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, < = < 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.
T-H, T/H. Toe to heel. ball to heel.
ta ra
ra boom de ay. 6-meas 4/4 time fig. FP>w wgt-R: Sd-L, cls-R, Sd-L,
cls-R; Sd-L, - , Sd-R,
cls-L; Sd-R, cls-L, Sd-R,
- OP>; Run-L, R, L,
swg-R; Bk-R, Bk-LT
fc ptr, Sd-RT
fc<, swg-L; Bk-LT fc ptr,
swg-R thru,
Sd-R, swg-R thru;.
tag. End phrase or meas
of dance.
tailgate. Dance too close beh a couple.
Tailgating is rude, discourteous
& inconsiderate of
couple ahead. Stay aware of
circle speed & keep a
respectful distance
fm the pair in front. Tailgaters display
lack of
respect for feelings
of slower dancers. Speeders may enlarge
their circle
radius & dance
out around slow pokes. Slow dancers may yeild to inside so
faster dancers can
pass outside. Slow pokes should avoid
being traffic
hazards that bunch
dancers beh.
Intentional tailgating to speed up slow
pokes doesn't work. Tailgating
increases the
problems of troubled slow pokes. Some
respond by slowing.
take-off. See
launch, drive body fm the static CP stance into motion.
talk. Dancing chatter boxes may talk
to relieve tension or try to entertain
ptr. Others take advantage of captive audience ptrs.
A dance lasts about two minutes. Be congenial if ptr
chatters, & limit
dance figs to a few
basics. Talk: eases tensions of some;
hampers
ability; is not a
serious distraction if dancing simple figs with a
familiar ptr; distracts & interferes with concentration on new
figs;
hampers recall of
figs; disturbs timing, adjustments & Pos chgs;
disrupts
musical mood that
should influence the mind & motivate dancing; distracts
concentration of
dancers with limited dance knowledge & experience; is
suited for
intermissions & sit-outs where talkers concentrate on subject.
tam. Tamara.
Tamara (tam, Tammy). a. Girl's
name. Nickname = Tammy. Tamara is often
mispronounced or
slurred as "tomorrow".
b. Pos. ptrs fc opposite directions R-hips adj,
loose Bjo.
(Girl
extend R-elbow fwd
at shoulder level, forearm vertical.)
Man extend
L-elbow upward, pass forearm horizontal in
front of forehead, join L-hand
with her-R &
form a window. Smile through window at ptr. (Girl pass L-arm
beh
back & join L-hand at R-waist with his extended R-hand).
c. Bjo Pos: Raise lead hands to
form a window, (L-hand beh back, join
his R-hand at her
R-waist.)
d. Man Tamara or Rev Tamara: Form window
with his-R & her-L hand, his
L-hand beh
back to join her-L at his R-waist.
e. 4-meas dance fig, ptrs
chg sides, passing thru Tamara Pos. Man fc
ptr
& wall wgt-R two steps apt:
1. fwd-L, cls-R,
fwd-L +TamP>w, -;
2. chg sides: fwd-R
release his-L & her-R hands, retain his-R to her-L
hand hold, cls-L, fwd-RT (TT) fc<, flr free ft RT (LT) flr fc her & >c;
3. fwd-L, cls-R,
fwd-L to R-hip adj man TamP
his R-hand (her L-hand)
window & his
L-hand beh back, - ;
4. chg sides: fwd-R
release joined window hands & retain his L- to her R-
hand hold, cls-L, fwd-R RT (LT) fc>, flr free ft RT (LT) flr fc ptr>w;.
Joined lower hands on chg sides help dancers
decide which way to turn.
Beginners tend to rush figs that seem
complex, fearing time shortage.
Dance in time to the music. Many chg sides & fc
on meas-1 [instead of fc
on meas-2]. meas-2 dance fwd
after passing ptr until joined lower hands
initiates the
turn. meas-3
dance to "Man Tam" Pos. meas-4 delay turn
until joined lower
hands initiates turn & indicates direction.
+ hand &
arm chgs in a smooth & well timed manner. Use one full meas
to blend; fm
fcing
+TamP; fm Tam FP +fc on
Tamara pass; fm fc +man-TamP;
& fm Man-Tam
pass.
Tamara
wrap. Twirl to Tam Pos. Bfly>w wgt-R, arch lead hands. Keep lead &
trailing hand
contacts. Twirl: Sd-L
(Sd-RT twirl under arch), beh-R
(continue twirl), Sd-L (finish twirl) +TamP>w, -
;. Keep lead & trail
hand contacts. Twirl wraps her +TamP. Man vine
(spot twirl), man
progress beyond her
to +R-side offset rather than FP.
Tammy. Nickname for Tamara.
Tammy
unwrap. TamP>w wgt-L, arch lead (window) hands & keep lower hands
contact, rev spot
twirl: Sd-R (in-place LT spot twirl), beh-L (continue
twirl), Sd-R (finish twirl) +Bfly>w, -
;. Man rev vine, +fc
her.
tandem. Both fc
same direction, one in front of the other.
tanglefoot. Condition
where dancer's or ptr's weighted ft block path of
stepping ft. Causes: poor choreography; dancer/couple Posing; failure to
close; off-beat
steps. Improper body mechanics &
footwork contribute to
tangleft
situations.
tangleft encounter. Step on or
collide with ptr's ft. Causes: Improper
CP; violated rule of turns; break in rule of
the rhythm; off-beat steps;
raise ft high to
step; lack stepping confidence. In CP ptr are offset to
left. Height permitting L-offset
lets dancers look over ptr's R-shoulder
to observe dance
traffic. Compatible footwork is obtained
by offset ft
Pos. Each dancer's L-ft is aligned outside of ptr's R-ft. Each
dancer's
R-ft is aligned/aimed bet ptr's
ft. His-R aimed bet her ft. (Her-R aimed
bet his ft.) ft alignment permits
stepping in concert. Improper CP such
as nose to nose,
toes to toes or V (SCP) Pos create incompatible ft
alignment for a
significant number of CP figs, & reduce lead control.
CP RULES OF TURNS: a. Start LT with a fwd-L or Bk-R step.
b. Start R-turn with a
fwd-R or Bk-L step.
c. Start L- or
R-turns with a Sd-L or Sd-R step. Failure
to observe rules
results in awkward
crossing steps & blocking of step paths.
Broken RULES
OF THE RHYTHM causes unexpected footwork
transitions, placing dancers out
of step. Identical
CP footwork prevents turns in concert.
Stutter steps cause off-beat dancing. Dancing ahead of beat may cause
tanglefoot
encounters. Girls who lead tend to step
ahead of beat. On-beat
steps reduce
probability of stepping or being stepped on.
Remember the
words of Yankee
Doodle "Mind the music & the step".
Lack of confidence is typical of men
beginners, especially those with
hyper-critical ptrs. Girls who
blame ptr for mistakes create problems a
man can't
overcome. Encourage unsure dancers. Understanding & tolerance
helps overcome self
doubts & builds confidence. Comments
should help & be
in a manner that
does not focus on mistakes, errors or place blame for
mis-step. Girls enjoy
dancing with good leaders. A good leader
is sure
footed & easy to
follow, because he steps deliberately, gently & with
confidence. Unsure men are difficult to follow. They are over cautious,
hesitate, stutter
step & lack stepping confidence.
Raising stepping ft too
high permits lowering it on ptr's ft. Ft should
skim the floor
rather than be lifted & lowered. A
ft lower than ptr's toe
cannot descend on a
toe, & ft contacts are limited to bumps.
Old dance rules state "It's the girl's
fault if she is stepped on". This
biased statement was
to build a man's stepping confidence. He
gains
confidence if
assured he is making progress & is dancing correctly. He
needs to step
deliberately with confidence & authority.
The woman's
fault psychology
would work, if modern woman had no ego.
She knows he
makes mistakes &
is unwilling to accept the blame. He
becomes more
cautious & loses
confidence, if every mistake is noticed.
Girl subjugate
your ego & help
develop his confidence. A girl can chase
a ptr from
dancing by blaming
him for mistakes. Pretend he is no klutz
until he
enjoys dancing. He will leave dancing & never return, if
not comfortable.
tango (tgo). Tango
reported origin:
1910 & 1914. One dance history traces Tango as: 1910
del cafe 1900 Cuba; habanero
1850 Cuba; danza habanero
1825 Cuba; danza
1800
1650
Tango is haughty, smooth &
beautiful. Tango music has staccato
rhythm
with distinct breaks
bet successive tones.
Tango Pos is close, not tight but
comfortable. Shoulders parallel to
ptrs,
bodies L-offset. Interlaced feet, not
toe to toe, R-ft aimed bet
ptr's
ft. Head high, lead hands bet her
shoulder & eye level. Elbows UP,
& out at her shoulder level. Synchronize steps with staccato rhythm.
Step lightly without bounce or hop. Relaxed ankles & knees, toes turned
slightly out.
Style adds mood & flavor to tango. Glide lightly & smoothly. Reach
deliberately &
aggressively. Accentuate weight transfer
to staccato music
& release of free foot. Use: cat-like staccato steps; Longer steps than
in other dance types
(more than girl's one foot length); Sharp quick stps.
Eliminate all bounce. Push body weight fm weighted ft on side
steps, do
not reach side &
pull body over. Use contra style body
moves: On fwd-L
step move R-shoulder
& upper torso fwd, turn head-R. On
fwd-R step: move
L-shoulder & upper torso fwd, turn
head-L. Avoid over-doing contra body
style. Over-done contra body style looks stupid.
Corte = dip. New dancers react better to Dip than Corte. Add
twist to
a corte as dancers gain control. (Girl corte: fwd-R
¼LT, flex R-knee,
extend free L-leg, pnt L-ft to sd, arch back, look
over L-shoulder, head
& eyes up. On a deep corte LT in his arms, L-ft LT in plc.) His corte:
Bk-L ¼ LT extend
R-toe to a side pnt.
Tango timing is: Slo,
- , slo, - ; Qk, qk, draw, - ;. Basic tango:
fwd-L, -, fwd-R, - ;
fwd-L, Sd-R,
draw-L, - ;. TANGO DRAW = fwd, sd,
drw,
- ;. A slow draw looks nice timed so
free ft reaches weighted ft as
next step is
started. A slow flowing draw has a plesant appearance & is
easy to style. Some prefer a snap draw & hold to
accentuate the staccato
rhythm. Slow vs snap ft action represent the two basic tango styles,
GAUCHO & ARGENTINE.
GAUCHO style uses extreme contra body moves
& square shoulders on tango
draw. Snap draw ends with free toe pointed at
weighted ft instep. Snap
contra turn head to
body moves on steps. Gaucho accentuates
staccato
rhythm.
Argentine/American is smooth style with
subdued staccato steps & contra
ody
moves. The draw is slow with a slight
curved motion. Start draw with
free toe pointed
down & out, time for no-hold at weighted ft & continue
into next step.
Tango figs: Basic or promenade; El Sharon;
Argentine walk; Scis; arch;
media luna; swirl; habanero; gaucho
turn; Parisienne; ......
tango arch. Draw free ft to weighted foot instep.
tango brush tap. Modified tango draw. fwd-L, Sd-R, brush-L, tap-L;.
tango close. = Tango
draw. Archaic term. CLOSE is misleading, it infers a
chg step. It is not a chg step, but is a non-step ft
action TOUCH.
tango draw (tgd). CP> wgt-R: fwd-L (Bk-R), Sd-R (L), draw-L (-R), - ;.
The draw is a slow (½ note) time action.
The slow non-step is used to adj Pos & fc direction for
the next fig.
Slow draw gives time to config
body, arms & provide positive lead signal.
Girl receive lead signal with time to
recognize intention, & prepare.
Tanz kapelle: dance band.
Tanzer: dancer.
Tanzerin: dance
girl.
Tanzstunde: dance
lesson.
Tanzsaal: dance
hall.
tap. a. Non-step ft action. Strike floor with toe
and/or heel.
b. Touch ptr
lightly with hand or finger.
c. Tap toe &
heel of free or stepping foot. Brush-tap
L-toe & heel fwd,
brush-tap L-heel
& toe back, brush-tap L-toe & heel fwd, stamp-tap step-L;
Repeat with-R;.
d. Quick sharp pat of toe &/or heel on
floor to produce audible sound.
tape recorder pickup. A magnetic telephone pickup
coil (Realistic Radio
Shack catalog number 44533 or equal) placed
on insulated speaker wires of
a sound system
provides suitable inductive coupling to drive the mic
input
of most cassette
tape recorders. Recordings obtained fm speaker wires with
a coil pickup are
superior to those made by a mic near a speaker.
Microphones pick up background noises. Frequency responses of speaker &
mic
impair fidelity. The coil pickup
provides better fidelity, because
speaker &
microphone distortion are bypassed. Locate
pickup coil away fm
power cord &
other strong 60 hertz hum noise magnetic fields.
Modify a television antenna lead clip into
a clamp to attach a pickup
coil to insulated
speaker wires. Bend antenna clip jaws so
the pickup
coil & speaker
wires fit bet them. Glue or tape the butt end of the coil
to inside of one
clip jaw. The other clip jaw remains
free to clamp the
coil fc to the speaker wire.
Cut the rubber suction cup fm the fc of the
coil so it fits
closer to speaker wires, to increase inductive coupling.
Matched hard wire connection of tape
recorder to amplifier provides best
quality
recordings. Many amplifiers do not have
tape recorder jacks.
Amplifier jack output may not match a tape
recorder's input. The sound
system operator may
not permit use of amplifier output jacks.
tarantella. a. Vivacious
6/8 time southern
couples with
tambourines.
b. Music for the dance.
c.
fc ptr>w wgt-R: Bal Sd-L curve L-arm
overhead & R-arm Xif of body,
beh-R, rec-L; Bal Sd-R,
curve R-arm overhead L-arm down Xif of body,
beh-L, rec-R +Hungarian swing [Bjo]; Wheel Step-L/ hop-L, step-R/hop-R,
step-L/hop-L;
Step-R/hop-R, step-R/hop, step-R/hop-R; Repeat 1-4 ;;;;
Run-L, R, L; Run-R, L, R; (cir man 6-steps);; Bal apt Sd-L, beh-R, rec-L;
Bal tog Sd-R, beh-L, rec-R; Cir awy-L, R, L; Cir tog R, L, R; On cir clap
hands overhead
(strike tambourine). Rpt meas 9-16
;;;;;;;;.
Do si do 6-steps;; 4-turning Wz;;;; Twirl-3; Run-3;.
tarantism. Nervous affection.
Dance mania-malady of medieval
Uncontrolled impulse to
dance. Prevalent in southern
17th century. Caused by the bite of the trantula.
target location. The spot/goal dancers desire to reach at fig
completion.
target Pos. The Pos & spot that is goal of a fig.
tch. Abbreviation for touch.
teaching. Teacher
qualification control is not possible nor desirable.
Anyone with a following is a teacher. Qualifications may be defined &
certifications
issued to those who meet standards.
Desirable traits:
Knowledge; patience; communications ability;
memory; awareness of group
needs; pleasant
person; neat appearance; honesty; integrity; humility;
sincerity; considers
others; tolerent; charisma.
Good motivation for teaching is love of
dancing & others. Teach for
pleasure, &
encourage dancers to be pleasant. Teaching is a profession,
conduct self in
professional manner. Plan nights off,
too many nights
without diversions
turn teaching into a chore & sour attitude & outlook
twd
dancing & dancers.
Learning curves advance upward until rate
conflicts with recall &
reaction
ability. Saturation occurs when dancer
can not recall, separate
& select desired footwork, Pos &
directions in an accurate & timely
manner. A dancer becomes confused, frustrated &
discouraged at saturation
points, & may
drop out. Problem dancers should be
helped without neglect
of others. Encourage dancers to seek help & improve
dancing. Reserve
individual
instructions for break periods. If
needed walk the entire
group through
problem figs, otherwise have one or two wait.
Minimize
group waits to help
individuals. Recognize dancer progress
with ready
compliments. Tell group what is planned, what is happening
& encourage
participation. Promote mutual confidence, friendliness &
fairness.
Respect routines. Teach with enthusiasm. Let joy & pleasure show.
Dancers are receptive to dances under such
conditions.
Prepare material in advance. Know the subject, style, routine, rhythm,
etc.. Speak with authority fm knowledge. Don't play "Know-it- all".
Everyone makes mistakes. Refer to the cue sheet if in doubt or to
settle
controversy.
Develop dancer faith without trying to
convince them of your perfection.
Have faith in dancers, they will make
it. Consider how they dance & the
routines
taught. A dancer has the right to dance
in the manner he likes.
Help establish desirable & achievable
goals. Teach style to all dance
levels. Teach good dancing not just routines. Repeat demos after a dance
is learned so
dancers can watch styling.
Avoid rushing there is never enough time to
teach everything. Teach
slow &
thorough. Use as much time as is needed
for a clear & complete
teach of new
material. Resist temptation to quick
teach, include all
significant
details. Bored dancers may sit out. Most dancers learn-
relearn something fm
a review or walk thru.
Keep an open mind for new & old things.
Use mixers &/or move students to
new ptrs. Fast learners
sometimes enjoy helping others. Use
repetition
& different approaches. Watch for better ways of teaching &
dealing with
dancers. Use the
best methods & try to improve them.
Modify pet methods &
try new ones. Observe teaching techniques & methods.
Teach to the average
level of the
group. Help & encourage learning to
read & use cue sheets.
This helps interested dancers learn dances. Furnish cue sheets. Each
beginner should have
a Pos chart & abbreviation sheet.
Observe the golden rule. Set a good example by doing. Criticize
dancers privately,
avoid public embarrassment & minimize mistakes.
Everyone has faults including teacher. Recognize your faults & be alert
for their
signs. Expect mistakes & readily
admit them. Maintain a
friendly,
professional attitude twd other teachers. Contact with them is
important. Teacher & caller organizations &
publications are important
media & training
aids.
Highlight each chg of pace, broken &
mixed fig.
Teachers may start lessons with the
two-step, or Wz.
Observed results
indicate little
difference in class progress bet rhythms.
About twice as
many two-step are
played at S/Ds. Dancers encounter
two-step dances they
know at S/Ds. Added encouragement & incentive occur fm
dancing a RD at a
S/D.
Start class/club on time, without waiting
for all to arrive. Begin with
a warm-up review of
familiar material, so late comers won't miss too much
new material. Avoid being a comedian, but laugh & have
fun. Learning
causes tension that
may prevent smiles. Relax & enjoy,
without excessive
effort. The two big problems are dancers & teachers. Play several known
dances, use some
humor, pick on yourself. Use mixers with
compatible
groups, beware of
personality clashes within groups. Use a
good sport as
a fall guy for
jokes. Admit mistakes.
tea dance. Afternoon dance at tea
time.
telemark (tele,
telmk). a. 3/4 to full LT around girl & chg fm CP
or Scar
to SCP. Scar or CP/>c wgt-R: fwd-LT (Bk-R) CP/<c, Sd-Rball outside her-LT
fc<wall (in-plc-R heels tog fc/>c), Sd-LT
/>w (fwd-R) +SCP>;.
b. (in-plc heels
tog stp-2, +open path for man to step freely around.)
c. See closed telemark: Telemark +Bjo. Scar/>c wgt-R: fwd-L (Bk-R) T
+CP/<c, Sd-Rball outside her-L T +CP/<w, fwd-L (Sd-R) T +Bjo/>w;.
telemark Bjo. a. Closed telemark. See telemark. A telemark +Bjo.
b. LT cross pivot +Bjo.
telemark semi. Telemark +SCP.
telespin. 2-meas 1½ LT fig.
Combine ½LT telemark +SCP followed by (cir
&
turn man on his
L-ball). CP> wgt-R: Telemark
+SCP>; Full LT Lball, - , - (
L-cir man & turn him fwd-L/fwd-R, fwd-L
+CP<, cls-R) +CP<;.
telmk. Telemark.
tempo. Speed of music in meass
or beats/min. Check tempo with the 2nd
hand of a
watch. Count the number of meass for 15-sec & multiply by 4.
Count 4/4 time music at 4-beats per meas [4 bpm], example: 1, 2, 3, 4;
2, 2, 3, 4; 3, 2, 3, 4; 4, 2, 3, 4;. Count 3/4 time
music at 3-bt/meas:
1, 2, 3; 2, 2, 3; 3, 2, 3; 4, 2, 3;. Multiply the
number of meas counted
by four to obtain meass/min.
A natural preference for tempos of 38 to 40
meas/min [both 3/4 & 4/4
time music] seems to
exist. Other tempos are suitable. Music arrangement
& choreography affect
tempo preference.
Typical tempo ranges for various rhythms in
meas/min. Wz: 30 to 38.
Vienese Wz: 50 to 70.
Two-step: 30 to 46. Slow foxtrot:
25 to 30.
Foxtrot: 30 to 35.
Tango: 32 to 34. Rumba: 28 to 32. Samba: 45 to 50. Cha-cha: 32 to 34.
Paso doble: 58 to
64. Swing: 40 to 46.
Relative tempo expressed in Italian
terms:
larghetto; adagio,
lento, andantino, andante; moderato = moderate;
allegretto; allegro; presto; prestissimo
= very fast.
tension. Learning creates stress. Stress hampers learning. Relax & have
fun. Create a light
friendly atmosphere within a group. Play
a few well
known dances when
signs of tensions arise.
tercera. Third. Number three.
terms. Dance: Words, vocabulary,
language. Learning RD language with
adequate familiarity
to recall figs & react in a timely manner takes
frequent repetitive
use over an extended period. Interest
significantly
reduces time
required to gain a working knowledge-vocabulary of the
language. Speak terms aloud to speed vocabulary growth.
figs may have more
than one term. Teachers coin names for convenience.
Some originated fm TV & movies.
terpsichorean. Of or related dance.
tgd. Tango draw.
tgo. Tango.
three cha cha chas. 9-step
1½-meas. Deviate fm 5-steps cha-cha rhythm rule.
3-quick chas
(3-triples). Example:
Sd-L/cls-R,
three little words. 2-meas Wz. Sd-L, tch-R, - ;
three quarter (3/4) time. meas
or bar of 3 ¼ notes.
three slide Esmeralda. 8-meas polka
of sideways slide steps.
Sd-L, - , cls-R, - ; Sd-L, -, cls-R, - ;
Sd-L, - , cls-R, - ; Sd-L, - , - , - ;
Sd-R, - , cls-L, - ; Sd-R, - , cls-L, - ;
Sd-R, - , cls-L, - ; Sd-R, - , -
, - ;.
three slide racket. 4-meass:
Sd-L, cls-R, Sd-L, hop-L; Slide-R, cls-L, slide-R, cls-L;
Sd-R, cls-L, Sd-R, hop-R;.
three step. a. 3-step 4/4 time fig, without a cls step. CP wgt-R:
fwd-L, fwd-R, fwd-L,
- ; fwd-R, fwd-L, fwd-R, - ;.
b. 4/4 time meas:
Qk, qk, qk,
- ;.
c. Fox-trot meas time: Slo, - , qk, qk;.
or: fwd, - , fwd, fwd;.
three steps/meas (3 steps/meas). Dance rhythm of most 3/4 & 4/4 time music
contain
3-STEPS/meas. Dance 3-STEPS/meas unless
told or rhythm specifies
otherwise. The 3-STEPS/meas rule applies to most couple
dances: Wz,
two-step,
international foxtrot, polka, samba, mambo, & rumba. Dances may
include figs that
contain more or less than 3-STEPS/meas, & break the rule
of the rhythm. Develop the habit of dancing
3-STEPS/meas. When it
becomes natural,
dancers need only remain alert for exceptions.
Cue
exceptions to the
rule with a suffix number to indicate the number of
steps/meas. Omit the suffix number 3-fm 3-step cues as
understood. This
adds significance to
suffix number cues that break rhythm.
3-is the magic
number.
Timing, sequence, manner & style of
taking 3-STEPS/meas vary with
rhythm. The common rule remains. Examples:
Two-step = Qk, qk, slo, - ;.
Rumba = qk, qk, slo, - ; or Slo, - , qk, qk;.
Polka = Qk, qk, slo, - ; or Qk, qk, qk,
hop;.
Mambo = Qk, qk, qk, - ;.
Samba = Slo, qk/qk, slo, qk/qk;
(double time meass).
International foxtrot = Slo,
- , qk, qk;.
Conga = Qk, qk, qk, kick;.
Waltz = 1, 2, 3;.
Exceptions to the 3-STEPS/meas rule:
Paso doble =
one-step = Slo, -, slo, _ ; or 1, 2, 3. 4;
Merengue: Qk, qk, qk,
qk;.
Social fox-trot = Slo,
- , slo, - ; Qk, qk, slo, -; Slo,
- , qk, qk;.
Single or foxtrot swing = Step, tch, step, tch; Rk, rec, stp, tch;
Step, tch, Rk, rec;.
Double swing = tch,
stp, tch, stp; Rk, rec,
tch, stp; tch, stp, Rk,
rec;.
Triple or syncopated fox trot = Qk/qk, slo, qk/qk,
slo; Rk, rec, qk/qk,
slow; Qk/qk, slo, Rk,
rec;.
Cha cha = Rk, rec, qk/qk,
slo;.
Each 3-STEPS/meas rhythm contains: A DRIVE
step, a BALL stp, a CLS
step.
The order of the steps vary among rhythms but
the sequence-purpose is
constant.
DRIVE initiates direction, motion &
torque.
BALL lets weight coast & stops motion.
CLOSE resets body to the static flat ft
start posture.
through (thru). a. Pass or move bet space that separates ptrs.
b. Pass free stepping feet bet ptrs.
c. THRU indicates
both dancers pass free ft bet space separating ptrs.
d. Directs girl to step thru or Xif as the man does.
See: Thru twinkle,
thru Rk, thru two-step, thru cha, scis
thru, thru turn, thru Wz, etc.
e. Thru-turn cues pair to start turn in
direction of ptr.
throwaway. 1½-meas
8-step triple swing fig. CP>w wgt-R keep lead hand hold:
Sd-L/cls-R, Sd-L (Sd-R/cls-L, Sd-R) T CP<, Bk-R/cls-L, Bk-R (Bk-L/cls-R,
Bk-L) +FP>; Rk
apt-L (-R) full lead arms length apt, rec-R (-L)
FP>,.
b. Swing rhythm fig (back apt fm CP +FP
lead hands tog).
c.
1½-meas single swing. CP>w wgt-R keep lead hand hold:
Sd-L (Sd-R) T +CP>, - , fwd-R (Bk-L)
CP<, - ;
Rk apt-L (-R), rec-R (-L) CP>,.
throwaway oversway. Pos. Man on-L-knee bent, extend-R to side pnt, twist
upper torso 1/8 LT
with R-sway. (wgt-R-knee bent, outside R-thigh contact
inside his L-thigh)
waist body contact. (Her L-leg extended
& pnt back,
arch back 1/8
L-twist of torso, tilt head back with LT.)
b. +Throwaway oversway & rec +CP. CP>w wgt-R: Sd-L draw-R to-L (Sd-R)
stretch up 1/8
L-twist, flex L-knee extend-R to R-pnt lower
R-shoulder
(bend R-knee &
extend-L back to L-pnt > low L-shoulder LT head
chin up),
rise & draw tch-R +CP>w;.
c. Oversway 1/8 L-twist modified by her extended-L to back pnt in
opposite direction
of his R-pnt.
throw-out. Swing:
CP>w wgt-R: Sd-L/cls-R, Sd-L (Sd-R/cls-L, Sd-R), T +CP>,
apt-R/cls-L,
apt-R (-L/-R, -L) lead hands tog; Rk apt-R (-L), rec-R +CP>,
throw-over. Paso doble term for girl rollaway. OP> wgt-R:
(rollaway +LOP
in 4-steps;.
thru. Through. Cue to step through space bet ptrs & fc ptr.
thru chasse.
Thru step follow by chasse. Loose CP>w wgt-L both look twd>:
Thru-R (-L), Sd-L/cls-R,
Sd-L;. Best choreographed to Wz
meass with two
1/8 notes following a lead ¼ note, i.e.: 1,
2/3, 4;.
thru hover. Loose FP>w wgt-R
both look twd<:
Thru-L (-R) FP>w, Sd-R
(-L) on ball, rec-LT (rec-R
RT) fc>;. or
Loose CP wgt-L both
look twd>: Thru-R (-L) FP, Sd-L
(-R) on ball, rec-RT
(rec-L T) fc<;.
thru turn. Turn twd ptr. Solo turn on thru step.
OP> wgt-L free-R
extended back:
Thru-RT (thru-L T) fc ptr, Sd-L on ball RT (Sd-Lball T)
+L-OF<, cls-R (cls-L);.
thru twinkle.
Twinkle thru. L-Open < wgt-R:
Thru-L (-R) T FP, Sd-R (-L)
on ball T OP>, cls-L (-R); Thru-R (-L) T FP, Sd-L
(-R) on ball T L-OP<,
cls-R (-L);. Modify degree of turn & +Pos with start Pos of
follow on fig.
THRU TWINKLE is a more effective cue than
TWINKLE THRU. A higher number
of girls recognize
& react smoothly to THRU TWINKLE than TWINKLE THRU.
TWINKLE in cue TWINKLE THRU receives first
attention & starts recall
reaction to TWINKLE,
where girl steps beh.
THRU comes 2nd & modifies
TWINKLE after she is committed to TWINKLE. Committed to TWINKLE recall
step functions she
may: ignore or fail to hear the follow on THRU; dance
the TWINKLE with a beh drive step. A beh drive step starts torque rev to
desired rotation. To
stop & rev torque generated on the drive step creates
jerks & twists
that corrupt fig flow. Dancers tend to
associate CP> with
the TWINKLE fig,
& Bfly Pos>w with TWINKLE THRU. Man may contribute to
girl's TWINKLE vs THRU-TWINKLE problems with force leads that interfere
with her freedom to
adjust for the cued fig.
1st word of the cue THRU TWINKLE prompts
dancers to step THRU. A THRU
drive step Positions
& torques dancer for a side ball step, that is the
same for
THRU-TWINKLE, THRU turn or THRU Wz. The suffix modifier is cued
last but easily
received, because dancer attention is alerted to the cue
THRU by absence of a
companion word. A THRU cue &
step starts dancer's
torque in the proper
direction for THRU follow-on actions.
thru Waltz. Loose CP, SCP, OP or Bfly
Pos wgt-L: Thru-R (-L) ¼T +FP, Sd-L
(-R) on ball, cls-R
(-L);.
tilt. Lean slightly fwd, back or side.
tilting. Calypso fig. See banana step.
timbals. Double
headed treble drums played with open hands to produce 2-
tone syncopated
Latin rhythm.
time step. a. One ptr holds or
dances rhythm in place as ptr dances a solo
fig.
b. 5-step 1-meas
cha cha rhythm fig.
FP wgt-R: Rk beh-L, rec-R,
L/cls-R, Sd-L; beh-R, rec-L,
Sd-R/cls-L, Sd-R;.
ptrs
may dance different figs.
tip. A pair of S/Ds: 1-hash & 1-singing call.
tip-toe. Dance high on the toes.
tipple. a. Tip or
tilt.
b. Modifier to indicate tilt bodies.
c. Drink alcohol
excessively.
d. Stagger as if drunk.
tipple lock. SCP tilt fwd on-L: Thru-R, fwd-L/lock-R,
fwd-L;.
tipsy. Unsteady, askew or stagger
style.
to. Target Pos
or facing direction i.e.: Hover to semi; Wing to Scar;
Twinkle to Bjo; etc.. TO is often
confused with TWO. Minimize use of TO
& reduce confusion on cues like: Roll-2;
Hover semi; Wing Scar; Twinkle
Bjo; Roll two to fc too.
toe (T). a. Toe of ft.
b. Placement of toe.
c. See HEEL &
TOE, & TOE & HEEL.
c. Toe vs Ball: Toe is a step high on ball, heel raised ½" or
more. Ball
= heel less than ½" above floor.
toe dance. Dance on toes (high on balls) heels more than
½" above floor.
Balance on ball is unstable with heel higher
than ½". Toe dancing causes
leg muscle tension,
poor balance, bounce & strain.
Tip-toeing is
affected, tires legs
& looks sissified. Test feel of
weight on ball:
1. Stand flat footed, weight divided bet heel
& ball.
2. Shift weight slowly fwd to ball, heel
still touching the floor.
3. Raise heel a fraction (1/32" to
1/16") off floor. Good height for
ball
or quick steps. Slow
steps are heel to ball.
toe in. Point free toe at weighted
foot.
toe out.
Point free toe away fm weighted foot.
toe teasing. Susie-Q. Travel
sideways, alternate twist toes wgt on heel/s,
then twist heels wgt on toe/s. Bfly>w on R-heel
move twd>:
Twist toes-L shift wgt
+toes, twist heels-L shift wgt +heels,
twist toes-L shift wgt +toes, shift heels-L shift wgt
+heels;.
Twist free lead ft in same or opposite
direction of wgt ft.
Wgt may be
supported by trailing ft or both ft.
toe to flat (T-F, T/F). Slow back step technique. Transfer weight fm toe to
flat of ft.
toe to heel (T-H, T/H). Backward
drive step technique. Transfer weight fm
ball through flat to
heel.
tog. tog. together
tog. a. Move twd ptr.
b. Move extended free ft beside [next to]
weighted foot.
c. Free style
ballroom studio term for close step and/or for tch
non-step
ft action. Move extended free ft to weighted ft to
eliminate ft
separation resulting
fm a step. Restore balance for the next
ft action.
tone arm. Record player lever
containing the pickup & stylus.
Controls
needle track,
pressure & arc. Arm may have an appendage to raise & lower.
File: T-terms.txt
rev-030324