WALTZ FIGURES

Waltz: 3 beats/measure, 28-32 measures/minute

The origins of the Waltz go back hundreds of years. The rhythm came to Vienna in the early 1800s, and the Viennese Waltz was first exhibited in America in 1834 in Boston. Especially at the beginning of the 20th century the slower Modern Waltz, danced at about half the original tempo, developed along with the Viennese Waltz. The Modern Waltz is smoother, less frantic, and more varied. We turn left, then right. We dance forward and back, we pause, and we can spend a measure or more developing this or that "picture" figure. Perhaps the most consistent feature of today's waltz is the pronounced, wave-like rise and fall as we progress around the floor.

The first beat of each measure is a heavily accented "downbeat." The music then rises to a crescendo through beats 2 and 3. At the end of beat 3, the music falls again. The dancer feels this swelling and contracting in each measure. We rise and stretch with the music.

A Bit More

Viennese Waltz

History of Waltz

The Two-Step Waltz

Learning to Waltz

Rise & Fall

Lower in the knee at the end of beat 3. Many figures end with a closing step that helps accentuate this "fall" (compare to the passing steps in foxtrot that keep you up). Stay down through count 1 with a heel lead, rise during 2, and stay up into 3: down, up, up; down, up, up. Often, we stretch count 2, borrowing a little time from 1 and/or 3, delaying and extending the rise, "milking" the body flight, smoothing out the turn of the figure. There is strong body sway toward the center of the turns.

Some of these figure lists are long, and I have tried to organize figures in related groups rather than in alphabetical lists. To look for a specific figure, use your "find" function under the "edit" drop-down menu (in Internet Explorer). If you can't find a figure you need, try the site's new location, or just let me know.

Waltz Figures and Count	Steps	In Freestyle, You Could Follow With This
Forward Waltz 123;	In closed position, line of dance, step forward L (woman back R), forward R, close L; (may begin with trail feet).	In the Baldwins' Arizona Waltz, part A has a forward waltz; fwd waltz (woman drift apart); twinkle twice to closed position;; two left turns to closed position reverse;; open impetus; thru, side, close;
Closed Change 123;	In closed position facing line of dance, step forward L, side and forward R, close L; (may begin with trail feet). The closed change is not a standard round dance figure, but a ballroom term. It is a simple figure that changes the free foot from one to the other. You may have been doing left turning figures. After a closed change, you can now begin doing right turning figures.	In the Valentas' Lourdes, the Village of Saint Bernadette, part A begins with two left turns;; closed change; an underturned maneuver to closed position facing reverse and wall; outside change to semi-closed position facing line; wing; open telemark; maneuver; open impetus;
Back Waltz 123:	In closed position, step back, back, close;	In the Metzgers' Mission Bell Waltz, there is a waltz away; turn in three to left open position facing reverse; back waltz; back, draw, point lead; twinkle thru; and twinkle to butterfly;
Waltz Away and Together 123; 123;	In semi, line, step fwd turn a quarter LF woman RF releasing lead hands, side and fwd to slight back-to-back, cl; side and fwd turning back to face partner, side, cl back to semi line;	In the Carriggs' Signed, Sealed & Delivered, the introduction begins in butterfly wall with a waltz away and together;; balance left and right;; lace across; forward waltz to face; Box;; lace back; forward waltz to face; and then a left turning box;;;;
Balance Forward and Back 123; 123;	In closed position step fwd, close, step; bk, close, step;	In Healea's It's All In the Game, there is a waltz away; thru twinkle to LOP RLOD; balance fwd & bk;; thru twinkle to open LOD; and fwd face close to butterfly wall;
Balance Left and Right 123; 123;	In closed position step side, XIB, recover; sd, XIB, rec;	In the Stapletons' Mexicali Rose, there is a balance left and right;; twirl vine; and thru, side, close;
Twinkle 123;	From about any position, cross, side, close;	The cuer will tell you to twinkle in front or behind, or to twinkle to a given position. In sidecar, diagonal wall, you might twinkle out, man crossing in front and woman behind, turning to banjo diagonal center, and then twinkle in and turn back to sidecar again. Outside of round dancing, I think this sequence might be a "grapevine." In the Ellis' Dream Awhile, there is a cross pivot to sidecar; twinkle to banjo reverse; waltz fwd and check; pivot RF to semi; pickup;
Progressive Twinkle 123;	Cross, side, close progressing down line of dance;	In closed position reverse line of dance, do a spin turn; half box back to sidecar diagonal line and wall; then three progressive twinkles to banjo diagonal line and center;;; for a maneuver; and repeat if you like;;;;;
Back Twinkle 123;	In open position facing line, step back and turn 1/4 in. Step side, continuing to turn, and close. End in left open position facing reverse.	You may now back twinkle to open again, beginning with the trail foot.
Thru Twinkle 123;	In facing position, cross between partners with either foot both crossing in front, step side, cl;	In Kropfs' Beautiful Dreamer, we have a forward waltz; drift apart; twinkle thru; twinkle thru to closed position line of dance; and two left turns to closed position wall;;
Circle Away and Together 123; 123;	release hands fwd turn away quarter, fwd turn quarter, close (you are back to back and apart); fwd turn, fwd turn, close to closed position again;
Roll or Solo Waltz Turn 123;	A right or left individual turn with each step progressing down line or to reverse as directed.	In butterfly wall, roll six down line, man LF and woman RF to open position facing line;; (At the end of the first measure, both will be facing reverse, nothing touching.) Then perhaps, lace across and back to semi;; In the Bendewalds' Die Lorelei, part B begins with waltz away & together;; two solo waltz turns to closed position wall;; dip to center; maneuver; and impetus to semi line;
Canter 123;	fwd or sd, draw, cl; (two wt changes)	In the Clements' Telling Everybody II, part A begins with a left turning box to closed position line of dance;;;; progressive box;; one left turn to closed position reverse; one back up waltz; two right turns to closed wall;; canter twice;; to a twisty vine 3; thru face close;
Chassé (pronounce "sha-SAY" — a "sashay" is a square dance term) 1&2	In French, chasse is a chase, chasing, pursuit. Chassé is a ballet term and refers to one foot "chasing" the other. In round dancing, the steps are side/close, side, and may begin with either foot. Usually occurs at the end of a measure (eg. 2&3).	In the Schmidts' Blue Roses, part A begins with one left turn; back and chassé to banjo; maneuver; and impetus to semi;
Forward Chassé 12&3;	So, here is a complete measure using a chassé. In open position, step forward R (woman fwd L) turning to face partner, side L (woman sd R)/close R, side L; End in semi-closed or other designated position.
Thru Chassé 12&3;	In half open, butterfly, or maybe semi-closed position, step thru R (woman thru L) turning to face partner, side L/close R, side L to semi-closed, banjo, or other designated position; Could be cued Semi Chassé.	In the Bradts' The Sun, The Sea & The Sky, part A begins with 2 left turns;; whisk; semi chasse; to a promenade weave 6;;
Turn Left and Right Chassé 12&3;	In closed position facing LOD, step forward L (woman back R), begin turning LF and step forward & side R/close L, side R to banjo position facing reverse and center; May begin and end in other positions. May be danced side or back—eg. Back and Right Chassé. May start with the trail feet and turn RF—Turn Right and Left Chassé.	In Lamberty's Adagio IV, part A begins with two left turns;; turn left and right chasse; open impetus; syncopated front vine to semi; forward hover to banjo; back whisk; pickup lady lock;
Ripple Chassé phase V 12&3;	In semi-closed position, step thru R (woman thru L) to contra banjo. The chassé begins with a side and forward L/close R with left side stretch and looking R (woman L) ("closed heads"). This stretch is the "ripple:" tipping the upper body in the direction away from that of progression. Finally, step side and forward L again blending to semi-closed position. May also end in contra banjo.
Tipple Chassé also cued Back Tipple Chassé phase V 12&3;	In closed position facing reverse line of dance, step back L (woman forward R) turning 1/4 RF. Step side R/close L with slight left side stretch. This stretch is the "tipple:" tipping the upper body in the direction of progression. Finally, step side and forward R with another 1/8 turn to face line and center in closed position. May begin with the trail foot in which case the turn would be LF and the ending position line and wall. May begin facing LOD with trail feet free, in which case the cue would be Forward Tipple Chassé and the turn would be RF.
Tipple Chassé Pivot phase VI? 12&3;	This is not a standard figure but a combination of the tipple chassé and a one-step pivoting action (phase II) made on the last step of the chassé: step back L turning RF (or back R turning LF), side/close with a "tipple" and turning 1/8, and then side and forward between her feet pivoting 1/2 for a total turn of 7/8;
Pickup 1,	In semi step fwd trail feet woman turns to face (start semi line, end closed line),	In Buckmaster's The Last Waltz, part A begins with a balance left & right;; twirl vine 3; pickup side close; two forward waltzes;; and two left turns to face wall;;
Slow Side Lock phase IV 123;	In semi-closed position facing line, step thru with the trail foot, leading the woman to begin a LF turn. Step side and forward L to closed position line. On the third beat, cross right in back of left (woman LIFR) turning slightly LF.	In the Slaters' Castles and Kings, part A begins with a forward waltz; maneuver; open impetus; slow side lock; one left turn; hover corte to contra banjo facing line and wall; outside spin; and a hover corte to contra banjo facing reverse and center;
Promenade Lock 12&3;	In semi-closed position facing line, step thru with the trail foot, leading the woman to begin a LF turn. Step side and forward L to closed position line but woman's head still open, and cross right in back of left (woman LIFR) turning slightly LF. On beat 3, step forward L (woman back R) toward line of dance.	In Lamberty's Molly Maguire's Waltz, part B begins with a turn left and right chasse; outside change to semi; promenade lock; right lunge; back, back/lock, back; to a back whisk;
Rising Lock phase V 123;	In closed position facing reverse, step back R (woman fwd L) beginning to turn LF, step side and forward L turning, and cross R in back of L (woman LIF of R) to end in closed position facing line and center;	In the Bucks' Together Hand In Hand, part A begins with one left turn; back rising lock; telespin to semi;; and thru to a left whisk;
Dip 123;	In closed position, step in the direction indicated, usually side and back, soften the supporting knee, and leave the free leg extended in a straight line, toe on the floor. One weight change.	In open facing position, waltz away; pickup, side close; dip back; recover; box;; In the Barbees' Feelin', there is a dip back toward COH; maneuver; waltz turns to closed line;;
Box 123; 123;	In closed position, step forward, side, close; back, side, close; footprints	In open facing wall, waltz away; pick up side close; waltz box;; reverse box;; dip back; recover;
Reverse Box 123; 123;	In closed position, step back, side, close; forward, side, close;	In closed, wall, box;; reverse box;; waltz away and together;; repeat;;;;;;
Progressive Box 123; 123;	In closed line, step fwd, sd, cl; fwd, sd, cl;
Open Box 123; 123;	In open or left open position, step fwd, sd, cl; bk, sd, cl;
Open Reverse Box 123; 123;	In open or left open position, step bk, sd, cl; fwd, sd, cl;
Box Finish 123;	In closed position, step bk turning 1/4 LF, sd, cl; (last measure of left turning box)	In the Imamuras' Moonlight on the Colorado, there is a maneuver; spin turn; box finish; whisk; wing; and open telemark;
Left Turning Box 123; 123; 123; 123;	In closed line, step forward & turn 1/4 left, side, close; back & turn left, side, close; forward & turn left, side, close; back & turn left, side, close; (face each wall of the room in turn)	In the Wolffs' While We Dance, part B has a forward waltz down line; drift apart; thru twinkle twice;; left turning box 3/4;;; side draw touch to butterfly wall;
Solo Left Turning Box 123; 123; 123; 123;	In facing position, wall, no hands joined, step forward and turn 1/4 LF (woman steps back). Step side and close. You will be right shoulder to right shoulder, man facing line and woman reverse. Continue turning LF: back turning (woman fwd), sd, cl; Now you are back to back, man facing center and woman wall. Forward turning, side, close; (you are left shoulder to left shoulder) and finally bk turning, sd, cl back to facing position again.
Diamond Turn phase IV 123; 123; 123; 123;	forward and turn left to diagonal, side continue left, back to banjo position (turn 1/4 left each measure, facing each corner of room in turn); back, side, forward; for, side, back; back, side, for;	Do a diamond turn;;;; open telemark; pick-up side close; 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;
Quick Diamond Four phase IV 12&3;	In closed or banjo, step forward L on the diagonal and beginning a LF turn, side R continuing the turn/ back L, and back R to a designated position;	In the Dois' Ave Maria, the dance ends with a diamond turn half;; quick diamond 4; corte recover; cross hover to semi; and thru to prom oversway;
Maneuver 123;	In semi or bjo line, step forward R and turn 1/4 RF, fwd and turn 1/4 , close to face reverse;	spin turn or impetus
Open Natural Turn phase IV 123;	In closed or banjo position, LOD, step forward R turning RF, step side L across line of dance continuing to turn, step back R to contra banjo position facing reverse; Actually, the third step includes strong right-side lead such that the man's upper body will almost be facing COH (contra banjo). May also be done from semi-closed, in which case the woman's first step would be forward.	Do an open natural; back and back/lock back; open impetus; pickup; 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;
Curved Feather Check phase V 123;	The Feathers are foxtrot figures, so I'm not sure how this one got into waltz. (I do know—round dancers are notorious for borrowing figures from one rhythm and using them in another.) From closed or semi-closed, step forward on right turning right face, left side lead. Man steps side and forward L, woman side and back, continuing to turn. On the third count, continue to turn body to a contra position and step through to contra banjo, diagonal reverse and wall. Check the last step, preparing to move back.	In Lamberty's The Bard, there is a weave 6;; maneuver; outside change to semi; curved feather check; outside change; pickup; to a double reverse;
Running Feather To Semi-Closed phase VI? 1&23;	In semi-closed position, step thru with the trail feet/fwd L staying down and leading woman to turn LF by taking left side away (woman steps thru L/sd & bk R turning to banjo), fwd R outside partner (woman back L in banjo) and rising in a hovering action and bringing left side back toward woman, fwd L (woman sd & fwd R turning RF to semi-closed);	In Lamberty's Come To Me, part B begins with a syncopated whisk; running feather to semi; chasse; maneuver;
Hairpin phase V 123;	I understand that the Hairpin used to be a waltz figure only— essentially a syncopated curved feather starting with the lead feet (1, 2/&, 3;)— and the term "feather" was reserved only for foxtrot. But the two terms are used almost interchangeably in foxtrot and waltz today. 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. In a curved feather check, you end facing DRW; in a hairpin, you are more twisted and almost facing DRC. 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?), as in "pivot to a hairpin [12&3;]. So a Hairpin might be quicker, as well as being a sharper turn.	In the Worlocks' Adagio, there is a maneuver; pivot to hairpin; back right tipple chasse pivot; spin turn; to a box finish;
Left Turn 123;	In closed position facing line, step fwd L (woman bk R) turning LF, sd R, close L facing DRC; Two left turns would bring you to closed position wall.	In the Crapos' Fascination, there are two left turns;; whisk; chasse to banjo; fwd, fwd/lock, fwd; maneuver, sd, close;
Open Reverse Turn phase IV 123;	In closed position, line, step forward L turning LF, side R continuing to turn, and back L to contra banjo position facing reverse; Note that one left turn turns you 3/8 while one reverse turn turns you 1/2.	In the Maischs' Flower That Shattered the Stone, part A has a pickup; open reverse turn; outside check; to a spin & twist;; The Rumbles' The First Day of Spring has an open reverse turn; back & chasse to banjo; curved feather check; outside swivel lilt pivot;
Viennese Turns phase IV 123; 123;	In closed position throughout, step forward L beginning LF turn, side R continuing turn, cross L in front of R (woman close R to L); back R turning, side L turning, close R to L (woman XLIFR) to end in closed line; One full turn.	The Worlocks' A Waltz In Heaven has an interesting cross hesitation; back passing change; to back viennese turns;; It's as if you are dancing the second measure (woman crosses) and then the first (man crosses). Their sequence then continues with an open finish; hover; and wing;
Spin Maneuver 123;	In open position, the man does a maneuver: fwd R turning RF, fwd L turning, close; With the first step, he leads the woman to spin LF with a backward movement of the trail hands. She spins in place L, R, L;	In the Wilhoits' Jacalyn's Waltz, part A begins with waltz away and together;; step swing; spin maneuver; two right turns;; and a box;;
Cross Pivot phase IV 123;	In semi-closed position, step forward with the trail foot, in front of the woman, beginning a RF turn. Step side L continuing the turn. The woman's second step is forward R between the man's feet heel to toe and pivoting 1/2 RF. On beat 3, step forward R, woman side and back, to sidecar diagonal line and wall. The man makes a full turn; the woman 1/2. May begin in closed position, in which case, the woman's first step is back.	In the Slaters' Will You Remember, there is an open telemark; curved feather; back passing change; back chasse to banjo; natural weave;; cross pivot to sidecar; cross hover to semi; and weave;;
Cross Swivel phase IV 123;	In closed position line of dance, step forward on the lead (woman back) turning LF, point the trail foot down line still turning, and step forward on the trail checking to reverse in banjo;
Slip Pivot 123;	In semi-closed position, step back on the lead foot, the woman beginning a LF turn (pivot) on the ball of her right foot with thighs locked and left leg extended. The man steps back R turning slightly LF and keeping his left leg extended forward as she continues her turn and steps fwd L just outside his R foot. This is the "slip" action. On the third beat, step fwd L (woman back R). 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. If the man intends to turn the partnership, say, 1/4 LF, then he will guide her to step L between his feet. 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 Palmquists' Lovely Lady has a contra check, recover, side; natural hover fallaway; slip pivot; maneuver;
Spin Turn 123;	In closed position reverse line of dance, step back L lowering and bringing the woman fwd R between his feet. Begin a RF pivot 3/8. On beat 2, step forward R between lady’s feet and continuing the turn on the right heel to as much as 7/8, rise up into a hovering action onto the ball of the right foot as the woman brushes R to L. Finally, recover side and back R to closed line and wall. The man should control the amount of turn, depending on the choreography; the figure may be underturned or overturned. The woman allows him to do this by waiting to take her third step until she feels him begin to take his. Often you will hear the cue, Overturned Spin Turn—you should end facing reverse and wall.	Paull's Dear Heart III has a maneuver; over spin turn to face wall; and a back half box;
Spin and Twist phase VI 123; 1&23;	In closed position, reverse line of dance, lead feet free, step back commencing RF pivot, step forward between lady's feet turning, and step side to face diagonal reverse and wall; During this first measure, you are dancing an overturned spin turn. Now, the trail feet are free. The man hooks his R behind his L with no weight, and she steps fwd L/R around him. 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.	In the Worlocks' Waterfall, there is an open natural; royal spin & twist to semi;; natural hover fallaway; back slip to semi; chair & slip; double reverse;
Spin and Double Twist phase VI 123; 1&23; 1&23;	Do a spin and twist overturned to face reverse, and then do another twist turn. 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 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. Hook R behind L taking weight/step L as she begins to unwind you. 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. The count becomes 1/&23; just as it is for the woman, and the flow is so much smoother than the usual "hook/unwind, step, leap."	In the Bahrs' Red River Waltz, there is a closed telemark; fwd, fwd/lk, fwd; maneuver; spin and double twist;;; to a back rising lock; This is the dance in which we learned about the smoother version of a double twist turn.
Twist Turn 1&23;	Begin in closed position, trail feet free. The man hooks his R behind his L with no weight, and she steps fwd L/R around him. 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. May also end in semi-closed position.
Outside Change phase IV 123;	In closed or banjo position facing reverse, step back L, back R turning LF, and then a side step to either banjo or to semi-closed facing line; When ending in banjo, the man's last step is side and forward, and the woman keeps her head closed (left) throughout. When ending in semi, the man's last step is side and back, and the woman turns her head right on the last step.	The Moores' Haunted Guitar has an open telemark; natural hover fallaway; back check & whiplash to banjo facing reverse and wall; back back/lock back; outside change to banjo facing line and wall; maneuver; open impetus; semi chasse; and weave;;
Outside Check phase IV 123;	In closed position reverse, step back R turning LF, side and forward L, and check forward R outside partner to contra banjo position facing reverse and wall;	In the Scotts' Until, part A has a quick open reverse; outside check; slow outside swivels;; syncopated twirl to butterfly sidecar position; and fwd develope;
Outside Swivel phase IV 123;	In banjo, step back L, leaving your trail foot extended forward. As you take the step, rotate the upper body RF, taking your left side toward her. This gets his right hip out of her way and leads her to swivel RF on the ball of her right foot and end in semi-closed position with trail feet free. There is only one weight change.	Do an outside swivel; left whisk; and unwind in four;
Pivot 3 123;	In closed position, facing reverse, step back L, lowered with soft knees, toeing in, and turn RF 1/2 on the ball of your foot. The woman steps forward between the man's feet, well under, and both turn as one, remaining in closed position. Progress down line and don't turn early; take the step and then execute the turn. On beat 2, step strongly forward, still lowered, toe out. Keep your upper bodies apart; don't clutch at each other, but let momentum develop and carry you through a full 1/2 turn. Don't rush but step on the beat and only after each turn is complete. Each step must be directed down line. On beat 3, the woman drives down line to complete a full 1 & 1/2 turns. End closed position facing line.	In the Palmquists' Riviere De Lune, there is a slightly infamous series of pivots. At the end, we do a double reverse spin to face line; a double reverse to line and wall; hover to semi; thru chasse; thru chasse maneuver; and pivot 6;;; Note that we get three measures for the pivots, so the count is pivot 2 and hold; pivot 2 and hold; pivot 2 and hold; apart point;
Back Passing Change phase IV 123;	In contra banjo facing reverse, step back L, back R, back L; She dances fwd, fwd, fwd; Sometimes this figure is curved a little LF, like the second half of a Reverse Wave in foxtrot.
Impetus to Semi 123;	in closed reverse back left turning rf, close with a heel turn woman sd and fwd around man brush right to left, fwd on lead to semi;	Do a weave three to banjo; open impetus; chasse to banjo; maneuver;
Closed Impetus phase IV 123;	In closed rev step back Lturning RF, close right in heel turn finish half turn, step sd and back to closed line;	box finish
Right Lunge phase IV 1,	In closed position, trail feet free, soften left knee (woman right knee), move to the side and slightly forward onto the right keeping left side in toward partner, and as weight is taken on right, flex the right knee and turn slightly LF and look at partner.	In the Kincaids' Skye, part A begins with diamond turn 3/4;;; right lunge recover slip/ turn left and right chasse; outside change to semi; and natural weave;;
Back Back/Lock Back 12&3;	In banjo position facing reverse, step back L, bk R/ lock LIF of right (woman RIB of left), and bk R;	impetus to semi
Forward Forward/Lock Forward 12&3;	In banjo position facing line, step fwd R, fwd L/ lock RIB of left (woman LIF of right), and forward L;	In Amazing Grace by Doi, there is a weave to semi;; natural hover fallaway; slip pivot to banjo; fwd fwd/lk fwd; and a closed wing;
Twirl 123;	Step forward L to semi-closed position (woman fwd R turning RF 1/2 under lead hands, fwd R (woman back L completing underarm turn), both close to face; 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. Some teachers will present the woman's twirl as a forward step, a closing step with a spin, and then the closing step. This pattern is something like the Riff Turn in bolero and looks sharp and elegant, but it is more advanced than the standard Twirl.	pickup, forward, close;
Reverse Twirl 123;	With lead hands joined and trail feet free, step fwd R toward reverse (woman turn LF 1/2), XLIB of R (woman back R completing reverse underarm turn), both close;
California Twirl 123;	This is really a basic square dance figure done in four steps, but it is also done in three steps as a phase II waltz figure. In open position, trail feet free, raise joined trail hands and walk R, L, R; curving RF around the woman. She walks L, R, L; curving LF under the joined hands. You end in open position facing reverse, the man on the outside of the circle.	In the Tirrells' Waltz Serenade, part A begins with a waltz away; California twirl; back waltz to face and man facing center; side draw; thru twinkle; maneuver to closed position facing line; back right turn to face wall; side draw; and repeat;;;;;;;;
Twirl Vine 123;	In left open facing position, wall, the man steps side and raises lead hands. The woman steps side and forward, turning 1/2 RF. He crosses RIB of L, and she steps side and back L turning another 1/2 to face, then both step side.	In Eddins' Could I Have This Dance, part B begins with a twirl vine to semi; rock thru, recover, close to face wall; box;; dip to the center; recover to sidecar diagonal reverse; twinkle to banjo diagonal wall; twinkle maneuver to closed position reverse; and two right turns to face wall;;
Reverse Twirl Vine 123;	A twirl vine to reverse line beginning with trail feet: The man steps side R, raising lead hands and bringing them between partners. She steps side and forward turning 1/2 LF. He crosses LIB of R, and she steps side and back turning another 1/2 to face, and both step side.
Wheel 123; 123;	In banjo, step fwd turning RF, fwd, cl; fwd, fwd, cl; (complete turn stay in bjo throughout) competition photos Astaire photos another Astaire	In the DeFores' Lynn's Waltz, part C begins in butterfly banjo wall with a banjo wheel 6 RF to sidecar;; and then wheel LF to face wall again;;
Lace Across 123;	lead hands joined fwd woman crosses in front of man, fwd complete change of places, close in left open position;	In the Whymans' Lovers Waltz, part B begins with a waltz away & together;; vine 6;; canter twice;; solo roll 6;; lace across; forward waltz; lace back; forward waltz to face wall; box;;
Hesitation Change phase IV 123;	In closed reverse, step back turning RF, side turn and rise, draw and touch; (don’t step; left foot free for man)	In the McCues' Waltz To Sorrento, part A begins with a hover; thru chasse to banjo; maneuver; hesitation change; and diamond turns;;;;
Change of Direction phase IV 123;	in closed line and wall fwd turning lf, fwd with right side stretch, draw no wt to line and cntr;	turn left and right chasse or diamond turns
Heel Pull phase IV 123;	In closed position reverse, step back L (woman fwd R) starting RF turn, continue to turn on L heel and pull right foot back to left and change weight, hold; Usually ends facing line and center, feet slightly apart.
Drag Hesitation phase IV 123;	in closed line fwd turning lf, sd turning, draw left to right no weight ending in bjo;	In the Palmquists' Riviere de Lune, there is a maneuver, side, close; spin turn; back, side, close; drag hesitation; back, bk/lk, bk; open impetus; to a promenade weave;;
Hover 123;	In closed position facing wall, step forward L (woman bk R), fwd & side R and rise brush lead feet, recover L and lower to semi-closed position LOD;	thru chasse or back to a pickup
Closed Hover 123;	In closed position, step fwd L, sd & fwd R rising and turning slightly RF, rec L staying in closed position;	In Lamberty's Jean, there is an open impetus; running natural weave to a box finish;; closed hover; box finish; to two left turns;;
Back Hover phase IV 123;	In closed position, step back, side and back with slight rise, and then recover; May start with either foot.	In the Palmquists' Marilyn, Marilyn, from closed position facing reverse, there is an open impetus; forward hover to banjo; back hover to semi; pick up, side, close; to two left turns;;
Hover Telemark phase IV 123;	In closed position facing wall, step forward L, fwd & side and rise brush lead feet turn RF, recover and lower to semi line and wall;	Scott's Tears in My Eyes has a diamond turn 1/2;; to a back hover telemark; chasse to semi; and a weave six to banjo;;
Hover Corte phase IV 123;	in closed reverse back right turning lf, side left turning rise in hovering action, recover back right and lower to bjo line;	Brownrigg's Christmas Wishes begins part A with one left turn; hover corte; to a back, and back/lock, back;
Cross Hover 123;	In banjo or sidecar, cross free foot in front (woman in back), step side with a slight rise and turning slightly toward partner, then recover to sidecar, banjo, or other indicated position. A common cue is to cross hover three times to semi. This sequence would probably begin in sidecar. You would cross hover to banjo; cross hover to sidecar; and then cross hover to semi; (three whole measures)	A popular sequence is to begin in a facing position, lead feet free, and cross hover to banjo; cross hover to sidecar; cross hover to semi line; Then you might step thru, face, close to face wall; whisk; maneuver; impetus to semi; and pick up; Or cross hover to semi; maneuver; spin turn; back half box to diagonal center; to diamond turns;;;;
Cross Hesitation phase IV 123;	In semi-closed position line of dance, both step thru with the trail feet, and the man uses LF body rotation to lead the woman to step side R around the man turning left. She continues to turn and closes left to right to end in contra banjo, man facing reverse and center. One step for the man and three for the woman.
Hover Fallaway 123;	In semi-closed position line of dance, step forward on the trail foot, forward with a slight rise and checking, and then recover back on the trail foot, remaining in semi. The "fallaway" step is the step back in semi-closed position.	You might do an open telemark; hover fallaway; slip pivot to banjo; and a fwd, face, close;
Natural Hover Fallaway phase IV 123;	In semi-closed position, step forward on trail foot turning RF, forward again continuing to turn and rising (woman stepping between his feet), and then recover back on trail foot still progressing down line and still in semi; Total turn is 1/4 to 1/2.	The Wisemans' Manuela Waltz has an open telemark; natural fallaway; slip pivot; and fwd, fwd/lk, fwd;
Reverse Fallaway phase IV 123;	In closed position, line, step forward with the lead (woman back) turning LF, step side, and then cross the lead in back of the trail to end in a tight V semi position facing reverse and center; 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;	In the Dois' Ave Maria, part A begins with a rev fallaway; slip chasse to banjo; fwd fwd/lk fwd;
Reverse Fallaway and Slip (aka Reverse Fallaway and Slip Pivot) phase V 12&3;	In closed position facing diagonal line and center, step forward L beginning to turn LF (woman back R), side & back R turning to semi-closed facing reverse or even reverse and wall/step back L well under body (woman back R beginning strong LF pivot on right toe, slip R past L pivot on R and lower (woman slips L fwd pivoting to closed position); On step two, keep left side well toward woman (woman step side L and keep right side toward man) to maintain dance position and not drift apart. The amount of turn varies, depending on the next figure, but a common ending orientation is diagonal line and wall. The syncopation may also vary: &123; 1&23; 123&;	In the Shibatas' Coney Island, the dance starts with a together touch; box finish; reverse fallaway & slip; open telemark; big top to face reverse; cross swivels to semi LOD; open natural; out side spin;
Three Fallaways phase VI 123; 123; 123;	In closed position facing line and center, step forward L (woman back R) turning LF and with left sway, side R toward line and center, and cross LIB of right (woman RIB of left) to semi-closed position facing reverse and wall; step back R still toward line and center turning LF to closed position (woman forward L slipping to closed), side and forward L down line with right sway, cross right well behind left (woman LIB of right) to reverse semi-closed position facing reverse; forward L toward line and wall (woman back R) turning LF and with no sway, side R toward line and wall turning, cross LIB of right (woman RIB of left) to semi-closed position facing reverse and center; Notice that the first four steps progress toward line and center on a straight diagonal line, steps 5 & 6 are taken straight down line, and steps 7, 8, & 9 are taken straight to diagonal wall. Jim and Bonnie Bahr describe this as a "frying pan" shape viewed from the side: down the sloped side of a frying pan, across the flat bottom, and up the other side. During the first fallaway, the man is on the outside of the circle. During the second, the woman rolls to the outside, and during the third, the man moves to the outside again.
Whisk 123;	In closed wall, step forward, forward and side rising, both hook behind rising to semi line and cntr;	whisk to a weave or wing
Back Whisk phase IV 123;	In closed wall, he steps back L, back and side R, and then both cross lead in back of trail finishing in semi-closed position.
Left Whisk phase IV 123;	In semi-closed position, lower and step thru with the trail feet, step side and slightly forward L (woman side and slightly back R) to closed position, and then cross trail foot behind lead to end in a reverse semi position.
Wing 123;	In semi-closed position LOD, step thru with trail feet, draw L to R no wt (woman forward R around man turning LF), touch L (woman forward L turning to sidecar position) (1 wt change, woman 3); 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.	In the Whymans' Mira Four, part B begins with one left turn; back waltz; two right turns;; whisk; wing to sidecar; cross hover to banjo; cross hover to sidecar; and cross hover to semi;
Progressive Wing phase IV 123;	In semi-closed position, step thru with trail feet beginning a small LF turn, step forward and side continuing to turn and leading the woman to step forward R around man, and then cross right behind left as woman steps forward L around man to end in contra sidecar facing line or 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.
Closed Wing phase IV 123;	In a closed or banjo position, he steps forward R and she back L. He draws left to right and rotates his upper body LF, leading her to step side R across the man, and finally she steps forward L to sidecar position. One weight change for the man and three for the woman.	In the Prows' When Will I, part A begins with a hover telemark; running open natural; back and chasse to banjo; closed wing; open telemark; ripple chasse; curved feather;
In and Out Runs phase IV 123; 123;	In semi-closed position, trail foot free, step fwd turning RF, side and back (woman forward between man's feet) to closed reverse, back right to bjo; back left turning, side and forward between woman's feet turning, both forward to semi;	In the Shibatas' Liebestraum No. 3, there is a maneuver; open impetus; three in & out runs;;; to a syncopated outside underarm turn to butterfly sidecar; check recover side to bolero banjo;
Open In and Out Runs phase IV 123; 123;	In semi-closed position, trail feet free, release lead hands and step thru, man turning RF, step side L continuing to turn and scooping partner up with man's L under woman's R arm, step side and forward R continuing to turn to left half open position facing line of dance; In the second measure, the woman comes across as the man did, ending in half open position facing line.	In the Hurds' Senza Fine, part A begins with an open telemark; open in & out runs;; thru & syncopated vine to semi; open natural; outside spin; to a hover corte;
Develope phase IV 1, -, -;	In banjo, line, step forward L outside partner checking. She steps back R and then brings the left foot up the right leg to the outside of the right knee and extends the left foot forward. The Develope is actually the knee, and kick;	In the Rumbles' A Brief Romance, we do a maneuver; overturned spin turn to face reverse and wall; back & chasse to banjo facing line and wall; cross pivot to sidecar; check forward woman develope; Then, we step back (woman fwd) and hover out to semi; thru, sd, behind; roll 3;
Outside Spin phase V 123;	In contra banjo, facing reverse and wall, turn upper body RF leading woman outside man, 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. On this first beat, the woman takes a large step around the man turning RF maybe 3/8 and rising to her toes. On beat 2, the man steps around the woman with a strong heel lead (unusual in waltz on second step), turning another 3/8. 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.	Cunningham's Moulin Rouge has a diamond turn one half checking;; to an outside spin; and then a box finish; repeat;;;; The sequence begins diagonal line and center and ends the same. Or here is an exercise from the Worlocks: 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;
Royal Spin phase V 123;	Again, in banjo, usually reverse and wall, turn upper body RF leading woman outside man, 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. On this first beat, the woman takes a large step around the man turning RF maybe 3/8, just like the beginning of an outside spin. On beat 2, the man steps outside the woman with heel lead, and she continues to turn in a toe-spin (like a heel turn but on the R toe, rondes her left foot CW and raises the left knee to bring the left foot to the right knee, toes pointed down, no weight change. This leg movement is like a reverse develope. Instead of "knee/kick" (develope), swing a straight leg and then knee. During the spin, expand the top line, that is, keep the upper bodies apart, and allow momentum to develop. On beat 3, he brings his left foot under his body with left side lead and steps side and forward to contra banjo, and she lowers her foot to a touch. The end of this leg movement feels like a leg crawl. Three steps for the man and one for the woman; one full turn. This is one of those figures where the woman takes a step and then simply spins in place, as the man steps around her. Others are the Tornillo Wheel and Ballerina Wheel in Latin. 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. They must not go "fwd/turn, fwd/turn" in a sort of square, but "curve, curve" in a circle with left side lead. 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.	Chardonnay is a wonderful waltz by the Easterdays. There is a left turn; hover corte; royal spin; maneuver; open impetus; and pickup to a double reverse spin (1, 2&, 3&;)
Chair also called a Forward Poise Chair 1	In semi-closed position, line of dance, trail feet free, simply step thru with a slight lunging action and soft knees. The curve of that trail leg should suggest the leg of a Queen Anne chair.	In the Howards' Andante Waltz, there is a very nice chair facing reverse and wall, recover, hold; to a promenade weave from this unusual position but ending as usual line and wall; to a maneuver; and hesitation change;
Back Poise Chair 1	In the Forward Poise Chair above, you continue to look forward and your torso has "forward poise." In a Back Poise Chair, you step thru with the trail foot and at the same time look back with a little sway to reverse.	In the Shibatas' Edelweiss, there is an impetus to semi; back poise chair recover point to reverse; forward poise chair recover slip; to a double reverse;
Chair and Slip phase IV 123;	In semi line fwd trail foot soft knee, recover woman swivel LF, bk woman fwd to closed position line;	In the Scotts' Melody of Love, part A begins with a weave six to semi;; chair and slip; drag hesitation; open impetus; thru, face, close; twist vine; fwd, face, close; hover; Bucks' All in the Game begins in butterfly, wall, trail feet free, with a thru syncopated vine 4; chair & slip; and then a left turn; to a hover corte;
Contra Check phase V 1	In closed position, lead feet free, lower into your right knee (woman left), begin LF rotation, and slide the left foot forward. Your left foot is moving forward as your right side is leading strongly. This is the contra body action. Of course, the woman is lowering and stepping back R, allowing her toe to slip across the floor. His left thigh is actually pushing into her right thigh. Only when she feels the man stop and begin to change weight, will she stop that slipping foot movement and take weight herself. She must wait. The LF rotation causes the man to turn his left foot out. If he is facing DLW, his toes will be pointing LOD. This angled foot placement helps a great deal in maintaining balance. The woman steps straight back R, but her CBM causes her left foot to angle out and may turn her right foot a bit in. All four feet end up pretty much in one straight row (her R, his L, her L, his R), but the foot angles and the tight contact at the thighs helps maintain balance. Hips are in—toplines are well apart—heads left. Timing varies. A slow contra check can easily span a whole measure.
Contra Check and Slip phase V 123;	In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R). Keep your hips in and up and your shoulders well apart. On beat 2, recover R, and then slip back L (woman fwd R).
Contra Check and Switch phase V 123;	In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R) in strong contra-body position. Keep your hips in and up and your shoulders well apart. On beat 2, recover R beginning to turn RF, and then slip back L (woman fwd R) continuing to turn about 1/4.
Thru Chasse 1,2&,3;	In semi-closed position, step thru with trail feet and turn to face, side/close, side and blend to semi;	In Coronado Sunset by Oren, there is cross hover three times to semi;;; thru chasse to semi; again; to a maneuver, side, close;
Turn Left and Right Chasse 1,2&,3;	in closed line forward lead turning left, sd/cl, sd ending bjo reverse and cntr;	hesitation change
Vine 6 123; 123;	cl wall step side, both behind, side; through, side, behind;	whisk
Twisty Vine 9 123; 123; 123;	cl wall step side lead feet, man cross in back woman in front to scar, side to closed; man cross in front woman in back to bjo, sd to closed, xib; sd, xif, sd;	maneuver
Telemark to Semi or Open Telemark phase IV 123;	In closed position, line and center, step forward L beginning to turn LF (woman back R). On beat 2, step forward and side R turning as woman draws L to R and pivots on her right heel and then shifts weight to L (heel turn). At this point, you should be in good closed position, man facing reverse and wall. These steps are steps 1 and 2 of a reverse turn. On beat 3, simply use a little right-side stretch to open the woman's head, and step toward line and wall in semi-closed position. Figure may also begin in banjo or sidecar.	in and out runs
Telemark to Banjo or Closed Telemark phase IV 123;	In closed position, line and center, step forward L beginning to turn LF (woman back R). On beat 2, step forward and side R turning as woman draws L to R and pivots on her right heel and then shifts weight to L (heel turn). At this point, you should be in good closed position, man facing reverse and wall. These steps are steps 1 and 2 of a reverse turn. On beat 3, continue turning, maintain left-side stretch to keep her in closed position, and step toward line and wall in good contra banjo position. Figure may also begin in banjo or sidecar.	maneuver
Natural Telemark phase V 123;	Much like a Cross Pivot. In closed position facing line and wall, step forward R beginning RF turn, side L with left-side stretch turning, side and forward R small step to closed or sidecar position facing line and center; May also begin in banjo or semi-closed position.
Double Natural Telemark phase VI 12&3; 123;	As the name implies, this figure consists of two natural telemarks, but in order to do the second one, you have to syncopate the first, in order to have the proper foot free. So, in closed, banjo, or semi-closed position facing line and wall step forward or thru R (woman back or thru L), forward and around L turning RF (woman fwd R between his feet) to closed position/ step side and forward R continuing to turn (woman side and back), and small step L outside partner to sidecar (woman bk R). At the end of the first measure, you could also be in closed position. Your trail foot is free again. Now step R between her feet turning RF, forward and around L (woman does a heel turn) so that he faces center, and forward R small step to closed or sidecar position facing line and center;	In Lamberty's Papillon, there is a maneuver; tipple chasse pivot; spin turn; box finish; open telemark; double natural telemark to a samefoot lunge;;; hover transition to banjo and an outside change to semi;
Natural Hover Cross phase V 123; 12&3;	The Hover Cross is really a fox trot figure, but it can be used in waltz if syncopation is introduced. In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, recover R/side and forward L, fwd R on toe outside partner in contra banjo with left side stretch; The last four steps of this figure are known as a Hover Cross Ending. May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, fwd R, The syncopation may be varied: 123; 123/&; or 123/&; 123;
Continuous Hover Cross phase VI 123; 123; 123;	Where the Natural Hover Cross consists of 7 steps, the Continuous Hover Cross consists of 9. It "continues" for two more steps. In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall, step back L in contra banjo; back R beginning LF turn and blending to closed position, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center; May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, fwd R,
Weave to Semi phase IV 123; 123;	In semi-closed position, line and cntr step fwd trail feet, fwd woman side turning LF to closed position, side and back woman forward to closed reverse; back left to bjo, back turning LF to closed wall, both side and forward to semi line and wall;	In the Worlocks' No Walls, part A begins with a forward waltz; maneuver; spin turn; hover corte; back, back, lock back; impetus to semi; weave to semi;; to a chair & slip; and telemark to semi;
Weave to Banjo phase IV 123; 123;	In semi-closed position, line and cntr step fwd trail feet, fwd woman side turning LF to closed position, side and back woman forward to closed reverse; back left to bjo, back turning LF to closed wall, side and forward woman side and back to bjo line and wall;	The Moores' Romeo & Juliet has a left turn; check and weave to banjo facing line and wall;; natural hover cross with syncopated ending;; open telemark; chair recover slip;
Whiplash phase IV 123;	In semi-closed position, step thru with the trail foot turning RF and leading woman to swivel LF to face partner in closed position, point lead feet to side. One weight change.	In the Brent and Judy Moore's Bambino Re, we do a wing to sidecar; cross hover to semi; whiplash; to a syncopated top spin; and box finish;
Left Sway 1, hold, hold;	In closed position, step side L (woman sd R) with right side stretch, -, -;	In Coronado Sunset by Oren, the dance begins with a sway left; sway right; into diamond turns;;;;
Right Sway 1, hold, hold;	In closed position, step side R (woman sd L) with left side stretch, -, -;
Promenade Sway phase IV 1,2,	With lead foot free, step to the side, down line of dance, turn to semi, stretch left side of body (woman right), look up and over the joined lead hands, and then relax the lead knee. One of our teachers used to say to the men, step down line and look at your watch (it works if you wear your watch on your left wrist).	In Lamberty's Come To Me, part A begins with an open telemark to a promenade sway; change sway; ronde and fallaway to banjo; slow outside swivel; open natural; 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.
Oversway phase IV 1,	In closed position, step side on the lead foot leaving the trail leg extended, relax the lead knee, stretch the left side (woman right side) and rotate a little LF.
Change Sway phase V timing varies	To change sway, you must have sway, that is inclination of the body to one side or the other. Changing sway is inclining the other way, and it is accomplished by stretching the side of the body previously unstretched and rotating the hips. For instance, the promenade sway involves right side stretch and left sway; you are inclined down line. Changing that sway involves lowering into the lead knee, stretching the left side and so inclining the torso more toward reverse, and finally rotating the hips a little CCW.	Scott's In a Perfect World V begins part A with one measure of a diamond turn to banjo, diagonal reverse and center; slow turn left in one step and touch lead foot; promenade sway; change of sway; Then one could step through, chassé to semi; maneuver; hesitation change;
Double Reverse Spin phase V 12-; (12&3)	In closed position, diagonal line and center, step forward L ( woman back R) and begin strong LF body turn. On beat 2, step forward R thru the woman's left side. She has drawn her L to R, and the man's rotation and his pushing thru her as through a turnstile, leads her heel turn. At the end of beat 2, she changes weight to her left foot. On beat 3, the man continues to rotate but simply draws his left foot to his right with no further weight change. The woman steps side and back R and quickly crosses her L in front of R to end in closed position line of dance. There are two weight changes for the man and four for the woman. 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's second step is also forward (the woman's second step is a draw/heelturn/close). If the man steps a bit to the right of the line, the double reverse will spin about 3/4; on the line about 7/8; and a bit to the left of the line a full turn. 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.	In the Dois' Limelight, part A begins with a reverse fallaway to banjo; back & quick rising lock; double reverse spin; turn left & right chasse; and a back turning whisk to semi facing line and center; The interesting thing about this sequence (and much of the rest of this dance) is that each figure except the last (the whisk) is syncopated (12&3;). We see that waltz does not have to be 123; 123;
Double Reverse Overspin 12-&; (12&3&)	This figure calls for a lot of rotation in only one measure of music. You will turn as much as 1 and 1/2 LF. Do a full Double Reverse Spin, as described immediately above. Then the man and woman both take an additional step with the lead foot, turning. Lower into that lead leg to coax additional turn, and you will end in closed position, facing reverse line of dance, trail feet free.	In the Shibatas' Le Cygne, part B begins with a reverse fallaway and slip; double reverse overspin; and back to a throwaway oversway; The sequence calls for almost three full turns over three measures.
Double Natural Spin phase VI 12-; (12&3)	You might think that the double natural would be a mirror of the double reverse (above), beginning with the trail feet, but it is a little different. We do begin in closed position, facing line and wall, trail feet free. The first step is forward R (woman back L) beginning strong RF body rotation. The second step also almost mirrors that of the double reverse: the man steps side and back L thru the woman's right side and beyond an imaginary diagonal line drawn between the starting point and diagonal line and wall; and she draws her R to L, executes a heel turn, and then changes weight. During beat 3, the man draws his R to L, does not change weight, and here gives a little extra upper-body rotation and opens his right side to lead the woman to step side and forward L around the man and quickly forward R outside partner to contra banjo position. Remember, in the double reverse, we ended in closed position.	The Bahrs' Red River Waltz ends with a forward on the trail feet and chasse to semi-closed position; slow side lock; double reverse; check reverse & slip; double natural spin; check natural & slip; and an open telemark to a throwaway oversway;;
Hinge phase V 123;	From closed position, step back on the right foot and turn 1/4 LF. Step side on lead with strong left side stretch; continue to rotate hips LF, leading woman to collect her trail foot and change weight. His left and her right hips are tight together. Flex left knee to lower and cause her right foot to slide forward, leg straight. End in almost an L-position with man's left knee flexed and his right leg straight and extended to his right side, and woman's left knee flexed and her right leg straight and extended in front of her, parallel with his. She is almost sitting on his left thigh. May begin in semi-closed position, in which case the first step is forward for both.
Same Foot Lunge phase VI 1	Where the hinge has the right legs for both extended on a strong diagonal, the same foot lunge has the left legs extended into a pretty picture figure. Begin in closed position with trail feet free. Since this is a "same foot" figure, we have to do a transition. Often, the cue is "prep for a same foot lunge." The "prep" is a slight rise and right face rotation causing the woman to rise to her toes and change weight to her left foot. She has rotated a little RF but not as far as to semi-closed position—you are still closed. Her right knee is tucked just behind her left knee. Her left hipbone needs to settle into the hollow of his right hipbone (inside his right hip). Both now have right feet free. Now we can do the figure. Lower in the left leg, push, and step side and slightly forward R with right-side stretch and looking right. Give her your right side—that will close her head (woman steps back R turning LF and looking well left—very like a contra check step for the woman). The man's left leg will be extended to the side, straight and strong. The woman's left leg will be crossed in front of her right and extended on the same diagonal as the man's. Keep your hips well in to your partner. Again, you are in closed position (not an L-position).	In the Bartons' Someone Like You, part B begins with two double reverse spins;; whisk; thru face close; contra check; hold recover back; back & chasse to semi; maneuver preparation; same foot lunge; hinge; open impetus;
Rudolph Ronde phase VI 1, -, -;	In closed position, diagonal line and wall, step fwd between her feet, lowering with something of a chair-like feel. Your right knee will tap the inside of her right knee, leading the actual ronde. Turn your upper body sharply RF with left side stretch and left side lead, and then check that action by flexing the right knee while keeping the left foot back. She will step back L, turning to semi, and ronde her right leg CW but keeping right side in to man. Her right leg will cross behind, no weight change. Theoretically, the man can lead the height of her ronde with the degree of lift in his body, making the ronde quite aerial or letting it just skim the floor. He can also lead the duration of the ronde with the speed of his upper body rotation: just one beat or extend it over a whole measure.
Rudolph Ronde and Slip phase VI 123;	In closed position, diagonal line and wall, step fwd between her feet, turn upper body sharply RF with left side stretch and lead, and then check that action by flexing the right knee while keeping the left foot back. She will step back left, turning to semi, and ronde her right leg CW but keeping right side in to man. Her right leg will cross behind, no weight change. On beat 2, the man recovers with a straight back step on the left, and the woman steps back R and pivots LF to face the man. On beat 3, he steps back R turning LF, and she slips her L just outside his R to closed position line or line and center.	In the Rumbles' Whistling in the Dark, the dance begins with a step forward to closed position; back to a hinge; woman recover and pivot; rudolph ronde and slip; to a telespin;; and chasse to banjo;
Split Ronde phase VI 123; (12&3;)	This figure begins in closed position, both with left foot free. Turn a bit so knees are outside but not fully to banjo, lower on the right and push the left forward to ronde the left leg CCW turning LF. On count 2, cross the left behind the right continuing to turn (on the & the woman steps side and back R), then slip back R (woman fwd L) to closed position; The woman is doing a little circular vine -- don't pull away from partner. The amount of turn is about a half, often from diagonal line and wall to diagonal reverse and center.	Certainly, the usual pattern is double reverse to a split ronde. At the end of the double reverse spin, stop your rotation for good balance, lower a bit and turn just a little RF to lead the woman to release her right foot and change weight (her count for the double reverse becomes 12&3&), and then proceed with the split ronde. In the Hurds' Senza Fine VI, there is a reverse fallaway & slip; double reverse; split ronde; to a contra check and extend;
Eros Line phase V 1, -, -;	In closed position, line of dance, lower on lead and step side R between woman's feet, commence slight upper body turn RF. Woman steps side L. Use right-side stretch and rise to cause woman to raise R leg, bend R knee, move R knee back, and turn the R leg out so that the right toe and heel are parallel to the floor. She has left-side stretch with head well right.
Big Top phase VI 123; or 1-3& (12-&)	In semi-closed position diagonal line and center, step through R (woman L) beginning LF spin in a lowered position. This first step almost feels like a chair. Quickly on the & of the first beat, the man uses upper body rotation to lead the woman to step fwd R toeing in to the center, around the man's left side, a little like a wing, and commences a toe spin. The man leaves his lead foot behind him as he spins, tucks his left knee tight in back of his right knee, and at the end of beat 2, he comes up and crosses LIB of right. Stay down during beats 1 & 2. Early rise will stop the spin. On beat 3, he slips a small step back R, and she slips forward L to closed position diagonal line and wall. The big top is an unusual figure in that the timing is different for the man and the woman. Both step on beat 1 but the woman takes her second step quickly on the & of 1 while the man waits as the spin occurs. He may even draw out the spin to the & of 2 and then quickly do the slip on 3. Tammy Worlock likes to describe this timing with the mnemonic, "we, she, he, we." The Prows, in Pastorale, give a count of 1-3& for the man and 12-& for the woman.
Rumba Cross phase VI 1&23;	In closed position, facing line of dance, step forward L (woman back R). Knees are soft. Use strong left side lead and left side stretch. On the "and" cross right in back of left (woman left in front of right). Use a Latin Cross action with the heel leading, R toe to L heel, making a momentary "7" and turning RF up to 1/2. On beat 2, step back L still with left side stretch, pivoting RF. On beat 3, step forward R to closed position. Standard amount of total turn is 1/2 to 3/4 but may be under or overturned.	In the Bartons' Cavatina, there is a maneuver and pivot 2; rumba cross twice;; to a travelling contra check;
Tumble Turn phase VI 12&3; or 1&23;	In closed reverse, trail feet free, step back R lowering and beginning to turn LF. Step side and back L; the woman strongly side and forward R to remain in closed position. On the "&" the man sneaks his R across to a contra banjo line of dance and rises with right side stretch, opening her head; she crosses behind. Lead feet brush up to trail as both swivel on the trail to face center, and he steps forward and lowers into a "contra" closed position. This last step is actually the "tumble" action, and the figure might be more accurately called a "feather finish to a tumble ending." It is a little like a contra check. The actual step is shorter, but she has stepped side and back to move from tight contra banjo to closed, and he steps forward into her with right side lead (contra), lowering. The pretty part of this figure is really the swivelling in contra banjo and the tumble to closed, so the music might tell you to dance the sequence: 1/&, 2, 3;
Opposition Points phase VI 123;	In closed position, lower on the right foot with right-side stretch and extend the left leg to the side. Note that the man and the woman extend the same leg and so point in opposite directions. May be done with the right legs and left-side stretch. The action itself involves no weight change, but entry and exit steps may be choreographed. These steps, body position, and head positions all may vary.	One might do a maneuver; open impetus; and then forward to opposition points; To execute that last figure, the man would step forward R on beat 1, turn to face partner and wall and lower into the opposition points during beats 2 & 3. The woman would have to step forward L and quickly close R, doing a transition (1&), and then similarly lower to opposition points on 2 & 3. To get out of this picture figure, the cue might be: rise, -, man close; back half box to face line; telemark to semi;
Double Opposition Points phase VI 123; 123;	This figure comes from the Shibatas' Tonight, a phase V waltz. In part A, we do an open telemark; curved feather check; and then dbl opposition pts;; The choreography departs from the standard action, but it retains the basic feature of pointing in opposite directions. From contra banjo, reverse and wall, the man recovers L and the woman recovers R. He draws R to L leading the woman to swivel RF on her R and to draw her L to R. He flexes his L knee and extends his R leg to the side and back toward DLC with left sway and looking toward DRW. She flexes her R knee and extends her L leg thru twd DRW with R sway and looking DRW. We are not in closed position but more semi DRW. His L is extended to the side, as in the standard action, but hers is crossed thru. But the two legs are extended in opposite directions. There was one weight change for each. That is the first opposition point. To do the second, he rises on his L, draws R to L, and closes R turning slightly LF to face DRW. She rises on her R and pivots LF on her R. He continues to turn to face DLW, flexes his R, and extends his L side and back toward DLC with right sway looking DRW. She continues to rotate on her R to face DRC, flexes R, and extends L side and back toward DRW with L sway looking DRW. There was one weight change for the man but no weight change for the woman. (The cue sheet does allow two weight changes for the woman rather than the smooth pivoting action.)

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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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Waltz - true romance (of course!). Floating and tranquil.

Bittersweet; like suffering from unrequited love, or the way you feel after you've moved on from someone you loved once but still feel longingly toward them every once in a while. Think of Juliet drinking the poison at the end in Romeo and Juliet. Then lock that feeling in your heart.

Waltz includes pain with its beauty, I can see how the thought of Juliet might work. But it's a dagger: "Oh happy dagger, here is thy sheath, there rust and let me die!"

My favorite waltz is "Plaisir d'Amour" which says "The joys of love are but a moment long, The pain of love endures the whole life long." I don't agree with the sentiment (I happen to think that it's backward from true love in real life), but it's a good feeling to use for waltz.