FP couple Turn (T) stps are QT (¼T) see *Rule of Turns*, & T in direction
of Drive ft unless
specified otherwise*
CP> Fwd-LT>c +CP>c =
Fwd-L ¼ LTrn-Fc coh.
CP> = CP dance
line. CP< = CP RLOD
> = dance line, < = reverse dance line
+ = end/blend. +> = end dance line. +<= end Rev dance
line.
+/w> = end diag wall dance line.
+\w< = diag wall rlod.
+\c<
= diag coh rlod.
paddle turn. Balboa ballroom
turn. Samba medio
paesos. Walks or
promenades.
palmas. Claps. Applause.
palms. Hands tog his palm up, & her's palm down.
Palms down tends to turn
forearms &
elbows up & out in a wide upper arm & sholder
posture. This
attitude raises
arm-shoulder joint & locks response to back pressure at
elbow. Extended upper arm & locked shoulder
joint provide a lever fm
extended raised elbow to spine. The spine is the turning point of her
body in flight. Lead force on this lever generates torque to
guide her
turns. If elbow to spine lever is floppy the lead is
ineffective. Lead
control depends on
good leverage.
Palms down turns her
elbows down & in. This
reduces control on turns,
Fwd & back leads. Girls avoid palms down hand attitudes.
In CP her L-palm is on front of his
R-shoulder. Her L-hand in line with
L-forearm, fingers pointed R, L-elbow at
L-shoulder level. (Avoid
malicious
obedience.)
Man's R-palm on her L-shoulder blade,
fingers pointed L. R-hand in line
with R-forearm. Tilt angle of hand on her shoulder blade
governed by her
shoulder
height. Tilt down for tall man, short
girl. Tilt up for short
man, tall girl. Near parallel for man & girl = near same
height.
parenthesis ( ). () on cue
sheet identify, clarify & separate her part.
parallel chase.
Chasse [cha] pair chasse [cha] side by side. OP> hands free,
wht-R: Rk Fwd-L RT (Fwd-R LT) fc prr, rec-RT
(rec-LT) LO<, cha Fwd-L/-R,
-L; Rk Fwd-R LT
(RT) fc ptr, rec-LT (RT) OP>, cha Fwd-R/-L, -R;.
b. Rk-LT, turn
thru, cha Fwd -L/-R, -L; Rk-R, turn thru, cha
Fwd-R/-L,
-R,;.
Parisienne. French tango.
Fwd-L, - , Fwd-RT CP>w, - ; sd-L RT<, cls-R, bk-L, -; bk-R LT>w, -,
sd-LT CP>, cls-R;
part. a. Man's part, includes ft, body, arm
& hand actions as described in
cue sheet.
b. (usually
opposite/counterpart of his part.)
Described in parenthesis
() on cue sheet, furnished.
c. Part of a dance,
usually ½ of routine.
Typical music period-sentence = 4-staffs or
phrases [4-phrases = 16-meas].
A 4-phrase part may consist of 2-identical
2-staff sub-parts.
d. Discrete combo of music phrases, 8-meas or more in length.
partner (ptr). Dancer's companion or accomplice in dance.
partner height.
Ideal height = identical.
party dancing. Social dancing.
pas. *pah*. Dance step/s.
a. A simple step or a compound move to
transfer wgt.
b. The pass step where body wgt passes over & beyond stepping foot.
c. SLOW steps of 4/4 time International FOXTROT (Slo, qk, qk;) & TWO-
STEP (Qk, qk, slo;) rhythms.
d. Pass body wgt
fm the wgtED ft-1 over & beyond (past) the STEP
(ft-2) moving to the target location, the wgtLESS (now-free) ft-1
extended fm COG twd the landing spot.
pas alamande. (Girl
pirouette under arched hands.)
pas boiteux. Forerunner
of varsouvianna:
Fwd-L, cls-R click
R-heel to L-heel, raise-L L-heel to R-calf;.
pas de basque (pd b or pd bas).
Bal. Bfly>w wgt-R:
sd-L, beh-Rball, rec-L;
sd-R, beh-Lball, rec-R;.
Step-2 is a ball, Bal
or hover step & may Xif or beh
wgted foot.
pas de bouree. Cut or lock step. Cut
over Xif. Lock
under fm beh.
pas de cinq. a. A dance
for 5 folk.
b. A dance rhythm of 5-steps/sequence.
pas de deux. a. Duet
dance, for 2 people.
b. The two-step, 2 steps/meas.
paso doble. Spanish
one-step or marching dance. Heels may be
clicked tog
or struck sharply
against floor on steps. Terms: Marcando, Fwd, throw
over, weave, walk.
b. Man = matador, (girl = cape). Dance = imaginary bull fight. Pair
may dance up to 1-ft
apart in loose-CP rounded arms, his R-hand on her
L-shoulder blade or upper
arm. Proud
erect body carriage & bearing.
Fwd steps: heel to flat. Bk
steps: ball to flat.
pas glisse. Glide
step. Mazurka.
pas polonaise. Coup de talon (Mazurka)
Click L-heel to R-heel, slide sd-L, cls-R;.
Or opposite footwork.
paseo ocho. Pass or walk
eye to eye.
pas de quatre, *pah duh KA-truh*. A dance for four.
pas de six. A dance for six folk.
pas seul. a dance executed by a soloist
pas de trois [*pah duh trwah*]. a. A dance for three people.
b. A dance rhythm of 3-steps/meas.
pasos. Dance steps.
passepied. 17th century
court dance.
pattern. meas
of steps &/or non-step ft moves.
Many figs are named for designs traced by
steps &/or moves imitated.
pattern cue. Cue 1- or 2-meas at a time. 1- or 2-meas/cue.
pattern.
Sequences of steps &/or non-step ft moves.
Many figs are formed by
combining steps
& non-step ft actions in a meas/s.
Combine beats in groups of: 3- = Wz; 4- = 4/4 time; 5- = cha-cha;
6- = syncopated triple time meas. Examples of possible figs:
A step = transfer of wgt
fm 1-ft to other. 9-basic steps are
identified
by direction plus
the close [in-place] step for a total of 10.
Steps are:
1. Side;
2. Fwd;
3. Back;
4. Cross in front; Xif
5. Cross behind; Xib,
Xbeh
6. Diagonal Fwd; /Fwd
7. Diagonal back; /bk
8. Lock; Lk
9. Cut;
10. Cls.
Possible number of 4/4 time figs using the
basic steps =
10 x 10 x 10 x 10 = 10,000
figs.
Each basic step may be modified by step
manner:
11. Lock;
12. Cut;
13. Lunge thru;
14. Lunge /Fwd;
15.
Lunge side;
16. Lunge Fwd;
17. rec
back;
18. rec
Fwd;
19. rec
behind;
20. rec
in front;
21. rec
/back;
22. rec
/Fwd;
23. rec
side;
24. Rk back (dip);
25. Rk beh;
26. Rk thru;
27. Rk/Fwd;
28. Rk/back;
29. Rk Fwd;
30. Rk side;
31-37, Slide (7 directions);
37-38, Strut Fwd & back;
39-41, swivel Fwd, side or back;
41-47, RT on each basic direction;
48-55, RT;
55-62. 1/8 RT;
63-70, 3/8 RT;
71-78, 3/4 RT;
79-86, 7/8 RT;
87-94, full RT;
95-148, 1/8 thru full L-turns;
149-156, basics on ball;
157-164, basics on heel;
165-172, basics heel to ball;
173-180, basics ball to heel;
1-10 = basics on flat.
The possible number of 4/4 time figs of ten
basic steps modified as
indicated is: 180 x
180 x 180 x 180 = 1,049,760,000 patterns.
Include non-step foot actions to increase possible number of patterns.
Common non-step foot actions are: 181-187,
brush (bk, beh, Xif,
/bk, /Fwd, Fwd & side);
188-189, buzz L & R; 189-190, chug back & Fwd;
191-192, fan beh
& in front; 193-194, flare beh & in front;
195-196, hook
beh
& in front; 197-202, hop [bk, /bk, /Fwd, Fwd, in place]; 203-209, kick
[bk,
beh, in front, /bk, /Fwd,
side]; 210-214, knee [bend, in front, /Fwd,
Fwd, side]; 215, stamp; 216-222, swing [bk, beh,
in front, /bk, /Fwd, Fwd,
side]; 223 230, tap
heel [basic 1-8]; 231-238, tap toe [basic 1-8]; 239-
246, tch heel
[basic 1-8]; 247-254, tch toe [basic 1-8]; 255-256,
twist L
& R; 257, both ft wgted;
258-265, point [basic 1-8]; 266, hold;. More
variations maybe,
but 266 possible illustrate many possibilities.
With
266 possible ft actions the total number of
4/4 time combinations = 266 x
266 x 266 x 266 =
5,006,412,136 patterns. Opposite
foot patterns double
the possibilities to
10,012,824,272. Not including Wz patterns, cha-cha
figs, & triple
patterns, nor hand, arm & body actions.
List each 4/4 time pattern by an associated
term numbers in a
progressive manner.
List action #266 = #0.:
PATTERN NUMBER TERM
0 0 0 0 = Hold, hold, hold, hold;
0 0 0 1 = Hold, hold, hold, side;
0 0 0 2 = Hold, hold, hold, close;
0 0 0 3 = Hold, hold, hold, Fwd;
1 2 3 0 = Side, close, Fwd, hold;
1 2 3 0 = « Box;.
265 265 265 264 = Point side, point side,
point
side, point in place;
265 265 265 265 = Point side, point side,
point
side, point side;
In practice patterns are rejected because
they do not flow or involve
poor body/step
mechanics. Many suitable patterns remain
& provide endles
variety. Design a machine to play continuous 4/4 time
music @ 30 meas per
minute. It would play 1800 meas/hour,
43,200 meas/day, or 15,768,000
meas/yr. Operate 24 hours
per day w/out interrupt & the machine would
need over 635 years
to play 10,012,824,272 meas.
Paul
Jones. Mixer dance. Start in circle with R- & L-grand, on
signal
(Paul Jones, everyone dance, whistle, etc.) dance with first girl you
meet. Varity: replace R- & L-grand with men
& girls in facing circles of
opposite rotation.
pavan, pavane,
pavin.
Slow stately Spanish or Italian court Wz. Dance
music.
pdb. Pas de basque. Bal.
Timing: Slo, - , slo, - ; qk, qk,.
Named for a
Bjo>: Fwd-L, - ,
-R, - ; Fwd-L, Lk-R, Fwd-L, - ; Fwd-R, - , -L, Lk-R;.
peek-a-boo. Sly peep at partner. Brief flirt, a furtive glance.
Look over shoulder or thru Tamara window @
partner.
pendulum. a.
Tilting body style of Fwd & back samba patterns. CP> wgt-R:
Fwd-L tilt back, Fwd-Rball,
cls-L, - ;
bk-R tilt Fwd, bk-Lball, cls-R, - ;.
b. Merengue
pendulum, 1-meas pattern. CP wtg-R:
Fwd-L tilt back, cls-R,
bk-L tilt Fwd, cls-R;.
pendulum swing. 1-meas non-step ft action. SCP> wgt-R:
Swing-L Fwd tilt back, - , swing-L back tilt
Fwd, - ;.
man dancer to cut
in. Give rattle to dancer replaced. Men holding
rattles as music
stops forfeit a penny.
penquin. Solo body position & moves.
Imitate a penquin.
Arms straight down,
tight against
sides. Hands at right
angle 90º to arms, palms down.
Body
rigid, tilt sideways
on each waddle step.
period. Dance part.
Group of 8- or 16-meas form a complete vocal sentence.
Peter
Pan. Schottische variation.
Step, bounce, step, bounce; Turn, 2, 3, kick;
Back, kick, back, kick; Turn, 2, 3, kick;.
phase. Level of fig &/or dance expressed in
phases I, II, III, IV, V, VI.
Number does not indicate difficulty of fig.
Phase I patterns are generally taught in
basic lessons.
Phase II patterns are taught in later
lessons,
phase III come
later, etc..
Some high phase patterns are simpler than
many w/ lower phase number.
Foreign language terms of higher phase patterms create learning barriers.
phrase (phr). a. Group of 4-meas.
Music staff.
Correlate dance patterns w/ music to form a
dance.
phrase cue.
Cue by phrase. 4-meas/cue.
phrasing. Choreograph figs to musical phrases.
pianissimo. Play music
very softly.
pibroch. Martial-mournful bagpipe music.
picadello. Quick. Pick. Hash.
pickup (pup/pu/pkup). a. TWO-STEP RHYTHM. (½LT fm SCP> +CP) SCP>. (½LT on
step-2 of Walk, Pup meas & +CP step-1 of follow-on meas.) The Pup blend
includes the last
step of Walk, Puo meas
& step-1 of the follow-on meas.
Two ¼LT steps overlap & link meas-1
&-2.
SCP> wgt-R:
Fwd-L (-R), - , -R (LT >c start pickup), - ; Fwd-L (sd-R
LT +CP), - , - , - ;.
+CP> ends on step-1 of meas-2, (bk
R-ft aimed
bet his ft).
(Pup drive step is a slow Fwd-L heel to
ball LT, provides LT torque into
follow-on LTball step. Control
tendency to rush.) Pickup flows
smoothly.
Rough or awkward flow results fm faulty
footwork or body mechanics. A
proper pickup is a
pleasant dance fig.
b. Two-step Pup is often a slurred move
as a 1-meas Walk, pickup has
a 1-step ½T fm SCP
+CP . The 1-meas cue Walk, - , Pup, - ;
misleads the
girl. Cue cheets
compounded the Pup slur. Cues such as: SCP dance-line
wgt-R: Walk Fwd-L (-R), -
, -R (Pup-L), - ; to CP dance-line;. Or SCP-
dance-line on-R:
Fwd-L (-R), - , -R (Pup-L ½LT +CP)>,;. Such cues cause
her to rush the
blend on step-2. Some girls rush &
start the pickup blend
on step-1 of the
"Walk, - , Pup, - ;" cue. Girl
do not step in front of
man to pickup, step
Fwd-L outside of his-R. LT on-L flare-R
around in
front of man
+CP. Each dancer's R-ft should be aimed
between partner's
ft in CP. A step on her-L in-front of his-R results in
toe to toe
osition. He has to avoid colliding or stepping on
her-L. Her Fwd-L is
slightly longer than
normal with a LT ending on L-ball outside his-R.
Continue LT an additional ¼ T on L-ball to
complete a ½LT to CP.
Her L-foot step on Pup is CP> on-R (girl
on Lball). Each dancer's R
aimed bet partner's
ft in CP. (Girl on L-ball, do not step,
flare free-RT
CCW on Lball
+SCP>. Note location of wgted-L. Fm that spot in SCP>
girl on L-ball flare
free-RT CCW to CP>. Note the location
of her Lball
in CP & SCP are
the same with ft pointed in opposite directions.)
c. Start two-step
rhythm Pup fm SCP> on-L: Fwd-R (-L), cls-L (-R),
Fwd-R (-LT fc>c R-angle to man), - ;. (Girl start LT on step-3 the slo
step of the meas: (Step, close, Pup, - ;). Complete Pup blend on step-1
of follow-on meas.)
d. Start foxtrot Pup on step-1 the slow
drive step of meas. Complete
fox-trot Pup on
step-2 the ball step of same meas.
SCP> on-L: Fwd-R, - ,
-L, cls-R (Girl:
Fwd-L LT >c, LT on ball flare free R past his R to
line
bet his feet, bk-R +CP, cls-L;).
d. Start Wz Pup
on step-1, the drive step of a meas.
Complete Wz Pup on
step-2 the ball step
of the same meas. Pup, ball, close;. SCP>: (Girl
Fwd-LT >e, diag sd-Rball LT+CP, cls-L;).
e. Needle &/or
stylus cartridge of turntable tone arm.
pickup tango. 4-step 2-meas chg fm
SCP> +CP>.
SCP> wgt-R:
Fwd-L,-, -R (Fwd-LT fc>c
& his side), - ;
Fwd-L (sd-Rball LT
+CP) , sd-R (-L), draw-L
(-R), tch;.
pigeon wing position. L- or R-hand star position.
pipe. Bagpipe. Play a bagpipe.
piper. Player of pipe or bagpipe.
piping. Play the bagpipe. Bagpipe music.
pirouette. Solo 3/4 T
(or more) on ball or toe.
piv. Pivot.
pivot (piv/pvt). Pivot
two/Pivot-2. A two-step
«R-turn of 2-steps.
pivot two. Two-step pivot: 1-meas RT of two RT
steps. CP< wgt-R:
bk-L RI>c
, - , sd-RT
+CP>, - ;.
CP R-foot bet partner's ft. Each
dancer maintain
individual Bal. Use 2-slow steps, do not rush. Pivot may be ended in
CP> or other position by
extending blend into step-1 of follow on meas.
Girl may extend or over-turn +SCP on step-1
of the follow-on meas.
Pivot-2 is a smooth fig. Remain in CP.
From CP< step back twd > on
step-1. Observe "Rule of turns" i.e.: RT bk-L & Fwd-R steps; LT on Fwd-L
& bk-R
steps; LT- or RT on side -L or -R steps.
Avoid rushing, use full
allotted time. Limit degree of turn to 90º T/step, minimize
over-turn
steps. (Girl Fwd-RT bet his ft fc>w
on step-1.)
Improper manu
preceding pivot-2 can cause a rough or awkward pivot-2
[See: Walk manu
pivot-2]. Dancers may consider pivot-2
an awkward fig,
but the problem may
be improper manu position proceeding pivot-2. Avoid
pivot-2 starts fm
CP>w. It is important to start the
pivot-2 fm manu
position on
R-ft. A couple's combined momentum [wgt X velocity ÷ 300
pounds X 1 ft/sec ÷
300 ft-lbs/sec.] should progress twd
>. Large
deviations fm line
of flow produce undesired lateral forces that must be
overcome by counter-force.pivot four. CP
4-step 2-meas double pivot of 1
& 3/4 R-turns [630º]. Not recommended. It requires slurred-awkward Ts
that exceed ¼T per
step.
pivot two twirl two. 4-step 2-meas fig combo of
pivot-2 followed twirl-2.
An amateurish choreographic
combo. Girl over-turns her pivot
steps &/or
starts R-turn twirl
with a bk-R step that breachs
a rule of turns.
pkup. Pickup.
plait. Fold back onto it's self as a
cloth, or to braid as hair. The rumba
chicken walk pattern
folds her first one way then the other.
play parties. Early
music a sin. The fiddle was regarded as a devil's
instrument. Groups
danced without
music, but sang, hummed &/or clapped hands for rhythm.
S/D club should discuss the matter with club
officers. If the club
agrees, find someone
play RD records. A S/D caller may prefer
to play the
rounds, but not wish
to purchase records. If so purchase
records, take
them to dances,
stack them in the order to be played, place them where the
caller indicates
& leave them in his care. The caller
may let others
operate his system
to play rounds. If so, honor his
instructions on
equipment
operation. Limit rounds to S/D rest
breaks to avoid infringing
on S/D program.
RD record playing is easy. Become familiar with sound systems &
speaking on a
microphone to an audience. Microphone
experience is useful
in many
activities. Dancing rounds between S/D
tips is good exposure &
practice for dancers
who later wish to dance before large crowds. Exposure
reduces floor &
stage fright. Learn to adjust the
amplifier gain or
volume control. Have someone on the floor signal to indicate
when volume
is suitable, too
loud or weak. Hall noise affects music
& voice level
settings. Adjust gains for the dancers, not for
spectators. Adjust
turntable speed
control before playing records (see turntable).
Use a filing system to expedite finding
records. File records A to Z,
by numbers, labels,
or the "drop it in the box & hunt for it" method.
Number & number-label methods require a
cross reference index. Alphabetic
order is best. Listening records may be played to help time
length of S/D
breaks. Listening music should not be a record used
for a RD. Flip sides
of popular RD
records are usually safe background music.
Keep volume
below dance level
for listening. Playing time of most
rounds is usually
less than 2½
minutes. Play a listening record & a round to time the S/D
break for about
6-minutes.
Start a listening record by placing the
needle on groove-1. Start
rounds near middle,
so dancers can hear the melody & exchange the sayings
"What is the name of that dance? Do we know it?". Lower volume to
announce
titles. Allow dancers 30 seconds or so
to form the circle.
Restart the music at the beginning & try
to recall how the dance is done.
Announce the title of a dance before
re-starting a record, & include the
starting position
& intro' instructions. Starting
instructions help
dancers avoid
frustration of blowing the intro.
At a RD club select 3- or 4-records for a
medley prior to playing
record-1. Plan which records will be played before
dancers are invited to
form the
circle. This reduces the time that
dancers wait between record
changes. The length of tempo checks may be shorter
between rounds, than
for the first dance
of a medley at a RD club. Allow extra
time for
dancers to leave
seats, break off conversations & form the circle for
dance-1.
Request pads are better than oral
requests. Don't rely on dancers for
requests. Requests are best worked into the program
during later medleys.
Don't keep dancers waiting while requests are
received & records located.
point (pt). Non-step free foot action. Touch floor with the little toe of
the free ft. Point = touch with ft extended. Point diagonally Fwd, tch
little toe to the
floor with leg straight. Look & let
body turn in the
direction of, but
not at pointed foot. Points may be Fwd,
back or diag'.
Back points may be diag'
in (pigeon-toed) with little toe touching floor,
or outward (Charlie
Chaplin style) & big toe touching floor.
Point is not
a step. Do not step on a point. Do not take wgt on
the pointing ft.
poise. a. Bal.
b. Self composure.
c. Attitude or
posture of carrying self.
polka. Lively fast tempo 2/4 or
4/4 time dance,
historians claim it
was originated by a Bohemian girl named Anna Selzak.
The word polka may be derived fm a Bohemian
word pulka meaning half a
step. Half a step may refer to the close step or
the ball step. Polka
consumes much energy
& is tiring.
Repeated turns cause dizziness. Turning
head & eyes continuously at the
same rate, causes
the brain to perceives continuous room rotation. To
minimize dizziness,
keep head & eyes aimed twd dance-line in longest
times
as possible, then
quickly rotate the head & eyes a full revolution twd
dance line to
complete the turn. This makes the room
appear stationary
except during quick
head turns. The eyes/brain perceive a
stationary hall
most of the time,
interrupted by quick turns. The brain
views a
stationary room for
a longer period of time than it does a rotating room.
It helps to alternate turns with other figs.
Dance the basic polka in loose CP, partners
6- to 10" apart. Use a firm
brace. Basics are:
1> Step, close, step, *
;
2> Side, close, side, *
;
3> Turns, close, turn, *
;.
The asterisk (*) on count-4 may be used to
hop, rise, cross free foot,
tch,
heel click or hold. The hop, rise, etc.
is a quick action of 1/16
beat or less, with
an up-wgt body check in preparation for the next
meas.
Patterns include: Heel & toe polka,
1850, or heel & toe break; crossover
polka; double-time
heel toe crossover polka; Esmeralda; 3-slide Esmeralda;
glide polka; slide
polka; German polka; polka militaire; heel click;
polka
point; Jessie polka.
polka militaire. Coquette. HOP>: Pnt Fwd-L, -, pnt bk-L, -;
Fwd-L, cls-R,
Fwd-L, - ; Point Fwd-R, - , pnt bk-R,
- ;
Fwd-R, cls-L,
Fwd-R, - fc partner;
Slide-L, - , slide-R, - ; Slide-L, cls-R, slide-L, - ;
Slide-R, - , slide-L, - ; Slide- R, cls-L, slide-R, - ;.
polka mazurka. 2-meas 3/4 time dance. Bjo/>c:
Fwd-L, cls-R,
sweep-L; Fwd-L, Fwd-RT +Scar>/w, cls-L;
Fwd-R, cls-L,
sweep-R; Fwd-R,
Fwd-LT +Bjo/>c, cls-R;.
polka point. Step, swing, step, swing; Step/swing, step/swing, - , - ;.
On swing pnt toe in direction of swing.
Polonaise. A 3/4 time two
step dance.
Step, step, touch; Step, touch, - ;.
pop. Popular label record.
popular label record (pop). Record music
& voice by well known or aspiring
artist/s produced
& marketed for general public sale. Pops are not pressed
for RDs use. RD label
records are produced primarily for RD use.
Pops
purchased at local
pop record stores cost less than RD labels.
Pops are
produced in larger
quantities than RD labels. The RD record
market
primarily serves cuers & dance instructors. Profits & budgets of pop
companies are large,
they use popular combos, famous artists, better
studios &
produce high quality products at a lower cost/record.
Pops are a source for choreographers
not established w/
RD label companies. Pops are used w/out
negotiating w/
companies. More rounds are choreographed to pops than RD
labels because
of
availability. Pops are a good for
advanced dance choreography, due to
a smaller sales
market for advanced RD records.
Choreographers obtain
publicity fm each
pop label dance published in a RD magazine.
RDing
benefits fm the use
of pops. Use of pops influenced upgrade
of RD label
records. Many tunes on RD labels were originally
released on pops.
A pop recording may be available for a
short time on a 45 rpm record.
The unavailability of a 45 rpm pop record can
limit the chance of success
for a good
dance. Choreography of two or more
dances to a pop reduces
chances of each as a
nationwide hit. Use of pops at functions
where
entrance fees are
charged may infringe on copyright.
pose. Hold
position as pose for a picture.
position (pos). Configuration, stance & attitude of dancer/s. Stand tall &
erect w/out sag or
slouch, but not stiff or rigid. Remain
relaxed with a
proud attitude, head
high & chin up. Maintain poise w/out
posing. Knees
relaxed but not
bent. Maintain good lead contact &
brace resistance.
Brace can not be established w/a rag-doll
partner.
Avoid clutching & tight grips. Each dancer carry own body, arm & hand
wgt.
Some girls may hang & lean on partner.
Maintain individual Bal,
w/out use of counterBal or crutch-like support. Adjust brace posture to
partner's size,
w/out degrading posture.
posture. Carriage & bearing of body
& it's parts.
Erect posture w/out
stiffness is essential for good Bal, appearance &
style. Head high w/out
tilt. Dance high, wide &
handsome.
praying mantis. Slouchy pretty Bfly position.
Arms between partners, hands
tog at chest level,
elbows pointed down.
preparation. Prepare
for. Cue to alert dancers to prepare for
a transition
or follow-on fig.
preparation step. Step to
position dancer for smooth entry into a pattern.
Usually last step of a
pattern.
present. Acknowledge partner. QP face audience, L-arm wide: Turn & look
at
girl, swing L-hand
in wide arc & point open L-hand palm up at her.
Bow or nod slightly. Girl may present man in similar manner.
press. Paso doble non-step
ft move to place some pressure on ball of free
ft. Press may be on-L or -R.
press line. Position. a. Stand on-R, R-leg straight both hands
high:
Extend-L Fwd L-knee bent, L-heel raised, some
wght on L-ball for Bal, wgt
divided bet both ft.
b. Pnt-L side
L-knee bent, less than ½-body wgt on L-ball for Bal
control. Stretch & sway-R most wgt-R. Arch
R-arm up palm in, L-hand on
hip elbow
extended. Partially wgted-L
= pressing foot.
prestissimo. Very fast tempo. See
tempo.
presto. Rapid or quick tempo. See tempo.
pretty Bfly. Proper Bfly infers good posture & arm attitude.
pretzel. Position. Close OP>, extend joined inside hands
Fwd. Join
outside hands, his-L
& her-R, beh backs.
pretzel turn/wrap. Roll to pretzel. a. FP>w wgt-L,
lead hands his-L to
her-R tog, reverse roll:
sd-Rball ½RT (sd-Lball ½LT)
bk2bk position man
fc>c, sd-L
RT (sd-R LT) +Pretzel Pos>, cls-R
(-L), - ;
b. Swing rhythm. SCP>, lead hands tog during fig,
progress>:
Rk bk-L,
rec-RT fc
partner, sd-L RT LO</ cls-R,
bk-L bk2bk Pos>c;
sd-RT +pretzel Pos>/ cls-L,
Fwd-R,.
To un-wrap fm pretzel, rev roll: Rk Fwd-L, rec-R LT fc>c (fc>w)
bk2bk
Pos, sd-LT
+LOP/< cls-R, Fwd-LT fc
partner; sd-R LT +SCP>/ cls-L,
bk-R;.
prima donna. Principle female dancer.
Overly sensitive, vain, indisciplined
performer. Egoistic dancer.
primera. Primary. One.
princess glide. 4-meas fig. HOP: Run, 2, 3, kick; Run, 2, 3, kick;
CP sd-L, cls-R, sd-L, cls-R;
sd-L, cls-R, sd-L, - ;.
Repeat in opposite direction opposite
footwork.
problems. Tell dance troubles, problems, or feelings to
teacher. It is
easier to tell other
dancers, but that may have no effect on the program.
When a step, position change or fig feels
awkward, tell the teacher. The
fig may be new, or
you missed or failed to understand the teach, the cue
sheet may be in
error, the pattern may have been taught wrong, etc..
Talk to teacher, some problems can be solved
quickly & easily. Don't be
discouraged when a
problem isn't solved instantly, some require slow
careful
consideration & implementation.
prog. Progress or progressive.
progress, progressive (prog). Move or
travel in the general direction that
man faces.
progressive Bals. Vienese Wz.
Fwd-L, pnt-R to
side, -; Fwd-R,
pnt-L to side, -;.
progressive box. 2-meas fig, of two half-box Fwd patterns.
a. Wz or foxtrot:
Fwd, side, close; Fwd,
side, close;.
b. Two-step: Side, close, Fwd, - ; Side,
close, Fwd, - ;.
c. For smoother flow,
alternate successive half-box steps
[Fwd, side, close] on L & R
diagonals. Turn on Fwd drive step&
face 90º
diagonal so side
& close steps flow with the drive step direction.
CP> wgt-R:
Fwd-LT/>c, sd-R, cls-L; Fwd-RT/>w, sd-L, cls-R;.
Continue half-box patterns with Fwd /drive
steps.
d. The "side" movement on the
"side" step should not be a concious
effort. Side movement should be a continuation of
momentum produced by
the drive step. The step should stop side movement.
progressive chasse right. Cha to right.
a. CP> wgt-R:
Fwd-LT +CP>c, cha-R/-L, -R TL +Bjo<;.
OR: RT +Scar>;.
b. Cue: Cha-R to Bjo
or Scar.
progressive link. Tango change
fm CP + SCP.
CP/>w wgt-R:
Thru-L (beh-R), sd-R (sd-L) +SCP, draw-L (-R), tch-R
(-L);.
progressive scissors (prog scis). Travel in fcing
direction. Progress twd
> [or <] man's fcing
direction. Do not progress on scissors
or twinkle if
his alignment is to
wall or center.
progressive tango Rks. 4-meas 10-step fig.
CP> wgt-R: Fwd-L, - , Fwd-R, -;
Rk Fwd-L, rec bk-R, Fwd-L, -; Rk Fwd-R, rec bk-L,
Fwd-R, - ;
Fwd-L, - , Fwd-R, - ;.
Cued as "Walk-2; Rk-3; Rk-3; Walk-2;".
progressive twinkle. Twinkle out
or in across > progress twd >.
Or in or out progress to
reverse.
Rules:
1. Progress
twd > or < in direction faced by man.
2. Twinkle back & forth in place if
pair is aligned twd wall or center.
progressive walks. 3-step 1-meas or 6-step 2-meas Fwd or back
rumba fig.
Fwd, 2, 3, - ; or back, 2, 3, - ;.
Note absence of close step.
progressive wing. 3-step
1-meas change fm SCP to Scar. SCP>:
Fwd-R (-LT Pup) CP>, in plc wgt-Lball (sd-R arnd man into cir) +Scar,
whisk hook on R-ball
beh-L (cls-L) +Scar/>c.
prom. a. Promenade.
b. School dance.
promenade (prom). French. a. Dance.
b. March of all dancers to begin a formal
ball.
c. CCW march of
dancers in a square.
d. Couples position.
e. Ballroom term for SCP, used indicate dance
fig in, fm, or to SCP.
f. Leisurely walk.
g. Path or place for strolling.
h. 1-stp rhythm fig:
sd-L, cls-R, Fwd-L, sd-R; cls-L, Fwd-R, sd-L, cls.
promenade chasse. 4-step 1-meas
Fwd moving fig. SCP>: Fwd, cle, Fwd, cls;.
promenade link. a. Change fm OP or
SCP +CP.
b. 1-meas 4-step Paso Doble
fig. CP>w wgt-L:
Appel-R, sd-L +SCP>, thru-R +CP>w, cls-L;.
promenade position (prom).
Partners side by side face same direction, his
R-side adjacent her L-side. Join L-hands in front of man. Join R-hands
in front of girl,
his R-arm in front of & above her L-arm.
His palms up,
her palms down. Hands at comfortable height
above her waist level. High
hand heights, w/in
reason, produces better posture.
promenade weave. 2-meas 6-step progress 3/4 to to 7/8 L-turn. SCP/>c wgt-L:
Fwd-R (Fwd-LT) CP/>c,
Fwd-L (bk-R) LT CP/<c, sd-R (sd-L) LT +loose CP<c;
bk-L (Fwd-R), bk-R LT (Fwd-L) loose
CP/>w, sd-LT (Fwd-R) +SCP>;.
(Girl may LT +Bjo
on last step.) Dance on /.
pt. Pnt.
pu. a. Pickup. b. Sound to
indicate something stinks. c. Who did it?
puerta. Door or gate. Cue
door or gate, unless trying to impress others
with esoteric terms.
pull. a. A
no-no. Dancer should not use, be subjected to or tolerate pulls.
b. Draw pointed ft to wgted
ft w/out taking wgt. Draw is preferred teem.
pull in. 1-meas 5-steps. FP>w wgt-R,
R-hands tog:
Rk Fwd-L (bk-R), rec bk-R
(Fwd-LT fc<), bk-L (sd-R LT) VarsP>w, cls-R
(-L), bk-L;. Also
called sweetheart.
punctuation. Punctuation
marks/symbols used in cue sheets.
punctuation mark. Cue sheet marks-symbols:
Comma , = count or
beat.
Hyphen: - = hold.
Oblique or diagonal line:.
/ = split count or beat;
/ = Different simultaneous actions by
girl/man.
Parenthesis: ( ) = girl's part.
Semi-colon: ; = end
of bar or meas.
pup. Pickup.
pursuit Wz. CP Fwd Wz.
push. a. A no-no. Never use force on another dancer.
b. Press free ft on floor.
c. Press wgted ft on floor to shift body wgt
onto stepping foot.
d. Stand ft apart, wgt
divided bet ft: Push w/1-ft to shift wgt to other.
push/point. Also
side/point. Side push step - +w/freed ft pnted.
Man on-R:
sd-L transfer ½wgt to-L/push-R transfer all wgt to-L R-pnted,.
push step. a. Both ft evenly wgted:
Push wgt Fwd onto lead foot.
b. Transfer body wgt
to lead ankle w/a normal step, trailer ft tracks
beside it for 1-ft
Bal. On a push step wgt
is transfered to both ft &
then pushed Fwd by
trailer ft to establish 1-ft Bal.
push turn. a. Buzz turn.
b. Turn on wgted
ball, torque provided by pushing free ft on floor.
c.
wgt on-R: Fwd-L ½wgt transfer to-L RT on both balls, rec-R,.
File: P-terms.txt
rev-030320