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.
tone deaf. Absence of abilitiy
to distinguish bet different audio tones. It
does not infer that
a tone is not heard. Tone deaf folk may
hear the beat
& be able to dance to it. Dancing without melody perception must lack
luster, musical
motive & appreciation. Perceptible
beats do contain the
native rhythmic
motive of drum beats.
top spin. a. International ballroom Wz
fig 5-step 3/4 L-T. Step-6 maybe
added to complete
2-meas. Contra Bjo/>c wgt-R: Beh-L (Xif-R)
LT +Bjo/<c,
bk-R (fwd-Lball) LT CP/<w, small bk-Lheel (sd-R ball) LT +contra Bjo/>w;
fwd-R (Xif-L) LT +contra Bjo/>c, fwd-L (bk-R) +CP>,
fwd-R;.
b. 1-meas 4-stp
3/4 or more LT small progress. Bjo/>c: Beh-LT fc/<c (Xif
-R), sd-Rball LT fc/<w, fwd-LT fc/>w, fwd-R
LT +Bjo>;.
top ten. 10 most popular RDs
of a month, determined by an association or
magazine that
conducts polls/counts. Top-10 lists help
teachers choose
rounds to teach or play. Use of the top-10 helps develop common
repertoires among
dancers, making intermixing more compatible.
tornello/tornillo. 6-step
2-meas rumba wheel, dance in Bjo or Scar. Cir
girl & turn her
on her wgt Lball in plc. Bjo>w wgt-R
(stork stance on
Lball R-leg bent
form fig-4): Cir fwd-L, R, L, - ; R, L, R, - ;.
torque. Turning force
or radial momentum. See
drive. Drive step generates
torque &
directional momentum.
touch (tch). a. Contact
floor with free toe or ball beside wgt ft.
b. A NON-STEP ft action. No weight applied to tch
ft.
c. TOUCH is often
confused with CLOSE. Track brings
extended ft beside
wgt
ft, & is the same for a touch (non-step) or close (step). Dancers
often STEP instead
of TOUCH & vice versa, Each action
is easy, but dancer
may fail to note or
respond properly. Improper responses
recur regularly
as common mistakes.
d. Free style ballroom studio term for
point.
e. Touch ptr with
hand or finger/s.
touch steps. Disco term for point fwd
& close step. FP wgt-R: pnt-L
fwd, cls-L, pnt-R fwd, cls-R. Point steps back: pnt-L bk, cls-L,
pnt-R bk,
cls-R;. Sd pnt steps: pnt-L
side, cls-L, pnt-R side, cls-R;.
toss out. Strong lead to help girl
adjust fm CP to OP.
tourdon. Slow
galliard of gliding steps. Ft keep floor contact to step.
twd (twd
or to). In the direction of.
towel. Turkish
towel.
track. Bring free extended ft beside wgt ft
following a step. A NARROW
TRACK helps dancer stand erect & balance
with head over COG & ankle.
Proper track is needed for: smooth; gentle;
controlled; pleasant appearing
dancing. A narrow track means free ft passes near
(1" or less) wgt ft. A
wide track (3"
or MORE) means free ft does not pass near wgt
ft. Narrow
track is best for
dancing, walking & running. Wide
track results in
waddle or straddle
walk.
An object (including a dancer) is in a
stable or balanced condition when
the COG is directly
over supporting ankle. Good balance is
needed for
smooth dancing &
step control. Momentary balance is
obtained on each step
as COG passes over
the supporting ankle. Instant of balance
occurs as
free ft tracks or
passes the wgt ft.
A dancer is off-balanced while in
flight fm 1-ft to
next. Once started dancer is committed
to complete a
step. There is no
way to chg direction of motion after drive force is
released (while in
flight bet drive & ball [landing] steps.
Direction chgs
are initiated fm point of balance where dancer has
control of body wgt. COG does not
pass over wgt ft with a wide track, but
continually shifts
sideways fm ft to ft without passing directly over
either. Moment of balance does not occur on a wide
track. The wider a
track, the less body
wgt control a dancer has & more effort is needed
to
chg direction of
movement.
Dance a narrow track on all steps,
including box figs. Dancers may
slur, fail to narrow
track, on Wz fig step-2 with `fwd, sd, cls;'. They
move the tracking ft
/fwd to a slurred target side location on a wide
track. The ft freed by the fwd drive step should
move to & reach the wgt
ft in time with the
beat, & continue in the same direction generated by
the drive step. A side step should only be taken if a ¼T
drive step
positions body to
permit a side step to flow in the same direction as the
drive step. Beat-2 marks completion of step-1, &
start of the next.
Girl receives lead signals on the close
step. Once the drive step is
executed, the flow
can not be altered. She can not change direction in
flight (during drive
or landing steps). The force required to
chg her
direction of
movement equals her body wgt times the speed of
movement
times the function
of the angle of direction chg. Good lead-follow
techniques require a
narrow track plus properly timed steps, leads & lead
signals. Dance erect with firm [not rigid] body
carriage. Take small
steps on a narrow
track with good balance. Loose torsos
cause unintented
COG shifts, & delayed body control.
trailing (trlg). Hand or ft opposite lead hand or foot. Hand/foot opposite
direction of
travel. R-hand (girl's
L-hand).
trans. Transition.
transition (trans). Chg fm opposite to identical footwork or vice versa.
Either ptr may add
or omit a step to or fm a fig to transition.
travel. Merengue term. Bfly>w wgt-R:
sd-L (-R), cls-R (-L), sd-L (-RT fc>), cls-R (Rball T +fc>w back twd man);
sd-L (sd-L), cls-R
(cls-R), sd-L (sd-LT fc>), cls-R (LT on-ball) +Bfly;.
traveling (trvl). a.
Progressing.
b. 4-meas or
more. Alternate WALK-2 bet a
broken/split double-meas 4/4
time fig. Examples: Traveling Box & traveling Scis.
traveling box. Break or
split a double-meas box fig with a WALK-2 meas
inserted bet the 1st
& 2nd ½Box. CP>w wgt-R: sd-L,
cls-R, fwd-L, +<SCP<;
Walk fwd-R, - , fwd-L, +CP>w; sd-R, cls-L, bk-R,
+SCP>; Walk
fwd-L, -,
fwd-R, - ;. ½Box; Walk-2; ½Box back;
Walk-2;
traveling contra check. fwd Wz
or foxtrot fig. CP> wgt-R:
fwd-L chk +contra body pos, - , rec-R (rec-L ½RT) +SCP>;.
traveling Scis. a.
Progressive double Scis fig with WALK-2 inserted bet
1st
& 2nd fig.
CP> wgt-R: sd-L, cls-R, X-L, +Scar>w; Walk-R, - , L, - ;
sd-R, cls-L, X-R, +Bjo/>c; Walk-L, - , R, - ;.
traveling
trill. Rapid
alternation of 2-consecutive 1/32 notes.
triple (trpl). Three times. Triple-steps or triple swing.
triple box. Mambo.
fwd-LT, sd/cls, bk-R LT, sd-L/ cls; Rpt meas 1 & 2;;.
triple hip motion.
Extra hip rise & fall on slo count of
rumba rhythm meas,
w/out change of wgt. Qk rise &
fall of free hip. sd-L, cls-R, sd-L lower
R-hip, raise R-hip/lower R-hip;. Add sensuous move to slo tempo
rumba.
triple rhythm. Triple swing or steps.
triple step. Free-style ballroom-disco term. a. Rhythm = 6-steps per 4/4
time meas. Stp/cls, stp, stp
cls, stp;.
b. Double-time dance rhythm. 2 two-step figs danced in 1-meas.
sd-L/cls-R,
sd-L, sd-R/cls-L, sd-R;.
c. Timing of
triple music step is: Qk/qk, slo,
qk/qk, slo;.
d. Double chasse: Cha L & R;
triple swing. 8-step 1½-meas syncopated foxtrot fig.
Time-rhythm:
Qk/qk, slo, qk/qk, slo;
Rk, rec,.
or ½, 3, 4/5, 6; 1, 2,.
triple time. Three quarter [3/4] time music- rhythm. Used for Wz &
jigs.
triple twirl. 3-meas fig of 3-twirls.
trout mouth. Undesired, but natural, open mouth expression
of some
international
ballroom dancers on CP turns with interlocking ft & bent
knees when leaning
apt with a wide upper body firm brace.
Gaping mouth is
by-product of strain
fm the stance. A wide
firm brace aids over turns
exceeding ¼T per
step. :-o
trn. Turn. T.
trng. Turning.
trns. Turns.
trpl. Triple.
truck. 4/4 time fig. OP>
wgt-R no hands joined, inside hands extend upward:
Slide-L fwd wgt
L-heel, twist L-toe & body /-L, slide fwd-R wgt R-heel,
twist R-toe &
body /-R;.
tuck. Preparatory position
for her rev spin. FP wgt-L (her-R) R-hands
tog,
free knees bent
slightly thru>.
Tucker
Wz.
Form dance-circle, men without ptr in center. A chg of rhythm
fm Wz to two-step or vice-versa, a whistle, halt of music or
the cue
CHANGE ptrS is
signal for men with ptrs to roll back to a new
girl. As dancers roll bk, men fm center try to steal a girl.
Turkish towel. a. Dancer
moves back & forth Beh ptr
with reciprocal
cross motion of a
towel drying a back. Both fc> man Beh girl, extend
hands to sides man wgt-R, dancers move in opposite directions: sd-L twd
center (sd-R twd wall), cls-R (-L), sd-L twd center (sd-R twd wall), - ;
sd-R twd wall (sd-L
twd center), cls-L (cls-R), sd-R twd
wall (sd-L) twd
center, - ;.
b. ShadPos rumba
or cha-cha fig. Dancer in back imitate a Turkish towel
move side to side Beh ptr. ShadP>w (girl
offset-L in front of man):
Cha-cha: Rk sd-L (girl-R), rec-R, sd-L/cls-R, sd-L +ShadP (girl offset-R);
Rk sd-R (girl-L), rec-L, sd-R/cls-L, sd-R;.
c. Rumba: Rk bk-L (girl fwd-R), rec-R, sd-L, - ; Rk bk-R (Rk
fwd-L),
rec-L, sd-R, - ;.
turn. a. 1-meas CP ½RT. A 2-meas CP 3/4 to full RT
fig.
b. Turn infers a natural, CW (RT). LT = a CCW (reverse turn).
RT unless told to LT.
c. International
ballroom term: NATURAL = RT;
REVERSE = LT.
d. Turn = action to rotate a dancer.
e. Turns are progressive unless modified
by: spot; spin; wheel; in plc.
f. 2-meas 6-step
disco hustle fig: Bjo half wheel & +Scar; Half wheel
&
+next position;. Or, Bjo>w: fwd-L
RT wheel fc<, fwd-RT +CP>c,
cls-L +Scar
+>, - ; fwd-R LT wheel fc>c, fwd-LT wheel fc<, cls-R LT CP>w, - ;.
g. Rotation, radial momentum, turn force, torque or torsion for a turn
produced on drive
launch step.
h. CP couple rotation = ¼T/stp.
i. Launch a turn
two-step fm stp-3 of preceding meas.
Example launch
the T fm beat-7 of
the fig: 2-fwd Two-steps 1, 2, 3, 4; 5, 6, 7*, 8; 2T
Two-steps;;.
turn away (trn awy). Solo turn away fm ptr twd free foot.
turn in (trn in). a. Solo turn twd ptr twd
free ft.
b. Turn to fc ptr, on step-1 with target direction beyond ptr.
turn out. a. Solo turn away fm ptr
twd free ft.
b. Turn to fcaway
fm ptr with target beyond.
turn rules. Rules of turns. LT on fwd-L or bk-R
stp.
RT on fwd-R or bk-L
stp.
LT or RT on side stp.
See body mechanics. turn
thru. Solo turn started with a thru stp to fc
ptr.
Turn in.
Turning box. 2-meas 6-step box modified
by LT on each fwd & back step.
CP>w wgt-R,
rotate ¼T per meas = ½T in 2-meas.
a. Wz
CP>w: fwd-LT fc>, sd-R,
cls-L; bk-R LT>c, sd-L, cls-R;.
b. Two-step: CP>w wgt-R:
sd-L, cls-R, fwd-LT
+CP>, - ; sd-R, cls-L,
bk-R LT +CP>c, - ;. Rpt 2-meas for a full LT.
c. Start RT box wgt-L & ¼RT on each fwd-R & bk-L
step.
turning hover. a. 3-step hover fm CP +SCP. CP>w: fwd-LT +CP>, sd-Rball LT>c,
rec-L (bk-R, hov
bk-L, rec-R) +SCP;. (LT on stp-1 & 2) +Bjo>c.
b. ½RT hov +Scar
fm CP>: bk-L RT fc>w
(bk-R), sd-Rball T
+Scar< (bk-L),
rec
bk-L (fwd-L) +CP>;.
c. Spin turn.
turning locks.
T or curve a series of: fwd, lock, or: bk,
cut, steps.
R-T on fwd-R or bk-L
stp.
L or R T on side stp.
Limit CP couple rotation to ¼T per stp.
turning two-step.
2-meas 3/4 to full RT CP fig. CP>w wgt-R: sd-Lball RT<,
cls-R, bk-L RT, fc>c -; sd-Rball T fc>, cls-L, fwd-RT +CP>w, -
;.
turning Wz. a. 1-meas CP RT Wz. 2-meas 3/4 RT Wz. CP
throughout, fc< wgt-R:
bk-L RT fc>c,
sd-R RT fc>, cls-L; fwd-R RT fc>w, sd-L, cls-R +CP>w;.
turning wing to Bjo. Wz/foxtrot
1-meas ½turn fig. SCP> wgt-L: fwd-Rball
(fwd-LT +loose
CP>, wgt-Rball (sd-R LT
& rotate man) +Bjo/>center, wgt-R
ball (cls-R);.
turns. Quarter T is
a 90º T. Most folk are capable of ¼T per step. A CP T
of more than ¼T per
step exceed a CP pair's body mechanics.
Use: two ¼T
steps = ½-T; four ¼T
steps = a full T. Avoid figs that
require special
step technique,
agility, talent or effort.
Observe CP RULES OF TURNS:
L-T on fwd-L or bk-R steps.
R-T on fwd-R or bk-L steps.
L-or R-T on side steps.
CP R-ft bet ptr's
ft, girl look over L-hand on couple turns. Improper
CPs slur steps
& hamper smooth turns.
Natural turn = RT. Reverse turn = LT. Start T on drive steps.
Look & T drive ft, body & head twd target of T.
Look & point T drive ft away fm body on
fwd T steps.
Point T drive ft in on back T steps, look in
T direction.
Turns may be couple or solo T &
include: Turn two-step, turn Wz, turn
box, natural/R-T,
reverse/L-T, double reverse turn, spin turn, pivot,
impetus, slip pivot,
telemark, wheel, roll, twirl, basketball, stork,
pickup, maneuver,
gaucho, circle, double reverse spin, Scis, twinkle,
wrap, unwrap, etc..
Twirl is girl's modified solo roll turn,
Her footwork is the same as a roll.
Twirl uses lead hands contact over her head.
Pickup is a girl's LT.
turntable. Record player disc platform.
turntable speed. Record radial velocities = 16, 33-1/3, 45 & 78
RPM
(revolutions per
minute). 16 RPM records provide good
voice fidelity, &
are primarily used
for talk records. 16 RPM records permit
recording many
words on a disk,
& are used for books & language courses.
78 RPM records have not been produced for
years. They are collector's
treasures. The 78 RPM speed is provided on many record
players for use
with antique
records.
33-1/3 & 45 RPM speeds are suitable for
high fidelity recorded music.
45 RPM records with 1-recording on each side
is preferred for RDing
because of the small
size & filing convenience.
33-1/3 records have several tunes on each
side. A single tune is hard
to locate. Weight & storage of records is excessive
if only one tune per
record is used.
Players designed for RD & S/D records
have mechanical levers to shift
turn-table speeds
(16, 33-1/3, 45 or 78 RPM). Controls
also vary the
speed above &
below nominal speeds for fine tempo adjustment.
Some
turntables have
speed controls that vary speed fm zero RPM thru 78 RPM.
A neon bulb illuminated by the 60 hertz
power line voltage forms a low
intensity strobe
light that blinks 120 times per sec. The
strobe light
illuminates a circle
of dots on a strobe chart. The rotating
dots appear
stationary when the
chart rotates at the nominal speed. Dots
appear to
rotate in the
direction of turntable rotation at speeds greater than the
nominal speed. Dots appear to rotate in reverse turntable
rotation at
speeds below the
nominal speed. Nominal speed is desired
rpm of record to
be played.
tuxedo. Sideways 6-meas two-step
fig. FP wgt-R:
sd-L, - , cls-R, - ; sd-L, - , cls-R, - ; sd-L, cls-R, sd-L,
- ;
sd-R, - , close, - ; sd-R, - , cls-L, - ; sd-R, cls-L, sd-R, - ;.
twink (twinkle). Twinkle.
twinkle (twink, twkl,
twkle). 1-meas 3-step couples 45º/ progressive fig of
90º angles. Also a 6-step 2-meas fig. A 90º T change of direction
& Pos.
Progress when facing >. Loose Scar permits man to step bet ptrs ft
without stepping
over wgt ft.
Loose Scar/> wall wgt-R: fwd-L (bk-R) LT
+loose Bjo/>c, sd-R (sd-L)
on ball, cls-L (R); fwd-R (bk-L) RT
+loose
Scar/>w, sd-L (sd-R) on ball, cls-R (-L);.
Progress twd>
or < if facing direction permits. (dance back on
progressive
twinkles.) Spot twinkle if fcing direction or position
prevents
progress. Spot twinkle fm CP>w or
>c, or fm Scar &/or Bjo>
or<.
Spot twinkle, Scar< wgt-R:
fwd-LT (bk-R) +CP>w, sd-R
(-L) LT +Bjo>, cls-L
(-R); fwd-RT (bk-L)
+CP>w, sd-L (-R) RT +Scar>, cls-R
(-L);. (back or Beh
on twinkles unless
told otherwise). Thru twinkle, twinkle
thru & twinkle
man in back cues
tell girl to Xif.
twinkle in back. Step back or Beh on
step-1 of twinkle meas.
twinkle man in back. Step back or Beh
(step fwd or Xif) on step-1 twinkle.
twinkle thru. Both ptrs step thru
step-1. LOP< wgt-R: Thru-LT (-R) +FP>w,
sd-R (-L) LT +OP>, cls-L
(-R); Thru-RT (-L) fc
ptr, sd-L (-R) RT +LOP<,
cls-R (-L);.
twirl (twl). Progressive 1-meas 3-step fig. Vine-3 (roll-3 under arch lead
hands). Usually followed by a 3-step THRU fig by ptrs.
Wz. CP>w wgt-R, lead hand arch: sd-L (sd-R ½ RT under arch fc>w), Beh-R
(sd-L ¼ RT fc<), sd-L (bk-R ¼ RT);
TWO-STEP. CP>w wgt-R, lead
hands arch: sd-L (sd-R
½RT), Beh-R (sd-L ¼
RT), sd-L (sd-R ¼ RT), - ; +CP>w.
FOXTROT.
CP>w wgt-R, lead hands arch: Vine-3
(Twl-3): sd-L (Twl-R ½RT),
- , Beh-R
(sd-L ¼RT), sd-L (sd-R ¼RT); +CP>w.
Twirl = 3-steps, unless told
otherwise. See TWIRL-2'. A comfortable
full arm length
reach arch occurs on twirls if man vines: sd-L, Beh-R,
side;. The Beh step puts his L-shoulder & arm next to her, to
provide a
higher arch with
apex over her head.
Twirl = girl's progressive RT under arched
lead hands. Spot-twirl = cue
for no
progression. Twirl may be confused by
beginners with turn, spin,
roll & other
turn figs. Twirl needs joined arched
hands. Spin & roll are
danced without arch
hand contact.
Twirl faults: Roughness; forced twirl; LOW
ARCH TWIRL = girl duck head,
squat or stoop
under, out of arms reach; rush; grab
girl after twirl;
hold or grasp arched
hands tightly; jerk arch up & down; crank her arm;
poor posture;
etc.. Girl's have quit dancing because
of rough twirls &
other
roughness. Dance
smooth & gentle. To improve
twirls, have her
twirl him, until men
learn what girls have tolerated. Men
wouldn't
tolerate rough
twirls. A girl should not be force
twirled & should always
have the option of
not twirling. Some girls get dizzy on
twirls. Some
have had arms,
backs, necks & shoulders hurt on rough twirls. Give her
a choice. Gently raise the arch to signal a twirl. Yield at the lightest
sign of
resistance. Do not attempt to raise the
arch any farther. If she
permits the
arch to be raised, let her choose - to
twirl or dance fwd
without twirling.
Some men twirl by jerking her hand up just
high enough to block her
vision. Her choices are: duck, stoop, squat or have
his arm wrapped
around her
head. All these choices are unacceptable
& destroy her
posture &
style. Arch hands high enough for her to
pass under with head
high, body
erect. She should twirl on her own
power, without help fm the
man in the form of a
push, twist, or crank around. Her arm is
not a lever
for turning
her. She would rather turn herself, let
her. Arch hands
should have loose
contact, his hand serves as a guide only.
Her hand must
be free to turn
within his. She may hold his hand for
added support.
Girl's usually
receive rough treatment on twirls, but a girl who rushes
can twist the man's
arm on a twirl.
Never twirl out of reach when ptrs are far apart.
This causes the her
to lose balance,
degrades style & is rough. Out of
reach teirls may occur
when a short man
attempts to twirl a tall girl. Tall
girls should break
arch hands rather than
stoop under a low arch. It is best not
to twirl
when the arch is too
low. Few twirls are better than many, or
poorly
executed
twirls. Do not grab for her after a
twirl, wait for her return.
Ladies enjoy dancing with & respect
gentle men. Girls don't want to
test your strength
while dancing. Girls are often better
dancers than men
& pulls, pushes, shoves, masher tactics
& wrestling leads are not needed
or appreciated. A safe practice is to avoid twirls with a
strange ptr.
A girl S/Der who
wants to twirl often lets man know or twirls on her own.
Some girls ask men not to twirl them. Most girls who dislike twirls
suffer in silence,
& later complain to friends. Girls
tell men, without
hesitating, if
twirled roughly. It's OK to tell a man
"Please don't twirl
me." or "Please don't twirl so
roughly.".
Encourage beginner S/Ders
not to twirl, or use few twirls until they
learn to follow cues
without rushing. Omit twirls when
rushed. S/D
twirls precede &
end promenades. The S/D twirl uses a R-to-R-hand arch.
An exception is fm swing to promenade
position, where his-L to her R-hand
arch is used. S/D twirls are not used fm a swing to a
circle left.
The RD TWIRL-3 requires girl to overturn in
stepping. A 3-step full
turn requries more than ¼-T per step. She may have limited mobility,
agility,
low-dizziness quotient or balance control. The degree of turn per
step is reduced by
dancing TWIRL-6. A 6-step full turn (ROLL-6), instead
of TWIRL-3 (ROLL-3)
& THRU TO FACE. TWIRL-6 limits
degree of turn per
step. TWIRL-6: sd-L ¼ RT fc< (sd-R ¼ RT fc>), bk-R (cls-L), bk-L (fwd-R
RT fc>w); bk-R ¼LT (sd-L ¼RT fc<) fc ptr,
sd-L (-R), cls-R (bk-L ¼RT fc
ptr)
+CP>w.
twirl maneuver. Cue for simultaneous (rev spot twl) man manu.
twirl to tamara. Tamara wrap.
twirl two. TWIRL-2 a twirl in two slow steps, used with two-step rhythm.
Twirl-2 (two ½ RT steps). Twirl-2 deserves special attention because of
frequent use
&/or abuse. Twirl-2 may be poorly
executed because dancers
learn it early in
lessons before they develop good timing, style,
gentleness &
smoothness. Twirl-2 is often improperly
taught, learned
& choreographed in
two-step cue sheets. CP>w wgt-R arch lead hands
Twirl-2: Vine-2 (sd-R
½RT fc>w, - , sd-L ½RT fc man,
- ;). The 1st ½RT
step is started on
heel & completed on ball of ft. The
2nd ½RT is started
on ball & is
completed on heel of stepping ft.
Up-weight on ½T stp
to
reduce hip, knee, ankle
& ft joint strains. Poor timing
& forced twirls
also strain her
joints.
Girl reduce degree of T per step, prepare
for TWIRL-2 fc> as arch is
formed. The degree of turn is reduced if TWIRL-2 is
followed by WALK-2.
The combo TWIRL-2; WALK-2; = SLOW TWIRL-4;; a 2-meas fig of four ¼RT stps.
SLOW TWIRL-4: SLOW VINE-4 (sd-R ¼RT fc>w, - , sd-L ¼RT fc<, - ; bk-R, - ,
bk-L ¼RT fc> man, - ;).
A 2-meas `Double twirl-2' or `Twirl-2
twice' is not conducive to smooth
pleasent
dancing for the girl. Nor are figs with
Twirl-2 followed by a
T meas. Such combos may be executed smoothly by some
girls, but exceed
body mechanics for
many. Amateurish choreography lacks
professional
integrity.
twirl vine. A RD fig. a. Cue for simultaneous Vine (girl
twirl). sd-L,
- , Beh-R, - ;
places his L-shoulder next to her, providing maximum
vertical &
lateral arch. Compare clearance of man
vine with that of man
walk. On "walk
twirl" his L-arm must pass across in front of his body to
reach up & over
her, reducing arch clearance.
b. Teach men to vine on the cue TWIRL.
c. See vine
twirl. The ballroom dance progressive
twirl has man step:
sd-L to fc<, bk-R,
bk-L; bk-R ¼LT +fc ptr, sd-L,
cls-R;. This positions
his L-shoulder &
arm nearest to her, for max vertical & lateral arch
clearance.
twist. a. In place contra rotate hips &
shoulders.
b. New Orleans 1913. Ref.
words/o song "Ballin the Jack".
c. 1960's dance
fad.
d. Short cue for twisty vine.
e. FP>w wgt-R
w/L-ball touching floor about 10" to side, Keep ball-floor
contact. L-TWIST: Turn shoulders CCW or L twd> swing L-arm back & R-arm
fwd, simultaneously
L-knee Xif of R-knee T hips CW, R or twd<.
R-TWIST: T shoulders CW or R twd< swing R arm back & L-arm fwd,
simultaneously
R-knee Xif of L-knee T hips CCW twd>.
Shift weight fm ft
to ft on every 4th
beat, sway body twd wgt
foot.
f. 2-meas twist
fig, FP>w hands free wgt-R, Lball
touching floor: L-
twist, R-twist, L-twist
shift wgt +both ft, R-twist shift wgt
to-L Rball
touching floor sway
L; L-twist, R-twist, L-twist shift wgt +both ft, R-
twist shift wgt to-R Lball touching floor
sway R;.
twist vine: 2
& LT; 2 & RT. 10-step, 4-meas, Two-step or Cha/cha fig. Fm
CP>c wgt-R (opp ftwk):
sd-L RT >Cont-SdCr>c, Beh-R LT +CP>c INTERLEAVE L-
ft bet ptr's ft; L-½T two-step +CP>w; sd-R
L +Con-Bjo</w, Beh-L RT
+CP>w
>INTERLEAVE R-ft bet ptr's
ft; R-½T two-step +CP>c; *INTERLEAVE shifts
reduce TANGLEFOOT clashs on L & R T with fcg
dir & Pos chgs.
twisty balance. 6-step 2-meas bal. Bfly>w
wgt-R: sd-L (sd-R), beh-R (Xif
L)
on ball, rec-L (-R); sd-R (-L), beh-L (Xif-R) on ball, rec-R (-L);. May
be modified by man Xif & girl beh.
twisty pas-de-basque. Twisty balance.
twisty vine. Grapevine, step beh
as (she steps Xif) &/or vice versa. Bfly>w
wgt-R: sd-L (-R), beh-R
(Xif-L), sd-L (-R); In
front-R (beh-L), sd-L (R),
cls-R (-L);.
twnk. Twinkle.
two beat turn. Disco, 4/4 time 1-meas 2
step solo T. sd-LT on ball,
pirouette 3/4 LT on
L-ball, - , cls-R;.
two-step. a. Duex
temps, redowa, galop, gallapode, Wz a duex temps,
ignoramus Wz, two-step Wz.
b. Dance rhythm of 3-steps per 4/4 time
meas. Time: Qk,
qk, slo, - ;.
The term two-step comes fm the fact that 2 of
the 3-steps move dancer, the
cls
step chgs wgt in
place. Side two-step for example: sd-L = 1-step,
cls-R, sd-L = 1-step , -;. Side two-step moves dancer 2 steps to the L.
There is no progression on the close
step. Total sideways progress = 2
steps.
Some instructors teach two-step before Wz. 4/4 time beats
are usually
more pronounced than
in Wz beats.
Two-step rhythm is easy for learners to
identify &
relate to. Wz
music has 3-even beats per meas with a step on
each beat.
Failure to change weight on close steps is
a frequent mistake. Close
step is difficult
for some dancers to comprehend, learn,
accept, remember
& execute. A frequent mistake is to touch & fail to
change weight on a
close step. A related mistake is to close for a touch
non-step ft action.
Beginners tend to minimize importance &
meaning of the basic terms close
vs
touch. Simplicity of terms & similar
actions disguise importance. Most
people want to
dance, not learn meanings of terms like close & touch.
Teach-learn time is reduced if learners
recognize significance of close vs
touch.
Learn & practice each step, & fig
alone, without music or ptr. Think
through each step at
your own speed, & spare ptr the stress of
suffering
thru each
mistakes. When familiar with steps,
music & figs, try dancing
with ptr. Instructors who
give private lessons separate spouses until
each learns a fig
well before dancing them as a couple.
This avoids
conflicts that occur
when spouses learn together.
Two-step turns & adjustments are
primarily completed on step-3, the slow
step of the qk, qk, slow, - ; rhythm. Slow
steps allow 2-beats to complete
a turn or adjustment. Slow steps provide time to blend smoothly
without
rushing, jerks or
jumps fm 1-position/direction to another.
Foxtrot originated as IGNORAMUS Wz. Ignoramus
defined untrained dancers
who Wz to 4/4 time music.
Two-step & foxtrot provide basic formats for
other 4/4 time
rhythm dances. Related 4/4 time dances:
foxtrot, swing,
rumba, polka,
schottische, mambo, cha cha, & samba. Two-step figs
include: Side
two-step, fwd two-step, box, vine & reverse vine, fcto
face,
bk2bk, Scis, Scis thru, hitch, balance, two turning two-step, etc..
Two-step steps: 1. Ball = qk step on ball, change = qk
close step on
flat, drive = full
heel to ball slow step, - ;.
two step Wz. Wz a deux temps or Wz of two time. Ignoramus Wz. Two-step
Wz includes: Redowa, polka redowa, galop, gallopade etc..
two way chasse. CP>w wgt-R:
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-L,
- ;
File: Ton-terms.txt
rev-030325.
.