Category: Modern Sequence Dancing

The Vanity Waltz Sequence Dance

Vanity Waltz Dance Steps

The Vanity Waltz is a modern sequence dance. The dance script was composed by Jack Kennedy in 1939. It is a 32 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced to a 1-2-3 rhythm to music at a tempo of 30 beats per minute.

We commence the dance in open facing position about two feet apart with the man facing and the lady backing the line of dance and the lady slightly to the man’s right.  Their hands are held at shoulder height with the man’s hands held palm upwards and the lady’s facing downwards. We describe only the man’s steps here, assuming the lady will follow as a counterpart.

The Vanity Waltz is noted for its many Contra Body Movement Positions.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes. If you find yourself confused with all the technical terms, you can skip to a video presentation of the dance below.

If You Prefer to Just Watch the Vanity Waltz, Scroll to the Video at the Bottom

How to do the Vanity Waltz

1.  The man moves his left foot forward in a diagonal-to-wall direction and using a Contra Body Movement Position outside his partner, who is on his left side (1)  then his right foot comes forward, diagonal-to-wall (2) and he closes his left foot to his right foot while commencing to turn his body to the left (3)

2.  The man continues turning to the left to face diagonal to centre and brings his right foot forward across the line of dance in a Contra Body Movement Position (CBMP) (1)  then his left foot comes forward and across the line of dance in a diagonal-to-centre direction outside his partner, in another CBMP (2). The man closes his right foot to his left and commences to turn to the right (3).

3.  The man continues turning to the right and brings his left foot forward in a diagonal-to-wall direction across the line of dance in another CBMP outside his partner (1) then his right foot comes forward towards the wall (2). He closes his left foot to his right foot and commences to turn to the left (3).

4.  The man continues to turn to the left, his body facing the line of dance, then brings his right foot forward in a diagonal-to-centre direction across the line of dance, a short step, outside his partner in another CBMP, relaxing his knee (1). He then points his left foot forward with a soft hip throw diagonal-to-centre, rising up on his right toe outside his partner, the toe should be in contact with the floor (2-3)

5.  The man then brings his left foot back against the line of dance and slightly across in another CBMP (1) his right foot goes to the side across the line of dance and he is square to his partner (2). The man’s left foot brushes to his right foot, as he commences to turn to the right (3).

6.  The man’s left foot now goes forward in a diagonal-to-wall direction, in another CBMP outside his partner, a short step as he relaxes his knee (1). He then points his right foot forward in a diagonal-to-wall direction with another soft hip throw, rising onto his left toe, the toe should be in contact with the floor (2-3)

7.  Now the man brings his right foot back, his partner on the outside, against the line of dance. He moves slightly across his partner in another CBMP (1) his left foot then goes to the side across the line of dance, a short step. He is now square to partner (2). The man’s right foot then brushes to his left foot without changing his weight. He commences to step outside his partner along the line of dance (3).

8.  Now the man brings his right foot forward along the line of dance in another CBMP outside his partner as he commences to turn to the right and continues doing so (1). He brings his left foot to the side along the line of dance and outside his partner, as he continues to turn to be almost backing the line of dance (2). The man’s right foot closes to his left foot, this time with a weight change (3).

9.  Now the man’s left foot moves forward against the line of dance in another CBMP outside his partner and he commences to turn to the left and continues doing so (1). His right foot goes to the side against the line of dance and outside his partner, as he continues to turn to the left, to be almost facing the line of dance (2). The man’s left foot then closes to his right foot and with a weight change (3).

10.  The man’s right foot moves forward along the line of dance in another CBMP outside his partner, as he commences to turn to the right (1). His left foot then goes to the side along the line of dance and outside his partner, while he is still turning to the right to be almost backing the line of dance (2). Then his right foot brushes to his left, without changing his weight (3).

11.  The man now brings his right foot back along the line of dance in another CBMP outside his partner, as he commences to turn to the left (1). He then brings his left foot to the side along the line of dance, still turning to the left to be almost facing the line of dance (2). The man’s right foot then closes to his left foot, this time with a weight change (3).

12.  The man now brings his left foot back against  the line of dance in another CBMP and commences turning to the right (1). His right foot goes to the side against the line of dance, while still turning to the right to be almost backing the line of dance (2) then his left foot closes to his right foot (2).

13.  Now the man brings his right foot back along the line of dance in another CBMP and commences turning to the left. At this point he prepares to step outside his partner toward the wall and at the same time, to take up Normal Ballroom Hold (1). His left foot then moves forward and across the line of dance and outside his partner, while still turning to the left, to be almost backing the line of dance (2) and his right foot goes to the side along the line of dance. He should now be on the right side of his partner (3).

14.  Now the man brings his left foot back along the line of dance in another CBMP, while he commences to turn to the right (1). His right foot goes to the side along the line of dance, while still turning to be almost facing the line of dance (2). Then his left foot closes to his right foot (3).

15.  Next, the man brings his right foot back against the line of dance and outside his partner in another CBMP and commences turning to the left (1). His left foot then goes to the side against the line of dance while still turning to the left, to be almost backing the line of dance (2). He then closes his right foot to his left foot with a slight body sway in the direction of the closing foot (3).

16.  Now the man’s left foot comes back along the line of dance in another CBMP as he commences turning to the right and prepares to step outside his partner (1). His right foot then moves forward and across the line of dance toward the centre (2). He keeps turning to be almost backing the line of dance. His left foot goes to the side along the line of dance (&) and he brushes his right foot to his left foot without changing his weight. He should now be on the opposite side outside his partner (3).

17.  Then the man’s right foot comes back along the line of dance in another CBMP as he commences to turn to the left (1). His left foot then goes to the side along the line of dance (2). He continues turning to be almost facing the line of dance and closes his right foot to his left foot (3).

18.  Now the man’s left foot comes back against the line of dance in another CBMP as he commences to turn to the right (1). His right foot goes to the side and against the line of dance (2). He continues turning to be almost backing the line of dance and closes his left foot to his right foot (3).

19.  Next, the man brings his right foot back along the line of dance in another CBMP while turning to the left (the Lady’s left foot moves forward along the line of dance as she commences turning to the left) (1). The man’s left foot goes to the side and along the line of dance while he is still turning and he prepares to lead his partner to where they will both be facing diagonal-to-wall (the Lady’s right foot goes to the side into a Heel Pivot and she is slightly to the man’s right side). Both partners release their hold and take up Right Shadow Hold (2). The man closes his right foot to his left foot as the lady completes her Heel Pivot (the Lady’s left foot closes to her right foot and does a Heel Pivot, turning to be facing diagonal-to-wall and in line with the man) (3).

20.  Man and lady now on same foot.
Both partners now turn to face the line of dance and both partners’ left feet move forward in another CBMP and diagonal-to-wall while in Right Shadow Hold (1). Then their right feet move forward in another CBMP and diagonal-to-wall (2) and left foot closes to right foot as they turn towards diagonal-to-centre with a slight sway (3).

21.  Now they do the same thing, coming back toward the cente. Their right feet go forward in a diagonal-to-centre direction with another CBMP (1) then their left feet move forward towards diagonal-to-centre with another CBMP (2) and they close their right foot to their left foot so that they are now facing the line of dance (3). There is a 1/8 turn between (2) and (3)

Vanity Waltz – Moving Along Line of Dance Toward the Lift

22.  The man’s left foot moves forward along the line of dance as he commences to turn to the left (1) then his right foot goes forward and along the line of dance, a short step, so that he is now facing the centre (2). His left foot brushes to his right foot without changing his weight (3). There is a 1/4 turn to the left between (1) and (2).

23.  Now the man’s left foot comes back and diagonal-to-wall with another CBMP as he commences turning to the right (1). He continues turning strongly to the right, with his right foot moving forward along the line of dance, a small step (2). He continues turning so that he is almost square to the wall, his left foot going to the side, another small step (&) and he brushes his right foot to his left foot without changing his weight (3).

24.  Now the man’s right foot comes back and diagonal-to-centre with another CBMP as he commences turning to the left (1). His left foot then goes forward and along the line of dance, a small step, and he continues turning strongly to the left, so that he is almost square to centre (2). His right foot then goes to the side and along the line of dance, a small step (&) and he brushes his left foot to his right foot without changing his weight (3). There is almost 1/2 turn between (2) and (3).

25.  Now the man brings his left foot back and diagonal-to-wall with another Contra Body Movement Position and he commences turning to the right (1). His right foot then goes forward along the line of dance, a small step, and he continues turning strongly to the right so that he is now almost facing square to the wall (2). His left foot then goes to the side and along the line of dance, a small step (&) and he brushes his right foot to his left foot without changing his weight (3).

26.  Now the man’s right foot comes back and diagonal-to-centre with another CBMP as he commences turning to the left (1). He left foot goes to the side and across the line of dance, a small step, while still turning to face diagonal-to-centre (2). Then his right foot goes forward, a small step (3).

27.  The man’s left foot moves forward and diagonal-to-centre, a small step, and he slightly relaxes his left knee (1). Now both partners raise and point their right foot in a diagonal-to-centre direction with a CBMP, using a soft hip throw and rising up onto the left toe (2-3).

28.  The right foot goes to the side and across the line of dance, a small step, a both partners slightly relax their right knee (1). They raise and point their left feet towards diagonal-to-wall with a CBMP, using another soft hip throw and rising up on to their right toe (2-3).

Vanity Waltz – Conclusion

29.  The left foot goes forward and across the line of dance and diagonal-to-wall in a CBMP (1) then the right foot moves forward and across the line of dance and diagonal-to-wall in a CBMP (2) and the left foot closes to the right foot as they commence turning towards diagonal-to-centre (3).

30.  The right foot goes forward and across the line of dance and diagonal-to-centre in another CBMP (1) then the left foot goes forward and across the line of dance and diagonal-to-centre in another CBMP (2) and the right foot closes to the left foot as they commencing turning towards diagonal-to-wall (3).

31.  The man’s left foot now moves forward and across the line of dance and diagonal-to-wall in another CBMP (the Lady’s left foot moves forward and across the line of dance and diagonal-to-wall) (1). His right foot goes to the side and across the line of dance as the man prepares to lead his partner into a swivel step so that they can take up Open Facing Position (the Lady’s right foot moves forward and across the line of dance and diagonal-to-wall) (2). His left foot closes to his right foot (the Lady does a swivel 1/2 turn to the right so that she finishes facing her partner and diagonal-to-centre, brushing her left foot to her right foot) (3).

32.  Finally, the man’s right foot comes back against the line of dance and with another CBMP and slightly diagonal-to-centre (the Lady’s left foot moves forward and slightly diagonal-to-centre) (1). His left foot goes to the side and across the line of dance (the Lady’s right foot goes to the side and across the line of dance, toward the centre) (2) and his right foot closes to his left foot (the Lady’s left foot closes to her right foot) (3).

Then begin again . . . . .

Enjoy This Video Presentation of the Vanity Waltz

 

 

 

New Vogue Waltz Modern Sequence Dance

New Vogue Modern Waltz Dance Steps

The New Vogue Modern Waltz dance script was composed by John and Adrea Barwick in 2006. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced to a 1-2-3 rhythm and to music at a tempo of 30 beats per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing the wall. We describe both partners’ steps here, with the Lady’s in italics.

If You Prefer to Just Watch the Dance, Scroll to the Video at the Bottom

New Vogue Modern Waltz – 1st Movement – Left Change Step to Promenade Position – Promenade Chasse – Promenade Walks to Close Position – 1 to 3 Outside Change

1.   The man moves his left foot forward towards the wall (the Lady brings her right foot back to wall) (1) then the man’s right foot goes diagonally forward but against the line of dance (the Lady’s left foot comes diagonally back against the line of dance) (2) then he closes his left foot to his right foot, to end facing down the line of dance in Open Promenade Position (the Lady closes her right foot to her left, to end facing down the line of dance in Open Promenade Position) (3).

2.  Promenade Chasse – Now the man’s right foot goes forward and across his left foot down the line of dance, still in Promenade Position (the Lady’s left foot also goes forward and across her right foot down the line of dance, still in Promenade Position) (1) and his left foot continues forward down the line of dance (the Lady’s right foot continues forward down the line of dance) (2) then he closes his right foot to his left (the Lady closes her left foot to her right) (&) then his left foot continues forward down the line of dance (the Lady’s right foot continues forward down the line of dance) (3)

3.  Promenade Walks – And the man’s right foot comes forward down the line of dance (the Lady’s left foot comes forward down the line of dance) (1) and the man’s left foot goes forward down the line of dance as he commences to turn to the right to face his partner (the Lady’s right foot goes forward down the line of dance, but she doesn’t turn) (2). The man closes his right foot to his left, to end facing his partner in Closed Hold and now backing diagonal to centre (the Lady closes her left foot to her right, to end facing her partner in Closed Hold, now facing diagonal to centre) (3).

4.  The Outside Change – The man’s left foot comes back in a diagonal to centre direction (the Lady’s right foot goes forward in the same direction) (1) then his right foot also comes back diagonal to centre (the Lady’s left foot goes forward, diagonal to centre) (2) and his left foot goes to the side down the line of dance (the Lady’s right foot goes to the side along the line of dance) (3).

New Vogue Modern Waltz – 2nd Movement – 4 to 6 Outside Change Ending in Breakaway Position – Changes of Places Left to Right – Whisk Against Line of Dance

5.  Continuing the ‘outside change’ – the man’s right foot goes forward, diagonal to wall and outside his partner who is on his right side (the Lady’s left foot comes back, diagonal to wall with her partner on the outside, on her right side);  (1) his left foot goes to the side down the line of dance (the Lady’s right foot goes to the side along the line of dance) (2) and he closes his right foot to his left, to end facing the wall and his partner in a Breakaway Position (the Lady closes her left foot to her right, to end facing the centre and her partner, also in Breakaway Position) (3).

6.  Change of Places – The man moves his left foot forward in a diagonal-to-wall direction with the man’s left hand to the lady’s right hand and raising their joined hands. The man crosses behind the lady with the lady moving under his raised hands (the Lady’s right foot moves forward in a diagonal-to-centre direction and she crosses in front of her partner, moving under his raised hands) (1). Now the man’s right foot comes forward in a diagonal-to-wall direction while turning to the left and towards diagonal-to-centre (the Lady’s left foot comes forward in a diagonal-to-centre direction while turning to the right towards diagonal-to-wall) (2). The man then replaces his weight onto his left foot and continues to turn to the left so that he ends facing diagonal-to-centre (the Lady replaces her weight onto her right foot and continues to turn to the right so that she ends facing diagonal-to-wall) (3).

7.  Now the man’s right foot goes forward in a diagonal-to-centre direction as he crosses behind the lady, raising their joined hands and the lady moving under his raised hands (the Lady’s left foot goes forward in a diagonal-to-wall direction as she crosses in front of her partner) (1) then his left foot comes forward in a diagonal-to-centre direction and he commences to turn to the right (the Lady’s right foot comes forward in a diagonal-to-wall direction and she commences to turn to the left) (2). The man replaces his weight onto his right foot and continues to turn to the right so that he ends facing the toward wall and his partner (the Lady replaces her weight onto her left foot and she continues to turn to the left so that she ends facing toward the centre and her partner) (3).

8.  Whisk – Now turning to the right, the man moves his left foot forward against the line of dance (the Lady, turning to the left, moves her right foot forward against the line of dance) (1) then brings his right foot forward against the line of dance in a Contra Body Movement Position (CBMP) and commences to turn to the left, to end facing his partner (the Lady brings her left foot forward against the line of dance and commences to turn, to end facing her partner) (2) and his right foot then comes forward against the line of dance in CBMP as he commences to turn to the left so that he ends facing his partner (the Lady’s left foot comes forward against the line of dance as she commences to turn, so that she ends facing her partner) (3).

New Vogue Modern Waltz – 3rd Movement – Promenade Chasse – Promenade Walks to Closed Position – Contra Check – 1 to 3 Solo Outward Turn

9.  Promenade Chasse – the man moves his right foot forward down the line of dance, now in Open Promenade Position (the Lady moves her left foot forward down the line of dance, also in Open Promenade Position) (1) then his left foot follows, moving forward down the line of dance, still in Open Promenade Position (the Lady’s right foot follows, moving forward down the line of dance, still in Open Promenade Position) (2) and he closes his right foot to his left foot (the Lady closes her left foot to her right foot) (&) then his left foot continues forward down the line of dance (the Lady’s right foot continues forward down the line of dance) (3)

10.  Promenade Walks – Now the man’s right foot continues forward down the line of dance (the Lady’s left foot continues forward down the line of dance) (1) followed by his left foot coming forward down the line of dance and he commences to turn to the right, so that he ends facing his partner in Closed Hold (the Lady’s right foot comes forward down the line of dance and she commences turning to the left so that she ends facing her partner in Closed Hold) (2). The man closes his right foot to his left, now facing the wall and his partner (the Lady closes her left foot to her right, now facing the centre and her partner) (3)

11.  The man’s left foot goes forward in a diagonal-to-wall direction against the line of dance, into a Contra Check (the Lady’s right foot comes back in a diagonal-to-wall direction against the line of dance, into a Contra Check) (3). The man replaces his weight back onto his right foot (the Lady replaces her weight forward to her left foot) (2) and he now proceeds with his left foot forward down the line of dance, having opened into Promenade Position (the Lady’s right foot proceeds forward down the line of dance, also in Promenade Position) (3)

12.  Solo Turn – The man brings his right foot forward down the line of dance, at the same time, both partners release their hold and the man commences turning to the left (the Lady brings her left foot forward down the line of dance as they release their hold and she commences turning to the right) (1). Now the man’s left foot proceeds forward down the line of dance as he is still turning to the left (the Lady’s right foot proceeds forward down the line of dances as she is still turning to the right) (2) and the man’s right foot comes back down the line of dance (the Lady’s left foot comes back down the line of dance) (3)

New Vogue Modern Waltz – 4th Movement – 4 to 6 Solo Outward Turn – Check and Replace – Box Waltz

13.  Solo Turn continued – The man continues by bringing his left foot back down the line of dance (the Lady brings her right foot back down the line of dance) (1) followed by his right foot coming back down the line of dance and turning to the left (the Lady’s left foot comes back down the line of dance while she turns to the right) (2) then his left foot goes to the side along the line of dance while he continues turning to the left, so that he ends facing the lady and taking hold of the lady with his right hand to the lady’s hand in Open Extended Hold (the Lady’s right foot goes to the side along the line of dance as she continues to turn to the right so that she ends facing the centre and her partner in Open Extended Hold) (3)

14.  Check and Recover – The man continues turning to the left with his right foot going forward down the line of dance to a Check in Open Extended Position, flexing his right knee at the check (the Lady continues to turn to the right, bringing her left foot forward down the line of dance, to a Check in Open Extended Position, flexing her left knee at the Check) (1). The man then replaces his weight back to his left foot while turning to the right so that he ends facing the wall (the Lady replaces her weight back to her right foot while turning to the left, to end facing the centre and her partner) (2). Now the man brings his right foot to the side against line of dance, still facing the wall and his partner and taking up Double Hold (the Lady’s left foot goes to the side against the line of dance, still facing the centre and her partner and taking up Double Hold) (3).

15.  Box Step – The man’s left foot moves forward towards the wall (the Lady’s right foot comes back towards the wall) (1) then his right foot to the side against line of dance, still facing the wall (the Lady’s left foot goes to the side against the line of dance, still facing the centre) (2) and he closes his left foot to his right (the Lady closes her right foot to her left) (3)

16.  Now the man’s right foot comes back toward the centre (the Lady’s left foot moves forward toward the centre) (1) his left foot goes to the side along the line of dance, still facing the wall (the Lady’s right foot goes to the side down the line of dance, still facing the centre) (2) and he closes his right foot to his left, to end facing the wall and his partner, while taking up Ballroom Hold (the Lady closes her left foot to her right, still facing the centre and her partner, while taking up Ballroom Hold) (3).

Ready to begin again . . .

Video Presentation of the New Vogue Modern Waltz

The Cheviot Waltz Modern Sequence Dance

Cheviot Waltz Dance Steps

The Cheviot Waltz dance script was composed by Debbie Long and Renee Turner in 2002. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced with the usual 1-2-3, 1-2-3 rhythm to music at a tempo of 30 beats per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing diagonal to wall. We describe only the man’s steps here on the assumption that the lady will follow as a counterpart, unless otherwise stated.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes.


Cheviot Waltz – 1st Movement – Traveling Contra-Check – Hover to Natural Fallaway – Slip Pivot – Curving Feather

1.  The man moves his left foot forward in a Contra Body Movement Position (CBMP), facing diagonal to wall (1) then his right foot comes forward, still facing diagonal to wall (2) and his left foot goes to the side, facing diagonal to wall but now in Promenade Position (3)

2.  Now the mans’ right foot goes forward and across in another CBMP and in Promenade Position, facing diagonal to wall and commencing to turn to the right (1). His left foot then moves diagonally forward in Promenade Position, now with his back to the centre and still turning to the right (2) then his right foot comes back, now  with his back diagonal to centre and into a fallaway (3)

3.  The man brings his left foot back, backing diagonal to centre in another CBMP and into a fallaway position, turning the lady to the left and square to himself at the end of step (1). Then his right foot comes back, backing diagonal to centre and still turning to the left (2) and his left foot to the side, his foot pointing diagonal to wall (3).

4.  Now the man’s right foot moves forward in a diagonal to wall direction with another CBMP and commences to curve to the right, outside his partner (1) then his left foot goes to the side, still curving to the right, between the wall and in a diagonal to wall direction against the line of dance (2) followed by his right foot moving forward in another CBMP outside his partner and facing against the line of dance, into a Check (3).

Cheviot Waltz – 2nd Movement – Chasse to Contra Check – Hover – Back Lock

5.  The man brings his left foot back in another CBMP down the line of dance, with his partner on the outside (1) then his right foot moves to the side to commence a chasse. At this point he is now facing the centre (2). His left foot closes to his right foot while still facing the centre (&) and his right foot continues to the side, the man still facing the centre (3).

6.  Having completed the chasse, the man’s left foot moves forward in another CBMP, still facing toward the centre, into a Contra Check (1). His right foot then comes back in a ‘backing to wall’ direction as he turns to the left (2) and his left foot goes to the side, at which point he is now facing against the line of dance (3).

7.  He now moves his right foot forward in another CBMP, still facing against the line of dance with his partner on his outside (1) then his left foot comes forward, still facing against the line of dance (2). He replaces his weight onto his right foot, still backing the line of dance, into a Hover Action on the last two steps (3).

8. From the ‘hover’ we now proceed into a back lock. The man moves his left foot back in a CBMP down the line of dance with his partner on the outside (1) then his right foot comes back down the line of dance (2) and he crosses his left foot in front of his right foot, down the line of dance (&) then brings his right foot back down the line of dance (3).

Cheviot Waltz – 3rd Movement – Open Impetus Turn – 1 to 4 Syncopated Zig Zag – Chair – Slip Pivot – 1 to 3 Open Reverse Turn (Lady Outside) Overturned

9.  The man now brings his left foot back in another CBMP with his partner on his outside, down the line of dance (1) and closes his right foot to his left foot, at this point backing line of dance. He now turns strongly to the right with a Heel Turn, to end facing the line of dance (2). Still turning to the right, he brings his left foot to the side and into Promenade Position, and pointing diagonal to wall (3).

10.  The man now moves his right foot forward and across in another CBMP and in Promenade Position, down the line of dance, his toe pointing diagonal to wall and turning to the right (The Lady will be turning to the left) (1). His left foot goes to the side and backing diagonal to centre (2) then his right foot comes back in another CBMP and into a counter fallaway, backing diagonal to centre while turning to the left (The Lady will be turning to the right) (&) and his left foot goes to the side, so that he is now facing diagonal to wall in Promenade Position (3).

11.  The man moves his right foot forward in a CBMP and in Promenade Position, down the line of dance while slightly flexing his left knee, into a Chair position (1). We now come to the slip pivot. The man brings his left foot back in another CBMP and into a fallaway. It’s a small step against line of dance. (The Lady also does a Slip Pivot) (2). Now he brings his right foot back, with his back against line of dance (3).

12.  The man moves his left foot forward down the line of dance and commences to turn to the left (1) then brings his right foot to the side while still turning to the left (2) and brings his left foot back in a CBMP with his partner on the outside, to end backing the line of dance (3).

Cheviot Waltz – Final Movement – Left Whisk – Twist Turn – Turning Hover – 4 to 6 Reverse Turn Underturned

13.  The man now brings his right foot back down the line of dance and commences to turn to the left (1). He brings his left foot to the side, still turning to the left (2) and his right foot crosses behind his left foot in a ‘whisk’ as he is now backing digonal to centre against the line of dance (The Lady crosses her left foot behind her right and is now facing diagonal to centre against the line of dance) (3).

14.  The partners untwist to the right, allowing their feet to uncross and end backing diagonal to wall against the line of dance. Their feet should be almost closed and the man’s weight on his right foot with the lady slightly to his right side (1,2&3).

15.  To end the dance sequence, the man brings his left foot back in a CBMP in a diagonal to wall direction against the line of dance and commences to turn to the right with his partner on his outside (1). He then brings his right foot to the side and slightly forward, with his toe pointing diagonal to wall against the line of dance (2) and replaces his weight back onto his left foot. He his now backing diagonal to centre with his partner square to himself (3).

16.  The man brings his right foot back, backing diagonal to centre while turning to the left (1). His left foot comes to the side, pointing diagonal to wall (2) and his right foot closes to his left foot so that he ends facing diagonal to wall (3)

Ready to begin again . . .

Enjoy this Video of the Cheviot Waltz

 

Engagement Waltz Sequence Dance

Engagement Waltz Dance Steps

The Engagement Waltz dance script was composed by Ken Park in 1988. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced with the usual 1-2-3, 1-2-3 rhythm to music at a tempo of 32 beats per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing centre. We describe only the man’s steps here on the assumption that the lady will follow as a counterpart, unless otherwise stated.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes.

If You Prefer to Just Watch the Dance, Scroll to the Video at the Bottom

Engagement Waltz – 1st Movement – Reverse Turn – Whisk – Chasse in Promenade Position

1.  The man moves his left foot forward, diagonal to centre while turning to the left (1) then brings his right foot to the side, still turning to the left (2) and closes his left foot to his right foot so that he is now backing line of dance (3).

2.  The man now brings his right foot back, still turning to the left (1) his right foot goes to the side, his toe pointing diagonal to wall (2) then closes his right foot to his left so that he is now facing diagonal to wall (3). This completes the ‘Reverse Turn‘.

3.  Now comes the whisk. The man moves his left foot forward in a diagonal to wall direction while turning to the left (1) then his right foot diagonally forward, his right shoulder leading (2) and then crosses his left foot behind his right foot in Promenade Position, facing line of dance and preparing to move diagonal to centre (3).

4. The man moves his right foot forward and across in Promenade Position and with a Contra Body Movement Position, moving diagonal to centre (1). He then moves his left foot to the side and slightly forward, still in Promenade Position (2) and closes his right foot to his left  (&) then his left foot to the side and slightly forward , thus completing a chasse in Promenade Position (3).

Engagement Waltz – 2nd Movement – Half Reverse Weave – Back Lock – Open Impetus – Left Whisk

5.  Now comes the Half Reverse Weave. The man moves his right foot forward and across in Promenade Position and with a CBMP while turning to the left (The Lady moves her left foot forward in Promenade Position and with a CBMP while also turning to the left) (1) then his left foot comes forward toward the centre, still turning to the left (The Lady’s right foot goes to the side, still turning to the left) (2) and the man’s right foot goes to the side and slightly back so that he is now backing diagonal to wall (The Lady’s left foot goes to the side and slightly forward, pointing diagonal to wall) (3).

6.  Next, the man’s left foot comes back in a diagonal to wall direction as he leads the lady to step forward outside her partner who is on her right side (1) then his right foot comes back in the same diagonal to wall direction (2) and he crosses his left foot in front of his right foot (&) then brings his right foot diagonally back, to complete a Back Lock (3).

7.  Now the man’s left foot comes back in a CBMP as he commences turning to the right with his partner on his outside on his right side (The Lady’s right foot moves forward, also in a CBMP outside her partner, also turning to the right) (1). The man closes his right foot to his left foot and does a Heel Turn while still turning to the right (The Lady brings her left foot to the side, still turning to the right) (2). Now in Promenade Position, the man moves his left foot diagonally forward, his left shoulder leading and preparing to move down the line of dance (The Lady brings her right foot to the side in Promenade Position having brushed it to her left foot while also preparing to move down the line of dance) (3).

8.  The man moves his right foot forward and across in Promenade Position and another CBMP down the line of dance (1) and brings his left foot to the side and slightly forward while turning the lady square to himself (2) and crosses his right foot behind his left foot (The Lady crosses her left foot behind her right foot) to complete a ‘whisk’ (3).

Engagement Waltz – 3rd Movement – Twist Turn to the Right – Hover – 4 5 6 Reverse Turn – Travelling Contra Check

9.  The man commences to twist to the right on both feet (while the Lady commences to move around her partner, starting with her right foot forward) (1) He continues twisting to the right (while the Lady continues moving around her partner, now with left foot forward) (2) He continues twisting to the right (and the Lady continues moving around her partner, now with her right foot forward) (&) He continues twisting to the right, completing a 3/4 turn to end backing diagonal to wall against the line of dance and finishing with his weight on his right foot (while the Lady continues moving around her partner, this time with her left foot forward, to end facing diagonal to wall against the line of dance) (3).

10.  The man moves his left foot back in a CBMP, diagonal to wall direction against the line of dance while leading the lady to step forward outside her partner, who is on his right side. He starts turning to the right (1) and brings his right foot to the side and slightly forward, still turning to the right and brushing his left foot towards his right foot, keeping the lady in line with himself (2) then brings his left foot back, so that he is now backing diagonal to centre (3).

11.  The man brings his right foot back, diagonal to centre, while turning to the left (1) then his left foot to the side, still turning to the left (2) and closes his right foot to his left foot, to end facing diagonal to wall (3).

12.  Now the man moves his left foot forward, diagonal to wall and strongly across his body in a CBMP towards a Check Action, with his right shoulder leading (1) then his right foot to the side and slightly forward, a small step, and turns his body to the right (2) then his left foot to the side and into Promenade Position, moving diagonal to wall with his body facing the wall (3).

Engagement Waltz – Final Movement – Hover in Promenade Position – Fallaway – Slip Pivot – Natural Hesitation Change

13.  The man moves his right foot forward and across while in Promenade Position to form a CBMP and starts turning to the right (1). Then his left foot moves diagonally forward, his left shoulder leading, while he continues turning and rising onto his toes to form a Hover (2) and then his right foot comes back into a fallaway position, moving diagonal to centre while backing the line of dance (3)

14.  The man brings his left foot back in a diagonal to centre direction in another CBMP and in fallaway, while turning to the left (1) then his right foot comes back towards the centre, while leading lady to be square to himself (the Lady does a ‘slip’, moving her left foot forward in a CBMP) (2) and the man brings his left foot to the side and slightly forward, his foot pointing diagonal to wall (3).

15. Now the man’s right foot moves forward in another CBMP outside his partner, while turning to the right (1) then brings his left foot to the side, still turning to the right (2) and closes his right foot to his left foot so that he is now backing the line of dance (3).

16. The man’s left foot comes back down the line of dance while turning to the right (1) his right foot goes to the side, a small step, and does a Heel Pull, facing diagonal to centre (2) and completes the dance by brushing his left foot to his right foot without changing his weight (3).

Then ready to begin again . . .

Enjoy this Engagement Waltz Video Presentation

Eden Waltz Sequence Dance

Eden Waltz Dance Steps

The Eden Waltz dance script was composed by Michael and Angela Hayton in 1986. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced with the usual 1-2-3, 1-2-3 rhythm to music at a tempo of 31 beats per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing diagonal to centre down line of dance. We describe only the man’s steps here on the assumption that the lady will follow as a counterpart, unless otherwise stated.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes.

If You Prefer to Just Watch the Dance, Scroll to the Video at the Bottom

Eden Waltz – 1st Movement – 1-2-3 Reverse Turn – Hover Corte – Chasse to Right – Contra Check

1.  The man moves his left foot forward while commencing to turn to the left (1) then his right foot to the side, still turning to the left (2) and his left foot closes to his right foot as he is now backing the line of dance (3).

2.  The man then brings his right foot back while turning to the left (1) then his left foot to the side, with his toe pointing diagonal to wall, lifting into a Hover (2) and finally replaces his weight to his right foot (3).

3.  He then brings his left foot back in a CBMP, in a ‘diagonal to centre against line of dance’ direction, while commencing to turn to the right with his partner on the outside (1). Next, he brings his right foot to the side, still turning to the right (2) then his left foot closes to his right foot in a chasse (&) and his right foot goes out to the side again, his toe now pointing diagonal to wall against line of dance (3).

4.  The man’s left foot now moves forward in another CBMP, diagonal to wall against line of dance, into a Contra Check (1). He replaces his weight to his right foot while commencing to turn to the left (2), brings his left foot to the side and slightly forward, pointing diagonal to wall (3).

Eden Waltz – 2nd Movement – 1-2-3 Natural Turn – Open Impetus – Slow Lock – Double Reverse Spin

5.  The man commences the natural turn by moving his right foot forward in a CBMP outside his partner and commences to turn to the right (1) then his left foot goes to the side, still turning to the right (2) and his right foot closes to his left foot so that he is now backing line of dance (3).

6.  The man now brings his left foot back, while continuing to turn to the right (1). His right foot then closes to his left foot and he does a Heel Turn (2) then moves his left foot diagonally forward towards diagonal to centre in Promenade Position, his left shoulder leading (3).

7.  The man moves his right foot forward, diagonal to centre in Promenade Position (1) then his left foot forward while turning the lady square to himself so that she is now backing diagonal to centre (2). His right foot crosses behind his left foot in a ‘lock’ (The Lady’s left foot crosses in front of her right foot) (3).

8.  Now for the double reverse spin. The man’s left foot goes forward, diagonal to centre, as he commences to turn to the left (1). His right foot goes to the side and he continues to turn to the left (2) and his left foot closes to his right foot without changing his weight back to his left foot because he commences a Toe Pivot on ‘3’ to the point where he is facing line of dance (3).

Eden Waltz – 3rd Movement – Drag Hesitation – Back Lock – Open Impetus – Chasse From Promenade Position

9.  For the Drag Hesitation, the man’s left foot moves forward down line of dance as he commences to turn to the left (1). He brings his right foot to the side, still turning to the left (2) and his left foot closes to his right foot without changing his weight, to end backing diagonal to wall (3).

10.  Now the man’s left foot comes back in a CBMP with his partner on his outside (1). His right foot now comes back (2) and his left foot crosses in front of his right foot (&) and then he brings his right foot back and slightly rightwards (3).

11.  The man’s left foot now comes back in another CBMP with his partner on his outside, as he commences to turn to the right R (1). His right foot closes to his left and he does a Heel Turn, still turning to the right (2) then his left foot moves forward in a diagonal to centre direction along the line of dance in Promenade Position, his left shoulder leading (3).

12.  Now the man’s right foot moves forward and across in a CBMP and into Promenade Position (2). His left foot goes to the side in Promenade Position (2) and his right foot closes to his left foot (&) then his left foot to the side to complete the ‘Chasse‘ while still in Promenade Position (3).

Eden Waltz – Final Movement – Natural Fallaway (Lady Slip Pivot) – Curved Feather – 4 5 6 Hesitation Change

13.  The man moves his right foot forward in Promenade Position while commencing to turn to the right (1). His left foot goes to the side as he continues to turn to the right and they lift into a Hover (2). The man’s right foot now comes back in a diagonal to centre direction into a fallaway position (3).

14.  The man’s left foot now comes back in a CBMP and fallaway position (1) then his right foot comes back (While the Lady does a Slip Pivot) (2) and his left foot goes to the side and slightly forward, pointing diagonal to wall (3).

15.  Next is the curved feather. The man’s right foot now moves forward in another CBMP diagonal to wall, outside his partner (who is on his left) while commencing to turn to the right (1) then his left foot moves diagonally forward, his left shoulder leading (2) and his right foot forward in another CBMP, still outside his partner, so that he is now facing against the line of dance (3)

16.  Finally, the hesitation change. The man’s left foot comes back in another CBMP while he commences to turn to the right (1). His right foot goes to the side so that he is now facing diagonal to centre and he does a Heel Pull (2). His left foot brushes to his right foot without changing his weight, still facing diagonal to centre (3).

Then ready to begin again . . .

 Enjoy this Video Presentation of the Eden Waltz

The Bluebird Waltz Sequence Dance

Bluebird Waltz Dance Steps

The Bluebird Waltz dance script was composed by Michael Davis in 1982. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced with the usual 1-2-3, 1-2-3 rhythm to music at a tempo of 30 beats per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing diagonal to wall down line of dance. We describe only the man’s steps here on the assumption that the lady will follow as a counterpart, unless otherwise stated.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes.

Bluebird Waltz – 1st Movement – Whisk – Wing – Left Side Check – Back Walk – Hover on Right Side

1.  The man moves his left foot forward facing diagonal to wall down line of dance, making a slight turn to the left (1). Next, his right foot goes diagonally forward, his right shoulder leading and turning the lady to Promenade Position (2) and crosses his left foot in behind his right foot for a Whisk (3)

2.   Now the man moves his right foot forward and across in a Contra Body Movement Position (CBMP) and Promenade Position, leading the lady to curve anti-clockwise towards his left side (1). He closes his left foot towards his right foot without changing his weight, still leading the lady towards his left side (2) then closes his left foot to his right foot without changing his weight with the lady now on his left side (3).

3.  The man’s left foot moves forward in a diagonal to centre direction down line of dance in another CBMP on the left side of the lady, into a Check position (1). Then he brings his right foot back in a diagonal to wall direction against line of dance in another CBMP, a small step, turning left with the lady on his left side (2)  and his left foot to the side against line of dance, his toe pointing diagonal to centre against the line of dance (3).

4.  The man’s right foot goes forward in a diagonal to centre direction against line of dance in another CBMP on the right side of the lady (1). His left foot then moves diagonally forward, moving diagonal to centre against the line of dance (2) and he replaces his weight back on to his right foot (3). The last two steps are a known as a ‘Hover’.

Bluebird Waltz – 2nd Movement – Back Lock – Open Impetus Turn – Hover

5.  The man’s left foot now comes back in a diagonal to wall direction down the line of dance in another CBMP, with the lady on his right side (1) followed by his right foot coming back in the same diagonal to wall direction down the line of dance (2). He crosses his left foot in front of his right foot in a ‘Lock’ step (&) and then brings his right foot back, still diagonal to wall down the line of dance, slightly rightwards (3).

6. The man’s left foot moves back, diagonal to wall direction, down the line of dance in another CBMP, turning to the right with the lady on his right side (1). He closes his right foot to his left foot and does a Heel Turn, turning the lady to the right and into Promenade Position (2) then moves his left foot diagonally forward in Promenade Position, his left shoulder leading, moving diagonal to centre down the line of dance in Promenade Position (3).

7.  Then the man’s right foot moves forward in a diagonal to centre direction down the line of dance in another CBMP and in Promenade Position, as he prepares to turn the lady to the left (1); his left foot comes diagonally forward, the lady square to him (1) and he replaces his weight back on to his right foot (3). The last two steps are a Hover.

8.  The man’s left foot comes back in a diagonal to wall direction against the line of dance in another CBMP, the lady on his right side (1); he closes his right foot to his left without changing his weight (Lady closes with weight) (2)  This position is held for the third beat (Lady does a slight turn to the right) (3)

Bluebird Waltz – 3rd Movement – Same Foot Lunge – Hairpin Run – Hesitation Change

9.   The man moves his right foot to the side diagonal to wall against line of dance, flexing his right knee (The Lady moves her right foot back) (1). He then replaces his weight on to his left foot to the side while making a slight turn to the left to face diagonal to centre down the line of dance (The Lady moves her left foot forward while turning the left) (2) then closes his right foot to his left foot without changing his weight (The Lady closes with weight, to back diagonal to centre down line of dance) (3).

10. We now begin the hairpin run. The man moves forward with his right foot in a diagonal to centre direction down the line of dance with a CBMP, curving to the right with the lady on his right side (1) then his left foot comes forward as he continues curving to the right (2) followed by his right foot forward in a CBMP (&) then his left foot forward so that he is now facing diagonal to wall down line of dance (3). Notice – the (2) of the 1-2-3 involves two quicker steps:- 2-AND…

11. We come to the hesitation change. The man moves his right foot forward in a diagonal to wall direction down the line of dance in a CBMP with his partner still on his right side, turning to the right (1) then his left foot goes to the side while still turning the right (2) and he closes his right foot to his left as he now backs down line of dance (3).

12. The man now moves his left foot back down line of dance while continuing to turn right (1) then his right foot to the side along line of dance, a small step, Heel Pull (2) He closes his left foot to his right without changing his weight in a “Brush” as he now faces diagonal to centre down line of dance (3)

Bluebird Waltz – Final Movement – 1 2 3 of Reverse Turn – Reverse Corte – Check – Spin and Side Close

13.  The man moves his left foot forward in a diagonal to centre direction down the line of dance and turning to the left (1) then brings his right foot to the side, still turning left (2) and closes his left foot to his right foot and ends with his back down the line of dance (3).

14.  Now his right foot comes back down the line of dance, as he continues turning left (1). He closes his left foot to his right without changing his weight, still turning left (The Lady brings her right foot to the side) (2). For the third 1-2-3 beat the position is held (while the Lady closes her left foot to her right foot). The man’s back is now diagonal to centre against the line of dance (3).

15.  The man brings his left foot back in a diagonal to centre direction against the line of dance in a CBMP, with the lady on his right side (1) then his right foot moves forward in another CBMP, on the right side of the lady, while turning right (2) and his left foot comes back down the line of dance in another CBMP now turning strongly to the right on the ball (i.e. almost the toe) of his left foot in a Pivot Action. The man faces down the line of dance at the end of step (3).

16.  The man moves his right foot forward down the line of dance, still turning right (1) then his left foot to the side. He his now facing diagonal to wall down the line of dance (2). He closes his right foot to his left, now facing diagonal to wall down the line of dance – back in the commencing position (3).

Then ready to begin again . . . . .

 Enjoy This Video of The Bluebird Waltz

Woodside Waltz Sequence Dance

The Woodside Waltz dance script was composed by J. Fanning in 1964. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced with the usual 1-2-3, 1-2-3 rhythm to music at a tempo of 32 beats per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing diagonal to wall down line of dance. We describe only the man’s steps here on the assumption that the lady will follow as a counterpart, unless otherwise stated.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes. If you find yourself confused with all the technical terms, you can skip to a video presentation of the dance below.

If You Prefer to Just Watch the Woodside Waltz, Scroll to the Video at the Bottom

Woodside Waltz Dance Steps

Woodside Waltz – 1st Movement – Closed Change – Natural Spin Turn – Turning Lock

1. The man moves forward with his left food facing diagonal to wall (1) then brings his right foot to the side and slightly forward (2)  and closes his left foot to his right (3) to complete a “closed change” because the move is completed in line with the woman and without turning.

2. Now we begin to turn. The man moves his right foot forward and commences turning to the right (1). His left foot goes to the side, still turning to the right (2) and he closes his right foot to his left and ends the move backing line of dance (3).

3. Next, the man brings his left foot back, down the line of dance and does a pivot 1/2 turn to the right (1). His right foot moves forward in a contra body movement position as he continues to turn to the right, facing line of dance (2)  his left foot to the side and slightly back, backing diagonal to centre (3).

4. Now for the lock step. The man’s right foot comes back, his right shoulder leading (1). He then crosses his left foot in front of his right foot (&) and bring his right foot back and slightly rightwards while turning to the left (2) then his left foot to the side and slightly forward, pointing diagonal to wall (3).

Woodside Waltz – 2nd Movement – Hesitation Change – Reverse Turn

5.  The man moves his right foot forward in a CBMP outside his partner, diagonal to wall while turning to the right (1) then his left foot to the side, still turning to the right (2) and closes his right foot to his left so that he is now backing line of dance (3).

6. The man’s left foot goes back as he turns to the right (1) then his right foot to the side but only a small step, facing diagonal to centre (2) as he brushes his left foot to his right food without changing his weight in a Heel Pull (3).

7.  Now the man moves his left foot forward, diagonal to centre while turning to the left (1) then brings his right foot to the side, still turning (2) and closes his left foot to his right and ends backing line of dance (3).

8.  The man’s right foot comes back as he turns to the left (1) then his left foot to the side with his toe pointing diagonal to wall (2) and closes his right foot to his left, facing diagonal to wall (3).

Woodside Waltz – 3rd Movement – Whisk – Wing – Open Telemark – Hover

9.  The man moves his left foot forward while turning to the left (1) then his right foot goes diagonally forward, his right shoulder leading (2) and crosses his left foot behind his right foot in Promenade Position, facing diagonal to centre (3).

10.  Next, the man’s right foot goes forward and across in Promenade Position and in a Contra Body Movement Position, pointing diagonal to centre with his body facing line of dance (Lady’s left foot goes forward and across curving to the left around her partner, Heel Leads) (1) then the man commences to close his left foot to his right foot, his body turning to the left.  Pressure should be on the toe of the right foot with the foot flat, and pressure on inside edge of toe of the left foot (Lady’s right foot goes forward as she continues curving to the left around her partner) (2)  He closes his left foot to his right without changing his weight, his body turning to the left.  Pressure should be on the toe of his right foot with his foot flat, and pressure on inside edge of the toe of his left foot (Lady’s left foot goes forward, as she continues curving to the left around her partner (3).

11.   The man’s left foot goes forward in another CBMP outside his partner who is on his left side, in a diagonal to centre direction while turning to the left (1). Then he brings his right foot to the side, backing diagonal to wall and still turning. (The Lady does a Heel Turn) (2). The man’s left foot goes to the side and slightly forward in Promenade Position along line of dance, his toe pointing diagonal to wall and his body facing the wall (3).

12.  The man’s right foot now moves forward and across in Promenade Position as he forms another Contra Body Movement Position along line of dance, while turning to the right (1). His left foot then goes to the side as he now faces the wall (2). He rises higher on his toes and transfers his weight on to his right foot, facing diagonal to wall against line of dance (The Lady makes no turn and finishes in line with her partner) (3).

Woodside Waltz – 4th Movement – Contra Check – Natural Turn to Fallaway Whisk – Closed Finish

13. First we have the contra-check. The man’s left foot moves forward in a Contra Body Movement Position, in a diagonal to wall direction against line of dance, his body turning to the left and his knees slightly flexed (1)  then he transfers his weight back to his right foot, still turning to the left (2) and brings his left foot to the side, pointing diagonal to wall (3).

14.  Now comes the Natural Turn. The man’s right foot goes forward in another CBMP outside his partner, in a diagonal to wall direction, while turning to the right (1). He brings his left foot to the side, still turning (2) and closes his right foot to his left so that he ends up backing line of dance (3).

15.  This brings us to the fallaway whisk.  The man’s left foot goes back as he turns to the right (1). Now his right foot moves to the side and slightly back as he turns his partner to the fallaway position (2). This brings him to the whisk, as he crosses his left foot loosely behind his right foot in fallaway, facing diagonal to centre (3).

16.  The dance sequence ends with a closed finish. The man’s right foot moves forward and across in a CBMP and Promenade Position, as he turns to the right (1). He brings his left foot to the side, turning square to his partner (2) and closes his right foot to his left foot, facing diagonal to wall (3).

Ready to begin again . . . . .

Enjoy this Video Demonstration of the Woodside Waltz

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The Dream Waltz Sequence Dance

Dream Waltz Dance Steps

The Dream Waltz dance script was composed by Robert Stewart in 1967. It is a 16 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced with the usual 1-2-3, 1-2-3 rhythm to music at a tempo of 32 bars per minute. We commence the dance in normal ballroom hold with the man facing and the lady backing diagonal to centre down line of dance. We describe only the man’s steps here on the assumption that the lady will follow as a counterpart, unless otherwise stated.

The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes. If you find yourself confused with all the technical terms, you can skip to a video presentation of the dance below.

If You Prefer to Just Watch the Dream Waltz, Scroll to the Video at the Bottom

Dream Waltz 1st Movement – Reverse Turn With Open Finish – Left Side Check – Syncopated Chasse

1. The man moves his left foot forward using a ‘heel lead’ in a diagonal-to-centre direction while turning to the left (1). Then he brings his right foot to the side, still turning to the left (2) and closes his left foot to his right foot to finish this first 1-2-3 backing line of dance (3).

2. The man now brings his right foot back while turning to the left (1), then his left foot to the side with his toe pointing diagonal to wall (2) and finally, his right foot forward in a contra-body movement position (CBMP) stepping outside his partner, facing diagonal to wall with a Check Action (3).

3. Then the man brings his left foot back in another CBMP, backing diagonal to centre against line of dance while turning to the right (1) then his right foot to the side with his toe pointing diagonal to wall against line of dance (2) and finally, his left foot forward in another CBMP outside his partner, being on her left side, facing diagonal to wall against line of dance with another Check Action (3).

4.  The man’s right foot now comes back in another CBMP, backing diagonal to centre and turning to the left (1), now his left foot to the side with his toe pointing diagonal to wall (2). He closes his right foot to his left foot (&) and brings his left foot to the side and slightly fwd, facing diagonal to wall (3).

Dream Waltz – 2nd Movement – Natural Turn With Open Finish – Right Side Check – Chasse to the Right

5.  The next 1-2-3 of the waltz see the man moving his right foot forward in another CBMP outside his partner, facing diagonal to wall and turning to the right (1). Next, his left foot moves to the side while still turning to the right (2). He then closes his right foot to his left and finishes the move backing line of dance (3).

6.  The man now brings his left foot back, backing line of dance and turning to the right (1) and his right foot comes to the side with his toe pointing diagonal to centre (2) then his left foot forward in another CBMP outside his partner on his left side, facing diagonal to centre with another Check Action (3).

7.  Now the man’s right foot comes back in another CBMP, backing diagonal to wall against line of dance and turning to the left (1). He brings his left foot to the side with his toe pointing diagonal to centre against line of dance (2) and finally, his right foot forward in another CBMP outside his partner, facing diagonal to centre against line of dance with a Check Action (3).

8.  To complete this part of the dance, the man brings his left foot back in another CBMP, backing diagonal to wall while turning to the right (1). He then brings his right foot to the side with his toe pointing diagonal to centre (2) and closes his left foot to his right foot while continuing to turn to the right so as to face line of dance (&) and finally bring his right foot to the side and slightly forward (3).

Dream Waltz – 3rd Movement – Link to Promenade Position – Weave to Promenade Position – Syncopated Chasse

9.  The man now moves his left foot forward down the line of dance while turning his body to the left (1). He closes his right foot to his left foot while moving his right shoulder slightly back and preparing to turn the lady to Promenade Position (2). Next, his left foot moves diagonally forward into Promenade Position, his left shoulder leading, his foot pointing diagonal to centre with his body facing down line of dance (3).

10.  The man moves his right foot forward in Promenade Position and CBMP, pointing diagonal to centre with his body facing line of dance. ( The Lady moves her left foot forward and across in Promenade Position and CBMP, turning to the left, pointing her foot to the centre, moving diagonal to centre) (1). Next, the man’s left foot goes forward as he faces diagonal to centre while turning to the left (The Lady brings her right foot to the side and slightly back, backing diagonal to centre) (2). The man’s right foot now goes to the side and slightly back, as he finishes the move backing diagonal to wall (The Lady’s left foot comes to the side and slightly forward, pointing to line of dance) (3).

11. Next, the man’s left foot comes back in a CBMP with his partner on the outside, so that he is now backing line of dance (1). He brings his right foot back while turning to the left, his partner now in line with himself (2). Then the man’s left foot comes to the side into Promenade Position along the line of dance (3).

12.  The man brings his left foot to the side in Promenade Position along the line of dance (1) then his left foot to the side and slightly forward, leading the lady in line with himself (2). He closes his right foot to his left foot (&) and bring his left foot to the side and slightly forward, diagonal to wall (3)

Dream Waltz – 4th Movement – Natural Half Turn (Underturned) – Back Feather – Half Reverse Turn – Chasse to the Right

13.  The man’s right foot goes forward in another Contra Body Movement P0sition outside his partner, while turning to the right (1). His left foot then goes to the side while still turning to the right (2). The man then closes his right foot to his left food and finishes backing diagonal to centre (3).

14.  Next, the man moves his left foot back and begins turning to the right (1). Now his right foot comes back, his right shoulder leading while curving towards line of dance as he prepares to lead partner outside himself (2). His left foot then comes back in a CBMP with his partner on the outside (3).

15.  Now the man’s right foot comes back in a direction backing line of dance while turning to the left and bringing his partner in line with himself (1). Then his left foot goes to the side, his toe pointing diagonal to wall (2). He closes his right foot to his left foot and finishes the move facing diagonal to wall (3).

16.  The man’s left foot moves forward in a diagonal to wall direction while turning to the left (1). His right foot goes to the side as he still turns to the left (2). The man closes his left foot to his right foot, facing diagonal to centre (&) and brings his right foot to the side, finishing with a small step, brushing his left foot to his right (3).

Then begin again . . .

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Princess Waltz

Princess Waltz Dance Steps

The Princess Waltz is a very enjoyable dance which is done mainly in “double hold” and consists mainly of crossover movements that some describe as “the vine”. The key to “getting” the dance is to remember the correct angles and timing of the moves. Each move of the first part of the dance begins with a ‘slow’ (2 beats) followed by a quicker 1-2-3-4-lift crossover movement. In fact, this rhythm continues all the way till almost the end. If you can remember the angles and direction of each phase then you’ve “got it made”!

The Princess Waltz is designed to be done to a 3/4 time with a tempo at 48-52 beats per minute and has a 32 bar sequence. The bars are indicated by paragraph numbers while the timing is indicated by numbers in brackets. It commences in “double hold” with the man facing and the lady backing diagonal-to-wall, down line of dance.  Only the man’s steps are described here. The lady dances normal counterpart unless otherwise stated.

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Princess Waltz Steps

In the first movement of the Princess Waltz, both partners will be moving in a diagonal-to-wall direction along line of dance. Starting with the man’s left, they will step then “vine for four” followed by a “lift”.

1-2. The man moves his left foot forward diagonal-to-wall, outside his partner who is on his right side (1-2-3). He then moves his right food forward, diagonal-to-wall, outside his partner still on his right side and commences turning to the right (4-5). He then brings his left foot to the side across line of dance (6).

3-4. The man now brings his right foot back, diagonal-to-centre with his partner on his right side while commencing turning to the left (1-2). Now he brings his left foot forward outside his partner, pointing diagonal-to-wall while still turning to the left (3).  The man now brings his right foot forward and across outside his partner who is on his right side, down line-of-dance into a ‘check’ position. It requires a strong left shoulder lead at this point (4-5). He then closes his left foot to his right foot without transferring his weight (6).

5-6. He then brings his left foot back, partner still on the outside to his right and commences turning to the left (1-2-3). Now his right foot goes back, backing to the wall, partner still on his right side and still turning to the left (4-5). Then his left foot comes to the side, pointing diagonal to centre against line of dance (6).

7-8.  The man now brings his right foot forward, diagonal-to-centre against line of dance, outside his partner who is still on his right side and commences to turn to the right (1-2). Then his left foot comes to the side, backing diagonal-to-wall against line of dance (3).  Now his right foot comes back, facing diagonal-to-centre (4).  The move ends with both partners swinging their feet to a medium aerial position – the man with his left and the lady with her right (5-6).

Princess Waltz – 2nd Movement

In the next phase of the Princess Waltz, we are going to effectively reverse what we have just done, while at the same time, the partners cross over, so that the lady is now on the man’s left instead of his right and both partners are moving in a diagonal-to-centre direction, against line of dance. The man is moving backwards and the lady forwards.

9-10.  The man moves his left foot forward, diagonal-to-centre and commences turn to the left (1-2-3). Now his right foot comes across to the side while still turning to the left (4-5). He then closes his left foot to his right (6).

11-12.  The man now brings his right foot forward, his partner outside on his right side, moving against line of dance (1-2-3). Next, his left foot comes forward against line of dance while moving into line with the lady (4-5). His right foot closes to his left foot as the lady comes in line with him (6).

13-14.  The man’s left foot comes back, as he is backing line of dance, and he commences to turn to the left (1-2-3). He then brings his right foot back, now facing the wall and still turning to the left (4-5). His left foot comes to the side, pointing diagonal-to-wall (6).

15-16.  The man’s right foot moves forward, outside his partner, in a diagonal-to-wall direction, as he commences to turn to the right (1-2). Now his left foot comes to the side (3). Next, his right foot comes back  in a diagonal-to-centre direction with his partner on his left side (4).   The move ends with both partners swinging their feet to a medium aerial position – the man with his left and the lady with her right (5-6).

Princess Waltz – 3rd Movement

At this point, the man will now step forward and turn to face diagonal-to-centre against line of dance, the lady will cross to his other side and then they will then do another “vine for four”, this time with the man going backwards in a diagonal-to-wall direction along line of dance, commencing with his left.

17-18.The man brings his left foot forward in a diagonal-to-wall direction against line of dance while commencing to turn to the left (1-2-3). Next, he brings his right foot to the side, still turning to the left (4-5). Then he closes his left foot to his right foot (6).

19-20.  The man brings his right foot forward down the line of dance, still turning to the left (1-2-3). Now his left foot comes forward towards diagonal-to-centre, his partner on his outside while still turning to the left (4-5). Next, he brings his right foot to the side along the line of dance (6).

21-22.  Now the man brings his left foot back to the wall with his partner on his outside and commences to turn to the right (1-2).  Then his right foot comes forward, pointing along line of dance as he is still turning to the right (3).  Then his left foot moves forward down the line of dance, outside his partner who is on his side (Lady’s right foot goes back) (4) The move ends with both partners swinging their feet to a medium aerial position – the man with his right foot and the lady with her left (5-6).

Princess Waltz – 4th Movement  (optional extra)

The next part of the Princess Waltz is similar to what has gone before, only this time both partners are moving against line of dance in what is called a “sleazy vine”.

First, the man, who is now facing diagonal-to-centre against line of dance, brings his left foot forward while commencing to turn to the left (1). Next, he brings his right foot to the side, still turning to the left (2). Then he closes his left foot to his right foot (3). He is now facing diagonal to wall against line-of-dance.

The man commences forward with his right (1-2-3), after which both partners “vine for four” against the line of dance. At the fifth step after the ‘vine’, both partners lift their feet to a medium aerial position – the man with his right foot and the lady with her left .

Princess Waltz – 5th Movement

In this part of the Princess Waltz, the man and lady will break apart, so both partners’ steps are described.

23-24.  The man now brings his right foot back against the line of dance, releasing Double Hold and taking up Shadow Hold for lady’s turn under man’s raised right arm(Lady left foot forward against line of dance and commencing to turn to the left) (1-2). The man now moves his left foot back, preparing to take up Open Hold (Lady moves her right foot to side while still turning to the left) (3) Now the man’s right foot comes back (and the Lady’s left foot comes back against line of dance) (4-5) The man places his left foot to the side without changing his weight, his toe pointing diagonal-to-centre (and the Lady places her right foot to side without changing her weight, her toe pointing diagonal-to-wall). Both partners take up Open Extended Hold and both now facing down the line of dance (6).

25-26. The man brings his left foot forward down the line of dance (1-2-3) then his right foot forward, moving towards partner while swivelling to the right to face diagonal-to-wall against line of dance (4-5). He brushes his left foot to his right foot without changing his weight while moving into a counter promenade position (6).

27-28. The move ends with the man bringing his left foot forward in a diagonal-to-wall direction against line of dance, while commencing to turn to the left (1-2-3). Then his right foot comes to the side against line of dance (4-5) and his left foot closes to his right foot without changing his weight. Partners are now in Closed Hold with the man facing, and the lady backing, to the wall, as they commence to turn to the right (6).

Princess Waltz – Final Movement  –  A Natural Waltz

29-32. Both partners will now complete the dance with a Natural Waltz (not a Rotary Chasse Waltz) to a final 1-2-3-4-5-6, 1-2-3-4-5-6 timing. The Natural Waltz commences with the man brining his left foot backwards down the line of dance as the lady’s right foot moves forward down line of dance. They rotate to the right (clockwise).

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Saga Waltz

Dance Steps for the Saga Waltz

The Saga Waltz feels so good to do when you learn the steps. It is one of those “flowing” waltzes that combines a number of more ‘advanced’ moves such as curving backward steps, natural spin turns, a number of contra body movements and the hestitation.

The script for the Saga Waltz was composed by Michael Pharoah and Julie Williams in 1989. It moves in 3/4 time at a tempo of 31 beats per minute, with the usual even 1-2-3, 1-2-3 waltz timing. We commence the dance in ballroom hold with the man facing down line of dance and the lady against it.

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Saga Waltz – 1st Movement – Reverse Turn, Five Curving Backward Steps and Whisk

The reverse turn starts with the man’s left foot forward along line of dance and his right foot to the side as he turns outside the lady. As his left foot closes to his right foot, he is now backing line of dance, diagonal to wall. This concludes the first 1-2-3 movement of the waltz.

The man now continues his left foot past his right foot, walking backwards to commence a curving movement. The curve commences diagonal to wall and steps 1-2-3 bring him facing directly against line of dance. The next 1-2-3 continues the move, but curving around to the right. Step 3 of this 1-2-3 movement both partners ‘whisk behind’ while at the same time, opening into a promenade position facing against line of dance.

The lady now walks around the man in a movement that often follows a “whisk” – called a “wing”. The man puts his right foot forward and across in a Contra Body Movement Position, body facing diagonal to centre against line of dance, leading the lady to curve anticlockwise towards man’s left side. He closes his left foot towards his right food as the lady still walks around toward the man’s left side. Finally, he close his left foot to his right foot in a ‘Brush Step’, slight body turn to the left so that he now faces against line of dance with the lady now on the man’s left side. The whole move takes another 1-2-3 time.

Saga Waltz – 2nd Movement – Outside Check, Natural Spin Turn and Turning Lock

The man now brings his left foot forward in another Contra Body Movement Position against line of dance, with the lady on his left side, to a “check” position (1). He then replaces his weight back to his right foot in another Contra Body Movement Position, turning to the left with the lady on his left side (2). Next, he brings his left foot to the side and slightly forward, his foot pointing diagonal to wall down line of dance, his body facing the wall, his partner square, still turning to the left (3). This completes the next 1-2-3 of the waltz sequence.

The man now moves his right foot forward in Contra Body Movement Position diagonal to wall down line of dance, with his partner on the right side while turning to the right (1). Then his left foot to the side, backing diagonal to centre down line of dance, still turning to the right and square to the lady (2). He closes his right foot to his left foot, backing down line of dance (3). This completes the next 1-2-3 of the saga waltz.

The next 1-2-3 sees the man move his left foot back down line of dance, a pivoting 1/2 turn to the right to facing down line of dance, his right foot held in Contra Body Movement Position (1). He moves his right foot forward down line of dance, still turning to the right (2). Then his left foot to the side and slightly back, backing diagonal to centre down line of dance (3).

The final 1-2-3 in the 2nd movement sees the man place his right foot back, right shoulder leading diagonal to centre down line of dance. He then crosses his left foot in front of his right foot in a Lock Step, backing diagonal to centre down line of dance (1). He moves his right foot back and slightly to the right, turning to the left (2). Then his left foot to the side and slightly forward, foot pointing diagonal to wall down line of dance, his body facing the wall, still turning to the left (3).

Saga Waltz – 3rd Movement -Natural Hesitation Change, Sway to the Right and Left

The next part of the dance involves four 1-2-3 movements. First, the man moves his right foot forward in a Contra Body Movement Position diagonal to wall down line of dance, with his partner on the right side while turning to the right (1). Then his left foot to the side, backing diagonal to centre down line of dance while still turning to the right, square to the lady (2). He closes his right foot to his left foot, backing down line of dance (3).

The man moves his left foot back down line of dance while turning to the right (1). Then his right foot to the side in a small step, a Heel Pull, still turning to the right, facing diagonal to centre down line of dance (2). He closes his left foot to his right foot without transfering his weight in a Brush Step, facing diagonal to centre down line of dance (3).

He then moves his left foot to the side towards diagonal to centre against line of dance, swaying to the right (1). The man closes his right foot towards his left foot, slightly increasing the sway to the right (2). He continues to close his right foot towards his left foot without transfering his weight, still facing diagonal to centre down line of dance (3).

The final 1-2-3 sees the man move his right foot to the side towards diagonal to wall down line of dance while swaying to the left (1). He closes his left foot towards his right foot while slightly increasing the sway to the left (2).  He then closes his left foot to his right foot without transfering his weight, to a Brush Step, still facing diagonal to centre down line of dance (3).

Saga Waltz – Final (4th) Movement – Progressive Chasse to the Right, Back Lock, Closed Impetus Turn, Reverse Turn

The last movement of this beautiful dance begins with a “step and chasse” followed by a “step and lock”. The man moves his left foot forward diagonal to centre down line of dance while turning to the left (1). He then put his right foot to the side along the line of dance while still turning to the left, then closes his left foot to his right foot while still turning to the left to backing diagonal to wall down the line of dance (2). Then he moves his right foot to the side and slightly back, backing diagonal to wall down line of dance (3).

The man then moves his left foot back in another Contra Body Movement Position diagonal to wall down line of dance with the lady on his right side (1).  Then he brings his right foot back diagonal to wall down line of dance with the lady square to him (2). He crosses his left foot in front of his right foot in a Lock Step, then his right foot diagonally back towards diagonal to wall down line of dance (3).

For the next 1-2-3 the man brings his left food back in a Contra Body Movement Position diagonal to wall down line of dance with the lady on his right side while turning to the right (1). He closes his right foot to his left foot, does a Heel Turn, still turning to the right with the lady square to him (2). He then moves his left foot to the side and slightly back, backing diagonal to centre against line of dance (3).

The final move to end the Saga Waltz, is a reverse turn. The man moves his right foot back diagonal to centre against line of dance while turning to the right (1). He then brings his left foot to the side with his toe pointing down line of dance while still turning to the right (2). The dance ends with the man closing his right foot to his left foot, facing down line of dance returning to commencing position (3).

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