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One Step—
4 beats/measure, 40 measures/minute
The
One Step is a smooth, steady, walking rhythm in which the dancer walks
on every other beat (a "slow" count) or runs on every beat (a "quick"
count). The One Step evolved out of the Two Step about 1910 and was a
very popular social dance, along with the Foxtrot, Waltz, and Tango.
One of the most popular One Steps was the Turkey Trot. The man simply
walked forward and the woman back, one step per beat, with some
syncopated wing movements added for interest. Another was the Bunny
Hug, and truly brilliant was the Castle Walk, created by Vernon &
Irene Castle. The Castles' presentations of the One Step, Two Step,
Waltz, and Tango were so popular that Vernon has been called the
"father of modern dancing."
A current American dance
rhythm that is related to our One Step is the Peabody. There is little
rise and fall. Forward walking steps are taken heel/toe. Running steps
are taken on the balls of the feet, and back walks are taken toe/heel.
Contra body movement (CBM) is used during progressive steps to create a
subdued swaying back and forth of the body.
Much of the
cueing for a One Step will consist of step cues, rather than larger
figure cues. Again, the One Step is closely related to the Two Step and
the Five Count, and many dances contain patterns from all three rhythms.
(For additional figures, see the Two Step page.)
Figure Name, Roundalab Phase
Level, & Timing
q=quick, 1 beat
s=slow, 2 beats
&=1/2 beat; a=1/4 beat |
Steps and Actions That Make Up
the Figure
Each
description focuses on the man, with the woman's footwork in
parenthesis. If a woman's step is not given, it is the natural opposite
or follow of the man's. Help: basic dance
positions and steps,
actions, directions, and abbreviations.
Non-standard punctuation: 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 occurring in a single beat.
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Here are some sequences to help
you visualize the figure in context.
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| Walk Two
ss;
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In any position beginning with either
foot, step fwd, -, fwd, -; |
In closed position, line of dance, walk
two; run four; walk, face; side close twice; side and through to semi; |
| Back Two
ss;
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In any position beginning with either
foot, step bk, -, bk, -;
Both
forward and back steps can be used in any number, at a variety of
tempos, and in any direction, both relative to the floor and relative
to your partner.
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In Left Footers One Step
by the Johnsons, we are in closed position facing the wall, and the man
steps back L toward COH (W bk R toward wall), bk, bk, bk; sd L (W sd
R), sd, sd, sd; walk in L (W fwd R), fwd, fwd, fwd to face partner and
wall; sd, sd, sd, sd blending to sidecar facing RLOD; |
| Run Four
qqqq;
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In any position beginning with either foot
fwd, fwd, fwd, fwd; |
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| Turn
q or s
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A
change in direction — specifically a change in the direction in which a
foot is pointing relative to the direction in which it was previously
pointing. Such a cue can mean to change direction without changing
weight (without taking a step), but usually the cue will mean to step
and turn in a direction indicated. You might turn right, left, in
(toward partner), or out. |
In Left Footers One Step by the
Johnsons, we are in semi-closed position, and we walk 2, turn, and
point trail feet to reverse; repeat toward LOD; |
| Step
Skip
qq
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Step
forward (or back) and then raise the free knee sharply to produce a
little scooting movement at the weighted foot. The step involves a
weight change; the skip does not. |
You could walk two; run four; step, skip,
step, skip; run four; |
| Side Close
ss;
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In butterfly wall, step to the side, -,
close trail foot to the lead, -; |
In Sanders' Speak Softly,
part B begins with a quick side close: side, close, side, lift; behind,
side, thru, flare CW (woman CCW) to left open position facing reverse
line of dance; then a forward two-step to face partner in butterfly;
lunge side to reverse, -, recover, and cross in front blending to
closed position wall; |
| Cross Walk Two
ss;
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Step forward and slightly across the
weighted leg, toe/heel, and with a bit of a swagger, -, again forward
and across, -; |
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| Lunge
s
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Step forward or to the side, flexing that
knee and checking your movement. |
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| Chug
q or s
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Usually in a facing position, bend the
knees and straighten them quickly so that the feet slid a short
distance backwards. |
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| Skate
ss;
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In
open position or perhaps facing but somewhat apart, swivel to the left
(woman right) and step forward on the lead foot, swinging the arms to
the left. Swivel to the right and step forward with the trail foot,
swing the arms to the right. Mimic the pushing and the arm and body
movements of ice- or roller-skating. |
In
skaters position, both with left foot free, skate left, -, skate right,
-; skate left, -, woman pick up, close (man step, touch; walk, -, face,
-; sd, cl, sd, cl; |
| Draw
s
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With no weight change, bring the free foot
toward the weighted foot and touch. |
In Nadia's Theme
by the Gosses, we are in maneuver position for a pivot 4 to SCP facing
LOD; lunge fwd L (W fwd R), -, recover, draw to CP facing wall; side,
behind, … |
| Circle Four With Snaps
ss; ss;
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In
any position step away from partner with lead foot, -, fwd man to cntr
trng LF woman to wall trng rf, -; fwd curving back to ptnr, -, fwd to
closed or semi, -; (step on beat 1, snap fingers on 2, and so on) |
Blend to semi;; walk two; and a strolling
vine;;;; or circle four to closed;; traveling door;;;; and two truning
two-steps;; |
| Roll
phase II
timing varies
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Progress
in a designated direction, turning individually, using a designated
number of steps. For instance, a roll three and touch down line might
involve a forward L turning LF, back R continuing the turn, and forward
L facing line again, touch R to L; Starting with the trail foot, you
would roll in, man RF and woman LF. A roll four would be a full turn in
four steps. |
In The Apartment by
Wakeland, there is a roll 3 & touch; slow roll back 3 & touch
to CP LOD;; to a diamond turn 3/4 in 9 even steps - back, side,
promenade sway;;; |
| Merengue
ss;
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In cl or bfly, step sd with inside edge of
foot then flat causing little hip roll, -, cl and roll hip back, -; |
Do it some more and get some sway going. |
| Cross
q or s
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With either foot, step forward, in front
of, and slightly beyond the weighted foot. Take weight. |
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| Unwind
s
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In
a position in which the legs are crossed and leaving the feet in place,
rotate the body to uncross the legs. For instance, if the left is
crossed in front of the right, you will rotate almost a full turn right
face or clockwise.
A little trick is to cross the one foot in front of the
other and place its heel on the floor. Release the heel of the foot
that is now behind. If you unwind, pivoting on the heel of the front
foot and toe of the back foot, your feet will end up reasonably
parallel and side by side, ready for the next step.
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| Rock Forward Recover
ss;
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fwd, -, rec, -; |
Rock side, -, recover to semi line -; Then
try this from Left Footers One-Step:
walk two; step, turn in, point trail foot to reverse, -; walk to
reverse, -, walk, -; step, turn in, point lead foot to line, -; |
| Rock Steps
timing varies: eg qqs; or qqqq;
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In
any position, step in the direction indicated, recover, and repeat so
that you take the number of steps indicated. For instance, a forward
rock three would be: fwd, rec, fwd, -; A side rock four would be: sd,
rec, sd, rec; |
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| Rock Four
ss; ss;
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fwd, -, rec, -; fwd, -, rec, -; May be
done to the side or back and any number of steps. |
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| Rock the Boat
ss;
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In semi, step forward on lead with knee
straight and body bent forward, -, relax knee, close trail foot and
straighten body, -; |
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| Charleston
ss;
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In
open position, step forward on the lead, -, point forward with the
trail, -; step back, -, point back, -; May also be done in butterfly or
closed position, in which case, the woman mirrors the man (steps back
when he steps forward). |
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| Side Close to Sidecar
ss;
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In closed, line, side with lead foot
turning RF, -, cl in scar, -; |
triple to diag wall; sd, -, cl to bjo, -;
triple diag cntr; |
| Balance
qq
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Step forward, backware, or to the side,
and then touch. |
In My Love by the Proctors, the
dance begins in CP LOD with balance forward & bk;; walk 2; turn L
close to face RLOD; bk 2; |
| Pickup
s
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In semi, fwd on trail feet woman turning
LF to face man in closed, -, |
In semi position, walk, -, pickup, -;
side, touch, side, touch; dip back, -, recover, -; |
| Maneuver
s
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In closed, banjo, or semi, the man steps
forward with his right foot and turns 1/2 to face reverse in closed
position |
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| Dip
s
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Step back or to the side, relax knee, and
leave the free leg extended and toe pointed. |
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| Recover
s
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Shift weight back to the free foot.
Normally, that free foot has not moved during the previous step. |
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| Twirl Two
ss;
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In butterfly, walk two down line, raise
lead arms, and she turns a full turn RF. |
Try a twirl two; walk two; walk three and
face;; side close; side through to semi; |
| Pivot Two
ss;
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Usually
in closed position, step back on the lead foot. The woman steps forward
between the man's feet. Turn in place 1/2. Then step forward between
her feet turning 1/2 again. |
My Love
by the Procters uses a lot of pivots: In part A, closed line: walk two;
turn left two; walk back two; pivot two to wall; twist vine four
blending to closed position;; pivot two to closed line; dip back, -,
recover, -; |
| Lock
q or s
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Cross
free foot in front of supporting foot and take weight a bit behind that
foot so that the newly free foot has to move back. Performed as the
second step in a measure. |
From My Love,
part B (using some two-step figures): two forward two-steps;; fwd,
lock, fwd, lock; walk, -, pick up, -; hitch four; walk, -, face the
wall, -; half a box forward; scissors thru to semi; fwd, -, check, -;
fishtail; |
| Cut
q or s
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Cross
free foot in front of supporting foot and take weight a bit behind that
foot so that the newly free foot has to move back. Performed as the
first step in a measure. |
The classic Crazy Eyes
has this sequence in part A: walk four; cut, back, cut, back; back,
side to face, through to reverse, flare to semi (no weight); thru with
trail foot, -, side, close; |
| Turn Left in Four
ss; ss;
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In
closed position, step forward L (woman bk R) turning LF, -, side and
back R, -; bk L turning, -, bk R, -; You will have turned 1/2 LF, man
facing reverse. |
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| Turn Right in Four
ss; ss;
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In
closed position, step forward L (woman bk R), -, fwd R turning RF, -;
sd & bk L turning, -, bk R, -; You will have turned 1/2 RF, man
facing reverse. |
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| Hitch Four
qqqq;
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In closed position, step fwd, cl, bk, cl; |
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| Vine Four
qqqq;
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In bfly wall step sd, XIB, sd, XIF; |
Vine again for a vine 8 to face;; side, -,
close; side, -, close; side, -, pick up, -; |
| Open Vine
ss; ss;
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In bfly wall sd, -, XIB turning to left
open rev, -; sd to line turning to face, -, XIF turning to open
position line, -; |
Follow with two forward two steps both
moving down line;; circle away |
| Twisty Vine
qqqq;
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In butterfly position facing wall, step sd
turning RF, XIB (W XIF), sd turning LF, XIF (W XIB); |
In semi, walk, -, face, -; twisty vine;
forward, -, face, -; vine; walk, -, pick up, -; |
| Scoot
qqqq;
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In semi, step fwd, cl, fwd, cl; |
basketball turn; |
| Limp
qqqq;
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In
semi, sd, XIB, sd, XIB; (same as scoot except trail foot crosses behind
instead of closing). In a front limp, the trail foot crosses in front. |
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| Basketball Turn
ss; ss;
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in
open lunge fwd on lead turning to face pat lead hands, -, recover on
trail turning to reverse, -; lunge to reverse turning out, -, recover
to open line, -; (does not travel; trail foot stays in one spot) |
circle away and together |
| Stair Forward
phase III
qqqq;
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In closed position LOD step fwd, sd, fwd,
sd; |
repeat |
| Stair Side
phase III
qqqq;
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in closed line sd, fwd, sd, fwd; |
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| Forward Twinkle
sqq; sqq;
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In
loose closed position, step forward L (woman bk R), -, side R turning a
little LF, recover; fwd R, -, sd L turning a little RF, recover;
You can do this with more of a turn. Cross left in front
of right to sidecar postion, -, sd R, recover L; XRIF of L to banjo
position, -, sd L, recover R;
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| Fishtail
phase III
qqqq;
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In
banjo position, the man crosses left in back of right, and the woman
crosses 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."
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The classic Dance
has a nice sequence in part B: In closed position, line of dance, step
forward, -, check outside partner to banjo, -; fishtail; fwd, fwd,
lock, fwd; side, -, close, -; side, -, through to semi, -; |
| Whaletail
phase III
qqqq; qqqq;
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In banjo, an extended fishtail: XIB
progressing, sd, fwd, lk; fwd and sd, cl, XIB, sd; |
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Eight Count Peabody Turn
ss; ss; ss; ss;
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In BJO LOD stp fwd L (W bk
R), -, fwd R comm RF trn, -; Sd & bk L to CP RLOD, -, bk R to BJO
RLOD, -; Bk L comm RF trn, -, sd & fwd R to SCAR LOD, -; Fwd L in
SCAR, -, fwd R to CP LOD preparing to blend to BJO LOD, -;
Throughout, use a loose hold and a slight rolling sway, left on the L
foot, right on the R foot (W right & then left), and so on.
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In It Don't Mean A Thing
by Rumble, there is quarter turn & prog chasse ;;; ,, fwd ,; eight
ct peabody trn ;;;; fwd lk fwd ; qk op reverse ; ,, hover corte , ;;
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Peabody Twist Vine
ss; ss; ss; ss;
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In BJO LOD fwd L, -, fwd R
trng RF to CP WALL, -; Sd & bk L trng RF to SCAR RLOD, -, bk R in
SCAR, -; Trng LF to fc stp sd L LOD to CP WALL, -,trng LF to BJO LOD
stp fwd R, -; Trng RF to fc stp sd L LOD to CP WALL, -, trng RF to SCAR
RLOD stp bk R in SCAR, -;
Throughout, use a slight rolling sway, left on the L foot, right on the R foot (W right & then left), and so on.
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Peabody Open Left Turn
ss; ss; ss;
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In CP DLC, fwd L trng LF
(W bk R), -, sd & bk R to CP RLOD, -; bk L to BJO RLOD, -, bk R to
CP trng LF, -; sd & fwd L to CP DLW, -, fwd R to BJO DLW, -;
Use left sway during steps 2&3 (W right) and right sway during steps 5&6 (W left).
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Barefootin'
qqqq; qqqq; qqqq; qqqq; qqqq; qqqq; qqqq; qqqq; |
Facing partner and wall
with no hands joined, extend L forward (W R) and touch the heel to the
floor without taking weight, close L to R, extend the R heel forward (
W L), close R to L; step in place L, R, L, R (W R,L,R,L) turning 1/4 LF
(W RF) over the 4 steps; and repeat these 2 measures 3 more times to
end facing partner and wall again;;;;;;
During each set of 4 steps in place, you may use any sort of arm work,
hip movement, and/or body sway that the music might suggest.
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In Barefootin'
by the Parkers, there is a hitch forward and back in open position;;
circle away and together to face;; barefootin';;;;;;;; basketball
turn;; 2 side closes; side draw close;
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| Castle Walk
ss; ss; ss; ss; qqs; ss; ss; ss; ss; qqs;
(from Vernon and Irene Castle, 1919)
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In
closed position, line of dance, just walk. Reach out with the
toe, stay up, light and breezy, legs a bit stiff. Sway into the
turns, stretch the opposite side; think of riding a bicycle. The
two-step (qqs) is a little skip.
You might take four steps to banjo;; four steps back to
closed;; four steps to sidecar;; The Castles called this the Step Out.
They also did the Step Out to banjo;; then turned 1/2 RF
to sidecar with man backing;; and a turn 1/2 LF back to banjo again;;
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(You can see Fred Astaire and Ginger
Rogers do the Castle Walk in their 1939 movie, The Story of Vernon
and Irene Castle.) |
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