Note that the man moves across the line of progression from the inside of the circle to the outside. The woman stays on his right side. May begin in other positions and orientations, so first step may vary. The essence is to move from some other position in two steps to semi-closed position, trail feet free. In Coronado Sunset by Oren, there is cross hover three times to semi;;; thru chasse to semi; again; to a maneuver, side, close;. May begin and end in other positions. May be danced side or back—eg.
But a dancer may certainly choose the line or picture he would like to present. May begin with the trail foot in which case the turn would be LF and the ending position line and wall. It is really the body turn that creates the locking action. We turn the body and so drag the free foot up behind the supporting foot and then take weight.
May be danced in any position. If you are in open position, both will dance fwd, sd, cl; bk, sd, cl;. You might begin in closed position facing reverse and wall, in which case, the cue might be Back To An Open Finish.
The man would turn LF too, and you would end in contra banjo facing line and center. The W does the "natural opposite" back R turning, side L, and close R. This is a normal measure 1 of a left turning box. The W steps forward L beginning to turn RF. The second step is a small side L for the man and a forward R, walking in a circle, for her.
Meredith tells me that this feels more like an underarm turn than a lace. In measure 3, the M does modify his steps a little. Normally, he would step forward, side, close. Here, he steps thru L so he isn't stepping into the W but a little past her.
The last measure is normal. She does the natural opposite. You might notice that the end result of all this is exactly the same as a standard left turning box, so you can do the lacing or not, as you like. Or from Sanders' Tammy , do diamond turns to sidecar;;;; cross hover to banjo; cross hover to sidecar; cross hover to semi; cross pivot to sidecar; drag hesitation;. The Easterdays did something unusual in their Three Times A Lady : diamond turn 3, which puts you in bjo, diag wall, trail foot free;;; then check back on trail foot for a full measure; twirl vine 3 down line; maneuver;.
Actually, the third step includes strong right-side lead such that the man's upper body will almost be facing COH contra banjo. In the Caseys' Catch a Moonbeam , there is an open natural; back hover to semi facing line and center; rising lock; double reverse spin; and change of direction;.
In semi-closed position, step forward R woman bk L turning right face with left side lead. On the third count, continue to turn body to a contra position and step through to contra banjo, diagonal reverse and wall. In closed position facing LOD, step forward R beginning RF turn woman back L , fwd L with strong left-side stretch and left-side lead, fwd R outside partner to tight contra banjo and thighs tightly crossed; The strong left-side lead makes the turn sharper, like a hairpin turn in a mountain road.
I have also heard the interpretation that a Curved Feather can be relatively gentle or sharply turned like a Hairpin, so the name Hairpin should be reserved for figures that are syncopated reflecting its syncopated waltz roots?
So a Hairpin might be quicker, as well as being a sharper turn. Notice that this is not a foxtrot Reverse Turn. The more gradual rise used in waltz and the more pronounced side step do not lead a heel turn for the woman, and the amount of turn is usually less.
However, in American-style waltz, the third step of each measure is a passing step, rather than a closing step, and the figure is more foxtrot-like. One of the problems that arises in doing these turns on the cardinal directions RLOD; LOD is that we tend to separate a little from our partner in order to fit in that cross-in-front step. We stick our butts out and then hunch over our partner to compensate.
Maybe worse than that, we don't quite achieve a full turn, we end the figure facing wall instead of line, and we can't then do the open telemark or double reverse spin that comes next.
We can keep our hips together more easily and our top lines apart, and we can get all the way around, if we dance this figure on the diagonal. Do the first turn to face reverse and center woman line and wall with strong right side lead man's right shoulder back. Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk.
Now do the second turn to face diagonal line and wall with the man's left shoulder leading and the woman's right shoulder strongly back. Again, keep your left side to your partner. Her crossing step will flow easily. You can dance any number of full Viennese Turns and never fall behind if the man throws his right shoulder down the line, and then his left, right, left … Focus on progressing down line with both your step and your shoulder, and the turns will happen.
Notice that this is simply a preparatory step and then a quick or syncopated viennese turn. There is a general rule associated with slip movements that says, if there is no or only a little LF rotation of the couple , then the woman steps L outside the man's R. The man will use his frame to control this. This will allow him to turn LF during the third step and end in closed position.
If she had slipped outside his feet, the turn would have put them in banjo. The man turns left to lead the pickup, but often he really doesn't pivot much. The "pivot" in this lilt pivot is really the woman's as she turns to face him.
Keep the shoulders level throughout. The preferred cue is Spin Overturn. Sometimes dancers feel that they can't get far enough around when they are asked to overturn a spin turn. The secret is in the second step. First, ladies, keep a strong left head. This will add to your turning momentum. If you pull in to your man, maybe to gaze into his eyes, you can stop the rotation dead.
Second, milk that second beat. Don't be in a hurry to put your lead foot down for the third step. Ride the spin second step until you are where you need to be, and only then recover onto the lead feet third step. Don't even think about that third step, and certainly don't plan a leaping or lunging side step at the end, thinking that this might take you farther around. The woman drives our first step as she steps forward on her right. The man drives our second step as he steps forward on his right.
Just here, think of your frame as a rectangle, instead of an oval, and ladies, put your head in your back left corner over your left shoulder.
Then ride the momentum around. Let the free lead leg just hover behind the weighted leg as you spin. After a full beat and even a stretched beat, the man will judge that you have rotated enough, he will step back L and lead the lady forward. Only when he does take weight will the lady finally place her R foot into proper position and settle her weight onto that foot. The power of the forward driving step, the willingness to use more than one beat of music beat 2 in which to milk that spin, and the surprising power of having heads left all add to get you every bit as far around as you ever would want to go.
Now, the trail feet are free. On beat 2, she steps fwd L turning RF and unwinding him. He changes weight as she does so. On the last beat, he steps side and back L, and she steps between his feet R.
End in closed position facing diagonal wall, wall, or even diagonal reverse and wall. One of the problems inherent in this "double twist turn" lies in the long side step L that overturns the first twist turn and prepares you to do the second twist turn. It can become an abrupt leap that disturbs the smooth flow of the waltz. Again, a twist turn for the man involves two weight changes. He hooks his right behind his left.
She unwinds him. He takes weight on his right on beat 2, and then steps side L on beat 3. You can smooth out a double twist by taking four weight changes and by making the third step a progressing pivoting step. On beat 2 step forward R and pivot in a maneuver action, and then step small side L to set up for the second twist turn.
Note that, as in the closed change, this figure serves to free up the trail foot—you are "changing" from one free foot to the other. We are so used to dancing the impetus to face line that the impetus in Waltz Tramonte can be a real "gotcha. This figure can be softened made easier by taking up to two measures. The extra time allows you to extend the right lunge during one of the additional beats and to display the roll and create a high line during another.
This is a figure where shoulder lead really contributes to comfort and ease of execution. Men, keep your right shoulder back. Women, your left shoulder is forward. Your hips are oriented toward DLW and partner. You are not oriented square to the line of dance but are angled, "slicing" your way down line. The advantage of this angled body orientation is that the locking steps occur easily. The free foot is lined up with the supporting foot, so when you bring it up it naturally runs into that supporting foot and locks.
If you dance this figure more side-by-side, man facing RLOD and woman facing LOD, then your free foot is to the side of your supporting foot. To lock it, you must move it laterally, swing it around the supporting foot and hook it.
It is an awkward effort. In a sliced position, the lock is a smooth result of the step itself. Notice that the man is doing a Forward Waltz down line, and the woman is doing a roll-three under joined lead hands, also down line. Some awkwardness to watch out for is veering away from your partner. Especially during the "roll" the woman can lose track of direction and veer toward the wall or even into her man.
It is also helpful if the man will keep his lead hand open so than the woman's fingers can turn in his palm. If he grips her hand, it can hurt. Begin in closed position facing line and center. Sometimes the wheel is done with all fwd steps and therefor more progression and perhaps less rise and fall. This figure is specifically cued "lace across" when the man moves from the inside of the circle to the outside and when the woman passes under lead hands.
Often, we will be asked to "lace back," and the man will move back to the inside of the circle and the woman will pass under trail hands. The beginning orientation can vary. This is a progressive figure with each step being taken along a diagonal.
May begin in banjo with the trail feet free. The woman may brush her free foot to the supporting foot at the end of the second step.
The figure may end in semi-closed position if so cued. In this case, the woman will turn strongly at the end of the second step and her last step will be forward. In Rose Of Tralee by the Glenns, there is diamond turn to sidecar;;;; cross hover to banjo; maneuver side close; spin turn; box finish;.
May also be done from semi-closed, line. We would step thru with the trail foot turning LF, forward L continuing to turn woman back R , and then back on the trail foot again to a tight V semi position;. One of the pitfalls in this figure is making the second step a side step.
You are progressing with the thru step, and somehow you want to keep going. Close, face, and step side on the third step. The closing step allows for a cleaner rise and fall. Stay flat - does not have the strong rise of the normal whisk. The ending position feels like a hinge for the woman. Note that the man has only one step, and the woman has three.
There is just a little LF rotation here, so in semi, the man begins facing line and wall. At the end, he might be facing LOD or even line and center.
Notice that the wing involves only one step for the man and so doesn't progress much. The progressive wing involves three steps for man and woman.
So, at the start of the measure, he is on his left facing wall, and he simply turns his upper body sharply to the left and spins on his left for two measures. The man may paddle around with his R to aid the turn. For the second develope, he crosses L behind R with a little right side stretch and LF upper body rotation. This turns her to banjo as she crosses R behind L and swivels LF to develope with her left toward reverse and wall.
There are three features of the sequence, given at right, that are unusual. First, there is the overturned outside spin to get you in position facing line and center. Second, a typical develope begins with a step outside partner.
You might be in banjo, you step forward R, she steps back L, and she developes; or you are in sidecar, you step forward L, and she steps back R and developes.
In Sam's Song , we are in closed position, and we have to arrange a little swivel, first right, then left, so she can develope outside of you. Third, she is doing her develope with the outside foot. Usually, she uses the inside leg, closer to the couple's center of gravity and so maybe more easily on balance. More than the question of balance, and especially if you have good contra body position, a develope with the inside leg might have a bit of the feel of a leg crawl, as she raises her thigh against your supporting leg, just before she extends the knee.
A develope with the inside leg simply has a different feel, which makes the double develope feel different. In contra banjo, facing reverse and wall, turn upper body RF leading woman outside man and maybe sneaking a very brief look in her direction, and take a small step back with lead foot.
The toe of the left foot might be at the instep of the right and toed in. He needs to shift left back into good dance position. He rises into a hovering action, and she does a toe spin on her right and changes weight to left at end of beat. This spin is up and hovering. Let it extend into beat 3, and at the end of beat 3, he steps side and back lowering, continuing to turn, and she steps forward between his feet with a toe exit to closed position.
The total turn could be as much as one full turn. Or here is an exercise from one of our teachers: in semi line, trail feet free, step forward and hover to banjo diagonal wall; outside spin full turn; box finish to diagonal center, closed telemark to diagonal wall; outside spin to diagonal reverse and wall; box finish to diagonal wall;.
This is one of those figures where the woman takes a step and then simply spins in place, as the man steps around her. Since the woman is fixed at the center of a circle, the man must step exactly on the circumference of that circle.
His steps must curve. Otherwise the woman will be pulled over, this way and that. It's especially tough in Smooth, because you are in contact and have less chance for adjustment.
In Latin, there is space between your bodies, so you can adjust with the arms if the feet go astray. The curve of that trail leg should suggest the leg of a Queen Anne chair. May begin with either foot and may be danced in any number of steps, to be specified in the cue. In this first measure, the woman has done an open telemark to LOD, but the man has held back and not taken that third step. I believe that this represents the first description of the Telespin that we have had in round dancing.
More commonly, we now dance a Telespin to Semi or a Telespin to Banjo see below. So again, start in closed position facing line and center. He finally takes weight on his L and spins LF drawing R to L woman fwd R to a toe spin , close R lowering woman closes L at end of toe spin , hold ending in closed position reverse and center;. One attractive thing you can do in the telespin figures is to keep your shoulders turning, once you have initiated the turn.
Don't execute the appropriate turn in the first measure, pause, and then whip into the second measure spin. Maintain smooth upper-body rotation over the whole two measures. In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step. Start in closed position facing line and center. We are in CP, spinning together.
The second measure feels like an open telemark for both of us, but the lady does a toe spin rather than a heel turn, and I like to think of the action at the end of the first measure as a "picking up.
What's more, I have many times seen the turn to pickup position happen on the lady's fourth step and have comfortably danced it that way , and then her fifth step is not forward but back, just as in a standard telemark. Start in closed position DLC. He takes weight on his L and spins LF woman fwd R to a toe spin , side R turning woman closes L at end of toe spin , back L woman fwd R to closed position facing reverse and center;.
This is essentially a Telespin with a woman's ronde in the second measure. One important difference is that the man takes full weight on his third step and uses only upper body rotation to lead the woman to step, kick, and spin. Of course, the second measure is the tricky part. The count is , but we are only taking two weight changes, and we take them at different times.
The man only spins on count 1 and steps late on 2 and 3. The woman steps on 1 and 3. May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, fwd R,. Now the second measure.
You're in closed position facing reverse with your lead feet free. The man steps back on his left woman forward right , turning his body and tilting his upper body or swaying a little to the right to put the woman into banjo position facing reverse and wall or maybe even wall.
The fifth step is back right woman forward left to closed position facing line and wall. The last step is side and a little forward on the left foot with left side leading woman side and back right to end in banjo facing line and wall. Your trail feet are free. In the second measure, step back L with right side stretch into contra banjo woman forward R outside partner.
Step back R turning LF to closed position wall. Finally, step side and forward L woman side R with left side leading to banjo position facing diagonal line and wall. Be careful not to overdo -- do not kink or crunch the opposite side of your body in your effort to tilt. Only gently lift the "stretching" side. Lamberty does this a little differently. Rather than doing a standard open telemark, opening out at the end of step two and both stepping side and forward to semi-closed, he asks us to step back L on the third step woman fwd R and only then lead with the left side blending to a tight semi and promenade sway.
This change gives us a much tighter connection and better lead into the sway. The man's motion is a little like "bowling the foot down the alley.
Look at your partner lovingly. This is a good place to think again about maintaining your whole frame. This "bowling" is rotation of the frame to the left. The man's right hip and right shoulder go forward.
His left hip, left shoulder, and even the left arm and hand go back. Don't move any one part of the body by itself, but keep the parts of the frame toned and rotate the whole frame as a unit. This action gives the woman the space to dance her figure and prevents him from pushing on her with his left hand in an interfering way. Different choreography calls for more or less rotation in a double reverse, and the step that controls the amount of rotation is the man's second step. Again, you begin facing diagonal line and center.
Imagine a straight line drawn from your position on the floor out toward line and center. Your first step should be forward on that line. The man must never take his second step straight down line or she will not do a heel turn, and you will end up with some kind of open reverse turn, the woman choked in the man's armpit.
We see that waltz does not have to be ; ;. The timing at left shows weight changes — four for the man and 14 for the woman. You can think of this figure as the start of a reverse turn, check it, and then slip back close to where you began. Sometimes the cue will be checked double reverse and slip. This is the start of a double reverse spin, check it, and slip back to where you started. Crazy Dream -- Los Lonely Boys.
Ethereal Relativity -- The Blues Party! Europa -- Santana. Everything Is Broken -- Bob Dylan. Fadeaway -- BoDeans. Folsom Prison Blues -- Johnny Cash.
Thread starter Scarecrow Start date Oct 28, Scarecrow New Member. Ive spent the last month searching around the net for a good list of "Modern" or "Pop" music that has the right tempo and beat for ballroom dancing. Ive found a site with an extensive list of music for the jive, but im still looking for more.
Specifically for dances like the Pasa Doble and the waltz. The reason i ask is that im a highschool student whos learning how to dance with a couple of girls from my school.
We practice on the school oval nearly every day, we like the music that is made specifically for ballroom dancing, but wed also like to be able to dance to mainstream music.
It's Wonderful New Member. I don't know of any lists, though I'm sure they're out there, but have you looked through the DF music? You can browse by dance, I believe, and I'm sure you'd see some pop music in the lists. Hmmm tangotime ive looked at that website not exactly what im looking for. When i say pop, i mean anything ranging from the 70's till today. Im from the generation Those born around the thats just discovering classics like "Pretty Woman", "Brown Eyed Girl" and some of the big band musics Just a shame that his presence is limited to only two tracks, but this is already true for the whole album.
The solar "He Hates His Threads" is immediately loved thanks to the intervention of Lindley, who is not the last to arrive. From the bayou there also comes " Closin 'Time " there is still Lindley al bouzouki , while "Cakewalk" brings us cheerfully to the beautiful ballad, almost Tex-Mex style, " Smoky Places " that runs perfectly with its tones highly suggestive enough to rank among the best songs of the entire album.
They close the " No Self Control " piano, which is influenced by Randy Newman, and " Ya Ya ", the famous song by Lee Dorsey, almost an emblem for this musical genre not yet well known in Italy, but which can not fail to please. If after listening to this good Doug Legacy record you don't get an overwhelming urge to leave for New Orleans and Louisiana I go to the doctor for a ride.
Friend's Council. Written By — Tobias , Simon , Newell. Artwork By [Graffiti] — Raul H.
View credits, reviews, tracks and shop for the Vinyl release of All Night Man (Zydeco Blues From South Louisiana) on Discogs. Label: Krazy Kat - KK • Format: Vinyl LP • Country: UK • Genre: Folk, World, & Country • Style: Cajun, Zydeco.