VIENNESE WALTZ FIGURES

Viennese Waltz—3 beats/measure; 50 -62 meas/min

A Bit More

History of Waltz

The Two-Step Waltz

Learning to Waltz

Rise & Fall

The Viennese Waltz is an old rhythm, having thought to have originated in southern Germany in the late 1700s as a peasant dance called the Ländler, characterized by a fast pace and rapid rotation. It came to Vienna during the 1800s and quickly became extremely popular throughout Europe and America.

The Viennese Waltz is danced much faster than the Modern Waltz, up to twice as fast. This means that the rise and fall is more abrupt and more shallow, and steps are small and compact.

FIGURE AND COUNT	STEPS (In the abreviated sections, a comma separates two beats, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occuring in a single beat of music.)	In Freestyle, You Could Try This
Reverse Turn or Viennese Turns 123; 123;	In closed position, line of dance, step forward L, commence turning LF, step side and back to face center, and cross lead foot in front of trail to face reverse (woman simply close R to L). Step back R turning, side and forward to face line again, and close R to L (woman cross in front). It is a full turn over two measures and can be repeated. On count 3, the person backing always crosses in front, and the person moving forward always closes. International style emphasizes a "side lead" and therefore a sway to reverse in both the reverse and the natural turns (below). Step forward L (woman back R) turning LF, side R with right side lead and sway to reverse line of dance facing center of hall, and then cross left in front of right; In the second measure, step back R and only now face reverse, step side L with left side lead and again sway to reverse facing wall, and then cross right in front of left; As you turn, emphasize throwing your right shoulder down line; then your left shoulder; and so on.	Whirl gayly down the ballroom up to the point at which you might feel dizzy, and try to incorporate a feel of floating by holding the second step a little longer than the one beat. You will be rising a little during beat one. At the height of beat two, hold that step, hovering like a feather on a soft breath of air, and then take step three a little quicker, as you fall, to repeat the timing. Instead of, bum, bum, bum; bum, bum, bum; you might think: bum, BUM, ba; bum BUM, ba; (If that seems too fanciful, 123; works just fine.)
Closed Change or Forward Change 123;	In closed position, line of dance, step forward, forward and side with shoulder lead, and close. You can begin with either foot, and there is little body turn. A back closed change is back, back and side with shoulder lead, close;	This is the figure that allows you to stop your turning in one direction, get the other foot free, and begin turning in the other direction. It simply "changes" the free foot. So, we do a few reverse turns, a closed change, and then a few natural turns.
Natural Turn 123; 123;	In closed position, line of dance, step forward R, commence turning RF, side and back L to face wall, and close R to L to face diagonal reverse and wall. Step back, side and forward turning, and close L to R to face diagonal line and center. An option is to shorten the side steps, turn a little more, and end facing line. Again, a side lead, throwing your left shoulder down line and then the right shoulder helps you get around and almost automatically puts a nice sway into your frame (see reverse turns above).
Reverse Fleckerl 123; 123;	Where the reverse turn makes a full rotation over two measures and progresses, the reverse fleckerl makes a full rotation in each measure and is done on the spot. It's as if you were challenged to do a really quick reverse turn on top of a really small, round, night-club table. The steps are a little difficult to describe, because you are turning on every step. For instance, the first step is forward on the left foot for the man; however, he turns 1/4 LF during that first beat, so at the end of the step, his left foot is crossed in front of his right. With that sort of problem in mind, the man dances: front, side, front; side, behind, close (or vine, 2, 3); The woman dances the opposite: vine, 2, 3; front, side, front; As a couple, you turn in place two full rotations. In more detail, beat by beat: in closed position, line of dance, step forward L between the woman's feet and turn 1/4 LF (she steps forward and side R). On beat 2, step side and back R turning 3/8 LF (she crosses L in back of R). On beat 3, cross L in front of R turning 3/8 (she closes R to L). In measure two, he steps forward and side R turning 1/4 LF, XLIBR turning 3/8, and close R turning 3/8. She XLIFR, side R, and XLIFR.	Normally, once you get going, you will want to enjoy it for a while. At least take 12 steps and four rotations. In Que Sera Sera, you do a reverse turn;; rev fleckerl;;;; step fwd checking, recover R, bk L checking; to a natural turn;; Notice that the check, recover, slip; is used in place of a forward change (above), and it accomplishes the same thing.
Natural Fleckerl 123; 123; (see the little graphic at the bottom of this page)	The Natural Fleckerl is much like the Reverse Fleckerl (see above), beginning with the trail feet and rotating RF. The man dances front, side, front; side behind, close; The woman dances side behind close; front, side front; As a couple, you turn in place two full rotations right face. In more detail, beat by beat: in closed position, line of dance, step forward R between the woman's feet and turn 1/4 RF (she steps forward and side L). On beat 2, step side and back L turning 3/8 RF (she crosses R in back of L). On beat 3, cross R in front of L turning 3/8 (she closes L to R). In measure two, he steps forward and side L turning 1/4 RF, XRIBL turning 3/8, and close L turning 3/8. She XRIFL, side L, and XRIFL.
Side Hesitation 1,-, -;	In closed position, line of dance, step side L, rise slightly and draw R to L, lower on L; You may repeat with trail feet. Note: only one weight change.
Forward Hesitation 1,-, -;	In closed position, line of dance, step forward L, rise slightly and draw R to L, lower on L; You may repeat with trail feet. Note: only one weight change. A back hesitation begins with a back step.
Hesitation Left Quarter Turning Box 1,-,-; 123;	A slow, waltz box is danced: fwd, sd, cl; bk, sd, cl; A left turning box is danced with the same steps, but you make a 1/4 LF turn on the fourth step. This figure is danced with a hesitation during the first half box and the back half box as usual: In closed position, step forward L (woman back R), touch R to L, hold; step back R turning 1/4 LF, side L, close R;	In the Goss' Look At Me I'm Sandra Dee, part B begins in closed position facint line with three hesitation left quarter turning boxes to face wall;;;;;; vine 3 to half open position; step R (woman L) point L; roll three to left open reverse; back R point L; continue roll 3 to open line; step R point L; and run 6 lady curving to pickup position;;
Canter Telemark 1, -, 3; 1, -, -;	In closed position, diagonal line and center, step forward L turning LF, continue rotation but no weight change, step side and forward R around woman; step side and forward L to semi-closed, diagonal line and wall, hold, hold;
Canter Vine 1, -, 3;	In facing position, wall, step side L, rise, XIB;	then repeat: sd L, -, step through to open position facing line of dance lead feet free;
Canter Twirl 1,-,3; 1,-,-;	In butterfly position, man facing wall, step side L (woman side R), draw L to R and touch (woman draws R to L and turns RF under the lead arms full turn), close L (woman close R); step side L, draw R to L and touch, -;
Reverse Canter Twirl 1,-,3; 1,-,-;	In butterfly position, man facing wall, trail feet free, step side R (woman side L), draw R to L and touch (woman draws L to R and turns LF under the trail arms full turn), close R (woman close L); step side R, draw L to R and touch, -;
Open Fence Line 1, -, -;	In open position, diagonal line and center, both with left foot free, cross LIF of R and hold.	Do a natural turn to DLC;; then roll the woman RF, man transitioning (1, -, 3;) to open DLC; open fence line; roll her back LF to closed position (123;) man again transitioning by taking no step at all; canter telemark;; and finally change your sway, moving her head from open to closed; (again, from Shibata's Que Sera Sera)

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A while ago, there was a long, threaded discussion on the Dancescape site on how the different dance rhythms should feel. They asked, what sort of "look" should you be trying to convey? Here are a few of those comments.

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Viennese Waltz - I just picture the Austrian ballrooms (Sound of Music)

Bubbly laughter, the giddiness of a great time, young love, appreciation for what makes life grand, that sort of thing.

Viennese, yes the Congress of Vienna. Men may be heroic soldiers in their ornate uniforms wearing all their medals. Women are wearing their beautiful ball gowns. And they go whirling around the floor endlessly. Perhaps there is a feeling of celebration (as Napoleon was just defeated, so everybody thinks).

Think haunted ballroom, except with a bit more power than one would expect of a wraith.