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Quickstep—
4 beats/measure; 40-50 meas/min
One could argue that quickstep is the most fun of all the rhythms (or the most devilish). It formed in the 1920s out of a marching one-step, a fast foxtrot, and some of the jazzy hops and skips of the Charleston, and it has evolved into a very up, light, airy, skipping sort of a dance. However, this is not the easy skipping of a child down the sidewalk. The quickstep is the skipping of a flat stone across a pond, especially at the end of the throw, where the skips are short and fast: bip-bip-bip-bip. Stay level. Don't slide the balls of your feet across the floor, but lift each foot and skim.
Make a special effort to keep your body and especially your head over your supporting foot. The fast flow of quickstep can easily get out of control when you want to change direction; momentum can become hard to overcome. So as you move forward, keep your head back. As you move back, keep your head forwar, and as you change from forward to back, you won't have to fight to haul your body along.
There is a little rise and fall in the feet and knees, but rise to flexed knees only. If you straighten or lock the knees, you will pop up, and again, we are striving for a skipping look, not a jumping-jack look. Try to direct your rise laterally or even forward to achieve smooth progression rather than waltz-like rise and fall. Dance with a walking heel lead that puts you on the balls of your feet, and then stay up and in flight.
Two features that make quickstep an especially interesting rhythm also make it difficult at first. These are the fast tempo and the almost perverse, ever changing combinations of quicks and slows (see the first column in the table below). There is a general rule that can help you decide which steps should be slow and which should be quick — usually, forward and back steps are slow and closing or locking steps are quick. Usually, exceptions to this rule will be clarified in the cue. For instance, the telemark to semi-closed position consists of three forward steps for the man (see below) and so uses three slow steps. If the cue is "quick open telemark," the count would be quick, quick, slow. However, given the fast tempo, you don't really have time to think through the rule as each figure is cued. You have to memorize the timing of each figure, as well as the steps (telemark is ss; s — quarter turns and progressive chasse is ss; qqs; sqq; ss; — V-six is qqs; sqq;) But this rich variety is half the fun. Mr. Alex Moore, one of the foremost teachers of English ballroom dance, has referred to the Quickstep as, "a dance that can never grow stale, a dance that is unquestionably the most attractive expression of rhythm the world has ever known."
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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| Quarter Turns and Progressive Chasse
phase IV
ss; qqs; sqq; ss;
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This one is a fairly long, phase IV figure, but it is found in almost every quickstep. In closed position line of dance step fwd L (woman back R), -, fwd turning right face, -; side, close, sd & bk, -; bk turning LF, -, sd, cl; sd & fwd, -, fwd, -; end in contra banjo, line of dance, lead foot free.
In international ballroom, this figure begins with the right foot, not the left. The figure begins with the second slow count above. Therefore, some cuers will cue, "forward to quarter turns and progressive chasse," the "forward" telling you to take the first slow step with your left and to begin the quarter turns with your right. This issue isn't standardized, so you have to be flexible: if your left foot is free, begin the figure with two slow steps; if your right is free, begin with only one.
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Many quicksteps begin with this figure. The Palmquists' I Wanta Quickstep does a progressive chasse, followed by fwd, lk, fwd, -; maneuver, sd, cl, -; pivot two; walk two;
In Something by the Schmidts, part A begins with a walk maneuver; sd cl - spin turn;; progressive chasse - quick open reverse;;; to a hover corte - back whisk;;;
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| Chasse
qqs;
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In closed position, step side, close, side, -; |
In the Prows' So What's New, the introduction begins in butterfly wall, lead feet free, with a chasse left and a slight RF turn to sidecar; check back and recover; chasse right and a slight LF turn to banjo; check back and recover to contra banjo; and part A starts with a fwd lock fwd; |
| Continuous Chasse
q&q&q&q;
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In closed position, step side/close, sd/cl, sd/cl, sd;
May be done in other facing positions and in any direction. Each side step may be taken with a slight hop to give a sideways skipping feeling.
Any hop should be powered not in the supporting leg but from a slight lift in the free leg. Raise the free knee and you will hop or skip on the supporting foot.
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In It's Alright With Me by the Rumbles, the dance ends with a fwd/lk fwd in banjo position; maneuver side close; slow impetus to semi and thru hop;; continuous chasse; and pendulum 3 and hold; |
| Quarter Turns
phase IV
ss; qqs; ss; s
(ss; qqs; qqs; s)
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In closed position, step forward L (woman back R), -, fwd R turning RF to face diagonal reverse and wall, -; chasse with a side L, close R, and side and back L, -; step back R beginning a LF turn, -, bring your L to R without weight and pivot on the R heel LF (woman steps side R turning, and closes L); finally step fwd L toward diagonal line and wall (woman bk R), -, Notice that the man takes 7 weight changes and the woman 9.
In this figure, we have the same ambiguous feature as is described above -- you may be cued "forward to quarter turns." And URDC not only asks us to begin with the trail foot (man's R, woman's L) but defines the figure as ending with the man's heel pivot and without the final forward step. You end with your lead feet free. (The man takes a total of 5 weight changes and the woman 7.) This is not a common figure, and I don't know what the majority opinion is among choreographers.
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| Cross Chasse
phase IV
sqq; s
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In closed position, step forward L (woman back R), -, fwd and sd R with right-side lead in a ripple-like manner, close L still in closed position; fwd R now with strong left-side lead to end in contra banjo position, -,
Note the rocking shape change that occurs during the figure, from left to right sway. If you don't include this feature of the figure, the final step will be more awkward as the man tries to step out and around the woman's right hip. With the shape change, she takes that hip back and out of his way, and he steps cleanly through her.
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| Reverse Chasse Turn
(or Chasse Reverse Turn)
phase IV
sqq; ss; s
(sqq; sqq; s)
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In closed position, diagonal line and center, step forward L turning LF (woman back R), -, side R continuing turn, close L facing reverse line of dance; back R turning LF, -, touch L to R with no weight and continue turning on R (woman steps side R, close L); finally step forward L to contra banjo line and wall, -, Notice that the man makes only 5 weight changes and the woman 7.
Some teach this figure with the same footwork for both, that is, two left turns with a chasse ending. I think that if you dance it that way, you will progress a bit farther. If the man omits the second "side, close," then the woman will turn more sharply around him, something like what happens in a Double Reverse Spin. After this somewhat sharpened turn, you progress together on the last step to contra banjo.
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In the Kincaids' Hardly Quickstep, part A begins with 2 fwd two-steps;; strut 4;; reverse chasse turns;; fwd check; fishtail; to quarter turns and progressive chasse;;;; |
| Viennese Turns
phase IV
sqq; sqq;
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In closed position facing LOD, step forward L beginning LF turn, -, side R continuing turn, cross L in front of R (woman close R to L); back R turning, -, side L turning, close R to L (woman XLIFR) to end in closed position facing LOD; One full turn.
One of the problems that arises in doing these turns on the cardinal directions (RLOD; LOD) is that we don't quite achieve a full turn. The steps are fast. We need to get all the way around in what seems like a moment, and we don't make it. What if there are two measures of Viennese Turns? We fall behind on the first set, further behind on the second, and we're way out of position for whatever comes next.
We can maintain dance position and get all the way around if we dance this figure on the diagonal. Do the first turn to face reverse and center (woman line and wall) with strong right side lead (man's right shoulder back). Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk, and it interrupts your momentum.
Now do the second turn to face diagonal line and wall with the man's left shoulder leading and the woman's right shoulder strongly back. Again, keep your left side to your partner. Her crossing step will flow easily.
You can dance any number of full Viennese Turns and never fall behind if the man throws his right shoulder down the line, and then his left, right, left … Focus on progressing down line with both your step and your shoulder, and the turns will happen.
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In Something by the Schmidts, part B begins with a walk maneuver; sd cl - closed impetus;; box finish; viennese turns;;;; cross chasse - fwd lk;; fwd maneuver; |
| Chasse Roll
phase V
qqs;
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In closed position LOD, step side R (woman sd L), close L to R with left-side stretch and a rolling action in the shoulders turning RF, step forward R between the woman's feet (woman bk L) pivoting RF and looking right (woman looking left), -; The total turn is up to 1/2 RF.
This is the Natural Chasse Roll. The Reverse Chasse Roll begins with the lead feet free and turns LF.
I should mention that the cue Chasse Roll sometimes is used for a totally different figure: in closed position facing wall, step side L (W sd R), close R, sd L, cl R turning 1/8 RF over the four steps to face DRW;
The timing for this version is qqqq;
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In Fortuosity by the Rothers, the cue sheet presents step cues, but part A is sometimes cued: quarter turns and progressive chasse;;;; fwd lk fwd; maneuver side cl; open impetus and face;; chasse roll; left turning lock to a manerver side close and pivot 3;;;;
In Tijuana Taxi by the Prows, they have used the figure from Fortuosity but called it a Right Rolling Chasse, eliminating this confusion. Their sequence, from part A, is chasse 5 to semi-closed position step thru;; right rolling chasse; pivot 2; fwd lk fwd lk;
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| Tipple Chasse
phase V
sqq; s
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The "Forward Tipple Chasse" begins in banjo or in closed position. Step forward R (woman bk L) turning RF 1/4, -, sd L with left-side stretch, close R; side and back L turning 1/8 more to end in closed position, -,
The "Back Tipple Chasse" begins in closed position. Step back L (woman fwd R) turning RF. On the "quick, quick" do a side, close, turning and with slight left-side stretch (woman right-side). Finally, step side on the trail foot turning another 1/8 for a total turn of about 3/8.
You may start back on the trail foot and turn to the left, and the figure can begin facing line or RLOD. The amount of turn may vary. The "tipple" in this figure is the slight tipping of the shoulders in the direction of progression. It is like looking over a low fence and is a gently, rolling movement. We might do a forward tipple chasse – back lock back – back tipple chasse – forward lock forward;;;;; Softly roll from the left sway of the forward tipple chasse, to no sway, to right sway during the back tipple chasse, and then no sway during the forward lock forward. Don't be sharp or jerky at any of these changes, but blend in a rolling wave.
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In the Szabos' Lady Is a Tramp, part B has a half natural; pivot 2 to closed position line of dance; forward L turning RF and tipple chasse to face diagonal reverse and center;; back R turning RF and tipple chasse to face line again;; into Viennese Turns;; and strut 4;; |
| Ripple Chasse
sqq; s
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This is a fox trot figure, but we ought to be able to use it in quickstep, much as the tipple chasse is used. The ripple chasse starts in semi. Both dancers step thru with the trail feet and blend to CBMP. Do a side, close with left-side stretch (woman right-side) and looking right (woman left). Finally, step side into semi or banjo position. The "ripple" in this figure is the slight tipping of the shoulders away from the direction of progression.
Again, notice that a ripple chasse includes an inclination of the shoulders away from the direction of travel and the tipple chasse includes an inclination of the shoulders toward the direction of travel.
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Do an impetus to semi and then a ripple chasse;;; maneuver, -, side, close; tipple chasse to a telemark to semi;;; |
| Fishtail
qqqq;
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In banjo position, the man crosses left in back of right, and the woman crosses right in front. Step side R, progressing a little down line. Step fwd L (woman bk R), and lock behind (woman in front).
To put a little more swivel in it and make it more "fishy," begin with right shoulder lead (so not contra-banjo) and maintain that lead during the XLIB of R. On the side R, lose the right-side lead and lead a bit with the left shoulder. Step fwd L with R-side lead again, and lock R behind L with L-side lead. You might call this a "swivel fishtail."
If you use the diagonals and good upper-body rotation, you can get good progression on all four steps as well as a nice "fishtail" swing to the lower body.
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Walk two and check in banjo; fishtail; walk two;
In the Carpenters' The Lady is a Tramp Quickstep, part A begins with quarter turns and progressive chasse;;;; fwd, -, check banjo, -; slow fishtail;;
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| Whaletail
phase III
qqqq; qqqq;
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In banjo position, cross the lead foot behind (woman in front) and turn 1/4 RF. Step to the side, forward on the lead with left side leading, and finally, lock behind (woman in front). In the second measure, step: sd, cl, xib, sd; End in banjo. |
In the Parkers' Diamonds, there is a walk two to banjo checking; whaletail;; walk two; running forward locks;; |
| Hover
phase III
ss; s
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In banjo or closed position, step forward on the lead, forward and side, rising to the ball of the trail foot and brushing the lead foot to the trail without taking weight. Finally, step out on the lead in semi-closed position, diagonal line and center. The hover has a little LF rotation and is generally followed by left-turning figures. |
Do a hover to semi, thru to banjo checking; whaletail;; walk and face; whisk, wing;;; |
| Back Hover
phase III
ss; s
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In closed position, step back (W fwd), -, step side and back (W sd & fwd and brush free foot to supporting foot) with a little rise, -; and recover to closed position, -,
May begin with either foot. The starting and ending positions can vary, and the woman may have some body turn. For instance, in a Back Hover to Semi, she will turn RF.
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| Hover Fallaway
phase III
ss; s
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In semi-closed position, step forward with trail feet, -, forward on lead with rising action, -; and recover back on trail still in semi, -, The "fallaway" action is stepping back in semi position. |
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| Natural Hover Fallaway
phase IV
sqq; or ss; s
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In semi-closed position, step thru with the trail feet beginning to turn RF. Step forward L on toe turning to right with slow hovering rise (woman forward R between man's feet). On third step, recover back toward line or line and center on trail feet, still in semi-closed. The total turn during the fallaway is 1/4 to 1/2 RF. |
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| Reverse Fallaway
phase IV
sqq;
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In closed position, line of dance, step forward L turning LF (woman back R), -, side R, cross L in back of R to semi-closed position facing reverse and center;
Can also be done in semi-closed position beginning with the trail feet. Step thru R turning LF (woman thru L), -, forward L turning, recover back R to semi reverse and center;
"Fallaway" is a step back to semi-closed position.
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| Reverse Fallaway and Slip
phase V
sqq; s
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In closed position, facing line and center, step forward L turning LF (woman back R), -, back R to fallaway position facing RLOD, back L well under body in tight fallaway; slip R past L and step back R (woman slips forward L) turning to closed position facing line and wall, -,
Foxtrot timing of sq&q or sqq& can also be used.
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| Hover Corte
phase IV
sqq; or ss; s
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In closed position, normally facing reverse, step back R (woman forward L), step side and forward L, turning LF and with a rising hovering action, and then recover R to contra banjo position facing line and wall. Starting and ending directions can vary. |
In the Goss' Five Guys Named Moe, there is a quick open reverse to a slow hover corte;;; back hover; and in & out runs;; |
| Reverse Corte
phase VI
ss; s
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In closed position, step back R (woman fwd L) turning LF, -, continue upper body roatation with left side stretch leading woman to step fwd R turning, -; finish 1/2 turn and touch L to R (woman closes L to R) in contra banjo, -,
Note woman has three weight changes; man only one.
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In Lazy Crazy Days by the Vogts, there is an open impetus - quick open reverse;;; reverse corte - back; to running bk lks;; |
| Hover Telemark
phase IV
sqq; or ss; s
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In closed position, step forward L (woman back R), step diagonal side and forward R with a rising hovering action and turning 1/8 to 1/4 RF, and forward L on toes to semi-closed position. |
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| Whisk
phase III
ss; s
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In banjo or closed position, facing wall, step forward on the lead, forward and side, rising to the ball of the trail foot and brushing the lead foot to the trail. On the third "slow," both cross the lead feet behind and turn slightly to semi-closed position and fully risen on the balls of the feet. |
In the Esquedas' Quickstep For 4, part C begins with a whisk - thru chassee to semi;;; to in & out runs;; open natural - impetus to half open;;; |
| Left Whisk
phase IV
sqq; or ss; s
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In semi-closed position, step thru with the trail feet, side and forward (woman side and back) to closed position, and cross trail behind lead foot to end in reverse semi-closed position.
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 rise of the normal whisk.
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| Back Whisk
phase IV
qqs; or ss; s
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In closed position, step back L (woman forward R), back and side R, and then both cross lead behind trail to end in semi-closed position, -; |
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| Back Turning Whisk
phase V
sqq; or ss; s
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Begin in closed or banjo position. You might be facing reverse and center. Step back L beginning to turn RF with slight right-side stretch (woman fwd R turning), -, side and back R (woman side and fwd L) continuing upper body turn, cross L in back of R (woman XRIB of L) to tight semi-closed position facing line and center; You may dance this figure from other starting positions and turn it 1/4 to 3/8 RF. |
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| Hairpin
phase V
sqq;
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Usually in closed position facing LOD, step forward R (woman bk & sd L) turning RF, -, fwd L with left-side stretch and banking into the turn, fwd R to tight contra-banjo and upper-body rotation to face RLOD or even reverse and center;
This should be a tightly banked turn, much as a "hairpin" is sharply bent. The Curved Feather in foxtrot is more gentle.
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| Pivot To Hairpin
phase VI
sqq; s
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In closed position facing RLOD, step back L (woman fwd R) pivoting 1/2 RF, -, fwd R between her feet, fwd L curving strongly RF; fwd R to contra banjo facing reverse and wall but body facing RLOD or even reverse and center—strong left side lead, -,
One teacher told me to take the third step of this figure as though I had just gotten goosed. Step sharply into her and turn to contra. I don't know …
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In the Caseys' St Michel's Quickstep, there is a natural turn; pivot to a hairpin–tipple chasse;;; fwd lock fwd; natural turn; spin turn–V-6–fwd;;;; fwd lk fwd; |
| Chair and Slip
phase IV
sqq; or ss; s
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In semi-closed position facing diagonal line and wall, step through with trail feet checking as in dancing a chair (eg. see fox trot figures), -, recover L (woman recovers R), back R (woman swivels LF on her R and steps forward L outside man's right foot to closed position; |
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| Contra Check
phase V
s
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In closed position, lead feet free, lower into your right knee (woman left), begin LF rotation, and slide the left foot forward. Your left foot is moving forward as your right side is leading strongly. This is the contra body action. Of course, the woman is lowering and stepping back R, allowing her toe to slip across the floor. His left thigh is actually pushing into her right thigh. Only when she feels the man stop and begin to change weight, will she stop that slipping foot movement and take weight herself. She must wait. The LF rotation causes the man to turn his left foot out. If he is facing DLW, his toes will be pointing LOD. This angled foot placement helps a great deal in maintaining balance. The woman steps straight back R, but her CBM causes her left foot to angle out and may turn her right foot a bit in. All four feet end up pretty much in one straight row (her R, his L, her L, his R), but the foot angles and the tight contact at the thighs helps maintain balance. Hips are in—toplines are well apart—heads left.
Timing varies. A slow contra check can easily span a whole measure.
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In Lazy Crazy Days by the Vogts, the dance starts in closed position facing DLW with a slow contra check; recover; switch; to a fwd tipple chasse - bk lk bk - bk tipple chasse;;;; fwd lk fwd; |
| Contra Check and Slip
phase V
sqq;
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In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R). Keep your hips in and up and your shoulders well apart. On the first "quick" recover R, and then slip back L (woman fwd R). |
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| Contra Check and Switch
phase V
sqq;
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In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R) in strong contra-body position. Keep your hips in and up and your shoulders well apart. On the first "quick" recover R beginning to turn RF, and then slip back L (woman fwd R) continuing to turn about 1/4. |
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| Traveling Contra Check
phase VI
ss; s
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In closed position, step forward L with contra body motion (upper body turned LF, right side leading), -, close R to L turning RF still in closed position and rising, -; step forward L to semi-closed position, -, |
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| Wing
phase III
ss; s
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In semi-closed position, trail feet free, step forward on beats 1 & 2. Draw the left to the right, leading the woman to turn LF and step forward around the man on 3 & 4. The man provides this lead by stretching the right side and turning the upper body LF. On 1 & 2 of the next measure, hold while the woman takes her third forward step, completing 1/2 turn to sidecar position. One weight change for the man. If the figure begins facing LOD or DLC, it ends facing DLC. |
Whisk, wing;;; telemark to semi |
| Zig Zag
phase V
sqq; qq
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In semi-closed position, step thru with the trail feet and turn to contra banjo position, -, side L turning RF 1/8, back R turning LF 1/8 to contra sidecar; sd L with left-side stretch, fwd R to contra banjo,
The "zig zag" action is the alternate turning between banjo and sidecar as you progress, and it can begin in a variety of positions. Another option begins in closed position with a count of ss; ss; s. Step fwd L turning LF, -, sd R turning, -; bk L in banjo, -, trn RF and step sd R a small step (heel pull), -; fwd L, -,
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| Impetus to Semi-Closed Position or Open Impetus
phase III
ss; s
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In closed or banjo position facing reverse line, step back and begin a right-face turn. Draw the right to left for a heel turn while the woman steps side and forward around the man and brushes right to left. Finally, both step forward in semi-closed position, diagonal line and center, trail feet free. |
In Stepping Out Quickstep III by the Nelsons, part B starts with a whisk and wing;;; telemark to banjo and forward chasse to banjo;;; forward & lock 6;; |
| Closed Impetus
phase IV
ss; s
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In closed or banjo position facing reverse line, step back and begin a right-face turn. Draw the right to left for a heel turn while the woman steps side and forward around the man and brushes right to left. Finally, step back in closed position line of dance. |
Maneuver (one step) to an impetus;; back, -, chasse; |
| Spin Turn
phase III
ss; s
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In closed position facing reverse line, step back on the lead foot and begin a toe pivot RF. Step forward between the woman's feet, continuing the pivot and leaving the lead foot extended behind. Finally, recover side and back in closed position diagonal line and wall. |
Maneuver (one step) to a spin turn checking;; fwd, -, chasse; |
| Overspin Turn
ss; s
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In closed position facing RLOD, step back left pivoting RF, -, step forward between lady’s feet rising and completing turn, -; recover side and back, -,
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 step (beats 3 & 4 of the first 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 somewhat into the second measure, 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 left. The man drives as he steps forward on his left. 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.
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| Spin and Twist
phase VI
sqq; &qqs;
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In closed position facing RLOD, step back L (woman fwd R between man's feet) pivoting RF with left side stretch, -, fwd R turning, side L toward diagonal wall with no stretch (woman close R to L facing diagonal center); cross R in back of L with partial weight/unwind RF (woman steps fwd L/fwd R around man), continue to unwind and change weight to R (woman fwd L turning), side L (woman fwd R between man's feet) turning, -; Ends in closed position; may also end in semi-closed on last step to face line and center. There is 1 5/8 to 1 7/8 total turn.
If you would like to unwind so that your feet end up parallel and together, begin with the heel of the front foot and the toe of the back foot in contact with the floor. Let those points be the pivot points and your end position will be neat. Use any other combination, and you will end with feet apart.
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| Spin and Double Twist
phase VI
sqq; &qqs; &qqs;
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In closed position facing RLOD, step back L (woman fwd R between man's feet) pivoting RF with left side stretch, -, fwd R turning, side L to face reverse & wall with no stretch (woman close R to L facing diagonal center); cross R in back of L with partial weight/unwind RF (woman steps fwd L/fwd R around man), continue to unwind and change weight to R (woman fwd L turning), side L (woman fwd R between man's feet) turning to face reverse & wall, -; cross R in back of L with partial weight/unwind RF (woman steps fwd L/fwd R around man), continue to unwind and change weight to R (woman fwd L turning), side L (woman fwd R between man's feet) turning, -; Ends in closed position; may also end in semi-closed on last step to face line and center. There is 2 5/8 to 2 7/8 total turn. |
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| Outside Spin
phase V
ss; s
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Begin in contra banjo, usually facing reverse and wall. The first thing the man does is use upper body rotation and right side lead to cause the woman to take a big step forward, outside, and turning RF. In the process of leading this movement, he takes a little step back, toeing in. Don't think of taking a back step. Just let your weight shift to the left foot, toe to the instep of the right foot, as you rotate about 3/8 RF. The man's second step is a long forward step outside of the woman in CBMP and again turning about 3/8 RF. She draws her left to right and does a heel turn. Finally, he steps side and back L, and she steps forward between his feet to closed position, completing one full turn during the figure. |
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| Pivot Right Face Double
phase IV
ss; ss;
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The pivot is a progressive figure in which the couple steps down line, turns 1/2, steps down line, turns 1/2, and so on. Choreography could call for a "pivot 1," "pivot 2," "pivot 4," or most anything else that bravery allowed.
This figure is the "pivot 4." In closed position facing reverse, step back L (woman forward R) and rotate 1/2 RF on the ball of the foot. Stay soft in the knees, close at the hips and apart above, and keep your heads closed. On the second slow, step forward R and turn 1/2. Normally, the one stepping forward will drive and power the turn (although the man is supposed to lead the woman to do that when it is her turn on the first and third steps  ). Finish the figure by repeating the first two steps and completing two full rotations.
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In I Wanna Be Like You by the Worlocks, there is a maneuver side close; pivot to DLC (ss); telemark to banjo; fwd fwd lk fwd & fwd tipple chasse;;;
Note that this sequence contains a single pivot (not double).
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| Reverse Pivot
phase VI
s or q or &
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This is a one step turn to the left. In closed position, step back R (woman fwd L) and pivot 1/2 LF on the ball of the foot. |
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| Cross Hesitation
phase IV
sqq;
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In semi-closed position facing line and center, step through with the trail feet on the slow. During the "quick, quick;" the man turns LF 1/4 and leads the woman to step side R turning LF, and close L to end in contra banjo man facing reverse and center. |
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| Drag Hesitation
phase IV
ss;
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In a facing position, step forward, turning LF. Step side on the trail feet, continuing to turn to banjo position, and draw the lead feet as you turn. End in banjo, diagonal reverse and center, lead feet free. |
Drag hesitation; to a back and a back, lock; back, -, |
| Hesitation Change
phase IV
ss; s
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In closed position facing reverse line of dance, step back turning RF. Step side and continue to turn. Draw the lead to trail, no weight. End in closed position, line and center. |
Hesitation change to face diagonal center, telemark to semi diagonal wall;;; |
| Quick Hesitation
&ss;
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A "quick" figure is often syncopated. In this case, a Hesitation Change is performed over three counts, but the counts are an "&" and two "slows," rather than three "slows."
In closed position facing reverse line of dance, step back L (woman fwd R) turning RF/step side R and continue to turn, -,draw the lead foot to the trail no weight; End in closed position, line and center.
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In Something by the Schmidts, part C begins with a walk, maneuver; quick hesitation & hold; chasse reverse turn to fwd lock steps;;;; fwd fishtail and extra lock;; |
| Heel Pull
phase IV
ss (sqq);
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In closed position facing reverse, step back L (woman forward R) starting a RF turn. The man continues the turn, pulling the right heel toward the left foot and then changing weight to the right as the woman steps side L and then draws R to L with no weight change. You end in closed position facing line and center, lead feet free. |
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| Change of Direction
phase IV
ss; s or qqs;
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In closed position facing line and wall, step forward L (woman back R), fwd turning 1/4 LF, draw L to R and ending in closed position facing line and center lead feet free, -; |
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| Maneuver
sqq;
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Step forward, beginning RF turn. Step side and forward across line of dance to closed position reverse. Close trail feet.
Also cued: maneuver, -, side, close;
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In Go On By Quickstep by the Hurds, part A begins with quarter turns and progressive chassé;;;; running forward locks;; maneuver side close; hesitation change; |
| Natural Turn
phase IV
sqq; ss; s
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This figure turns 3/4 RF over 2 & 1/2 measures. In closed position facing line and wall, step forward R (woman back L) beginning to turn RF and rising to toe, side L across line of dance completing 1/4 turn, and close R to L lowering to face reverse. During second measure, step back L (woman forward R) continuing to turn, -, heel pull R to L as woman steps side L across line of dance, -; and finally step small forward L (woman back R) to end facing line and center, -.
Often the cue Half Natural calls for the first measure only of the Full Natural Turn.
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| Open Natural Turn
phase IV
ss; s or sqq;
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Step forward on the trail foot, and begin a RF turn. From closed, the woman steps back; from semi, the woman steps forward. Step side left across the line of dance and back right with strong right-side lead to banjo reverse. |
The half natural (above) or the open natural does pretty much what a maneuver does. You could follow with a back step to running back locks;; |
| In and Out Runs
phase IV
sqq; sqq;
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In semi-closed position facing line, step forward on trail foot. The man starts to turn RF and steps side and back L toward line and wall to closed position facing reverse. She takes her second step between his feet. On the last beat of the first measure, he steps back R to contra banjo position facing reverse. During the second measure, he steps back L turning RF, side and forward R between the woman's feet continuing to turn, and forward L to semi-closed position facing line again. |
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| Quick Open Reverse
phase V
sqq; s
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In contra banjo, usually facing line and center, step fwd R (woman bk L), -, fwd L turning LF, side and back R; bk L with right-side stretch to contra banjo facing RLOD, -,
Any sort of reverse turn normally begins with the lead feet. Here, we have the trail feet free, and the figure allows us to take a preparatory step and then a "normal" Open Reverse. The Quick Open Reverse adds that extra preparatory step. It may also be danced from closed or semi-closed position (in which case, the woman would step forward L turning LF).
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| Outside Change
phase IV
sqq;
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This figure takes the man in a LF turn from facing reverse to facing line and can end in banjo or in semi-closed position.
In closed or contra banjo position facing reverse, step back L (woman forward R), -, back R turning LF, and side and forward L; If the man maintains a little left side stretch during beats 3 & 4, the woman will keep her head closed and will step side and back R into contra banjo. If he uses right side stretch, she will open her head and step side and forward R into semi-closed position.
The cue will specify "to banjo" or "to semi."
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| Outside Swivel
phase IV
ss;
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In banjo position, step back L (woman forward R), -, and hold, leading the woman to swivel RF on ball of right foot, -; To do this, the man will turn his upper body a little RF, causing his right foot to cross a little in front of his left, ending in semi-closed position. |
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| Charleston Points
ss; ss;
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In open position, perhaps facing LOD, step forward R turning RF, -, point L fwd turning LF, -; back L turning RF, -, point R back turning LF, -;
May be done in other positions and orientations. May begin with left foot.
At it's simplest, it is only a "fwd – pt; bk – pt;" There are some things you can do to make it more Charleston-y:
- Introduce a very little bounce or lilt into each step: down/up.
- Layer a very little swivel onto each bounce: heels out/in.
- Point or kick across instead of forward.
- Instead of the "point," gently kick in front and then behind with each step.
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In Juke Box Baby by the Gloodts, there is a maneuver side close; pivot 2; dip & recover; charleston points in closed position;; to vienesse turns;; |
| Charleston Crosses
phase IV
qq
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In loose closed or butterfly position facing reverse, step side L (woman side R) turning the heels out (swivel on the balls of both feet; you'll be "pigeon-toed"). Then cross the R in front of L turning the heels out again (right heel out to left; left heel out to right). Repeat number of times specified, usually 4-8 times. |
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| Telemark to Semi-Closed Position
phase IV
ss; s
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In closed position, line and center, lead feet free, step forward beginning a LF turn. Step forward and side completing a 1/2 turn to closed reverse; woman does a heel turn. Turn to semi-closed, and step forward toward line and wall. |
In the Pierces' 42nd Street, there is a walk 2; telemark to semi and step thru;; side, tap, side, tap; walk & pickup; repeat;;;; to quarter turns and progressive chasse;;;; |
| Telemark to Banjo Position
phase IV
ss; s
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In closed position, line and center, lead feet free, step forward beginning a LF turn. Step forward and side continuing to turn; woman does a heel turn. Step forward and side to banjo line and wall. |
In the Worlocks' Shall We Quickstep IV, there is a left turn; slow hover corte and back;; slow open finish and telemark to banjo;;; maneuver side close; two right turns;; |
| Telespin To Closed
phase VI
sqq&; qqs;
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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) to a tight sidecar position;
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,- ;
Note that the man has five weight changes; the woman seven. The figure turns LF 1 & 3/8.
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).
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| Mini Telespin
phase V
ss; s&qq; s
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In foxtrot, the mini telespin is danced like the telespin to closed but with a touch at the end instead of the back L. In quickstep, it could be danced with foxtrot timing. Either telespin could be danced sqq&; sqq; Roundalab describes a 2 1/2 measure figure that better recognizes the fast quickstep tempo. 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, -/fwd L turning,) fwd L to closed position (woman fwd R) spinning LF, close R (woman close L) flexing knees in closed position RLOD; hold, -,
Note that the man has four weight changes; the woman six. The figure turns LF 1 & 3/8.
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| Telespin To Banjo
phase VI
sqq&; qqs;
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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) to a tight sidecar position;
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.
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| Telespin To Semi-Closed
phase VI
sqq&; qqs;
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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) to a tight sidecar position;
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.
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| Develope
phase IV
ss;
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Normally, the man steps forward outside partner. She steps back and then raises the free foot up the supporting leg to the knee and then straightens that leg in a controlled kick. The actual develope is the lifting of the knee and the kick, and it may be done with either leg and by either or both partners. |
Do a telemark to banjo~forward lady develope with right foot~drag hesitation~and impetus to semi;;;;; |
| Promenade Sway
phase IV
ss;
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Step side and forward with the lead foot, turning to semi-closed position, and stretching the body up to look over the joined lead hands (left sway for the man). During the second slow count, relax the lead knee, allowing the trail leg to extend in a strong, straight line. This is a picture figure, so your bodies should be toned, parallel, graceful. |
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| Throwaway Oversway
phase VI
s
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In semi-closed position, step side & fwd L (woman sd & fwd R) pointing his left toe where he wants her to "throw" her left foot—toward diagonal line and wall or a little farther toward line maybe. The man changes to right sway and rotates his hips CCW to move the woman's left leg back, and then lowers by flexing the left knee so that she won't take weight on that foot but will continue to move it back behind her, exposing the sole of the foot to passers by. She looks well left. The man's motion is a little like "bowling the foot down the alley." It is a little more elegant for her to slide her foot back with the inside of the big toe touching the floor, rather than the tip of that toe. |
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| Hinge
phase V
ss; s
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From closed position, step back on the right foot and turn 1/4 LF. Step side on lead with strong left side stretch; continue to rotate hips LF, leading woman to collect her trail foot and change weight. His left and her right hips are tight together. Flex left knee to lower and cause her right foot to slide forward, leg straight. End in almost an L-position with man's left knee flexed and his right leg straight and extended to his right side, and woman's left knee flexed and her right leg straight and extended in front of her, parallel with his. She is almost sitting on his left thigh.
May begin in semi-closed position, in which case the first step is forward for both.
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| Running Forward Locks
phase IV
qqqq; qqs;
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In banjo position facing line of dance, step forward L (W back R), lk, fwd, fwd; fwd, lk, fwd -;
When you "run" don't actually try to reach some sort of goal. We're not sprinting toward a finish line. Be light.
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Quarter turns and progressive chasse;;;; to running forward locks;;
In Bassett's Bonaparte's Retreat, part B has a walk 2 to banjo; running fwd lks;; maneuver; overspin turn to a box finish and slow hover;;;; pickup, -, side, close;
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| Running Back Locks
phase IV
qqqq; qqs;
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In banjo position facing reverse line of dance, step bk L (W fwd R), lk, bk, bk; bk, lk, bk -; |
In the Prows' Music Cubed, part B begins with reverse turn 1/2; progressive chasse and fwd tipple chassee;;;; running back locks;; open impetus to semi and pickup;; |
| Turning Lock
phase V
qqs; s
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In banjo position facing reverse and wall, step back R (woman fwd L) with right-side lead and right-side stretch, lock L in front of R (woman locks in back), step back R beginning to turn LF, -; step side and fwd L turning to banjo line and wall, -, |
In the Rothers' Fortuocity, there is a maneuver side close; open impetus & face;; chasse roll–turning lock;;; maneuver side close; pivot to a hesitation–and six quick twinkles;;;; |
| V-6 phase VI
qqs; sqq;
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In banjo facing reverse and wall, step back R with strong right side lead (woman fwd L), lock LIF of R (woman RIB of L), bk R, -; bk L, -, bk R turning 1/4 LF, side & fwd L to contra banjo facing line and wall;
Quickstep is fast, and when you get moving in one direction, it can get to feeling like a runaway train — it's hard to check your motion in time and get moving in another direction. On the fifth step of this figure (and always), keep your head weight over the supporting foot. Reach back with the R but don't actually go back. Reach and push. Keep your body weight forward. In this way, you won't have any backward momentum to fight, no runaway train.
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In the Worlocks' Shall We Quickstep, there is a rumba cross; hairpin; running finish; fwd tipple chasse–V-6–maneuver side close–pivot;;;;; to a rudolph ronde and slip; |
| V-8
qqqq; ss;; qq
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This is not the beverage but a V-6 preceded by an extra "back, lock."
In banjo facing reverse and wall, step back R with strong right side lead (woman fwd L), lock LIF of R (woman RIB of L), back R, lock LIF of R; bk R, -, bk L, -; bk R turning 1/4 LF, side & fwd L to contra banjo facing line and wall;
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In Hit That Jive Jack by the Moores, there is a maneuver side close; overturn spin turn to a V-8;;;; quarter turn chasse ending;;; maneuver; |
| Double Reverse Spin
phase V
ss; qq
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For the man, the timing is better thought of as ss; s. He steps forward L turning LF, -, side R turning, -; and then he draws L to R and spins LF on the third "slow" count, having taken only two weight-changes.
The woman steps back R turning, -, draws L to R and executes a heel turn of 1/2 and changes weight, -; steps side and back R turning, and crosses L in front of R, for a total of four weight-changes. The last "side, cross" for the woman is what spins the man during his third "slow."
You might begin this figure in closed position facing line and center. A "full" Double Reverse turns full around and you end in closed position line and center. It is often underturned to 7/8 or even 3/4.
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| Top Spin
phase V
&qqqq;
or
&sqq; s
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In contra banjo position, lead feet free and extended back, use upper body rotation to spin on the trail foot 1/8 LF, and step back L (woman forward R). These two actions might be done on the first quick. Or more properly, do the spin at the end of the previous measure and take the step on count 1. Then the man steps back R turning and with left side stretch, forward L turning, and forward R to contra banjo, for a total rotation LF of 1/2;
The figure can also begin with the trail feet free and with a count of qqs; s
In closed position, step bk R turning LF, step sd & fwd L turning to contra banjo, fwd R outsd ptr and spinning LF on R toe, -; bk L to banjo, -,
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| Rumba Cross
Phase VI
qqqq;
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In closed position facing line of dance, step forward L (woman back R). Knees are soft. Use strong left side lead and left side stretch. On the second "quick" cross right in back of left (woman left in front of right). Use a Latin Cross action with the heel leading, R toe to L heel, making a momentary "7" and turning RF up to 1/2. This strong left side stretch will cause/allow the woman to cross in front. Step back L, pivoting RF. On beat 4, step forward R to closed position. Standard amount of total turn is 1/2 to 3/4 but may be under or overturned. |
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| Big Top
phase VI
sqq; or ss; s
|
In semi-closed position, trail feet free, step thru with right side stretch, commencing a LF spin. The man leaves his left leg extended back with the left knee tucked behind his right knee. As he spins on his right, his left rotates "as one" and remains extended behind. During the first of the two quicks, the woman steps quickly forward around the man's left side, continuing the spin, and then the man steps back, crossing his left well under his body. During the second quick, he rises, no sway, and slips back R (she forward L) to closed position. Total rotation is about 3/4 LF.
Notice that the timing is a little different for the man and the woman. She takes her second step at the beginning of the first quick, and he delays taking his step until the end. It is hard to get the full spin. The man needs to use strong upper body rotation to lead the woman's second step, and he needs to stay down during the spin. Rise only at the end of the spin and then slip back.
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| Running Finish
phase V
sqq;
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In a contra-banjo position facing RLOD, step back L (woman fwd R outside of partner) beginning to turn RF, -, side and fwd R turning, fwd L to contra-banjo facing line and center;
It feels something like an impetus turn or maybe an in and out run, but he turns less and so doesn't get to semi-closed.
In other smooth rhythms, we are used to the term "running" being used to indicate syncopation and the insertion of an extra, quick step. Quickstep is already quick, so here the "running" only refers to the two quicks in the figure, passing steps. Don't try to syncopate it.
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Do an open natural; running finish; fwd, -, fwd, lk; fwd, -, to quarter turns and progressive chasse;;;; |
| Rudolph Ronde
phase VI
s
|
In closed position, lower and step forward R between the woman's feet rather like dancing a chair, and she will step back. Leave the left leg side and back, but lift and rotate the upper body RF with left side stretch to lead her to lift her R leg from the hip and ronde it CW. Keep the right leg soft. The lady's head should follow her foot and so move from closed position to strongly right. One weight change only. |
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| Rudolph Ronde and Slip
phase VI
sqq; or ss; s
|
In closed position, lower and step forward R between the woman's feet, and she will step back L. Leave the left leg side and back, but lift and rotate the upper body RF to lead her to lift her R leg from the hip and ronde it CW. On the first quick, rise from your chair-like lunge and recover back on the left, and she steps back R beginning a LF pivot on the fall of the right foot. As she pivots, she keeps her thighs locked and her left leg extended. On the second quick, he steps back R rising, and she steps forward L in a slipping action, both rotating a bit LF (up to 3/8). |
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| Flicker
phase IV
&q&q
|
Stand on both feet, up on toes, heels together, knees relaxed. Quickly in only half a measure, turn the heels out/bring them in, out/in, |
Do a hesitation change to a flicker;; and then telemark to banjo, maneuver, back;;; bk, lk, bk, -; |
| Scoop
phase V
ss;
|
In closed position, perhaps facing wall, step long side L (woman side R) with right sway, -, close R maintaining sway and turning 1/8 LF, -; |
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| Six Quick Twinkle
phase V
qqqq; qq
|
In closed position or in banjo, step sd L (W sd R), cl, XIB (W cross in front), cl;fwd, lk, |
The Valentas' It Don't Mean a Thing begins with a slow flicker (&s&s); slow six quick twinkle;;; to quarter turns and progressive chasse;;;; |
| Four Quick Run
phase VI
qqqq;
|
Begin in banjo or in closed position. Step forward L (woman bk R), lock RIB of L (woman LIF of R), fwd L, fwd R ending in contra banjo with strong left side lead;
The locking step may be done on step 4.
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In the Goss' Shall We Dance, there is a spin turn–step back;; chasse to banjo; fwd to a quick open reverse;; back and turn LF to four quick run–to a fwd;; and tipple chasse; |
| Bunny Runs
qqqq; qqqq;
|
In banjo position facing RLOD, lead feet free, run back on your toes with a slight lilt and body turn on each step. Step back L (woman fwd R) turning slightly RF, bk R turning slightly LF, and repeat for a total of eight steps. You can think of it as a back run with contra action, but don't throw the side back; be cute, not violent.
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In the Goss' We Are In Love, there is a spot pivot 4 to closed position facing DRW;; side R to DC, -, drag L to R, -; close L to R, -, back R to banjo DRW, -; bunny run 8;; outside change to semi; pick-up lock; |
| Stutter
phase V
qqs; qq
or
q&qqq; q&q
|
In contra banjo, step fwd L (woman bk R) with left-side lead, lock R in back of L, fwd L, -; side R with right-side stretch to closed position, fwd L with left-side lead to contra banjo,
A more "stuttery" timing is q&qqq; q&q
Step fwd L/XRIB of L, fwd L, sd R to closed, cl L; fwd R outside ptr/XLIB of R, fwd R to contra banjo,
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| Jete Point
phase V
q&
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The actual Jete Point itself is very quick, just one beat of music. Normally in semi-closed position, step forward L (woman fwd R) turn to closed position/ lower with a springing action/ sway right (woman sway left)/ extend trail feet with inside edge of big toe on the floor/ and look toward extended foot,
In practice, a measure is usually given to the figure. You might have the trail feet free, and the cue might be, "thru to Jete Point" (slow quick/& hold). You could be in closed position for a "forward & Jete Point." Other orientations and positions are possible.
This "forward and point" could be done with either foot. Sway toward the extended foot.
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| Tipsy Point
phase V
s&s;
|
In semi-closed position, the man steps forward R and the woman steps forward L in contra body movement position (CBMP). That is, each steps forward with the trail foot but has left-side lead for the man and right-side lead for the woman. Begin 1/4 RF turn. Quickly step side on lead foot on the "&" count, and tap the trail toe behind the lead foot maintaining the trail-side stretch. Hold the last beat.
So it's a thru, -, side/tap, -; turning a little RF.
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In Lazy Crazy Days by the Vogts, there is an outside change to semi; thru chasse to semi - thru; tipsy point and hold; to a v-6;; |
| Woodpeckers phase V
&q
|
Standing on either foot, usually in closed position, hop and tap the toe of the free foot behind in one count of music. Hop up on a half count and land and tap on the second half count. Rarely would you do just one woodpecker—you might do four woodpeckers over a measure of music. It is also common to turn as a couple in place as you dance them—turning woodpeckers.
Whenever you hop, don't try for altitude. Make it a very light, skipping movement.
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In the Gosses' We Are In Love, there is a cross hover to semi; thru sd tap; lift tap twice;; turning woodpeckers; bk lk bk; running finish; fwd fwd lock; |
| Crackerjack &/1, -, &3, -; &/1, -, 3, 4; &/1, -, &3, -; 1, 2, &/3, -;
|
In closed position facing wall, close L (woman R)/and point R to reverse, hold, close R/point L to line, hold: close L/point R to reverse, hold, hop on L tapping R behind L twice; close R/point L to line, hold, close L/point R to reverse, hold; hop on L tapping R behind L twice,, close R/point L to line, hold;
More briefly, this is a four measure figure consisting of 3 close/points, 2 stork hops on lead feet, 2 close/points, 2 stork hops on lead feet, and 1 close/point.
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In the Murbachs' Never-ending Quickstep, there is a side close vine 8 and point;;; crackerjack to semi;;;; quarter turns and progressive chassee;;;; rwd lock fwd; manuver side close; pivot 4;; |
| Pattacake Clap
qqqq; qqs;
|
In a facing position with no hands joined, slap both hands on thighs, clap both hands together, raise right hand and clap partner's right hand, clap both hands together; raise left hand and clap partner's left hand, clap both hands together, raise both hands and clap both partner's hands, -; (you've done this on the playground) |
In Bounce Me Brother by the Lillefields, man is facing partner and wall with lead feet free. Man holds while woman spins and closes; steps side and closes; man does a quick vine 8 and woman holds;; man holds while woman spins and closes; steps side and closes; pattacake clap;; to a strolling vine;;;; |
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