banjo facing reverse and wall;

phase VI

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Now, the trail feet are free. The man hooks his R behind his L with no weight, and she steps fwd L/R around him. On beat 2, she steps fwd L turning RF and unwinding him. He changes weight as she does so. On the last "slow," he steps side and back L, and she steps between his feet R. End in closed position facing diagonal wall, wall, or even diagonal reverse and wall.

phase VI

sqq; q&qs; q&qs;

One of the problems inherent in this "double twist turn" lies in the long side step L that overturns the first twist turn and prepares you to do the second twist turn. It can become an abrupt leap that disturbs the smooth flow of the dance. Again, a twist turn for the man involves two weight changes. He crosses his right behind his left. She unwinds him. He takes weight on his right on beat 2, and then steps side on the "slow." You can smooth out a double twist by taking four weight changes and by making the third step a progressing pivoting step. Cross R behind L taking weight/step L as she begins to unwind you. On beat 2 step forward R and pivot in a maneuver action, and then step small side L to set up for the second twist turn. The count becomes q&qs; just as it is for the woman, and the flow is so much smoother than the usual "hook/unwind, step, leap."

q&qs;

Begin in closed position, trail feet free. The man crosses his R behind his L with no weight, and she steps fwd L/R around him. On beat 2, she steps fwd L turning RF and unwinding him. He changes weight as she does so. On the slow count, he steps side and back L, and she steps between his feet R. May also end in semi-closed position.

phase VI

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This is a "standard" figure but not a common one.

phase V

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In the Finchs' Sam's Pants, there is a hover telemark; open natural; outside spin overturned; to a hairpin;

phase V

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Begin in contra banjo position facing reverse. As in the Outside Spin, begin RF body rotation, and allow that movement to place the left foot just a little back and L toe to R instep (woman turns with the man, staying well into his right arm in contra banjo, and steps forward R outside the man). Step forward R outside woman, turning (woman continues to turn on ball of right foot over counts 2, 3, & 4, and as she spins, she makes a small CW ronde with her left foot, raises the left knee to bring the left foot to the right knee, toes pointed down, and then lowers the L to R with a touch). On the second "quick" the man slips L under body and steps forward L with left-side lead.

The woman is doing a sort-of "ronde/kick" that actually aids considerably in causing the spin. She has just stepped forward R, so the left leg is back. She makes a small ronde forward to a kick and at the same time bends the knee so the left foot ends up at her right knee. The movement is like a reverse develope superimposed on top of the rotation. The momentum of the kick part really helps to rotate the couple. It has a neat, wooshing kind of feel.

Again, the woman takes only one step and then rises to her leg flourish, as the man turns her on the spot. For this figure to be stable, each of his steps must be the same distance from her pivot point. He must walk a circle, the center of which is the ball of her right foot.

phase III

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phase IV

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phase V

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phase III

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phase III

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May start with either foot. May begin and end in other positions in which case the woman may have some body turn. For instance, in a Back Hover to Semi, she would turn RF.

phase III

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Notice that the third step is "recover," not forward or side. Especially in a cross hover to banjo or to sidecar, don't make an effort to shift laterally. It is really left-side lead that puts you into banjo, rather than closed, not stepping to the side.

phase III

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phase VI

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The figure could begin and end in a variety of positions.

phase IV

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I like to think of this figure as a hover with an open telemark ending. It also involves a forward step thru the woman, which is an important part of telemark turns.

In closed position, step forward L (woman back R), side and forward R into the woman turning up to 1/4 RF and woman brushing R to L. Both step small step forward on lead feet to semi-closed position.

You might consider dancing this with qsq timing. This would give you two beats to emphasize the hovering action and turn it into a little picture.

Where the hover tends to lead into left-turning figures, the hover telemark usually preceeds right-turning figures.

phase IV

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phase VI

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May begin in other positions and orientations, so first step may vary. The essence is to move from some other position in two steps to semi-closed position, trail feet free.

phase IV

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phase VI

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In closed position, perhaps facing RLOD, step back R (woman fwd L) turning LF, -, continue to turn on the right foot now with right sway (woman fwd R turning), turn to contra banjo and touch L to R (woman close L to R);

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phase III

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phase IV

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phase V

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phase IV

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

phase V

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phase V

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Start this figure in semi-closed position facing LOD. Step thru R turning RF to closed position facing reverse and wall (woman thru L), side and back L continuing to turn (woman fwd R between man's feet and staying well into his right arm still in closed position), side and back R turning (woman sd L), cross L tightly in back of R with strong right-side stretch (woman XRIB of L) to a tight semi-closed "whisk" position facing RLOD;

phase III

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An important consideration in any figure that puts you into sidecar is to maintain your dance position. Sidecar is considered to be a kind of closed position, so the man needs to rotate his torso left face and keep upper bodies in a closed relationship, even as he shifts his hips to the right, to their sidecar relationship.

phase IV

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phase IV

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phase IV

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First, a caution. Men, we spend most of our time with head left. We are looking up, but her right elbow or right hand might be in the bottom of our field of view. When you are told that you may "look at partner," we usually mean only that you may shift your gaze a little farther right, maybe over her right ear. Don't get in her face to probe deeply those limpid pools, searching out her very soul. I suppose at the end of a dance, you might give in a little, but generally we want to stay in closed position and maintain proper frame. Keep your torso up. Don't invade her space and push her over.

Second, note that you step between her feet. Your goal is to contact the inside of her left thigh with your right knee and to gently ease her leg out there. If the two of you step to the side independently, it is easy to go different directions and to end up apart from each other. We want to end a right lunge tight together.

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In closed position with right-side stretch and woman's head to her right, flex left knee lowering, step side and forward R between her feet, flex right knee, rotate body a bit LF, change from right- to left-side stretch closing her head, and look at partner. Your frame should slowly "roll" from left to right sway.

In this dance, the figure extends into the last measure and actually spans 5 beats, rather than just a "slow."

phase V

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We find this a complex figure. There is footwork, rise and fall, rotation to the right and then to the left, and there is right sway and then loss of sway—all layered on top of one another. The steps are side and forward R, -, recover L, back R;—straightforward. The lunge uses beats 1 & 2. The right sway is part of the lunge—we are inclined to the right and looking right (woman left). So the sway develops in beat 2 and goes away during 3. The rotation is layered over the lunge, the recover, and the slip; so it uses beats 2, 3, & 4, first to the right and then to the left. Finally, the rise and fall extends over the whole measure. We lower during beat 1, stay down during 2 and even try to lower a little more as we finish the roll. As we recover during beat 3, we rise (this is very late rise for foxtrot). Finally, we slip back to a lowered position at the end of beat 4. The whole thing has a sort-of figure-eight, roller-coaster kind of feel to it—very exciting when it all comes together.

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The Rag Doll Sways us the first three "quicks." Recover L (woman R) and sway left, fwd R sway right, rec L sway left.

Finally, slip the right foot past the left for a back R (woman draws L to R and slips forward L) turning LF and lowering again to closed position facing line and center.

phase III

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I love the feel of that slow chair and recover.

ss;

phase IV

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Or, the Bucks' Fools Fall In Love has a hover; chair & slip; to diamond turns;;;;

phase V

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There are two things that the man can think about to make this figure more comfortable for the woman. First, he can relax his right arm, slide his hand down toward the small of her back, and let her go. If he keeps his hand on her shoulder blade and his arm flexed, she will not be able to arch back and rotate left as freely. Second, he can rotate his whole frame left, which means his left arm will come back. We don't want to pull the left hand back separately in a broken-chicken-wing effect. Maintain the same relationship between the left arm and the shoulders as usual, but rotate the whole assemblage. I often find myself rotating my torso but leaving my left arm and hand forward. This pushes on the woman and again interferes with her rotation and contra action.

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

phase V

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phase V

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phase VI

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phase III

(pronounce "sha-SAY" — a "sashay" is a square dance term)

q&q

phase III

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phase III

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phase V

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also cued Back Tipple Chasse

phase V

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May begin with the trail foot in which case the turn would be LF and the ending position line and wall.

Notice that this description includes both sway in the direction of progression and body turn. Some teachers do not emphasize the sway and instead think of a Tipple Chasse as a "turning" chasse.

phase V

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Again, a "tipple" is a sway toward the direction of progression. Bill Goss has described this action as stretching up to look over a fence as you dance past. Maybe there's a nudist colony over there?

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phase III

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May begin with the trail feet and progress in the other direction. A "front vine" begins by crossing in front.

phase III

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This "foxtrot twisty vine" can run for any number of measures.

phase V

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Later, they have a forward zigzag 8;; to a maneuver, pivot 2 to a promenade sway;

phase V

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Another way to think about this one is to consider it a "forward to a zigzag." It's like a twisty vine.

phase III

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phase IV

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phase IV

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The reverse fallaway can start from closed position facing LOD or semi-closed LOD. From closed, step forward L (woman back R turning LF). Step side and then cross lead behind trail into semi reverse. From semi line, step forward on trail feet turning LF, man forward L turning and woman back R turning. Then both step back on trail feet to semi reverse.

In the Bucks' Dance and Dream, there is a double reverse spin; bounce reverse fallaway 4 to banjo; back hover telemark; to a Viennese Cross;

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You might begin in SCP and step thru with trail feet turning LF, -, forward L (woman back R) turning, both step back on trail feet to SCP facing RLOD; XIB, sd, XIB, sd;

phase V

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phase VI

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You might be tempted to dance the first and third fallaways the same, but the figure is designed to consist of three different fallaways, the first with left sway, the second with right sway, and the third with no sway.

Notice the changes of direction throughout the figure. The figure does not progress down line of dance. The first four steps progress toward diagonal line and center. Steps 5 & 6 go down line, and then steps 7, 8, & 9 move toward line and wall. "Like the shape of a frying pan," say Jim and Bonnie Bahr. If you can imagine looking at the pan in cross-section, edge-on, we dance down the slanted side of the pan, across the flat bottom, and up the other side. The image might help.

Notice that the three fallaways in this dance are described as "quick" and are danced in nine quick steps sort of straddling measures. The quick feather ending uses beats 10, 11, & 12 of the three measures total.

phase IV

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One of the problems in this figure arises if the man tries to "pick up" the woman too soon. Don't take the first step and try to fold her in front of you right away.

In the Worlocks' Where Or When, there is a promenade weave 5 with a check and slow switch;; to a natural weave;;

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So, in banjo position facing reverse and wall, begin to turn LF, step back L (woman fwd R), back R to closed position wall, side and forward L, and forward R to contra-banjo facing line and wall, lead feet free.

phase IV

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phase V

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The second measure of the promenade weave or the natural weave is also called a "weave ending" and is sometimes cued as a separate, one-measure figure. So, we can think of the natural weave as a combination of an open natural turn followed by a weave ending. For the man, the first measure is forward on the right foot beginning to turn right face. At this point, he might be facing the wall. Then step side and forward with the left turning to face reverse and wall. You need left side stretch here and left side lead. Think of "banking" into a right turn on a bicycle. One of the important things you are doing here is "cutting off" the woman; you are stepping right in front of her, preventing her from stepping forward, and so leading her heel turn. Finally, step back with the right, now with right side lead, in closed position about to blend to a tight contra banjo position (she steps forward L here).

To do the weave ending, step back L, changing to right side stretch, back R beginning to turn left face and leading woman into closed position. You are facing wall now. Step side and forward L with left side stretch turning, and finally step forward R in contra banjo facing line and wall. Right side stretch is the same as left body sway, so this weave ending has a kind of rocking sway change to it. You step back L with left sway (body inclined or tilted left), back R turning to closed position with no sway, side L beginning to develop right sway, and forward R with full right sway.

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phase V

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A threat to the success of this figure lies in dancing the previous figure with no anticipation. The check can then come as a surprise, with a bump or jerk, as you stop your progression and launch into the Weave. To eliminate that surprise, rise a little more on step 2 of the entry and make step 3 smaller than usual. You might be dancing an Open Natural into a Check and Weave. You would normally rise on step 2 of the Open Natural, but in this sequence, rise a little more to signal a change. Make the back step of the Open Natural smaller — in essence, you are hinting at the Check or beginning the Check before it actually occurs. Now you can check step 4, and it won't be a surprise; it won't feel like a crash.

There is still more potential awkwardness within the beginning of this weave sequence. Think about what is happening to the woman. The man checks her forward motion, sends her back as he steps forward L, and then pulls her forward again as he takes that first side step. And some dancers will actually make that a side and back R, since they know that a weave needs to progress down line, so the pull becomes even stronger. The woman is pushed and pulled — manhandled. We considered softening the check, the push, in the paragraph above. We can soften the pull by stepping forward L and then closing R and turning a little RF — get that right side back. This action sets or tucks the woman into the man's right side and constitutes a nice preparation and warning for his back L and her forward R into contra banjo for the weave ending.

You can begin this figure in other positions and from other orientations. You can adjust the amount of roatation to flow into whatever the next figure might be.

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In semi-closed position facing diagonal line and center, step forward R (woman forward L), -, forward L turning a little LF to closed postion (woman sd & bk R). Turn & step side and back R (woman fwd L) to banjo. Step back L, back R, turn and step bk L, bk R to closed position facing wall; side and forward L, and forward R to banjo position facing line and wall with lead feet free,

phase V

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May begin in banjo position or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

phase V

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phase VI

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Note that this "hover cross ending" travels—fwd, fwd, fwd, fwd;

phase VI

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So, in closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, now the first new step close R and move woman to closed position facing line and wall, step back L in contra banjo, back R beginning LF turn and blending to closed position; side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

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In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall, step back L in contra banjo, back R beginning LF turn and blending to closed position; side and back L, back R, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

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This figure "interrupts" the Continuous Hover Cross with 2 steps and also completes that third measure. The additional 2 steps are a little rock-recover in sidecar at steps 4 & 5 for a total of 11 steps.

In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step fwd L, recover R still in sidecar [this is the interruption], step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall; step back L in contra banjo, back R beginning LF turn and blending to closed position, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center;

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

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In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step fwd L, close R still in sidecar, step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall; step back L in contra banjo, back R beginning LF turn and blending to closed position, side and back L, back R; side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

phase IV

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Sometimes, a description like this can imply independent action on the part of the woman, but she should not "step back and turn." Such initiative will almost invariably lead to separation, bumping, and overall roughness in the flow of the figure. Instead, she should wait for the lead. She should step back and bring her heels together, but then let the man turn her as he steps through her left side.

In all left-turning figures, the actual foot turn tends to be late and preceded by body turn. (In right-turning figures, the foot turn is early.) So here, the man's toes are pointing DLC. He uses LF upper-body rotation to tell the woman that we are going to turn left, and he steps forward L, but his toes still point DLC — he hasn't really turned yet. There is torque in the body — the body has turned left, but the feet are going straight. He takes weight on his L, and now the foot turns. His toes point to COH. This delay in turning helps to place the woman on the central pivot point around which the man is going to turn. Now he can step side and complete the turn.

Ideally, the man and woman have precisely changed places by the end of beat 3 in the measure. He is facing DRW, still in good closed position. On beat 4, simply use a little right side stretch to open bodies to semi-closed position, and step side and forward on the lead feet toward diagonal line and wall. Point the toes a little out for stability. (If you step directly forward with the foot straight, you will feel as though you are standing on a rail.)

Of course, this last step can be adjusted a little in preparation for the next figure (as we can do at the end of any figure). Stepping side and a little forward for the man is good preparation for a subsequent right-turning figure, such as a Natural Turn or Natural Weave. Stepping side and a little back for the man would more comfortably flow into a Promenade Weave or a Wing.

As mentioned in the introduction to this page, try to step heel, toe rising, toe only on the second step, and then toe and heel lowering on the third step. A common problem in foxtrot is to rise and then step out with a heel lead. Footwork like that brings you down with a clunk. Usually, we rise at the beginning of a measure, stay up, and then come down at the end of the measure. So the rule is, if you are up, do not use a heel lead; use a toe lead and only then lower to the heel.

Or, the Rumbles' This Is the Life ends with a diamond turn;;;; open telemark; quick thru, side, behind, fan; behind, side, thru, fan; thru vine 4 to butterfly position; chair and hold;

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On the "&" count, step fwd R turning LF much as you would do in leading a Wing (woman fwd L, then turning to closed position or picking up).

In the second measure, execute a "quick" telemark, by which I do not mean synchopated but beginning with a "quick" count rather than a "slow." Step fwd L turning, sd & fwd R (woman back L to R for a toe spin), sd & fwd L turning to semi-closed position facing line and wall, -;

The woman's toe spin occurs in the second Telemark, rather than a heel turn, because of the quicker turn (quick, quick; rather than slow, quick).

The timing does vary, and the figure may be danced sqq; sq&q; or sqq; qqqq; Ending with a slow count, as described above, is perhaps the most advanced option. It gives you a little time to create a "picture" ending to the figure.

phase IV

sqq;

Notice that the woman must rotate much more in a Closed Telemark than in an Open Telemark (one full turn). Therefore, the man must borrow a little extra time for step 2 to allow her to complete that turn. He will delay the taking of step 3.

phase V

sqq;

May begin in banjo and in other orientations; normally 3/4 RF rotation.

sq&q; sqq;

As the name implies, this figure consists of two natural telemarks, but in order to do the second one, you have to syncopate the first, in order to have the proper foot free. So, in closed, banjo, or semi-closed position facing line and wall step forward or thru R (woman back or thru L), -, forward and around L turning RF (woman fwd R between his feet) to closed position/ step side and forward R continuing to turn (woman side and back), and small step L outside partner to sidecar (woman bk R); At the end of the first measure, you could also be in closed position. Your trail foot is free again. Now step R between her feet turning RF, -, forward and around L (woman does a heel turn) so that he faces center, and forward R small step to closed or sidecar position facing line and center;

phase VI

qqqq;

phase VI

sqq&; qqs;

In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step.

On the final & of the first measure the man leads the woman to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position RLOD,- ;

The figure turns 1 3/8 LF.

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

phase V

sqq&; qqs;

So again, start in closed position facing line and center. Step forward L turning LF and with left sway (woman bk R with right sway) , -, fwd & sd R turning (woman draw L to R for heel turn and change weight), sd & bk L with only partial weight maintaining sway and keeping left side forward (woman fwd R);

At the end of the first measure, the man leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF drawing R to L (woman fwd R to a toe spin), close R lowering (woman closes L at end of toe spin), hold ending in closed position reverse and center, -;

The figure turns 1 & 1/4 LF.

phase VI

sqq&; qqs;

In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step.

At the end of the first measure the man uses upper body rotation to lead the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), side & fwd L (woman sd & bk R) to banjo position facing line and wall, -;

The figure turns 1 3/4 LF.

phase VI

sqq&; qqs;

In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step.

At the end of the first measure the man continues to turn and so leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), sd & fwd L (woman sd & fwd R) to semi-closed position facing DLW, -;

The figure turns 1 3/4 LF.

sqq&; qqs&; qqs;

On the "&" count, the man uses LF body turn to lead the woman to step fwd L. He takes weight on his L and spins LF (woman fwd R to a toe spin), -, side R turning (woman closes L at end of toe spin), sd & bk L with only partial weight (woman fwd R);

On the "&" count, the man again leads the woman to step fwd L. He takes weight on his L and spins LF (woman fwd R to a toe spin), -, side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position facing reverse and center;

The figure turns 2 1/4 LF.

As in the case of the telespin, we often dance the double telespin to semi-closed or to banjo and so turn the figure 2 3/4 LF.

phase VI

sqq; &qqqq;

This is a Telespin to Banjo with one more step so you end in a "feather" position.

Start in closed position facing line and center. Step forward L turning LF and with left sway (woman bk R) , -, fwd & sd R turning (woman draw L to R for heel turn and change weight), sd & bk L with only partial weight maintaining sway and keeping left side forward (woman fwd R); At the end of the first measure, you are in an L-position with the man facing line and wall and the woman facing line and center.

At the end of the first measure, the man leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin). On the second beat, he steps side R turning (woman closes L at end of toe spin). On beat three, he steps sd and fwd L with right sway (woman sd & bk R) to banjo position line and wall, fwd R to contra banjo;

phase VI

sqq; &qqs;

This is essentially a Telespin with a woman's ronde in the second measure. One important difference is that the man takes full weight on his third step and uses only upper body rotation to lead the woman to step, kick, and spin.

The "&qqs" timing implies that four things are being done during the second part of the figure, but there are only two steps each. The man turns left, turns left, steps sd R, and bk L. He takes his two steps late. The woman steps fwd L, kicks R, rondes R, and fwd R. She takes her first step quickly, waits, and takes her second step late.

phase IV

sqq;

phase IV

sqq;