Figure Name, Roundalab Phase Level, & Timing

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.

Here are some sequences to help you visualize the figure in context and some links to figure clinics by George & Pam Hurd.

phase II

123;

123;

The closed change is not a standard round dance figure, but a ballroom term. It is a simple figure that changes the free foot from one to the other. You may have been doing left turning figures. After a closed change, you can now begin doing right turning figures.

phase II

123:

phase I

123; 123;

phase I

123; 123;

phase I

123; 123;

May be done in other positions.

123; 123;

123;

phase I

1

phase I

1

phase I

1

One can also cross behind. The cue can be more specific: e.g., cross left in front of right.

phase I

1

phase II

123;

May begin with either foot and from any facing position. Often cued Thru Face Close.

phase II

123;

phase I

123;

phase II

123;

phase II

123;

phase II

123;

phase I

123; 123;

Although this is a two-measure figure, each half may be used separately.

phase II

123;

phase II

123;

The man should be a little careful, and this is often true as he leads his partner to do turns, spins, and other decorative flourishes—so often the woman is whirling away and the man is calmly guiding these movements. Anyway, he needs to keep his steps small, and he needs to adjust his movement to the woman. Here, she is dancing in a circle, and he could easily outrun her and pull on her. He needs to think about that and avoid it.

Another thing he can do to make this more graceful and less jerky is to keep his hand holds very loose. You need to keep hand contact, but don't grip. Just try to make fingertip contact so hands turn easily and no joints get twisted. His arms are around her, but don't bind her. Keep the wrap a loose one.

123;

Note that the man moves across the line of progression from the inside of the circle to the outside. The woman stays on his right side.

phase II

123;

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

phase III

1&2

phase III

12&3;

phase III

12&3;

Could be cued Semi Chasse.

12&3;

phase III

12&3;

May begin and end in other positions. May be danced side or back—eg. Back and Right Chassé. May start with the trail feet and turn RF—Turn Right and Left Chassé.

also cued Back Tipple Chassé

phase V

12&3;

(A "tipple" chassé is also regarded as one that turns or curves, rather than progresses in a straight line. Thus your Tipple Chassé might not "tip." It is always important not to lose good dance position—stay left; don't invade your partner's space. But a dancer may certainly choose the line or picture he would like to present.)

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

May begin facing LOD with trail feet free, in which case the cue would be Forward Tipple Chassé and the turn would be RF.

12&3;

phase II

123;

12&3;

phase II

123;

In the Barbees' Feelin', there is a dip back toward COH; maneuver; waltz turns to closed line;;

phase I

123; 123;

The first measure alone might be cued Forward Box or Forward Half Box. The second measure alone is a Back Box or a Back Half Box.

May be danced in any position. If you are in open position, both will dance fwd, sd, cl; bk, sd, cl;

In Carolina Moon by the Rumbles, there is a thru R chasse to banjo; maneuver; spin turn; back box turning LF to DLC; to two left turns;;

phase I

123; 123;

phase II

123; 123;

phase II

123; 123;

phase II

123; 123;

phase III

123;

phase IV

123;

You might begin in closed position facing reverse and wall, in which case, the cue might be Back To An Open Finish. The man would turn LF too, and you would end in contra banjo facing line and center.

In Foxtrot, this figure would be called a Feather.

phase II

123; 123; 123; 123;

123; 123; 123; 123;

In this second version, in measure 1, the M steps forward L turning 1/4 to the left, side R, and then close L. The W does the "natural opposite" (back R turning, side L, and close R). End in CP, man facing LOD. This is a normal measure 1 of a left turning box.

In measure 2, he steps back R turning 1/4 LF so he faces COH and raises his left hand for her to go under. The W steps forward L beginning to turn RF. The second step is a small side L for the man and a forward R, walking in a circle, for her. Finally, he closes R to L and she finishes her "lace" with a forward L to end facing him again, in CP COH. Meredith tells me that this feels more like an underarm turn than a lace.

In measure 3, the M does modify his steps a little. Normally, he would step forward, side, close. Here, he steps thru L so he isn't stepping into the W but a little past her. Again, he turns 1/4 LF and he raises his lead hand for her to go under a second time. His second step is side R, and then he closes L to R to face RLOD. The woman steps forward R, L, R in a "lace" or underarm turn to end in CP RLOD.

The last measure is normal. He steps back R turning 1/4 LF, side L, and closes R to L to end in CP wall again. She does the natural opposite.

You might notice that the end result of all this is exactly the same as a standard left turning box, so you can do the lacing or not, as you like.

phase II

123; 123; 123; 123;

phase IV

123; 123; 123; 123;

Or from Sanders' Tammy, do diamond turns to sidecar;;;; cross hover to banjo; cross hover to sidecar; cross hover to semi; cross pivot to sidecar; drag hesitation;

The Easterdays did something unusual in their Three Times A Lady: diamond turn 3, which puts you in bjo, diag wall, trail foot free;;; then check back on trail foot for a full measure; twirl vine 3 down line; maneuver;

phase IV

12&3;

phase II

123; 123; 123; 123;

phase II

123;

123;

phase II

123;

phase V

123;

In semi-closed position, step forward R (woman bk L) turning right face with left side lead. Step side and forward L (woman sd & bk R) continuing to turn. On the third count, continue to turn body to a contra position and step through to contra banjo, diagonal reverse and wall.

May begin in closed or banjo positions.

1&23;

phase II

123; 123;

Notice that this is not a foxtrot Reverse Turn. The more gradual rise used in waltz and the more pronounced side step do not lead a heel turn for the woman, and the amount of turn is usually less. However, in American-style waltz, the third step of each measure is a passing step, rather than a closing step, and the figure is more foxtrot-like.

phase IV

123;

Note that one left turn turns you 3/8 while one reverse turn turns you 1/2.

The Rumbles' The First Day of Spring has an open reverse turn; back & chasse to banjo; curved feather check; outside swivel lilt pivot;

phase IV

123; 123;

One of the problems that arises in doing these turns on the cardinal directions (RLOD; LOD) is that we tend to separate a little from our partner in order to fit in that cross-in-front step. We stick our butts out and then hunch over our partner to compensate. Maybe worse than that, we don't quite achieve a full turn, we end the figure facing wall instead of line, and we can't then do the open telemark or double reverse spin that comes next.

We can keep our hips together more easily and our top lines apart, and we can 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.

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.

phase IV

123;

phase IV

123;

phase III

123;

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

Spin Turn

phase III

123;

A second standard ending position is CP DRW, a turn of 7/8. The preferred cue is Spin Overturn.

Again, the standard figure ends DLW (5/8 turn), but the figure may underturn to face LOD or overturn to face reverse and wall or even RLOD. When the amount of turn wanted is other than 5/8 or 7/8, the cue should be, spin turn to a particular facing direction, such as wall.

123;

End in CP 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, maybe to gaze into his eyes, you can stop the rotation dead. Second, milk that second beat. Don't be in a hurry to put your lead foot down for the third step. Ride the spin (second step) until you are where you need to be, and only then recover onto the lead feet (third step). If that isn't until the "&" of beat 3, 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 you farther around. The woman drives our first step as she steps forward on her right. The man drives our second step as he steps forward on his right. Just here, think of your frame as a rectangle, instead of an oval, and ladies, put your head in your back left corner (over your left shoulder). Then ride the momentum around. Let the free lead leg just hover behind the weighted leg as you spin. After a full beat and even a stretched beat, the man will judge that you have rotated enough, he will step back L and lead the lady forward. Only when he does take weight will the lady finally place her R foot into proper position and settle her weight onto that foot. You will have been together throughout a fairly dramatic bit of rotation, and you will have ended together, and you actually might feel the need to put the brakes on as you spin even to face RLOD. The power of the forward driving step, the willingness to use more than one beat of music (beat 2) in which to milk that spin, and the surprising power of having heads left all add to get you every bit as far around as you ever would want to go.

phase VI

12&3;

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

Timing may vary, e.g. 1&23;

phase VI

123; 1&23;

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

phase VI

123; 1&23; 1&23;

One of the problems inherent in this "double twist turn" lies in the long side step L that overturns the first twist turn and prepares you to do the second twist turn. It can become an abrupt leap that disturbs the smooth flow of the waltz. Again, a twist turn for the man involves two weight changes. He hooks his right behind his left. She unwinds him. He takes weight on his right on beat 2, and then steps side L on beat 3. You can smooth out a double twist by taking four weight changes and by making the third step a progressing pivoting step. Hook R behind L taking weight/step L as she begins to unwind you. On beat 2 step forward R and pivot in a maneuver action, and then step small side L to set up for the second twist turn. The count becomes 1/&23; just as it is for the woman, and the flow is so much smoother than the usual "hook/unwind, step, leap."

This is the dance in which we learned about the smoother version of a double twist turn.

Hurd figure clinic (mp4) on spin & twist and spin & double twist (at 39:25)

Hurd figure clinic (mp4) on spin and double twist (at 16:00)

1&23;

123; 123; 12&3;

In semi-closed position facing LOD step thru R (W thru L), trn RF sd L to fc DRW (W fwd R between man's feet), XRIB of L to fc DRC (W bk L in SCP); comm twist 1/2 RF on both feet (W keep head to left walk around M bk R), cont trn (W bk L), cont trn and shift wgt to L (W bk R); walk arnd W fwd R, L/R, sd & fwd L to SCP (W XLIF of R, twist on ball of both feet/cont trn shift wgt to L, sd & fwd R) end SCP LOD;

In Serenade VI by the Dois, we go back to a throwaway oversway;; link to semi; chair & slip; telemark to semi; whirligig;;; whiplash; back whisk; big top;

phase IV

123;

As in the closed change, this figure also serves to free up the trail foot—you are "changing" from one free foot to the other.

phase IV

123;

phase IV

123;

123;

phase IV

123;

This figure is the same as a back feather in foxtrot.

Sometimes this figure is curved a little LF, like the second half of a reverse wave in foxtrot.

Note that, as in the closed change, this figure serves to free up the trail foot—you are "changing" from one free foot to the other.

phase III

123;

In Waltz Tramonte by the Brittons, the dance begins with a forward waltz; maneuver; overspin turn; box finish to face DLW; impetus to semi DRW; weave 3 to banjo DLW; back back/lock back; to a back whisk;

We are so used to dancing the impetus to face line that the impetus in Waltz Tramonte can be a real "gotcha." Men, remember to step back and heel turn RF, no matter which way your are facing at the start.

phase III

12&3;

This is a figure where shoulder lead really contributes to comfort and ease of execution. Men, keep your right shoulder back. Your hips and belly button should be facing DRC and your partner, not RLOD, past your partner. Women, your left shoulder is forward. Your hips are oriented toward DLW and partner. You are not oriented square to the line of dance but are angled, "slicing" your way down line. The advantage of this angled body orientation is that the locking steps occur easily. The free foot is lined up with the supporting foot, so when you bring it up it naturally runs into that supporting foot and locks. If you dance this figure more side-by-side, man facing RLOD and woman facing LOD, then your free foot is to the side of your supporting foot. To lock it, you must move it laterally, swing it around the supporting foot and hook it. It is an awkward effort. In a sliced position, the lock is a smooth result of the step itself.

phase III

12&3;

phase II

123;

Notice that the man is doing a Forward Waltz down line, and the woman is doing a roll-three under joined lead hands, also down line. Some awkwardness to watch out for is veering away from your partner. Especially during the "roll" the woman can lose track of direction and veer toward the wall or even into her man. It is also helpful if the man will keep his lead hand open so than the woman's fingers can turn in his palm. If he grips her hand, it can hurt.

phase II

123;

123;

phase II

123;

phase II

123;

123; 12&3; 123; 12&3;

This figure is essentially an Open Reverse Turn; back chassé to a syncopated Reverse Underarm Turn; Open Natural Turn; and back chassé to a syncopated Underarm Turn;

Begin in closed position facing line and center. Step forward L (woman back R) turning LF, side R continuing to turn, and back L to contra banjo position facing reverse; step side and back R (woman fwd L) turning, sd L/cl R raising lead hand (woman fwd R/cl L turning LF under lead arms), sd & fwd L (woman bk R) to contra banjo facing line and wall; forward R turning RF, step side L across line of dance continuing to turn, step back R to contra banjo position facing reverse; sd & bk L (woman fwd R) turning, sd R/cl L (woman fwd L/cl R turning RF under lead arms), sd & fwd R (woman bk L) turning to a facing position LOD;

phase II

123; 123;

Sometimes the wheel is done with all fwd steps and therefor more progression and perhaps less rise and fall.

A syncopated wheel might be danced with a tempo of 1&2&3&;

phase II

123;

This figure is specifically cued "lace across" when the man moves from the inside of the circle to the outside and when the woman passes under lead hands. Often, we will be asked to "lace back," and the man will move back to the inside of the circle and the woman will pass under trail hands.

Lace Up consists of four measures: lace across; forward waltz; lace back; forward waltz;

phase IV

123;

May begin in other facing positions. Total turn varies from 1/8 to 1/2.

phase IV

123;

phase IV

123;

phase IV

123;

May begin in other facing positions. Total turn is about 3/8.

phase II

123;

123;

phase III

123;

phase IV

123;

phase IV

123;

The beginning orientation can vary. The man turns up to 3/8; moving from CP to SCP, the woman will turn more, up to 5/8.

phase IV

123;

phase III

123;

In sidecar position, step fwd L (W bk R) with slight crossing action and beginning to rise and turn LF, side and fwd R completing 1/4 turn, diagonally fwd L to banjo position lowering at the end of the step;

In Rose Of Tralee by the Glenns, there is diamond turn to sidecar;;;; cross hover to banjo; maneuver side close; spin turn; box finish;

phase IV

123;

May begin in other facing positions. Total turn varies from 1/4 to 3/8.

phase III

123;

phase IV

123;

123;

phase III

123;

phase IV

123;

phase IV

123;

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

phase III

123;

There is just a little LF rotation here, so in semi, the man begins facing line and wall. At the end, he might be facing LOD or even line and center.

1&23;

phase IV

123;

Notice that the wing involves only one step for the man and so doesn't progress much. The progressive wing involves three steps for man and woman.

phase IV

123;

phase IV

123; 123;

123; 123;

phase V

123;

This is one of those figures where the woman takes a step and then simply spins in place, as the man steps around her. Others are the Tornillo Wheel and Ballerina Wheel in Latin. Since the woman is fixed at the center of a circle, the man must step exactly on the circumference of that circle. His steps must curve. They must not go "fwd/turn, fwd/turn" in a sort of square, but "curve, curve" in a circle with left side lead. Otherwise the woman will be pulled over, this way and that. It's especially tough in Smooth, because you are in contact and have less chance for adjustment. In Latin, there is space between your bodies, so you can adjust with the arms if the feet go astray.

phase III

also called a Forward Poise Chair

1

The curve of that trail leg should suggest the leg of a Queen Anne chair.

1

phase IV

123;

Bucks' All in the Game begins in butterfly, wall, trail feet free, with a thru syncopated vine 4; chair & slip; and then a left turn; to a hover corte;

phase II

123; 123;

May be danced with lead feet progressing toward LOD or with trail feet progressing toward RLOD and in other orientations.

phase II

123;

May begin with either foot and may be danced in any number of steps, to be specified in the cue.

phase IV

123;

phase IV

123;

phase V

123;

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

12&3; 123;

Start in closed position DLC. Step forward L turning LF and with a little left sway but her head remains closed (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 to LOD, but the man has held back and not taken that third step, and at the end of the first measure, on the 3&, the man continues to turn and so leads the woman to step fwd L, picking up. Again, we begin in CP DLC and end CP DLC, lead foot free.

phase V

123; 1&23;

In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, recover R/side and forward L, fwd R on toe outside partner in contra banjo with left side stretch; The last four steps of this figure are known as a hover cross ending.

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

The syncopation of the hover cross end may be varied: 12&3; &123; 123&; (Syncopations can always be varied.)

phase IV

123; 123;

phase IV

123; 123;

Now the second measure. You're in closed position facing reverse with your lead feet free. The man steps back on his left (woman forward right), turning his body and tilting his upper body (or swaying) a little to the right to put the woman into banjo position facing reverse and wall or maybe even wall. The fifth step is back right (woman forward left) to closed position facing line and wall. The last step is side and a little forward on the left foot with left side leading (woman side and back right) to end in banjo facing line and wall. Your trail feet are free

phase IV

123;

phase II

1, -, -;

"Sway" is really a general term that simply refers to inclination or tipping of the body, in this case, away from the direction of the step. Be careful not to overdo -- do not kink or crunch the opposite side of your body in your effort to tilt. Only gently lift the "stretching" side.

phase IV

1,2,

Lamberty does this a little differently. Rather than doing a standard open telemark, opening out at the end of step two and both stepping side and forward to semi-closed, he asks us to step back L on the third step (woman fwd R) and only then lead with the left side blending to a tight semi and promenade sway. This change gives us a much tighter connection and better lead into the sway.

phase IV

1,

phase V

12-;
(12&3)

Different choreography calls for more or less rotation in a double reverse, and the step that controls the amount of rotation is the man's second step. Again, you begin facing diagonal line and center. Imagine a straight line drawn from your position on the floor out toward line and center. Your first step should be forward on that line. The man's second step is also forward (the woman's second step is a draw/heelturn/close). If the man steps a bit to the right of the line, the double reverse will spin about 3/4; on the line about 7/8; and a bit to the left of the line a full turn. The man must never take his second step straight down line or she will not do a heel turn, and you will end up with some kind of open reverse turn, the woman choked in the man's armpit.

The interesting thing about this sequence (and much of the rest of this dance) is that each figure except the last (the whisk) is syncopated (12&3;). We see that waltz does not have to be 123; 123;

12-; 12-; ---;
(123&; 123&; 1&2&3&;)

The timing at left shows weight changes — four for the man and 14 for the woman.

123; 123;

From contra banjo, reverse and wall, the man recovers L and the woman recovers R. He draws R to L leading the woman to swivel RF on her R and to draw her L to R. He flexes his L knee and extends his R leg to the side and back toward DLC with left sway and looking toward DRW. She flexes her R knee and extends her L leg thru twd DRW with R sway and looking DRW. We are not in closed position but more semi DRW. His L is extended to the side, as in the standard action, but hers is crossed thru. But the two legs are extended in opposite directions. There was one weight change for each.

That is the first opposition point. To do the second, he rises on his L, draws R to L, and closes R turning slightly LF to face DRW. She rises on her R and pivots LF on her R. He continues to turn to face DLW, flexes his R, and extends his L side and back toward DLC with right sway looking DRW. She continues to rotate on her R to face DRC, flexes R, and extends L side and back toward DRW with L sway looking DRW. There was one weight change for the man but no weight change for the woman. (The cue sheet does allow two weight changes for the woman rather than the smooth pivoting action.)