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Paso Doble—
2 beats/measure; 58 - 62 meas/min
(Although the music is usually 2/4 timing with the first beat slightly emphasized, choreography is presented as 4/4 timing: step, step, step, step;)
Paso Doble should be a bit theatrical. The man is the Spanish matador with his proud, upright carriage, back arched, shoulders back, head up. Forward steps are heel/flat in a marching tempo or up on the balls of the feet in a more prancing attitude.
The woman is traditionally the matador's cape, and in figures such as Huit, Sixteen, and Chasse Cape she will dance more lightly and flowing. However, she can also find herself playing the role of a picador, a partner matador, a flamenco dancer, or even the bull itself. She must be prepared to flutter passively one moment and stand tall and strong another.
Part of this theater involves the use of body sway. If you feel the slightest urge to sway, exaggerate it. The woman will be more cape-like, and the man will perhaps appear more as though he is avoiding the bull's horns but bravely not moving his feet. There is little rise and fall and no Latin hip action.
Figure Name, Phase Level, & Timing
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Steps and Actions That Make Up the Figure
These descriptions are primarily based on Roundalab's Standards For Round Dancing and on cue sheets written by many choreographers (see Links page).
Figure Videos
A reader suggested that I link to the video snippets at ballroomdancers.com so that for each figure we would have the cue, a description, and a performance video. I'll do that as time allows, but in the meantime, you might want to visit this page and see if the figure you want is there.
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Here are some sequences to help you visualize the figure in context.
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NOTE: There are many technical terms and abbreviations that are widely used in round dancing. For instance, if you encounter non-standard punctuation, I am probably trying to indicate the musical timing of a figure, where a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occuring in a single beat. Elsewhere, you can find descriptions of dance positions; basic dance steps, actions, and directions; and other dance abbreviations. WOMAN'S FOOTWORK — I try to describe what the man does and then in parenthesis what the woman does. In this way, you can read in one sentence what each partner is doing during that beat of music, rather than read about the man in one place and maybe the woman in another paragraph. I don't want to encourage the man to read only about his part and the woman only about hers.
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| Appel
phase IV
q
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In loose closed position and standing high on the balls of the feet, lower sharply onto the trail foot, often rotating 1/8 LF (woman RF) or otherwise blending into the position or movement that follows. You may execute a back flick of the trail foot before lowering. A Flamenco Appel is a soft stamp and so allows you to make a little noise. |
The Appel is a one-step figure that often serves as the first step of longer figures (e.g., Basic, see below). |
| Slip Appel
q
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Step slightly back R turning 1/8 LF (W fwd L picking up) |
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| Basic
phase IV
qqqq;
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Appel R (woman L), fwd L (W bk R), fwd, fwd;
May be done back without appel: bk R (W fwd L), bk, bk, bk;
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Do a basic forward and back;; ecart; huit;; |
| Chasse Left and Right
phase IV
qqqq; qqqq;
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In loose closed position, facing wall, appel R (woman L), sd, cl, sd; sd R, cl, sd, cl; |
In the Collipis' Belle Paso, starting in the middle of a measure, there is a basic fwd & bk, chasse L & R, and a double tap;;;;; sur place; separation;; and ecart; |
| Chasse Cape
phase VI
1234; 1234&; 1234&; 1234&; 1234; 1234; 1&234; 1234;
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The standard figure is eight measures and 32 steps. The name tells us that it contains chasse "triples" and "caping" movements of the woman from one side of the man to the other.
In loose closed position facing the wall, appel R (woman L), step side L turning to semi-closed position facing LOD, thru R (W thru L) both turning RF, sd & bk L (W fwd R) to closed position facing RLOD;
In the second measure, step bk R (W fwd L) continuing to turn RF, bk L leading partner outside (W fwd R to banjo position) pivoting RF, fwd R outside partner (W cls L) continuing to turn to closed position facing wall, sd L/cl R;
In the third measure, complete the chasse by stepping sd & bk L, then step bk R turning a little more RF to lead partner outside (W fwd L to sidecar position) now pivoting LF, fwd L outside blending to closed position facing COH, sd R/cls L;
In the fourth measure, again complete the chasse by stepping sd & bk R, then step bk L turning a little more LF to lead partner outside (W fwd R to banjo position) now pivoting RF, fwd R outside blending to closed position facing wall, sd L/cls R;
In the fifth measure complete the third chasse by stepping sd & bk L (W sd & fwd R), then step bk R turning a little more RF to lead partner outside (W fwd L to sidecar position) pivoting LF, fwd L outside (W cls R) continuing to turn to face DLC and release hold with right hand, side R (W sd & fwd L turning LF) to left open position both facing LOD;
In the sixth measure, there are no weight changes. Step fwd L (W fwd R) onto the ball of the foot turning the body a little RF (W LF) into a press line, and hold, -, -; The lead feet are still free.
In the seventh measure, turn 1/4 LF and close L (W fwd R turning 1/4 RF)/step R (W spin RF on R under lead hands and cls L facing wall), step L (W stp R), side R, cls L ending in closed position facing COH;
And in the last measure simply step sd, cls, sd, cls remaining in closed position facing COH;
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Let me make two comments. First, I think it helps if you do not think in terms of measures of music, at least through the first five measures. Instead, begin this figure with a count of five. These steps put you almost in banjo position facing RLOD with lead feet free, and these five steps form a standard beginning to some other Paso figures (e.g., Sixteen and Promenade — see below) so they are worth thinking about as a "unit." Now you can do your three "chasse caping actions" as individual units: step, step turn, and triple; step, step turn, and triple; step, step turn, and triple; Each of these sequences crosses a measure, but each certainly feels like a self-contained unit. Once you get into the press line, you are back dancing on the measure.
Second, we don't have a lot of experience, but we have never danced this "standard" Chasse Cape. We usually overturn the pivots so we are dancing the chasses on the diagonal (DRW & DRC). And we have only seen shortened versions of the figure so that it ends in the press line — and then the choreographers ask us to do something else.
For instance, in Trumpet Fiesta by the Gosses, there are Elevations Up; to a six-measure Chasse Cape;;;;;; Flamenco Taps; Spanish Line with arms down; and then sharply both arms up,,
In El Conquistador, also by the Gosses, the dance begins with Sixteen;;;; to a Short Chasse Cape (only one chasse in this one) to a Press Line and Arms;;;; Flamenco Taps & Recover; and then Appel to Traveling Spins from Counter Promenade to SCP;; and a Grand Circle 6 to face the wall and hold;;
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| Sur Place
phase IV
qqqq;
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In loose closed position and in place, step on balls of feet: rt, stp, stp, stp; |
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| Banderillas
phase V
qqqq; qqqq; qqqqq
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In a left-hip-to-left-hip sort of semi-closed position with right elbow slightly raised and left arm extended and slightly down looking at partner, step in place R, L, R, L (woman sur place L, R, L, R); appel R (woman L), large side L to hip-to-hip counter-promenade position with L elbow slightly raised and R arm extended and slightly down (woman step R), close R, step L; fwd R outside partner (woman bk L) beginning to blend to semi-closed, sd L (woman sd R) to semi, close R, step L; Maintain eye contact thru first two measures. May end in closed-position. |
In the Rumbles' Viva Espana, there is Sixteen to man's left side;;;; Banderillas;; Fallaway Reverse Slip;; Sur Place 4; |
| Attack
phase IV
qqqq;
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In loose closed position facing line of dance, appel on the right foot (woman left), step forward L turning 1/4 LF, side R lowering lead arms and shaping left, close L to R; May also be danced with no turn: appel, fwd, fwd, close;
May use other beginning orientations.
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In the Schmidts' Amparita Roca, part A begins with a Separation;; Chasse Right; Attack; to a Reverse Fallaway Slip into a Telemark;; |
| Deplacement
qqqq;
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Same as Attack but with no appel—fwd R (woman L), fwd L turning 1/4 LF, side R lowering lead arms and shaping left, close L to R; May also be danced with no turn: fwd, fwd, fwd, close; |
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| Shadow Attack
phase V
qqqq; qqqq;
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In shadow position nothing touching both with left foot free, step fwd L turning LF right arm in front of body and left arm behind, recover R back to shadow, back L turning RF left arm in front and right arm behind, recover R; fwd L, XRIF of L, close L rising high on toes (woman rises high on toes of both feet and twists 12 LF to face partner), lower to heels and soft knees R foot free (woman lower to L foot free); |
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| Huit (The Cape)
phase IV
qqqq; qqqq;
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Turn to semi-closed position and step thru R (woman L), man closes and steps in place woman side right turning LF, rec L in rev semi, thru R; side L turning RF, rec R in semi, fwd L cl to closed position; ( like a matador (the man) waving his cape (the woman)). |
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| Sixteen
phase V
qqqq; qqqq; qqqq; qqqq;
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In closed position facing wall, appel R (woman L), step side L to semi-closed facing LOD, thru R turning RF, sd and bk L (woman fwd R) to closed position facing RLOD; back R with right shoulder lead to banjo, bk L turning RF, close R (woman fwd L) to closed position facing COH, step L (woman recover R to face DRW);
During measures 3 & 4, the man stands proud and tall and leads the woman to sweep back and forth in front of him in a caping action, or he may step slightly on balls of feet R, L, R, L; R, L, R, L;
Meanwhile, the woman steps fwd L, fwd R turning 1/4 LF to face DLW, fwd L, fwd R; fwd L turning 1/4 RF to face DRW, fwd R, fwd L turning to face partner, close R;
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In the Goss' Trumpet Fiesta, there is a Promenade Close to face wall; Sixteen;;;; Turning Sur Place to face wall; to a Grand Circle;; |
| Separation
phase IV
qqqq; qqqq;
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In loose closed position appel, forward L (woman back R), close (woman back), step (woman close) (man pushes woman away to left open facing position); man steps in place woman small steps fwd, fwd, fwd, fwd to closed; |
In El Conquistador by the Gosses, there is a grand circle 6 to face wall and hold;;separation;; elevations up; and elevations down; |
| Syncopated Separation
phase VI
1234; 1234; 1&2&34&; 1234; 1234;
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In closed position appel R (woman appel L), fwd L, close R and pusn W away with lead hand (W back L), step L (W close R);
In the second measure, cross-walk back: cross R in back of L (W XLIF of R), XLIB of R, XRIB of L, XLIB of R;
The syncopation is in the third measure: cl R/point L to side (woman cl L/pt R), cl L/pt R, XRIB of L (W fwd L) turning or unwinding LF to sidecar position, sd L (W sd R) turning/XRIF of L (W XLIB of R);
In measure four, the man has crossed in front, and he simply allows himself to be unwound. The woman steps side and forward R and turns RF to SCP, fwd L unwinding the man LF, fwd R, and fwd L blending to closed position;
Step fwd L (W bk R) turning LF, sd R turning, cl L, step R ending in closed position having turned a total of up to 1 1/2 LF.
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As in some other Paso figures, the full figure is often not done. In Trumpet Fiesta by the Gosses, part B begins with a Grand Circle;; Syncopated Separation with syncopated ending;;;; to Elevations Up and Down;; Elevations Up; into a Chasse Cape;;;;;;
In this bit of choreography, the Syncopated Separation used only four measures and ended with an unwind of 1 full turn.
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| Elevations Up and Down
phase IV
qqqq; qqqq;
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in loose closed step side right heads to reverse lead arms up, sd, sd, sd; sd heads to line lead arms down, sd, sd, sd; (all eight steps are to reverse) |
In the Libertis' Don Valero, part A begins with a separation;; elevations up and down;; to an ecart; |
| Ecart
phase IV
qqqq;
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In loose closed, appel, fwd, sd, XIB; This figure has the feel of a whisk in the smooth rhythms. |
spanish lines |
| Promenade Close
phase IV
qqqq;
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In semi-closed position, step thru R (woman L), close L and turn to closed position, step side R, close L; |
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| Promenade Link
phase IV
qqqq;
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In closed position, appel R (woman L), step side to semi-closed position, thru R turning LF 1/4, close L in closed position; Steps 3 & 4 have the feel of a pickup, close. |
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| Promenade
phase V
qqqq; qqqq;
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In closed position, appel R (woman L), step side L to semi-closed, thru R beginning to turn RF, side and back L to closed having turned 1/4; back R with right shoulder lead continuing to turn, bk L turning (woman fwd R in contra banjo), sd R to closed position, close L having turned a total of 1/2 RF; |
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| Fallaway Reverse
phase V
qqqq; qqqq;
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In closed position facing line and center, appel R slightly back [slip appel beginning to turn LF] (woman L), fwd L turning, sd R turning to semi-closed position facing RLOD, bk L [fallaway position]; bk R (woman fwd L) turning LF, fwd L turning, sd R, close L to closed position facing LOD; There is a total 7/8 LF turn. |
In the Schmidts' Amparita Roca, part B starts with a reverse fallaway slip to an open telemark;; thru & quick chasse thru; slow chasse to a pickup and touch; and repeat;;;; |
| Spanish Line Left and Right
qqqq; qqqq;
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The Spanish Line is thought of as a feminine figure (though it is certainly danced by both partners), and it usually follows a back step. In semi-closed position step thru with the trail feet, step sd turning RF (woman LF), bk to face reverse, press lead foot high on toe of foot no weight with inside arms across body and outside arms up; You may then repeat — step thru with lead feet, sd turning LF (woman RF), bk to face line, touch trail feet on toes again inside arms across and outside arms up;
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| Press Line
q or s
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The Press Line is similar to the Spanish Line, but it is considered masculine and it is usually danced following a forward step. In left open position, step forward on the ball of the lead foot with pressure, but do not transfer full weight. Turn body about 1/8 RF (woman LF). May be done in open position with trail foot, turning LF. The pressing foot should be farther forward than in a Spanish Line and bearing a little more weight—a "press" rather than a "touch." |
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| Flamenco Taps
phase IV
qq&qq;
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In a Spanish Line position or press line, that is in open or left open with inside foot pressed, step forward on the inside foot, tap behind/tap, recover on the outside foot, recover forward to press line again; You end in the same position in which you began. |
Do a Spanish Line; flamenco taps; and another Spanish Line; |
| Grand Circle
phase V
qqqq; qqqq; qq
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One way to think of the Grand Circle is an extended Twist Turn where the man crosses his right in front of his left, and the woman walks around him LF, unwinding him with elevated prancing steps.
Begin in semi-closed position facing line. The man steps strongly thru and across his left foot without taking full weight yet (woman thru L), twist LF with right-side stretch in a "caping" action leaving feet in place but gradually shifting weight to left foot as the woman steps fwd R, fwd L high on balls of feet, fwd R; she continues fwd L, R, L, R to semi-closed position facing somewhat reverse and wall; man steps thru R turning LF (woman thru L), close L (woman R) to closed position facing wall,
There are variations. The figure can begin with an appel R (woman appel L), sd L, and then the thru step and unwind. Often, the last two steps are omitted for a Grand Circle 8 that takes a neat two measures.
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In the Goss' Paso Cadiz, there is a syncopated Coup de Pique;; Grand Circle;; into a Sixteen;;;; |
| Mini Grand Circle
qqqq;
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Begin in semi-closed position. The man steps strongly thru and across his left foot without taking full weight yet (woman thru L), twist LF with right-side stretch in a "caping" action leaving feet in place but gradually shifting weight to left foot as the woman steps fwd R, fwd L high on balls of feet, fwd R;
This one will probably only turn 1/2.
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In the Sechrists' La Rita, there is a promenade link to closed position line; chasse right; promenade link to closed COH; ecart; and then a mini grand circle back to wall; Notice that the ecart ends with the feet crossed so there is no need for a thru step. The woman simply walks 4 to unwind the man. |
| Coup de Pique
phase V
1234; 12&34;
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In closed position, trail feet free, turn to semi-closed position and point R thru sharply with a stabbing sort of action (woman point L thru), turn back to closed position rise and close R to L (woman close L to R), XLIB of R turning to semi and lowering, close R to L in closed position again rising; XLIB of R turning to semi and lowering, step side R in closed position/close L, sd R, cl L;
A coup de pique is sort of a "stab of irritation." I think, with the trail foot, we are jabbing at the bull to make him more ferocious. Grrr.
There are also 1 & 1/2 measure coup de piques that are not syncopated and that leave you with the other foot free. I must admit that I have never seen these in a round dance.
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R_to_L |
In closed position appel R (woman L), sd L, pt R thru in semi, cl R to L in CP; bk L to semi, cl R to L in CP, |
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L_to_R |
In CP step sd L (woman sd R), pt R thru in semi, cl R to L in CP, bk L in semi; cl R to L in CP, step L,
(also called a Left Foot Coup de Pique)
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| Double Coup de Pique
1234&; 1234&; 12
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In closed position, trail feet free, turn to semi-closed position and point R thru sharply with a stabbing sort of action (woman point L thru), turn back to closed position rise and close R to L (woman close L to R), XLIB of R turning to semi and lowering, close R to L in closed position again rising/close L; point R thru sharply with a stabbing sort of action (woman point L thru), turn back to closed position rise and close R to L (woman close L to R), XLIB of R turning to semi and lowering, sd R to closed position again rising/close L; sd R, cl L, |
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| The Twists
1234; 1&234; &123&4;
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This figure begins with one measure of even-count preparation and then contains three syncopated "twists" in measures two and three.
Begin in closed position facing wall with trail feet free. Appel R (woman appel L) and turn to semi-closed position, fwd L, maneuver R, and step back and side L to closed position facing reverse and wall;
Although the actual count is given to the left, it will probably help to count at this point: 1&23 1&23 1&2. These are the "twists."
Cross your R in back of L/unwind RF and step L (woman fwd L/fwd R outside partner turning RF) to banjo position facing line and center, fwd R pivoting RF (woman bk L), sd L (woman close R in a heel turn) to closed position reverse and wall again,
At this point, you have only used three of the four beats of the second measure, but it feels as though you have done a whole "thing." You have done one twist turn.
Now, repeat that twist: Cross your R in back of L/unwind RF and step L (woman fwd L/fwd R outside partner turning RF) to banjo position facing line and center, fwd R pivoting RF (woman bk L), sd L (woman close R in a heel turn) to closed position reverse and wall again,
Finally, Cross your R in back of L/unwind RF and step L (woman fwd L/fwd R outside partner turning RF) to banjo position facing line and center, and close R to L blending to closed position line and center;
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In the Cantrells' Silverio, they end part A with elevations down; elevations up and down; up and down; and then begin part B with the twists;;; curve left two,, point L/cl L, point R; chasse R 6;,, |
| Fregolina
phase VI
1234: 1234: 1234: 1234: 1234: 1234: 1234:
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In closed position facing wall appel R (woman appel L), step side L to semi-closed position, thru R turning RF, back L (W fwd R) to closed position facing RLOD;
In the second measure step bk R (W fwd L), bk L turning RF to banjo position, close R turning (W sd L turning to face RLOD), and step L (W bk R) to a double handhold position facing COH (W RLOD); You will keep this double handhold [L to R & R to L] into the sixth measure.
In the third measure, the man holds with feet together and maintains a proud pose into the seventh measure. The woman steps fwd L passing in front of the man toward his left side, fwd R, fwd L, fwd R. On this last step, the man raises his right hand and lowers his left to lead the woman to spiral sharply LF to face LOD at the man's left side. The man still faces COH.
In the fourth measure, the man holds and passes his right hand over his head while the woman steps fwd L behind the man, fwd R, fwd L, fwd R to the man's right side hands at about waist level and both facing COH; At this point, lead hands will be behind the man's back, trail hands will be extended toward COH.
In the fifth measure, the man continues to hold. The woman steps back L moving behind the man, bk R, bk L, bk R to end at his left side facing LOD; Now lead hands are behind her back and trail hands are behind his back.
In the sixth measure, the man holds. The woman steps fwd L behind the man, fwd R beginning to turn LF, Fwd L to man's right side turning and releasing lead hands, and finally press R foot fwd to face DRW now in front of the man and placing her right palm to his left palm in a press line;
In the last measure he holds shifts weight from both feet to L and releases hands (woman takes weight on her R and spins 7/8 RF to face partner), he holds beat 2 (W touch L), both step side toward LOD, close to end in closed position facing COH trail feet free;
Note that the woman takes a step on every beat (one is a press). The man mostly postures and waves his "cape" in front of and behind himself.
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In Viva Espana by the Rumbles, part A begins with a Fregolina;;;;;;; Chasse Right; Slip Appel to Ecart; |
| Farol
phase VI
1234: 1234: 1234: 1234: 1234:
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You can think of the Farol as a short Fregolina (immediately above). I have heard the Farol cued in a dance, and then the cuer said, "the short one." Instead of passing in back of the man three times, the woman does so only once. Essentially, we dance measures 1, 2, 3, 6, & 7 of the Fregolina.
In closed position facing the wall appel R (woman appel L), step side L to semi-closed position, thru R turning RF, back L (W fwd R) to closed position facing RLOD;
In the second measure step bk R (W fwd L), bk L turning RF to banjo position, close R turning (W sd L turning to face RLOD), and step L (W bk R) to a double handhold position facing COH (W RLOD);
In the third measure, the man holds with feet together. The woman steps fwd L passing in front of the man toward his left side, fwd R, fwd L, fwd R. On this last step, the man raises his right hand and lowers his left to lead the woman to spiral sharply LF to face LOD at the man's left side. The man still faces COH.
In the fourth measure, the man holds and passes his right hand over his head while the woman steps fwd L behind the man, fwd R beginning to turn LF, Fwd L to man's right side turning and releasing lead hands, and finally press R foot fwd to face DRW now in front of the man and placing her right palm to his left palm in a press line;
In the last measure he holds shifts weight from both feet to L and releases hands (woman takes weight on her R and spins 7/8 RF to face partner), he holds beat 2 (W touch L), both step side toward LOD, close to end in closed position facing COH trail feet free;
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| Traveling Spins from Promenade
phase VI
1234; 1234;
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In closed position facing wall, appel R (woman appel L), step side L to semi-closed position, thru R releasing right hand and raising left hand (W thru L spiraling RF under joined lead hands), side & fwd L; thru R (W thru L spiraling RF), sd & fwd L (W fwd R), thru R (W thru L spiraling RF), sd & fwd L to end in semi-closed position trail feet free;
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In Paso Fiesta by Folwell & Butcher, there is a Separation facing RLOD;; Sur Place to face wall; Traveling Spins from Promenade;; fwd and trn to a Spanish Line facing RLOD;
In Trumpet Fiesta by the Gosses, there is One Traveling Spin From Promenade; Promenade Close; — appel R, sd & fwd L to SCP, thru R (woman thru L spiraling Rf under lead arms), sd & fwd L; thru R, cl L blending to CP, sd R, cl L to end in CP facing the wall;
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| Traveling Spins from Counter-Promenade
phase VI
1234; 1234; 12
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In closed position facing wall, appel R (woman appel L), sd L to SCP, thru R (W thru L) turning RF, sd & bk L (W fwd R) turning;
sd R (W sd L spiraling RF under joined lead hands) to reverse semi-closed position facing LOD and release R hand, thru L (W fwd R turning), sd & fwd R (W sd L spiraling RF), thru L (W fwd R turning);
sd & fwd R (W sd & bk L) to closed position facing LOD, sd L (W sd R) to SCP facing COH,
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In Echoes Of Spain by the Easterdays, part C begins with Traveling Spins from Counter-Promenade to a Promenade Link;;; Chasse to the right facing LOD; to a Syncopated Separation and unwind 6 to skaters position facing wall;;;; |
| La Passe
phase VI
1234; 1234; 1234; 1234;
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In closed position facing wall, appel R (W appel L), sd L to SCP, thru R turning RF, sd & bk L (W fwd R) to closed position facing RLOD;
step bk R (W fwd L) turning RF, bk L (W fwd R to banjo position) turning, fwd R (W bk L turning RF to semi-closed position facing DRC), hold (W sd R moving in front of M);
hold (W fwd L toward man's L side), fwd L (W sd & bk R turning LF to reverse semi-closed position facing LOD), hold, hold (W sd L, fwd R & across toward man's R side);
fwd R (W sd & bk L turning RF to semi-closed position), hold (W sd R), hold (fwd L), close L (W cl R) to end in closed position facing DLC;
Notice that the woman is moving back and forth in front of the man, from SCP to RSCP back to SCP again.
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In Echoes Of Spain by the Easterdays, part D begins with a Promenade;; Grand Circle;; La Passe;;;; to a Slip Appel Fallaway Reverse; Slip Open Telemark; and a Promenade Close to end in CP facing wall; |
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