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.

St

stalk. 2-meas, 2-steps @ 1-step/meas. SCP>: Pnt-L, -, fwd-L, -; Pnt-R, -,

fwd-R, -;.

Stalk. stalk/ing sneaky walk.

stamp. a. Non-step ft act. wgt-R: bring free-L down sharply & strike floor

w/force. b. Heavy step, strike floor w/emphasized force. wgt-R: step-L.

standard introduction. (std' intro) Music: 4-meas prelude to dance.

STANDARD = common use. Most music has a 4-meas lead-in phrase before Part

A. First 2-meas provide tempo check & time to prepare for acknowledgment.

OFP>w wgt-R: Wait, -, -; Wait, -, -; Apt-L, -, Pnt-R;

Rec-R, -, tch-L;. On tch +start Pos.

For 4/4 time music: Wait, -, -, -; Wait, -, -, -; Apt-L, -, Pnt-R, -;

Rec-R, -, tch-L, -;.

standards. Time, effort & money were contributed to standardize dance terms,

steps, figs, directions & positions. Objectives are: improve & expand

common knowledge; increase skill & pleasure for dancers. Work remains to

improve & perfect standards.

Dancers benefit fm standards: they visit & dance other clubs; attend

large festivals; dance w/various teachers & cuers; Easier Cue sheets;

Choreographers write dances w/minimum descriptions. Standards contribute

to: progress; growth; compatible dancing w/others. Standards are to help,

not control or regulate. No law requires dancers to confirm w/standards.

Good manners encourage conforming w/standards w/groups where partners mix.

Knowledge, partner's feelings & group opinions temper actions.

Standards inhibit originality & restrict individual interpretation/o

music. Translation/o music to dance steps & figs are influenced by

standards. This stifles originality & is a price paid for standards.

Consider the number/o folk who don't or won't dance because they don't

know how. Dancing is body movement to music in a manner that pleases a

dancer. Individual judgement should influence a free-spirited dancer who

dances for fun, emotional outlet & as expression/o musical motivation.

standing attack. 2-meas paso doble girl circle standing man fig. OPF>w both

ft wgt: Stand in plc extended R-arm Xed in front/o chest at shoulder level

w/L-arm Xed in Bk. Sway head & shoulder to show girl way to cir (girl

curve R-arm around his waist & ½R-cir around him L, R, L, R); Rpt cir

sway/o head-shoulder (girl complete cir L, R, L, R);.

star. Pos. R- or L-hand star. R-hand star: Face opposite directions R-sds

adj, R-hands tog R-forearms vertical, (upper R-arm horizontal @shoulder).

star around. L- or R-hand star Pos: Wheel or T around joined hands axis.

star thru. 1-meas chg/o Pos & fcing direction. OFP>w wgt-R, arch R-hand tog

w/her-L: fwd/-L (-R) R-sds adj Pos, fwd-RT (fwd-LT) OP<, sd-L (sd-R);.

Number/o steps vary w/rhythm & choreography.

star wheel. Wheel in star Pos. Joined hands establish rotation axis.

start Pos (st pos). Wait for music or dance start Start pos @ dance start.

static. a. Balanced body w/out motion.

b. Body in equilibrium w/out motion.

c. Not moving.

d. Random noise/interference w/receptio/o desired radio or sound.

stationary pivot. Pivot in plc w/out progression.

std. Standard.

step. Rhythmic shift/o Wgt & balance fm wgt > free ft. Step is a basic dance

action. figs combine steps &/or non-steps actions. Dance steps may nclude

walk & march steps w/controlled force & Wgt transfers. Light gliding steps

are used > dance. Small steps reduce force & permit gentle Wgt chgs.

Control effort/o body Wgt rises w/step speed & length. The optimum

distance bet ft prints/o walk steps is one ft length/o the walker. A step

begins w/dancer supported

on the wgt ft w/unwgt ft free. A step requires combined

actions/o both feet, legs, hips, Bk, & abdomen muscles plus upper body

counter-balance movements (It is NOT just a L-ft or R-ft act).

In transit the FREE ft transforms >: 1. LEADING ft; 2. LANDING

ft; 3. Wgt RECEIVER ft; 4. & becomes the wgt ft at the

target position. While in transits wgt ft transforms >: 1. the

DRIVE ft; 2. TRAILING ft at Wgt release; 3. & is the FREE ft on

reaching the target position.

Basic dance steps described by step directions are limited. 10 basic

directions are:

1. fwd.

2. Bk.

3. Sd.

4. Diag fwd.

5. Diag Bk.

6. Xif (thru w/partners facing].

7. Xib.

8. Cut outsd/o wgt ft.

9. Lk outsd outsd/o wgt ft, fwd.

10. cls (in plc.

Step style or manner is described by terms: Dip; lunge; walk; run; Rk;

Rec; slide; scoot; trn; strut; etc..

Step speed is defined by slow, qk & tempo. Slow a walk step. qk

a run step. Slow step is Two ¼-note beats. qk step is One ¼-note

beat. Slow step = full heel >toe, or oee >heel drive steps. qk

steps = ball steps, &/or flat ft cls steps.

Some ft actions are not steps, but are taken on wgt ft. Examples: hop;

chug; jump; twist; hold;.. Other non-step ft actions involve the free ft.

Non-step free ft actions include: tch, Pnt, flare, fan, brush, kick, draw,

flick, swing, heel, hold, knee, toe, etc..

Terms related steps include: launch, tilt, push-off, flight, vault,

land, target, change, cls. See definitions/o these terms.

step cue. Cue each step. Used to teach basics & cue figs w/out standard or

accepted fig names.

step out pos. Ballroom studio term. L-step-out pos = Bjo.

R-step-out pos = sdcar.

step size. Small steps provide better balance & posture control. Balance is

needed for smooth dancing w/light easy steps. Small steps provide slow

travel rate. 10" steps move dancer at half the speed of 20" steps. If a

dancer's walk step is 1 ft length between ft-prints. 1 ft length is = 1

fore arm bone length.

Paradox/o fast tempo danning. Folk in a hurry run & take long steps.

Long steps to fast tempo music increases the distance, rate & difficulty.

Short steps w/fast tempo music reduce distance, rate & difficulty.

Shorter steps = slow rate & distance/step/o travel.

A comfortable stroll step length = 1 ft length between drive step ft

prints. Measure ft prints fm toe/o print-1 to heel/o print-2.

Distance fm toe/o ft print-1 to heel/o print-2 = 1-step length. Larger

steps cause rushed lunging drive steps w/a drop @ target ft. If ft size

= 12" (normal step toe >heel = 12"> & her ft size is 9" (normal step = 9", he should take 9" drive steps. Or compromise on 10.5" steps.

One ft length is approximately 1-fore arm length (distance from elbow

to wrist.) Short step = less than 1 ft length. Long step/lunge = 1

forearm plus hand (elbow >fingertip length).

steps. ft actions. Dancing is enhanced by music, body flow, step phrasing,

non-steps & figs that complement melody. Dancers may place undue

importance on a dance or fig rather than a step or non-step.

Appearance & performance suffer when a dance is consdred more important

than a step or non-step. HOW not WHAT is more important. The phrase, "It

ain't WHAT you do, it's the way HOW you do it. That's what gets results.",

is sound dance advice. Body, hand, arm action & style do not compensate

for poor appearance created by slipshod ftwork, balance or posture. A

dance consist/o step & non-step ft actions w/body motion that form

figs. The source/o fig problems are improper step & non-step ft

actions. Timing & sequence/o each ft action must be unders>od to control

ftwork & avoid fig problems.

Start body Wgt over drive step ankle. Take light landing steps heel

to flat (or ball). Take qk cls steps on the flat. Take slow fwd

drive steps fm flat to ball & Bk steps fm ball to heel. Wgt should settle

on heel in Latin rhythms to enhance hip action. Dancing high on balls (toe

dancing) makes balance difficult. toe dancing creates muscle tension,

causes imbalance, bounce & strained appearance. Tip-tie dancing makes men

look effeminate, & girls awkward. Test the feel/o Wgt on the ft, stand

flat ft w/Wgt evenly divided between ball & heel. Shift Wgt slowly Bk to

heel w/ball tching floor. Next shift Wgt slowly fwd to ball, heel tching

floor. Raise heel 1/32" >1/16" for a ball step. Avoid flat ft dancing, it

produces floppy clod hopper steps. Step softly w/confidence & conviction.

Confusion & step trouble result fm failure to distinguish the "cls"

step fm the "tch" non-step ft actions. Develop instant recognition/o the

difference between tch & cls.

step out. One-step or qk-step rhythm. CP>: /fwd-L Bjo> (Bk-R), fwd-R (Bk-L),

fwd-L (Bk-R), fwd-R (beh-L CP>; fwd-L (Bk-R), fwd-R (Bk-L), fwd-L (Bk-R),

fwd-R (Bk-L) CP>;.

step speed. Correlate step speed, timing, number/o & note durations >music.

In 4/4 time music a ¼ note = a qk step.

A ½ note = two ¼ counts = a slow step.

A musical bar or meas = 4 ¼ notes = 4 qk steps = 2-slow steps or & combos

of qk & slow steps. qk & slo convey different speeds & time durations

w/music meas/rhythms that contain 1/8 notes. In 1/8 note rhythm:

qk = a 1/8 note count;

Slow = 2/8 or a ¼ note count.

qk = 1/8 count steps in one rhythm & = ¼ count steps in another

seldom cause/o confusion. Meaning/o qk & SLOW varies bet rhythms, but

is usually clear dancers. Dancers hear & associate step speeds w/beats

& tempos w/out concern for musical staff ¼ vs 1/8 note duration symbols.

Shorten steps as tempo increases. The faster the tempo the shorter the

step. Short steps = slow ft/body movement. Long steps = fast ft/body

movement. Short steps w/fast music make dancing easier, more comfortable

& less tiring.

step swing. A slow drive step followed by a slow non-step swing ft action.

fwd-L, swing-R, - ;.

stepping ft. Free, target or un-wgt ft.

stg. Starting.

stop & go. a. 2-meas 10-step fig. FP>w lead hands tog: Rk Apt-L (-R), Rec-R

(Rec-LT) fc< arch lead hands, in plc-L (sd-R LT und arch fc>w)

+SCP>w/cls-R, in plc-L (Bk-R) +loose CP<;

Rk fwd-R (Bk-L), Rec-L (Rec-RT fc<), in plc-R (sd-L RT >c)/cls-L, sd-R

(Bk-L) +CP>w;.

b. Dance a fig to target Pos & stand & wait for the next cue. Common

beginner S/D class where caller waits for all squares to assume target

formation before calling the follow-on fig. Other causes/o stop & go

dancing are Rush to target ahead/o music; Failure to use the proper

number/o steps; Faulty figs; Start fig ahead/o key-cue beat w/out

completing ongoing figs; Late/off beat calls.

stork. Imitate a stork stance: free knee bent, ft extends Bk @ knee level.

stork trn. a. Stork Pos ball trn. FP>c on L 2-steps Apt: Tog fwd>-R, cls-R

sd Pos, fwd-Rball RT (LballT) FP>w; Sd-L RT FP>w,...

straddle. Stand, walk or dance w/wide tracked ft. See track & waddle.

strobe, strobe-light, stroboscope. a. Gas filled electron tube used as

pulsed light source. Strobe light is used to observe successive steps/o

periodic or varying motion. A strobe furnishes short light bursts

io periodically illuminate moving objects at controlled rates. The shape/o

a high speed rotary object is discernible in the presence/o light pulses.

When light pulse rate is synchronous w/a recurring function it appears to

be stationary. Slight increases/o function speed or decrease in light

pulse rate produce the illusion/o object rotation fwd. Slight decrease

in function speed or increase of light pulse rate produce the illusion/o

object backward rotatation

b. A neon bulb strobed at 120 pulses/sec & positioned to illuminate a

circle of uniformly spaced dots on a trntable (strobe chart) is used to

check trntable speed. A chart marked w/160 dots at 2.25º intervals appear

as stationary dots at a trntable speed/o 45 rev/min w/a strobe rate/o 120

pulses/sec. Increase trntable speed & dots appear to rotate cw. Decrease

speed & dots appear to rotate ccw.

c. A high intensity light source/o variable pulse rate. Discotheques

illuminate dancers w/strobe flashes. It produces the illusion of a

series/o still poses rather than flowing bodies.

stroll. a. 4 or more walk steps. b. Walk, step in front of wgt ft.

stroll vine. a. 4-meas combo CP>w twist vine & LT plus rev twist vine & RT.

CP>w wgt-R: sd-L (sd-R) RT>Scar, - , beh-R (Xif-L) LT +CP>w, - ;

sd-L (-R) LT CP>, cls R, fwd-L (Bk-R) LT CP>c, - ;

sd-R (sd-L) LT +Bjo, - , beh-L (xif-R) RT CP>c, - ;

sd-R (sd-L) RT +CP>, cls-L, fwd-R (bk-L) RT CP>w, - ;.

b. 6-step 2-meas twist vine trn fig. CP>w wgt-R: Sd-L (sd-R), beh-R

(xif-L) RT scar>, sd-L (sd-R) LT CP>/c, - ; Sd-R (sd-L) LT CP>c, beh-L

(xif-L) RT Bbjo>, sd-R (sd-L) RT CP>/w, - ;.

strolling box. See traveling box.

strolling vine. See stroll vine.

strut. Arrogant swagger or show-off walk.

stub. a. Manner of stepping. b. Disco term for two-part dig step.

Strike floor w/ball of free ft, then step on ft.

Stub L-ball, fwd-L, stub-R ball, fwd-R;.

stutter step. Start a step, hesitate & step. Results fm lacko confidence,

or being undecided. Girl receives a false lead step signal fm his false

start & commits to it. She does not sense an uncertain arhythmic hesitate

or adjust & respond instantly. When she steps on beat, & he step after-

beat or rush. In either case he may step on or bump her ft.

style. The way or how you dance. Best style is HIGH, WIDE & HANDSOME &

small steps. It involves good posture & balance. Stand tall, head up,

chest up, tummy in, fanny in. Think tall, move w/deliberate grace.

Looking at feet destroys posture & balance, causes fanny to protrude, hip

& knee bend plus bounce. Appearance is important at all levels, & is

improved by good style. Style may: express feeling/o the music; be used to

show-off; show distinct original individual characteristics.

Balance & posture are best w/small steps. Mistakes are smaller w/smal

steps. Recovery fm mistakes is easier. Rushing is minimum w/small steps.

Good style requires smooth well-timed blends on position & directio chgs.

A high degree/o confidence comes w/knowing when, where & how to step.

Learn basic steps & figs well. Dance in a comfortable manner w/relaxed

moves. Examine awkward moves for poor choreography. Some styles look

good, but feel bad. Others feel good, but look bad. If in doubt style

conservatively. Develop individual style, avoid drastic deviation fm

accepted style or that suggested by the choreographer. Unique style may be

used w/accepted moves to highlight moves w/out exaggeration. Copy good

style. Good style is danced HIGH, WIDE & HANDSOME. Watch good dancers &

steal ideas. Choose examples carefully. Develop understanding & appreciate

styles, avoid showy kid stuff. Watch less qualified dancers & identify

styles to avoid. One dancers high style may look ridiculous on others.

Style must suit a pair's size, shape & agility. Good style displays skill,

manner & appearance. Try to improve style, small effort produces great

improvement. Style increases confidence & pleasure. Practice style on

well known easy dances, so it will come naturally on advanced dances.

Style smooths dancing & increases pleasure. Style to rhythm. Music

motivates moves, style to the musical mood. Don't style a fun two-step

like a dreamy Wz. Style for pleasure & appearance, misguided perfectio can

kill fun. Time arm & body changes at uniform rates fm initial to target

positions, w/out lowering, rise, fall or pause at interim positions. Omit

extreme style & fancy figs if dancing w/partner of limited ability.

Consder partner's feelings, some are embarrassed when out-danced. Limit

the number/o twirls, too many reveal amateurism. Firm leads aid style.

Never use a forcing lead. Forcing orrough leads are inconsdrate. Smiles

are excellent style.

style clinic/workshop. Style clinics teach smooth & graceful dancing w/

pleasing appearance. Clinics focus on frequently slurred figs &/or blends.

A clinic may cover only figs, positions & steps of a dance. Workshops

should stress HIGH, WIDE & HANDSOME dancing w/good posture, small steps &

balance. Good appearance involves hands, arms, shoulders, head, hips,

torso, legs & feet. fig execution w/out complementary body moves project

lifeless dancing, void/o emotion.

Good posture relateds to raised hands & elbows. Carry hands & elbows at

shoulder level to raise shoulders & chest. Low hands & arms result in

chest & shoulders sag. High hands & arms aid upright posture.

Toe dancing degrades posture & produces bounce. A clinic may explain

proper step mechanics & body control. Include a number/o styles that

dancers should use, but are so engrossed in learning dances to duly

consider or practice. Learn & try recommended styles, but carefully

evaluate them before adoption. Over-styling & absence of musical

motivation cause poor appearance. Under-styling new styles is better than

over-styling. Styles evolves to fit dancers. Style become natural w/use,

musical mood & tempo. Stylized imitation/o other's interpretation/o good

style may be disaster. Simple style & subtle manner develop desirable

moves. Style developed as a beginner often result in perfecting affected

appearance. Good style = HIGH, WIDE & HANDSOME + small steps.

stylize. Prescribed or customized style.

sugar ft. On cls at arms length w/leading, trailing or both hands tog.

Man appear to swivel girl w/pulls & pushes. Bk-L (fwd-R), - (R-swivel

wgt-R), Bk-R (fwd-L), - (L-swivel L);. (Girl may swivel on ball/o ft

twist heel in @free ft. She may swivel on heel/o ft twist toe out away fm

free ft.) Swivel >wgt ft direction.

sugar push. a. Man appear to gently push girl Bk. FP both hands tog palms

tog @ chest level, elbows bent. Hitch Apt: Bk-L (Bk-R) extend arms as if

pushing her awy, cls-R (cls-L), tog-L (-R) bend elbows as if pulling, - ;.

b. FP both hands tog: Apt-L (-R) extend arms as if pushing,- , tch-R

(-L), - ;.

c. 2-meas hitch Apt fig. Bfly-Bjo: Apt-L, cls-R, tog-L +Bfly-Scar, - ;

Apt-R, cls-L, tog-R +Bfly-Bjo, -;.

suiza. La suiza.

supporting ft. a. wgt ft. b. ft dancer is standing/balanced on. Wgt-L or

R-ft, not both. Raise free ft heel & remeber it is the target ft, & shows

instructor which ft IS FREE.

sur plc. a. Paso doble step in plc.

b. trn in plc CP> lead hands high, look into partner's eyes: Step in

plc-L rising on each step L, R, L, R; Lower on each step L, R, L, R;. 1/8

LT on each step.

c. Step in plc on balls knees flexed, lower heels slightly on Wgt chg.

Step w/out trns.

Susie q. Multi-meaning swivel term. a. Bfly>w on balls/o both ft, move twd>

: Twist both heels-L (-R) shift Wgt to heels, twist both toes-L (-R) shift

Wgt to balls, twist heels-L (-R) shift Wgt to heels, twist toes-L (-R)

shift Wgt to balls;. Action may start w/Wgt on heels, twisting toes on

first beat.

b. Bfly>w Wgt on L-heel free R-ball, move>: Twist L-toe out & R-heel in

shift Wgt to L-ball & R-heel, twist L-heel out & R-ball in shift Wgt to L

-heel & R-ball, twist L-toe out & R-heel in shift Wgt L-ball & R-heel,

twist L-heel out & R-ball in shift Wgt L-heel & R-ball;. Short cues: toes

out, in, out, in;. Also perform w/opposite ft twists & progression.

c. Bfly>w wgt-R: Thru-L (thru-R), sd-R, thru-L swivel, flare-R fc ptr;

Thru-R, sd-L fc ptr, thru-R swivel, flare-L fc ptr;. Step cue: X, sd, X,

flr;. Or: Thru, sd, thru, flr;.

swagger. Strut or swivel walk 4-slow steps. a. Fc> wgt-R: fwd-L twd> 1/8 RT,

- , fwd-R twd> ½LT - ; fwd-L twd> ½RT, - , fwd-R ½LT, - ;. Step fwd in

line w/body's COG almost but not directly in front/o wgt ft. Common fault

is a Xif, beyond wgt ft. It causes excessive swivel & interferes w/flow.

b. Strut fwd w/shoulder sway/swivel, use same or contra body motion.

sway (swy). sd tilt. a. Stretch R-side up on L-sway. Stretch L-side up on

R-sway. Relaxed wgt knee accentuates sway. Sway in direction/o stping ft.

b. sway twd free ft, use free ft as balance aid.

swd. sideward, sd.

sweep. Exaggerated flr or fan. May involve position chg, such as fm OP +CP.

sweetheart. a. OverWrap Pos: fc>c, girl slightly R & fwd, his R-arm wraps

her to join R-hand w/her-R near face, her L-hand curved up to his face,

palm & fingers tch his L-cheek. Kiss or smile at ptr. Or or

b. R-sd version, Wrap Pos.

c. 2-meas 6-step rumba fig w/flirt style. Loose Shadow Pos>w, girl on

his-L: Rk-L Xif R contra body R-shoulder lead (Rk-R Xib contra body L-

shoulder lead) look at ptr, Rec-R ShadPos>w, sd-L +ShadPos man slightly

left, - ; Rk-R Xif contra body L-shoulder lead (Rk-L Xib contra body R-

shoulder lead) look at ptr, Rec-L ShadPos>w, sd-R start pos, - ;.swg.

swim. Imitate swimming w/hands, arms shoulders & upper body.

swing (swg). a. Non-step free ft action. Swing free ft & straight leg fwd,

similar to kick w/less force. fwd-L, swing-R fwd, rise on L-ball;. Rise on

beat-3 flow w/& create appearance/o extending swing. Pnt swing toe fwd,

not up. Swing ft in unison w/ptr to same height.

b. SD Bjo wheel.

c. Group/o related 20th century free-style dance rhythms figs. Related

terms: Syncopated two-step; syncopated foxtrot; Lindy; Lindy hop; jive, Rk

& roll; jitterbug; east coast swing; west coast swing; etc. Aviator

Charles Lindburg's nickname (Lindy) was applied to swing in the 1920's

following his solo Atlantic flight. Ptterns are based on the 1½ meas

social foxtrot rhythm "Slo,- , slo, - ; qk, qk,". Swing figs include:

Single step; triple step; triple; throw out or throwaway; break; sugar ft;

Rk & roll; sugar push; swivel; shuffle; twirl; change plcs; Bk pass; spin;

wrap & unwrap (Spanish arms); etc.. Step figs/o most free-style dancers

are simple & limited in number. A limited variety/o step figs are repeated

throughout a dance. Monotony may be offset w/: twirls, breaks, kicks,

spins, rolls, wraps, passes, position change & acrobatics. Free-style

dancers may develop strong stepping style w/a high degree/o confidence

using a limited number/o figs. Confidence, style, body moves & lively

music can make an attractive showy dance that appears difficult. Swing is

tiring when danced to fast tempo music.

Dancers are eager to learn the swing & are often disappnted when shown

the basic fig. They want to dance showy figs immediately, w/out learning

the basic principles. Logic dictates perfecting basic figs & rhythm first.

Twirls & passes are easy when rhythm & basic steps are natural. Leave

acrobatics to youngsters & those w/athletic ability.

Dance swing in loose CP lead hands near waist level, R-hand near coh.

Raising low lead hands produces a pronounced chg in hand level & is a

twirl lead signal.

The 1½-meas swing dance rhythm does not phrase evenly to 4/4 time

music staff. Music w/3 or 6-meas/phrase evenly w/swing/foxtrot dance

rhythm. Correlate phrases to 4/4 time music to 1½ meas w/4 phrase part.

SINGLE SWING: Derived fm 1½-meas social/night club foxtrot dance rhythm.

Rhythm is: Slo, - , slo, - ; qk, qk,. Or: Slo, - , slo, - ; Rk, Rec,.

(Note: Replcd the words qk, qk, w/Rk, Rec, ,".) Some ballroom studios

use the terms Rk, STEP, for qk, qk,. Rhythm is identical for each. Basic

fig terms are: sd-L, - , sd-R, - ; Rk Bk-L, Rec-R,. Dancers may tch or

tap to jazz-up the dance, meas are: sd-L, tap-R, sd-R, tap-L; Rk Apt-L,

Rec-R;. Foxtrot figs may be danced as single swing figs. Examples: sd,

tch, sd, tch; Rk Apt, Rec, Change sds, tch; face, tch; Rk Apt, Rec; Roll-

L, tch-R, roll-R, tch-L; Rk Apt-L, Rec-R, Twirl-L, tch-R; twirl-R, tch-L,

Rk Apt-L, Rec-R; etc.. The "qk, qk," steps may include: Rk sd, Rec,. sd,

beh,. Dip, Rec,. sd, cls,.

DOUBLE SWING: Variation/modification of single swing. Rhythm is: Tap-L,

step-L, tap-R, step-R; Rk-L, Rec-R,.

TRIPLE SWING: Syncopated 1½-meas derivation/o Slo, - , slo, - ; qk, qk,

foxtrot dance rhythm. Rhythm: qk/qk, slo, qk/qk, slo; Slo, slo,. Note:

Syncopated ½ note steps = slo; 1/8 note steps = qk. Written as step cues:

sd/cls, sd, sd/cls, sd; Rk Apt, Rec,. The sd/cls, sd, sd/cls, sd; may be

viewed as qk two-step rhythm, & Rk, Rec, as a rhythm break/modifier.

swing Pos. a. Basic position used in swing rhythm dances.

b. S/D Bjo wheel fig.

c. Old dance pos. both his hands tog to avoid Wz CP.

Alternate: L-hands cross joined w/R-hands R-shoulder, R-ft adj.

These Pos keep man fm placing arm around (embracing) a girl who was not

close kin.

swirl. Tango (Tgo). SCP> wgt-R: fwd-L (fwd-R), - , fwd chk-R (fwd-L LT), -

(½LT L-ball flr free-R) Bjo>; Rk Bk-L (fwd-R ½RT fc his sd), - (½RT R-ball

flare free-L) SCP>, Rec-R (fwd-L), - ;.

b. Cape.

switch. a. Chg Pos & fcing direction.

b. Bjo>/c wgt-R: Bk-L (fwd-R), cls-R (L), Bk-L (fwd-R) ½RT +Scar/>w,

- ;. Also called "Right switch" (RSwitch).

c. Scar pos/wall wgt-L: Bk-R (fwd-L), cls-L (-R), Bk-R (fwd-L) Scar/>c,

- ;. Also called L-switch.

switches. a. Sandstep. Bfly>w wgt-R: tch L-toe @R-instep, tch L-heel #R-

instep, step thru-L, - ; tch R-toe @L-instep, tch R-heel @L-instep, step

thru-R, - ;.

b. Step w/exaggerated contra body motion. fwd-L R-shoulder fwd trn head

>R, - , fwd-R L-shoulder fwd trn head> L, - ;.

Move head & shoulders switches Bk & forth w/steps.

swivel. a. trn/twist body on ball step across wgt ft.

b. Body twists/o a sandstep.

c. Twist. Wgt on both balls & knees slightly bent. Twist knees L, twist

knees R, twist knees L, twist knees R;.

d. Calypso fig. sd-L ball, R-swivel on L-ball shift Wgt L-heel toes in

& heels out, L-swivel on L-heel shift Wgt L-ball Pnt toes out heels in, R-

swivel L-ball shift Wgt L-heel Pnt toes in heels out; Repeat in opposite

direction on R-ft.

e. Mambo truck fig. See truck. Scoot fwd-L, twist-L on L-heel, scoot

fwd-R, twist-R on R-heel;.

swvl. Swivel.

symbols. Cue sheet punctuation.

< Reverse dance line

> Dance line

+ Blend

Comma , = End of a ½ note beat.

Dash - = Hyphen = Hld count or beat = extend previous ½note.

Oblique / = Split ½ note count or beat. = Separate two 1/8 notes

or = different actions by man & girl.

Parenthesis ( ) = Brackets girl's part.

Semi-colon ; = End of a meas or bar.

syn. Syncopate.

syncopate (syn, sync). a. Synco (cinque) 5 + pate (pace) = step. Or 5-steps

per meas. 5 beats per meas with 4/4 time music (1, 2, 3, 4;) beat-3 (a ¼

note beat) is replcd by two 1/8 note beats, 1, 2, 3/&, 4;

(Slo, slo, qk/qk, slo;). qk/qk (q/q) notes provide beats for chasse

(cha.) or q/q rhythm steps. Other beats may be replcd by 1/8 note beats.

Use of more than two 1/8 note beats in a 4/4 time meas results in more

than 5 counts per meas. Musicians may replc ¼ note beats w/two 1/8

note beats & call the music synopated rhythm. & deviates fm the original

meaning of the word syncopate (5 per meas). Syncopate evolved fm a dance

term (5-steps/measure) to a music rhythm using split notes.

b. Music: Begin a tone on last half of one ½ note & end it on first ½ of

next

½ note.

c. Add extra or shortened beat/s to music &/or the extra step/s

associated w/such beats.

d. Combine slow steps in 1-meas w/qk steps in the following meas.

e. Disco term for qk balances L & R. Balance: sd-L /beh-R on ball,

Rec-L, sd-R/beh-Lball, Rec-R; Or: sd-L/beh-Rball, chg-L, sd-R/beh-Lball,

chg-R;. Also called triple.

syncopated chasse. a. CP>w wgt-L: Thru-R, sd-L/cls-R, sd-L;.

b. Thru chasse (cha).

c. Chasse (cha) w/syncopated steps.

d. Foxtrot rhythm: CP>w wgt-L: Thru-R, - , sd-L/cls-R, sd-L;. Includes

3-stp speeds: A slo 2/4 note stp, 2-qk 1/8th note stps, & a ½ note stp.

syncopated foxtrot. 8-count or stp 1½-meas swing rhythm. Swing, Lindy,

jitterbug, etc.. Timing: ½, 3, 4/5, 6; 7, 8,.

Or: qk/qk, slow, qk/qk, slow; Slo, slo;.

syncopated outside. qk outside. Bjo> wgt-L: fwd-R, fwd-L/outside-R, fwd-L;

(her part: Bk-L, Bk-R/outside-L, Bk-R;).

syncopated steps. Disco term for triple swing rhythm figs w/combos of ½

note steps & 1/8 note steps, i.e.: qk/qk, slo, qk/qk, slo; or Slo, qk/qk,

slow, qk/qk;.

syncopated waltz (Wz). Wz meas w/two 1/8 notes in a ½ note time frame. It

contains 4-beats per 3/4 time meas: 1, 2/&, 3; or 1, 2/3, 4;. is suited

to syncopated choreography. Repeatative meas syncopated choreography, not

fitted to common 3-beat Wz music (w/out recurribg patteern rhythm, it

does not tell dancers to do so.) Popular syncopated Wz figs break

non-syncopated 3-beat Wz dance rhythm. Step rhythm change may reduce

choreographic excellence. Some dancers may not notice, care, understand

or appreciate. Choreographers should.

syncopated whisk. qk-whisk or Thru-cha. CP>w wgt-L: Thru-R CP>w,

fwd-L/sd-Rball, hook (whisk)-L beh on ball SCP>;.

Or foxtrot: Thru-R, - , sd-L/cls-R, hook-L beh on ball SCP>;.

File: St-terms.txt rev-030323.