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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; and the tempo as 29 - 31 m/m)
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 man will find
himself alternating dramatically between a broad SCP one moment,
drawing the left hip back out of the way of the bull's horns, and an
equally dramatic RSCP the next, drawing the right hip back but bravely
not moving his feet. There is little rise and fall and no Latin hip
action.
Tom Hicks video, some more advanced features of the Paso hold and the appel.
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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| Appel
phase IV
q
|
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. The purpose is to quietly call the attention of
the woman and to initiate the lead into the figure. You may execute a
back flick of the trail foot, on an initial &-count,
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).
Tom Hicks video, some more advanced features of the Paso hold, the appel, and the stamp appel.
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Stamp Appel
q
|
A more aggressive flamenco
move, a stamping of the trail foot, that makes as much noise as you
care to make. In the bull ring, it would raise the dust and call
attention of the bull.
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Double Appel
&q
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Appel with the trail foot
and then with the lead foot, leaving the trail foot free, or appel with
the lead and then with the trail. The purpose
is more an individual display than a lead, and it may involve a double
stamping noise.
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In Vamos Amigos
by the Shibatas, we are in a sidecar left-foot spanish line, M facing
RLOD. We wheel forward to a double appel (qqq&q); wheel back to a
double appel L feet free); wheel left full M double appel to face
partner and wall (trail feet free);; chasse right;
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| Slip Appel
q
|
Step slightly back R lowering and turning
1/8 LF (W fwd
L) to CP. This is a strong lead into a variety of left-turning figures.
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In Ronda Paso by the Reads,
there is a tap lead foot to fallaway ronde to CP COH; drag right; slip
appel to open telemark; promenade close to face wall; sixteen;;;;
Tom Hicks video, some more advanced features of the Paso hold, the appel, and the slip appel.
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| Basic
phase IV
qqqq;
|
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;
|
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;
Above, I have focused on the individual measures of
music, but I actually think
it helps if you do not think in terms of measures, 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.
Given this view of the figure, we can see that the heart
of the figure is those three "caping" actions, each with a count of
234&1. The first five steps make up a standard entry shared by
other figures, and the last almost four measures make up an ending that
is often choreographed differently than the standard described here.
The chasses in measures 2, 3, and 4 are the characteristic features of
the chasse cape. Look at the first caping sequence, starting with beat
2 of measure 2. I've described it for the man as a back L turning RF,
fwd R turning to face wall, sd L/cl R, sd L. One little variation that
I like is to begin this sequence like an outside spin: toe the left
foot in, toe to R instep, turning, reach around with the R turning, and
then dance the chasse. Our turn becomes a little sharper, a little more
dramatic, and we can easily turn a little farther and dance the chasse
with the man facing not wall but reverse and wall. I often like to
dance picture sequences on the diagonal for a little added drama. Then
do a mirror pattern for the second caping sequence: toe in with the R,
reach around with the L to face center or even reverse and center, and
chasse sd R/cl L, sd R. If you are used to the standard outside spin
beginning with the left foot, it will feel odd to dance this pattern
with the right foot, but it can become comfortable. Of course, the
third caping action is done like the first.
And here is another variation that ratchets up the drama
just a little more. Don't dance the 2, 3 as a back turn, forward turn,
or as a toe in turn, forward turn, but, men, dance those beats with no
weight changes but only upper-body rotation. At beat 2, the man is in
banjo facing reverse, lead feet free. If he can simply continue LF body
rotation and bring the lady across and into his right arm, with as much
left sway as you are brave enough to perform, sweeping her across as
the matador would his cape, all the way to the man's right side,
drawing the bull over there and away from the man's vitals, then we
have some true drama. So the lady is dancing the 2, 3, but the man is
simply sweeping his cape. Once she is across, we can chasse left
(facing wall or DRW). Now, sweep that cape to the left turning 1/2 LF
or more with right sway; no steps, only upper-body sweep, drawing that
bull over. The lady steps forward, forward, turning the man in place,
and then both chasse right. I think one thing this approach does is to
place much more attention on the lady, just as the matador wants the
bull's attention on the cape. The man is still, in the midst of the
swirling cape -- swoosh & chasse, swoosh & chasse, swoosh &
chasse -- very cool.
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Again, we usually see shortened versions of this figure that end
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;;
However, in Torea
by Ross, we do have the full eight-measure figure. We dance traveling
spins from promenade;; promenade close; surplace; chasse cape;;;;;;;;
la passe;;;; promenade; to SCP COH;
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| Sur
Place
phase IV
qqqq;
|
In loose closed position and in place,
step on balls of feet: rt, stp, stp, stp; |
|
| Banderillas
phase V
qqqq; qqqq; qqqqq
|
In a left-hip-to-left-hip sort of sidecar
position with right elbow slightly raised and left arm extended and
slightly down looking at partner, step in place R, L, R, L (W sur place
L, R, L, R); appel R (woman L), large side step L to hip-to-hip banjo
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;
|
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;
The nature of this figure is indeed that of a matador attacking the
bull; the lady is the cape. He stamps his foot to get the bull's
attention and moves forward thrusting his cape at the bull. As he turns
and steps side, he is shaping away from the bull and allowing the bull
to rush by as it unsuccessfully attacks the matador.
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;;
Tom Hicks video,
some more advanced features (He begins by referring to an "attack" but
he is discussing the ecart at first. The second half is about the
attack, and it is the turning attack that is standard in round dancing.)
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| 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;
In a way, with its two forward steps, this is an even more aggressive attack on the part of the matador (see above).
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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
1/2 LF to face partner), lower to heels and soft knees R foot free
(woman lower to L foot free); |
In Muchas Gracias by Ito we begin the dance with a shadow attack to CP wall;; sixteen;;;; separation;;
In this version, the man crosses in front on step 6 and unwinds a full turn to face partner.
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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)). |
|
| 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;
|
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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Left Foot Variation
1234; 1&234;
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If you find yourself with
your lead feet free, such as after the syncopated separation (above),
this is a figure that will get your trail feet free again.
In CP dance fwd L (W bk R), fwd R, fwd & sd L w/ L side lead, point
R fwd outsd partner w/ knee slightly flexed; close R to L/point sd L (W
close L to R/point sd R), close L, sd R, close L to R ending in CP w/
trail feet free;
There are additional syncopations that one can use in this figure. The
"syncopated" left foot variation is danced with the same first measure,
but the second measure begins with close/point, close/point, sd R (W sd
L), close L to R;
The second measure of the "modified" left foot variation is close/point, close/point, close/point, close L (W close R);
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In Muchas Gracias
by Ito we dance a sixteen;;;; separation;; coup de pique;; promenade
back to face wall;; sync separation;;;; left foot variation;; prom link
to face LOD;
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| Elevations
Up and Down
phase IV
qqqq; qqqq;
|
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;
|
In loose closed, appel, fwd, sd, XIB; This
figure has the feel of a whisk in the smooth rhythms. |
Tom Hicks video, some more advanced features (He begins by referring to an "attack" but he is discussing the ecart.)
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| Promenade Close
phase IV
qqqq;
|
In semi-closed position, step thru R
(woman L), close L and turn to closed position, step side R, close L; |
|
| Promenade Link
phase IV
qqqq;
|
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. |
|
| Promenade
phase V
qqqq; qqqq;
|
In closed position, appel R (woman L),
step side L to SCP, thru R beginning to turn RF, side and back L to CP
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;
This is our dance position at each step:
- CP
- SCP
- SCP
- CP
- RSCP
- RSCP
- CP per RAL, SCP per ISTD
- CP
Roundalab and ISTD both agree that the Promenade starts
and ends in closed position and that it turns one-half. But maybe more
often than not, choreography will call for the promenade to make a full
rather than a half turn, and to end in SCP rather than CP. Sometimes
cue sheets will specify "promenade to SCP," so these choreographers are
cueing that modification, but others do not. Sometimes we get the cue
"overturned promenade" when the choreography calls for a full turn, but
more often we do not. Personally, I cue "promenade full turn SCP LOD" in these cases.
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In Silverio by the Cantrells,
there is a chasse right man facing wall; overturned promenade to SCP
LOD;; promenade close promenade link; W pickup sd close to CP LOD;
separation;;
To show some of the variability in the use of this
figure:
In Amparita Roca, 2003, by the Schmidts, the
cue is promenade;; and it starts CP COH and ends CP WALL.
In Belle Paso, 2000, by the Collipis, the cue
is promenade;; and it starts CP WALL and ends CP COH.
But in Echoes of Spain, 2006, by the
Easterdays, the cue is promenade;; and it starts CP WALL and ends SCP
DLC.
In El Conquistador, 2003, by the Gosses, the
cue is promenade;; and it starts CP COH and ends SCP RLOD.
In Viva Espana, 2003, by the Rumbles, the cue
is promenade to SCP;; and it starts CP WALL and ends SCP LOD.
Tom Hicks video showing some more advanced features of the promenade and another on the promenade with syncopated end.
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Promenade To Counter Promenade
qqqq; qqqq;
|
In CP Wall, trail feet
free, appel R (W appel L), step sd & fwd L to SCP LOD, thru R
beginning to turn RF, sd & fwd L turning sharply RF and swaying to
the right (W sway left) to end the measure in reverse semi-closed
position (RSCP) or counter promenade position (synonyms) facing COH. In
the second measure, step fwd R toward COH (W fwd L) staying in RSCP,
thru L, fwd R turning sharply LF and swaying left (W sd & fwd L) to
assume SCP both facing RLOD, fwd L toward RLOD.
Notice that the figure begins in CP, we quickly assume SCP, we switch
to RSCP on beat 4, we switch back to SCP on beat 3 of the second
measure, and we end in SCP RLOD, having described two sides of a box.
The figure feels very like two measures of the square, in slow two
step, but of course it is not. In the square, we go from half open to
left half open and so on; here we're going from SCP to RSCP. And the
sharp switch occurs at the end of the first measure but a little
earlier in the second measure.
The only time we have seen this figure, we danced it twice and so
danced all four sides of a box, so let me go on. During the third
measure, we dance thru R (W thru L) toward RLOD, sd & fwd L turning
sharply RF to RSCP both facing wall, fwd R, and thru L toward wall. And
in the fourth measure, we dance thru R (W thru L) trng LF to SCP LOD,
fwd L, thru R, fwd L to end in SCP LOD. Again, we dance from promenade
(SCP) to counter promenade (RSCP) and back to promenade again. We start
in CP wall, dance the four sides of a box, and end back where we
started but in SCP.
Another interesting feature of this figure is that we switch from SCP
to RSCP on beat 4 of the first measure, to SCP again on beat 3 of the
second measure, to RSCP on beat 2 of the third measure, and to SCP on
beat 1 of the fourth measure. As you learn this figure, remember: 4, 3,
2, 1.
|
In Heureka
by Schmidt, we are in CP COH. We dance a sixteen;;;; prom to counter
prom ;; again with thru close end to CP wall;; short chasse cape to CP
wall;;;; coup de pique;;
|
| Fallaway Reverse
phase V
qqqq; qqqq;
|
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;
|
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;
|
|
| Press Line
q or s
|
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." |
|
| Flamenco Taps
phase IV
qq&qq;
|
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
|
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.
|
In the Goss' Paso Cadiz, there is
a syncopated coup de pique;; grand circle;; into a sixteen;;;; |
| Mini Grand Circle
qqqq;
|
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.
|
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;
|
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.
| 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, |
| 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)
|
|
|
| Double Coup de Pique
1234&; 1234; 12&34; or
1234&; 1234&; 12 or
1234&; 1234&;
|
This is a non-standard, unphased figure. A variety of timings and arrangements of "stabs" and syncopation have been used.
Notice that the three-measure version is a standard coup de pique preceded by one measure with syncopation.
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, 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;
The 2-1/2-measure version -- 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,
A 2-measure version -- 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, sd R in closed position rising/close L to R; 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, sd R in closed position rising/close L to R;
|
Torea
by Ross uses the 3-measure version, but
this example is written as 1234; &/1234; 12&34; that is, the
first instance of syncopation is written as splitting beat 1 of measure
2, rather than beat 4 of measure 1. I believe one would dance it the
same in either case.
In Torea, we have a fregolina;;;;;;; double coup de pique;;; traveling spins from promenade;; promenade close;
El Conquistador by
Goss uses the 2 1/2-measure version. The sequence is sixteen;;;; cl/pt
cl/pt ,, dbl coup de pique with extra sd cl ;;; dbl coup de pique with
no sd cl ;;
Both Trumpet Fiesta by Goss and Fiesta Madrilena
by Hurd use the 2-measure version, but they use the head cue "dbl coupe
de pique variation." This seems to imply that they are thinking of the
figure in its 2 1/2 or 3-measure form and therefore calling the
2-measure version a "variation."
In Trumpet Fiesta by Goss, we
have flamenco crosses; roll 2 sync chasse; double coup de
pique variation;; 1 traveling spin from promenade; prom close;
Finally, in The Matador by
Worlock we have the 2-measure version without the "variation"
qualifier. The sequence is sync separation to end CP RLOD;;;; L ft
variation;; attack fc wall; dbl coup de pique;; appel back away 3;
|
| The
Twists
1234; 1&234; &123&4;
|
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;
|
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:
|
In closed position perhaps 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/ R side leading (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 press line) to a double handhold M's R hand high L hand low facing COH (W RLOD);
In the third measure, the man holds with feet together. Alternatively, he may mark time with proud sur place steps in place.
The woman steps fwd L beginning to pass in front of the man and heading toward his left side,
fwd R, fwd L trng 1/8 LF, 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.
She steps in front R to a back-to-back position facing wall and then
side and slightly back L to the man's right side. Her 4th step is back
R flexing the L leg and pressing the ball of the foot into the floor
with the toe of the L in line with the heel of the R (partners look at
each other).Lead hands will be behind the man's
back.
In the fifth measure, the man continues to hold and to
shape towards partner as she moves behind. The
woman steps fwd L, sd R to back-to-bk position, cross L in back of R,
and back R to press line at M's L side. Now trail hands are behind his
back.
In the sixth measure, the man holds while the woman
steps fwd L behind the man beginning to turn LF.
On beat 2 she steps
fwd R turning to face LOD and we release lead hands. On 3 M steps bk L
to get out of her way, to
help her get around his R side (W fwd L to man's right side trng 1/8
LF). On 4 M touches R to L no weight (W press R in L-pos now facing DRW
and pressing lead palms together).
In the last measure he holds and leads the W's free spin (W takes
weight on R and spins 3/4 RF), M holds and assumes CP COH (W tch L to
R), sd R (W sd L), cl L (W cl R) ending in CP COH trail feet free;
Note that the woman takes a step on every beat. The man mostly postures and waves his
"cape" in front of and behind himself.
|
In Viva Espana by the Rumbles,
part A begins with a Fregolina;;;;;;; Chasse Right; Slip Appel to Ecart;
Hurd figure clinics (mp4) on the fregolina, 2010 and 2012
|
| Farol
phase VI
1234: 1234: 1234: 1234: 1234:
|
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/ R side leading (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 press line) to a double handhold M's R hand high L hand low facing COH (W RLOD);
In the third measure, the man holds with feet together. Alternatively, he may mark time with sur place steps in place.
The woman steps fwd L beginning to pass in front of the man and heading toward his left side,
fwd R, fwd L trng 1/8 LF, 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 and down to waist level while the woman steps
fwd L behind the man beginning to turn LF.
On beat 2 she steps
fwd R turning to face LOD. On 3 M steps bk L to get out of her way, to
help her get around his R side (W fwd L to man's right side trng 1/8 LF
& releasing lead hands). On 4 M touches R to L no weight (W press R
in L-pos now facing DRW and pressing lead palms together.
In the last measure he holds and leads the W's free spin
(W takes weight on R and spins 3/4 RF), M holds and assumes CP COH (W
tch L to R), sd R (W sd L), cl L (W cl R) ending in CP COH trail feet
free;
|
n Don Paso by the Gosses, there
is a la passe to face wall;;;; farol to COH;;;;; turning sur place to
wall; to a promenade;; |
| Traveling Spins from Promenade
phase VI
1234; 1234;
|
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;
|
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;
|
| Traveling Spins from Counter-Promenade
phase VI
1234; 1234; 12
|
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,
|
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;
|
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.
|
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; |
|
