Category: New Vogue Waltz

Parma Waltz Sequence Dance Steps and Video

New Vogue Waltz

The Parma Waltz is a modern sequence dance which was awarded 1st Class Diploma at the British Association of Dancing 28th Annual Conference in June 1920. The dance script was composed by N.C. Locke. 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 48/54 bars per minute. We commence the dance in right shadow hold with both man and lady facing the line of dance. Only the man’s steps are described here, with the Lady dancing as a counterpart, unless otherwise stated – in which case, the lady’s steps are in italics. The man and lady dance similar steps up until bar 23.

Technique Tips:- 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 and then change weight to the other foot, unless otherwise noted. If you find yourself confused with all the technical terms, you can skip to a video presentation of the dance below.

Parma Waltz Dance Steps

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

Please also bear in mind that all waltz sequences are about correct angles in relation to the line of dance.

Parma Waltz – 1st Movement – Two Walks then Turn to the Right to End Backing Line of Dance – Then Backward Walks

Start in Right shadow hold with both man and lady facing the line of dance. Being shadow hold, both man and lady will have the same steps.

1.  The man moves his left foot forward down the line of dance (1-2) then brushes his right foot to his left foot without changing his weight (3)

2.  Next, they both move their right foot forward down the line of dance and commence turning to the right (4-5). They continue to turn to the right so that by the end of this beat, both partners end backing the line of dance, brushing left foot to right foot without changing weight. The lady is now on man’s left side in Left Shadow Hold (6)

3.  Now moving backwards, they bring their left foot back down the line of dance (1-2) followed by the right foot (3)

4.  Continuing to walk backwards, their left foot comes back down the line of dance (4-5) and they brush right foot to left, without changing weight (6).

Parma Waltz – 2nd Movement – Repeat Bars 1-4 Moving Against Line of Dance

5.  Now they move their right foot forward against the line of dance (1-2) and brush their left foot to their right without changing weight (3).

6.  Then the left foot comes down the line of dance as they commence turning to the left (4-5). They continue turning to the left so that both partners end backing against the line of dance. They brush their right foot to their left without changing weight. At the end of this beat, the lady is now on man’s right side in Right Shadow Hold (6)

7.  Now walking backwards, they bring their right foot back against the line of dance (1-2) followed by their left foot back against line of dance (3)

8.  Their right foot comes back against the line of dance (4-5) and they brush their left foot to their right without changing weight. At the end of this beat, both partners should now be facing the line of dance (6)

9. Now they move their left foot forward down the line of dance  (1-2) and brush their right foot to their left foot without changing their weight. At this point they turn their bodies slightly to the left (3)

10.  Partners now move their right foot down the line of dance (4-5) and bringing their left foot up to brush against the right foot without changing weight – then a slight body turn to the right (6)

11.  Continue with the left foot moving forward down the line of dance (1-2) and brush the right foot to the left without changing weight. Brush right foot to left without changing weight and then a slight body turn to the left (3)

12.  We end this movement by moving the right foot forward down the line of dance (4-5) and bring the left foot up to brush against the right without changing weight, followed by a slight body turn to the right. The movement ends facing diagonal-to-wall and partners preparing to move sideways in a diagonal-to-centre direction (6).

Parma Waltz – 3rd Movement – Lock Step to Left – Lock Step to Right

13. Starting with the left foot moving to the side in a diagonal-to-centre direction with left side leading, the man behind lady and body facing diagonal-to-wall  (1-2) then cross the right foot behind the left foot, still moving diagonal-to-centre with left side leading (3)

14  Continuing with left foot moving sideways in a diagonal-to-centre direction, allowing the right side to overtake the left side (4 5) then brush the right foot to the left foot without changing weight and a slight body turn to the left (6)

15 Now for the lock step to the right. Partners move the right foot to the side in a diagonal-to-wall direction with the right side leading, the man behind the lady and body facing diagonal-to-centre (1 2). Now we cross the left foot behind the right foot, moving in a diagonal-to-wall direction with the right side leading (3)

16 Continuing with the right foot to the side in a diagonal-to-wall direction, allowing the left side to overtake the right side (4 5).
Now brush the left foot to the right without changing weight, with a slight body turn to the right. The movement ends with both partners facing diagonal-to-wall (6).

Parma Waltz – 4th Movement – Repeat Bars 13 to 16

17. Starting with the left foot moving to the side in a diagonal-to-centre direction with left side leading, the man behind lady and body facing diagonal-to-wall  (1-2) then cross the right foot behind the left foot, still moving diagonal-to-centre with left side leading (3)

18.  Continuing with left foot moving sideways in a diagonal-to-centre direction, allowing the right side to overtake the left side (4 5) then brush the right foot to the left foot without changing weight and a slight body turn to the left (6)

19. Now for the lock step to the right. Partners move the right foot to the side in a diagonal-to-wall direction with the right side leading, the man behind the lady and body facing diagonal-to-centre (1 2). Now we cross the left foot behind the right foot, moving in a diagonal-to-wall direction with the right side leading (3)

20. Continuing with the right foot to the side in a diagonal-to-wall direction, allowing the left side to overtake the right side (4 5).
Now brush the left foot to the right without changing weight, with a slight body turn to the right. The movement ends with both partners facing diagonal-to-wall (6).

Parma Waltz – 5th Movement – Two Walks – Break Apart – Close to Ballroom Hold

21 Both partners move their left foot forward down the line of dance (1 2) then brush their right foot to their left foot without changing weight (3)

22 The walk continues with the right foot moving forward down the line of dance, at this point releasing the left hand hold and commencing to turn to the right so as to face the wall (the Lady turns to the right to face against the line of dance)  (4 5) then the man brushes his left foot to his right foot without changing his weight and takes up a right hand to right hand hold (the Lady continues turning to the right and brushes her left foot to her right foot and ends the movement facing the centre and her partner, taking up a right hand to right hand hold) (6)

23 The man continues with a slight turn to the right, his left foot coming back towards the centre (the Lady continues with a slight turn to the right, her left foot coming back towards the wall) (1 2) and brushes his right foot to his left without changing his weight and continues with a slight turn to the right (the Lady does the same)  (3)

24 Now the man’s right foot moves forward towards the wall and his partner, continuing to turn slightly to the right and taking up Ballroom Hold ready for the natural waltz. He ends backing diagonal-to-centre (the Lady moves her right foot forwards toward the centre and her partner, also taking up Ballroom Hold ready for the natural waltz. She ends facing diagonal-to-centre)  (4 5). The man then brushes his left foot to his right without changing his weight and continues a slight turn to the right so that he ends backing the line of dance (the Lady closes her left foot to her right foot with a weight change and continues with a slight turn to the right so that she ends facing the line of dance and her partner)  (6)

Parma Waltz – 6th Movement – Natural Waltz Ending (Smoothly Rotate to the Right)

The final 8 Bars (25 – 32) of the Parma Waltz end with eight natural waltz half turns. It commences with the man backing and the lady facing the line of dance and ends with the lady opening up so that right shadow hold can be taken up to recommence the sequence.

Enjoy This Video Presentation of the Parma Waltz

The Twilight Waltz New Vogue Sequence Dance

New Vogue Waltz

Twilight Waltz Dance Steps

The Twilight Waltz is a modern sequence dance. The dance script was composed by John Bartlett in 1944. 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, 4-5-6 rhythm to music at a tempo of 52 beats per minute. We commence the dance in ballroom ballroom hold with the man facing and the lady backing the line of dance and it ends with a reverse Viennese Waltz. We describe both partners’ steps here, with the Lady’s in italics.

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 Twilight Waltz, Scroll to the Video at the Bottom

Twilight Waltz – 1st Movement – Walks – Chasse – Forward Close

1.  We begin the dance with the man moving his left foot forward down the line of dance (the Lady moves her right foot back down the line of dance) (1-2) followed by his right foot forward down the line of dance (the Lady brings her left foot back down the line of dance) (3)

2.  Then the man’s left foot continues forward down the line of dance (the Lady’s right foot comes back down the line of dance) (4-5) and the man’s right foot brushes to his left foot (the Lady’s left foot brushes to her) (6)

3.  Now turning his body slightly to the left, the man moves his right foot to the side in a diagonal-to-wall direction (the Lady, also turning her body slightly to the left, brings her left foot to the side, also in a diagonal-to-wall direction) (1-2). The man’s left foot now closes to his right foot as he prepares to step forward in a diagonal-to-centre direction outside his partner. The man’s right shoulder should be loosely to the lady’s right shoulder (the Lady’s right foot closes to her left foot as she prepares to step back in a diagonal-to-centre direction with her partner on the outside) (3)

4.  Now turning his body slightly to the right, the man moves his right foot forward in a diagonal-to-centre direction, outside his partner and then turns the lady square to himself (the Lady, turning her body slightly to the right, brings her left foot back in a diagonal-to-centre direction with her partner on the outside and turning square to him) (4-5). The man’s left foot now brushes to his right foot without changing his weight; his partner should now be square to himself (the Lady’s right foot brushes to her left foot without changing her weight; she should now be square to the man) (6)

Twilight Waltz – 2nd Movement – Reverse Viennese Cross – Back Step to Oversway

5.  We beging the reverse Viennese Cross – the man moves his left foot forward in a diagonal-to-centre direction (the Lady brings her right foot back in a diagonal-to-centre direction) (1) then his right foot comes forward, also in a diagonal-to-centre direction as he takes his weight onto the ball of his right foot and turns sharply to the left to bring himself to be backing the line of dance (the Lady brings her left foot back in a diagonal-to-centre direction as she takes her weight onto the ball of her left foot and turns sharply to the left to bring herself to be facing the line of dance) (2). The man’s left foot twists and draws up to loose to cross in front of his right foot and he takes his full weight on to his left foot (the Lady’s right foot closes loosely to her left foot and she takes her full weight on to her right foot) (3)

6.  The man now brings his right foot back down the line of dance (the Lady moves her left foot forward down the line of dance) (4-5) and his left foot brushes to his right foot without changing his weight (the Lady’s right foot brushes to her left foot without changing her weight) (6)

7.  Then the man’s left foot comes back down the line of dance, allowing his body to turn left into an Oversway (the Lady’s right foot goes forward down the line of dance, allowing her body to turn left into an Oversway) (1-2-3)

8.  The man now replaces his weight forward to his right foot (a small step), so that he is now facing against the line of dance (the Lady replaces her weight back onto her left foot (a small step), so that she is now backing against the line of dance) (4-5) and his left foot brushes to his right foot without changing his weight (the Lady’s right foot brushes to her left foot without changing her weight) (6)

Twilight Waltz – 3rd Movement – Walks – Chasse – Forward Close

We’re now going to repeat the 1st Movement, only this time in reverse direction

9.  The man brings his left foot forward against the line of dance (the Lady brings her right foot back against the line of dance) (1-2) then his right foot comes forward, still against the line of dance (the Lady’s left foot comes back against the line of dance) (3)

10.  Now the man’s left foot goes forward, against the line of dance (the Lady’s right foot comes back against the line of dance) (4-5) and his right foot brushes to his left foot (the Lady’s left foot brushes to her right foot) (6)

11.  Now turning his body slightly to the left, the man’s right foot goes to the side in a diagonal-to-centre direction (the Lady, turning her body slightly to the left, brings her left foot to the side in a diagonal-to-centre direction) (1-2) and the man’s left foot closes to his right foot as he prepares to step in a diagonal-to-wall direction outside his partner. The man’s right shoulder should be loosely to the lady’s right shoulder (the Lady’s right foot closes to her left foot as she prepares to step in a diagonal-to-wall direction with her partner on the outside) (3)

12.  Now turning his body slightly to the right, the man moves his right foot forward in a diagonal-to-wall direction outside his partner and then turns the lady square to himself (the Lady, turning her body slightly to the right, brings her left foot back in a diagonal-to-wall direction with her partner on the outside and turning to be square to him) (4-5) and the man’s left foot brushes to his right foot without changing his weight, with his partner now square to himself (the Lady’s right foot brushes to her left foot without changing her weight and she should now be square to the man) (6)

Twilight Waltz – 4th Movement – Reverse Viennese Cross – Back Step to Oversway

We’re now going to repeat the 2nd Movement, only this time in reverse direction

13.  The man moves his left foot forward in a diagonal-to-wall direction against the line of dance (the Lady brings her right foot back in a diagonal-to-wall direction against the line of dance) (1) then his right foot follows forward, also in a diagonal-to-wall direction against the line of dance as he takes his weight onto the ball of his right foot and turns sharply to the left so that he is now facing the line of dance (the Lady’s left foot comes back in a diagonal-to-wall direction against the line of dance, as she takes her weight onto the ball of her left foot and turns sharply to the left so that she is now backing the line of dance) (2). The man’s left foot twists and draws up to cross loosely in front of his right foot as he takes his full weight on to his left foot (the Lady’s right foot closes loosely to her left foot as she takes her full weight on to her right foot) (3)

14.  Now the man brings his right foot back against the line of dance (the Lady moves her left foot forward against the line of dance) (4-5) and his left foot brushes to his right foot without changing his weight (the Lady’s right foot brushes to her left foot without changing her weight) (6)

15.  Then the man’s left foot comes back against the line of dance, allowing his body to turn left into an Oversway (the Lady’s right foot moves forward against the line of dance, allowing her body to turn left into an Oversway) (1-2-3)

16.  The man replaces his weight forward to his right foot (a small step down the line of dance), so that he is now facing the line of dance (the Lady replaces her weight back onto her left foot (a small step back down the line of dance), so that she is now backing the line of dance) (4-5) and his left foot brushes to his right foot without changing his weight (the Lady’s right foot brushes to her left foot without changing her weight) (6)

Twilight Waltz – 5th Movement – Chasse, Face to Face – Back Cross Back – Chasse, Face to Face – Forward Cross Forward

17.  The man now turns right to face the wall and releasing from Ballroom Hold but retaining his left hand to the lady’s right hand, moving slightly away from partner (toward the centre). He commences the chasse by bringing his left foot to the side down the line of dance (the Lady turns to the right to face the centre, also releasing from Ballroom Hold but retaining her right hand hold to the man’s left hand and moving slightly away from her partner (towards the wall). Her right foot goes to side down the line of dance) (1-2) and his right foot closes to his left foot (the Lady’s left foot closes to her right foot) (3)

18.  Now the man brings his left foot to the side down the line of dance while turning slightly to the right, so that he is backing the line of dance (the Lady brings her right foot to the side, down the line of dance while turning slightly to the left, so that she is now backing the line of dance) (4-5-6)

19.  The man’s right foot follows back down the line of dance [Note: Some dancers favour turning further to the right to face diagonal-to-centre against the line of dance, which causes the right foot to ronde] (the Lady’s left foot follows back down the line of dance) [Note: Some dancers favour turning further to the left to face diagonal-to-wall against the line of dance, which causes the left foot to ronde]. (1-2) … and his left foot crosses in front of his right foot so that he is now backing the line of dance (the Lady’s right foot crosses in front of her left foot, so that she is now backing the line of dance) (3)

20.  Now the man’s right foot comes back down the line of dance and he commences to turn left towards facing the wall and his partner (the Lady’s left foot comes back down the line of dance and she commences to turn right towards facing the centre and her partner) (4-5-6)

21.  The man brings his left foot to the side while facing the wall and his partner (the Lady brings her right foot to the side while facing the centre and her partner) (1-2) and his right foot closes to his left foot (the Lady’s left foot closes to her right foot) (3)

22.  Now commencing to turn left to face diagonal-to-wall, the man brings his left foot to the side and slightly diagonal-to-centre, as partners release their double-hold and the man takes the lady’s left hand in his right hand (the Lady, commencing to turn right to face diagonal-to-centre, brings her right foot to the side and slightly diagonal-to-wall, as they release double-hold and she takes the man’s right in her left hand) (4-5-6)

23.  Now the man moves his right foot forward down the line of dance (the Lady moves her left foot forward down the line of dance)  (1-2) and his left foot crosses behind his right foot (the Lady’s right foot crosses behind her left foot) (3)

24.  The man’s right foot now follows forward down the line of dance (the Lady’s left foot follows forward down the line of dance) (4-5-6)

Twilight Waltz – 6th Movement – Forward Walks & Aerial – Backward Walks – (Lady Underarm Turn)

25.  The man’s left foot goes forward down the line of dance (the Lady’s right foot goes forward down the line of dance) (1-2) then his right foot follows forward down the line of dance (the Lady’s left foot follows forward down the line of dance) (3)

26.  Next, the man’s left foot follows forward down the line of dance (the Lady’s right foot follows forward down the line of dance) (4) and his right foot swings upwards to a medium aerial position (the Lady’s left foot swings upward to a medium aerial position) (5-6)

27.  The man now brings his right foot back against the line of dance while assisting the lady’s turn with pressure in his right arm (the Lady turns sharply to the left on her right foot to face against the line of dance, then brings her left foot forward against the line of dance) (1-2) They release double-hold and the man takes the lady’s left hand in his right hand, then the man brings his left foot back against the line of dance and they raise their joined hands ready for the lady’s underarm turn (the Lady continues turning left to face the wall, brings her right foot to the side against the line of dance, allowing her left foot to cross loosely in front of her right foot and does a spiral turn) (3)

28.  The man brings his right foot back against the line of dance, now facing diagonal-to-wall and his partner (the Lady moves her left foot forward towards her partner, moving diagonal-to-centre against the line of dance and preparing to take up Ballroom Hold ) (4-5)  then the man’s left foot brushes to his right foot without changing his weight and facing diagonal-to-wall, now in Ballroom Hold (the Lady’s right foot brushes to her left foot without changing her weight, now facing her partner and backing diagonal-to-wall, also in Ballroom Hold) (6)

29-32.  Twilight Waltz – Final Movement – Reverse Viennese Waltz

The final phase of the twilight waltz, is a reverse Viennese Waltz with two complete turns and coming to rest in normal ballroom hold, ready to begin the sequence again.

 

Enjoy This Video Presentation of the Twilight Waltz

 

 

 

Tracie Leigh Waltz

New Vogue Waltz

Tracie Leigh Waltz Dance Steps

The Tracie Leigh Waltz is an Australian New Vogue sequence dance. The dance script was composed by Bernard and Betty Reilly in 1965 and named after their daughter, Tracie Leigh. 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, 4-5-6 rhythm to music at a tempo of 50 beats per minute. We commence the dance in open extended hold with the man facing diagonal-to-wall and the lady facing diagonal to centre down line of dance. We describe both partners’ steps here, with the Lady’s in italics.

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 Dance, Scroll to the Video at the Bottom

Tracie Leigh Waltz 1st Movement – Forward Walks – Cross Step – Aerial

1.  The man moves his left foot forward down the line of dance (the Ladymoves her right foot forward down the line of dance) (1-2) followed by his right foot forward down the line of dance (the Lady’s left foot follows forward down the line of dance) (3)

2.  The man’s left foot continues forward down the line of dance (the Lady’s right foot continues forward down the line of dance) (4) and the man’s right foot crosses behind his left foot (the Lady’s left foot crosses behind her right foot) (5-6)

3.  The man’s left foot continues forward down the line of dance (the Lady’s right foot continues forward down the line of dance) (1-2-3)

4.  The man’s right foot swings to a medium aerial position and lowers to the floor, pointing his toe (the Lady’s left foot swings to a medium aerial position and lowers to the floor, pointing her toe) (4-5-6)

Tracie Leigh Waltz 2nd Movement – Back Cross Step – Solo Turn

5.  Now the man brings his right foot back against the line of dance (the Lady brings her left foot back against the line of dance) (1-2) and his left foot crosses in front of his right foot (the Lady’s right foot crosses in front of her left foot) (3)

6.  Then the man’s right foot comes back against the line of dance (the Lady’s left foot comes back against the line of dance) (4-5-6)

7.  Solo Turn – The man’s left foot now moves forward while turning left to face the centre (the Lady’s right foot moves forward while turning right to face the wall) and they release their hold (1-2) his right foot goes to the side as he now faces the centre and still turning left to be backing the line of dance (the Lady’s left foot goes to the side as she now faces the wall and still turning right to be backing the line of dance) (3)

8.  The man’s left foot comes back, backing down the line of dance as he continues turning to face diagonal-to-wall against the line of dance (the Lady’s right foot comes back, backing down the line of dance as he continues turning to face diagonal-to-centre against the line of dance) (4-5) and his right foot closes to his left foot without changing his weight, still facing diagonal-to-wall against the line of dance (the Lady’s left foot closes to his right foot without changing his weight, still facing diagonal-to-centre against the line of dance) and the man’s left hand takes hold of the lady’s right hand (6).

Tracie Leigh Waltz 3rd Movement – Repeat Bars 1 to 8  Against Line of Dance on Other Foot

9.  Turning to the right to face against the line of dance, the man moves his right foot forward against the line of dance (the Lady moves her left foot forward against the line of dance) (1-2) then his left foot forward against the line of dance (the Lady’s right foot goes against the line of dance) (3)

10.  Then the man’s right foot comes forward against the line of dance (the Lady’s left foot comes forward against the line of dance) (4) and his left foot crosses behind his right foot (the Lady’s left foot crosses behind her right foot) (5-6)

11.  Then the man’s right foot continues forward against the line of dance (the Lady’s left foot continues forward against the line of dance) (1-2-3) and his left foot swings up to a medium aerial position and then lowers to the floor, pointing his toe (the Lady’s right foot swings up to a medium aerial position and then lowers to the floor, pointing her toe) (4-5-6)

13.  The man’s left foot then comes back down the line of dance (the Lady’s right foot comes back down the line of dance)  (1-2) and his right foot crosses in front of his left foot (the Lady’s left foot crosses in front of her right foot) (3)

14.  Now the man’s left foot continues back down the line of dance (the Lady’s right foot continues back down the line of dance) (4-5-6)

15.  Solo Turn – They release their hold and the man’s right foot moves forward against the line of dance while turning right to face the centre (the Lady’s left foot goes forward while turning left to face the wall)  (1-2) his left foot then goes to the side against the line of dance when he is facing the centre and he turns right so that he faces the line of dance (the Lady’s right foot goes to the side when facing the wall and she turns left so that she also faces line of dance) (3)

16.  Then the man’s right foot goes to the side against the line of dance while turning to face diagonal-to-wall against the line of dance (the Lady’s left foot goes to the side against the line of dance while turning to face diagonal-to-centre) and they take up Double Hand Hold (4-5). The man’s left foot closes to his right foot without changing his weight, still facing diagonal-to-wall against the line of dance (the Lady’s right foot closes to her left foot without changing her weight and still facing diagonal-to-centre) (6).

Tracie Leigh Waltz 3rd Movement – Check and Chasse

17.  The man now moves his left foot forward in a diagonal-to-wall direction against the line of dance and outside his partner. The man’s left shoulder should be in line with the lady’s left shoulder as he lifts his right heel from the floor (the Lady’s right foot comes back in a diagonal-to-wall direction against the line of dance with her partner on the outside, her left shoulder to the man’s left shoulder as her left foot lifts from floor to a medium aerial position) (1-2-3)

18.  The man replaces his weight back onto his right foot and commences to turn left (the Lady replaces her weight back onto her left foot and commences to turn left) (4-5) and his left foot brushes to his right foot without changing his weight (the Lady’s right foot brushes to her left foot without changing her weight) (6)

19.  Now the man’s left foot goes to side down the line of dance as he continues turning left to face the wall (the Lady’s right foot goes to the side down the line of dance as she continues turning left to face the centre) (1-2) and his right foot closes to his left foot, now facing the wall but continuing to turn to the left (the Lady’s left foot closes to her right foot, now facing the centre but continuing to turn to the left) (3)

20.  The man’s left foot goes to the side again and slightly forward down the line of dance while turning to face diagonal-to-wall and preparing to step outside his partner with his right foot (the Lady’s right foot goes to the side and slightly back down the line of dance while turning to be backing diagonal-to-wall) (4-5) and his right foot brushes to his left foot (the Lady’s left foot brushes to her right foot) (6)

Tracie Leigh Waltz 4th Movement – Check and Chasse

21.  The man moves his right foot forward in a diagonal-to-wall direction and outside his partner, with his right shoulder to the lady’s right shoulder and his left heel lifts off the floor (the Lady’s left foot comes back in a diagonal-to-wall direction with her partner on the outside, her right shoulder to the man’s right shoulder as her right foot lifts off the floor to a medium aerial position) (1-2-3)

22.  He replaces his weight back onto his left foot (the Lady replaces her weight back onto her right foot) (4-5) and his right foot brushes to his left foot without changing his weight (the Lady’s left foot brushes to her right foot without changing her weight) (6)

23.  The man’s right foot goes to the side against the line of dance, still facing diagonal-to-wall (the Lady’s left foot goes to the side against the line of dance, still backing diagonal-to-wall) (1-2) and his left foot closes to his right foot, still facing diagonal-to-wall (the Lady’s right foot closes to her left foot, still backing diagonal-to-wall) (3)

24. His right foot goes to the side again, continuing against the line of dance and still facing diagonal-to-wall (the Lady’s left foot goes to the side against the line of dance, still backing diagonal-to-wall) (4-5) and his left foot closes to his right foot without changing his weight (the Lady’s right foot closes to her left foot without changing her weight) and they release their hold – only the man’s right hand releases from the lady’s left hand, but the man’s left hand holding to the lady’s right hand is retained (6).

Tracie Leigh Waltz 5th Movement – Walks and Aerial (Lady Underarm Turn)

25.  The man’s left foot moves forward down the line of dance, still facing diagonal-to-wall and preparing for the lady to move under his raised left arm (the Lady’s right foot moves forward down the line of dance while turning right under the man’s arm to face the wall) (1-2) the his right foot comes forward down the line of dance (the Lady continues turning right with her left foot moving back down the line of dance and allowing her right foot to cross loosely in front of her left foot, to do a spiral turn) (3)

26. The man’s left foot moves forward down the line of dance (the Lady’s right foot moves forward down the line of dance) (4) and his right foot swings up to a medium aerial position (the Lady’s left foot swings up to a medium aerial position) and they lower their raised arms (4-6)

27.  The man’s right foot comes back against the line of dance (the Lady is now turning sharply to the left on the ball of her right foot to the point where she faces against the line of dance and then her left foot goes forward against the line of dance) as they raise their arms again (1-2) and his left foot comes back against the line of dance (the Lady continues turning left to face the wall, her right foot goes to the side against the line of dance, allowing her left foot to cross loosely in front of her right foot, into a spiral turn) (3)

28.  The man’s right foot comes back against the line of dance while facing diagonal-to-wall and his partner (the Lady’s left foot moves forward to her partner, moving diagonal-to-centre against the line of dance and preparing to take up Ballroom Hold ) (4-5) then his left foot brushes to his right foot without changing his weight and still facing diagonal-to-wall, now in Ballroom Hold (the Lady’s right foot brushes to her left foot without changing her weight and facing her partner, still backing diagonal-to-wall and now in Ballroom Hold) (6) ready for the reverse Viennese Waltz.

Tracie Leigh Waltz 6th Movement – Reverse Viennese Waltz

The final part of the dance involves two complete reverse Viennese Waltz turns, ending in the partners releasing their hold and resuming Open Extended Hold ready to start the sequence again. For the technically minded, we provide the following description for the final 4 bars of the dance and for each 1-2-3 move.

29.  The man turning to face the line of dance moves his left foot forward down the line of dance (the Lady turning to back line of dance, brings her right foot back down the line of dance) (1) then his right foot goes forward down the line of dance (the Lady’s left foot comes back down the line of dance) (2) Turning to the left on the ball of his right foot, to now be backing diagonal-to-wall, allowing his left foot to cross in front of his right foot and taking his weight (the Lady, turning left on the ball of her left foot and heel of her right foot, drags her right foot to a loose close to her left foot and now facing diagonal-to-wall) (3)

30.  Turning to back the line of dance, the man brings his right foot back down the line of dance (the Lady, turning to face the line of dance, moves her left foot forward down the line of dance) (4) then his left foot comes back down the line of dance (the Lady’s right foot moves forward down the line of dance) (5) Turning left on the ball of his left foot and the heel of his right foot, he drags his right foot to a loose close to his left foot, now facing diagonal-to-wall (the Lady, turning to the left on the ball of her right foot, to be backing diagonal-to-wall, allows her left foot to cross in front of her right foot and taking her weight) (6)

31.  Turning to face the line of dance, the man moves his left foot forward down the line of dance (the Lady, turning to back the line of dance, brings her right foot back down the line of dance) (1) then his right foot goes forward down the line of dance (the Lady’s left foot comes back down the line of dance) (2) Turning to the left on the ball of his right foot, to be backing diagonal-to-wall, he allows his left foot to cross in front of his right foot and taking his weight (the Lady, turning left on the ball of her left foot and the heel of her right foot, drags her right foot in a loose close to her left foot, now facing diagonal-to-wall) (3)

32.  Turning to back the line of dance, the man brings his right foot back down the line of dance, releasing his hold and turning to face diagonal-to-wall (the Lady, turning to face the line of dance, moves her left foot down the line of dance, releasing her hold and turning to face diagonal-to-centre) (4) his left foot goes to the side and diagonal-to-centre (the Lady’s right foot goes to the side and diagonal-to-wall) (5) and his right foot closes to his left foot in Open Extended Hold facing the line of dance (the Lady’s left foot closes to her right foot in Open Extended Hold facing the line of dance) (6)

Then begin again . . .

Enjoy This Video of the Tracie Leigh Waltz

 

 

 

 

 

 

The Lucille Waltz New Vogue Sequence Dance

New Vogue Waltz

Lucille Waltz Dance Steps

The Lucille Waltz is an Australian New Vogue dance and the script was composed by Bert Cartledge of Melbourne in the 1930’s. It is a 32 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced to a 1-2-3,4-5-6 rhythm and to music at a tempo of 50 beats per minute. We commence the dance in right semi shadow hold with the man and lady both facing down the line of dance and the lady in front of the man and slightly to his right. The man’s right hand should be on the lady’s hip and their left hands should be held at about shoulder height. 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

Lucille Waltz – 1st Movement – Forward Step and Aerial – Backward Step – Forward Reverse Viennese Cross – Backward Step

1.  The man moves his left foot forward in a diagonal-to-centre direction (The Lady does the same) (1) then he brings his right foot forward, also in a diagonal-to-centre direction but lifts it to a medium aerial position, outside his partner and from behind the lady (The Lady does the same) (2,3)

2.  Now the man brings his right foot back to its original position (The Lady does the same) (4,5) and his left foot drags across his right foot without changing his weight (very loosely crossed) (The Lady does the same)  (6)

3.  Now turning left, the man brings his left foot forward and across his body, in a diagonal-to-centre direction, while turning the lady to the left (The Lady turning left, does the same) (1) then the man brings his right foot forward in a diagonal-to-centre direction, from behind the lady and turns left on the ball of his right foot to face against the line of dance (The Lady brings her right foot forward in a diagonal-to-centre direction and turns to the left on the ball of her right foot to face against the line of dance) (2) and the man’s left foot again crosses loosely in front of his right foot, fifth position (while the Lady’s left foot crosses loosely in front of her right foot, fifth position) (3)

4.  The man brings his right foot back down the line of dance (The Lady brings her right foot back down line of dance) (4,5) then his left foot brushes to his right foot without changing his weight so that the man and lady are now facing against the line of dance (The Lady’s left foot brushes to her right foot without changing her weight) (6).

Lucille Waltz – 2nd Movement – Repeat (Forward Step and Aerial – Backward Step – Forward Reverse Viennese Cross – Backward Step)

5.  The man moves his left foot forward, this time in a diagonal-to-wall direction (The Lady does the same) (1) then he brings his right foot forward, also in a diagonal-to-wall direction but lifts it to a medium aerial position, outside his partner and from behind the lady  (The Lady does the same) (2-3)

6.  Now the man brings his right foot back to its original position (The Lady does the same) (4-5)  and his left foot drags across his right foot without changing his weight (very loosely crossed) (The Lady does the same) (6)

7.  Now turning left, the man brings his left foot forward and across his body, in a diagonal-to-wall direction, while turning the lady to the left (The Lady turning left, does the same) (1) then the man brings his right foot forward in a diagonal-to-wall direction, from behind the lady and turns left on the ball of his right foot to face against the line of dance (The Lady brings her right foot forward in a diagonal-to-wall direction and turns to the left on the ball of her right foot to face against the line of dance) (2) and the man’s left foot again crosses loosely in front of his right foot, fifth position (Lady LF crosses loosely in front of RF, fifth position)          LF crosses loosely in front of RF, fifth position (while the Lady’s left foot crosses loosely in front of her right foot, fifth position) (3)

8.  The man brings his right foot back against the line of dance (The Lady brings her right foot back against line of dance)  (4-5) then his left foot brushes to his right foot without changing his weight so that the man and lady are now facing down the line of dance (The Lady’s left foot brushes to her right foot without changing her weight) (6).

Lucille Waltz – 3rd Movement – Breakaway – Chasse – Step and Aerial – Side Step – Bow and Curtsey

9.  The man moves his left foot forward down the line of dance while turning slightly left towards a diagonal-to-centre position and prepares to lead the lady to turn right into a breakaway from semi-shadow hold (the Lady moves her left foot forward down the line of dance while turning left towards a diagonal-to-centre position) (1-2-3)

10.  Now the man brings his right foot down the line of dance in a contra body movement position (CBMP) while turning right to face diagonal-to-wall (the Lady, turning right, brings her right foot forward diagonal-to-wall while she continues turning on her right foot, one full turn to the right overall) and they release their hold (4-5). The man’s left foot then brushes to his right foot without changing his weight (the Lady continues turning right to face her partner and her left foot closes to her right foot with a weight change, so that she is now facing diagonal-to-centre) and they take up Open Extended Hold with the man’s right hand to the lady’s left hand (6).

11.  Now the man brings his left foot diagonally forward down the line of dance while turning slightly to the left and towards facing line of dance (the Lady brings her right foot diagonally forward down the line of dance while turning slightly to the right and towards facing line of dance) (1-2). The man continues turning left to face line of dance and his right foot closes to his left foot with a weight change (the Lady continues turning right to face the line of dance and her right foot closes to her left foot with a weight change) (3)

12.  The man brings his left foot forward down the line of dance while his right foot is held pointing backwards (the Lady brings her right foot forward down the line of dance while her left foot is held pointing backwards) (4-5-6)

13.  Now the man’s right foot drags through and swings to a medium aerial position with a CBMP, his body turning slightly to the right (the Lady’s left foot drags through and swings to a medium aerial position, also with a CBMP, her body turning slightly to the left) (1-2) and the man’s right foot lowers to the floor with his toe pointing (the Lady’s left foot also lowers to the floor with her toe pointing) (3)

14.  The man moves his right foot diagonally forward down the line of dance while turning right to face both the wall and his partner (The Lady moves her left foot diagonally forward down the line of dance while turning left to face both the centre and her partner) (4-5). Then the man’s left foot closes to his right foot without changing his weight so that he is now facing the wall and his partner (The Lady’s right foot closes to her left foot without changing weight so that she is now facing the centre and her partner) (6).

15.  The man’s left foot goes to the side down the line of dance (and the Lady’s right foot does the same) as they change their hold to the man’s left hand now holding the lady’s right hand (1-2-3).

16.  We now come to the ‘bow and curtsey’. The man’s right foot points forward towards the wall and his partner, as he does a slight bow from the waist (while the Lady’s left foot comes back and behind her right foot and facing her partner, she does a curtsey) (4-5-6)

Lucille Waltz – 4th Movement – Repeat – (Chasse – Step and Aerial – Side Step – Bow and Curtsey)

17.  We now repeat the previous movement, but this time in the opposite direction. The man brings his right foot to the side against line of dance while turning slightly to the right and towards facing against the line of dance (the Lady brings her left foot to the side against line of dance while turning slightly to the left and towards facing against line of dance) (1-2). The man continues turning right to face against line of dance, as his left foot closes to his right foot and with a weight change (while the Lady continues turning left to face against line of dance, as her right foot closes to her left foot and with a weight change) (3).

18.  The man moves his right foot forward against the line of dance, while his left foot is held in a backward point (the Lady moves her left foot forward against the line of dance while her right foot is held in backward point) (4-5-6).

19. Now the man’s left foot drags through and swings up to a medium aerial level with a CBMP, his body turning slightly left (the Lady’s right foot drags through and swings up to a medium aerial level, also with a CBMP, her body turning slightly to the right) (1-2) then the man’s left foot lowers to the floor with his toe pointing against the line of dance (and the Lady’s right foot lowers to the floor with her toe pointing against the line of dance) (3).

20.  Next, the man moves his left foot diagonally forward against the line of dance while turning left to face the wall and his partner (the Lady moves her right foot diagonally forward against the line of dance while turning right to face the centre and her partner) (4-5) and the man’s right foot closes to his left foot without changing his weight, so that he is now facing the wall and his partner (while the Lady’s left foot closes to her right foot without changing her weight so that she is now facing the centre and her partner) (6)

21.  The man’s right foot goes to the side against the line of dance (and the Lady’s left foot goes to the side against the line of dance) and they change hold so that the man’s right hand is now to the lady’s left hand (1-2-3).

22.  The man’s left foot points forward to the wall and his partner, as he does a slight bow from the waist (while the Lady’s right foot comes back and behind her left foot on the wall side, and she faces her partner and does a curtsey) (4-5-6).

Lucille Waltz – 5th Movement – Solo Turns

23.  The man and lady now break apart for the solo turns. The man commences turning to face the line of dance, his left foot going forward down the line of dance into a solo turn (the Lady commences turning to face the line of dance, her right foot going forward down the line of dance into a solo turn) and they release their hold (1). The man continues turning left to face the centre, his right foot moving to the side down the line of dance (while the Lady continues turning right to face the wall, her left foot moving to the side down the line of dance) (2). He continues turning left to a point where he is backing the line of dance, her left foot coming back down the line of dance in a very small step (the Lady continues turning right to a point where she is backing the line of dance, her right foot coming back down the line of dance in a very small step) (3)

24. Now the man’s right foot comes back down the line of dance as he continues turning left to face the wall and his partner (the Lady’s left foot comes back down the line of dance as she continues turning right to face the centre and her partner) (4) then the man’s left foot goes to the side down the line of dance while he continues turning to face diagonal to wall (and the Lady’s right foot goes to the side down the line of dance while she continues turning to face diagonal to centre) and they both take up Normal Ballroom Hold (5) as his right foot moves forward in a CBMP and in Promenade Position (the Lady’s left foot moves forward in a CBMP and in Promenade Position) (6).

Lucille Waltz – 6th Movement – Forward Walks and Aerial – Backward Walks

25.  To begin the forward walks, the man moves his left foot forward down the line of dance and in Promenade Position (the Lady, also in Promenade Position, begins by moving her right foot down the line of dance) (1-2) followed by his right foot forward down the line of dance, still in Promenade Position (and the Lady’s left foot moves forward down the line of dance, still in Promenade Position) (3)

26.  And now the man’s left foot comes forward down the line of dance (the Lady’s right foot comes forward down the line of dance) (4) and the man’s right foot then swings up to a medium aerial position (while the Lady’s left foot also swings up to a medium aerial position) (5-6)

27.  Now the partners walk backward. The man’s right foot comes back against the line of dance (and the Lady’s left foot does the same) (1-2) followed by his left foot coming back against the line of dance as he begins turning right towards facing the wall (the Lady’s right foot comes back against the line of dance while turning right towards facing the centre) (3)

28.  They now prepare for the natural waltz ending. The man brings his right foot to the side while facing wall and his partner and continues turning right (the Lady brings her left foot to the side while facing the centre and her partner and also continues turning right) (4-5). The man’s left foot brushes to his right foot without changing his weight so that he is now backing diagonal to centre, ready to waltz (the Lady’s right foot brushes to her left foot without changing her weight so that she is now facing diagonal to centre) (6)

Lucille Waltz – Final Movement – Natural Waltz Ending (Rotating Smoothly to the Right)

29 – 32  The man and lady complete 2 complete Natural Waltz turns … the first step for the man is to bring his left foot backwards down line of dance, (the Lady moves her right foot forward down line of dance) then his right foot goes to the side down line of dance and then he closes his left foot to his right now facing line of dance, thus completing a half-turn. Then his right foot goes forward down line of dance as he continues by stepping through the lady’s legs and repeats the process three more times, completing two full turns in the process. The last half turn ends with the man and lady again taking up right shadow hold.

Then ready to begin again . . .

Enjoy this Video of the Lucille Waltz

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Swing Waltz Sequence Dance Steps

New Vogue Waltz

The swing waltz is one of the really enjoyable new vogue sequence dances. It is appropriately named, in that it includes a number of swings back and forth, or sideways, of arms or legs during the sequence. It is a 32 bar routine at three-quarter timing and should be danced to music at 50 bpm. It begins with the man and lady in open extended hold, facing down the line of dance as the music begins.

Both man and lady first extend their arms in an outward sway, then inward toward each other, as if giving direction as to which way they are about to begin their dancing journey.

Swing Waltz Dance Steps

Beginning on the left foot, they both move left, right, left, down the line of dance. At the third left, they draw their right foot up to the left with their toe drawing along the floor, then lift the right to an aerial position almost parallel with the hip, toe pointed, supporting left leg knee bent. To add style, the left supporting foot should rise up to the ball of the foot at this point.

Both partners now reverse this 3 step move, going back right, left, right. The man pauses facing diagonal to wall while the lady pauses diagonal to centre. So they are slightly facing each other, feet having closed together and once again in open extended hold and in promenade position.

The next move involves the man and lady releasing the hold and each doing a solo turn – the man to the left, the lady to the right, beginning with the left foot down the line of dance. The turn involves a left, right, left, right, left … feet together. As your feet come together you both take up double hold.

Next comes one chasse down the line of dance and as you do this, both man and lady sweep the hands at back of line of dance in a circular motion, clockwise for the woman, anti-clockwise for the man. As the hands sweep overhead, another chasse is returned back against the line of dance and you come to rest in double hold as feet come together again.

The next move starts with both partners releasing double hold and swivelling to both face along the line of dance in open extended hold. The man now swivels again on his left foot to face the wall and leads the lady under his raised right hand. Both partners come out to open extended hold facing against line of dance before continuing the move.

This procedure is then reversed, with the man swivelling on his left foot to face the centre, while leading the lady back under his raised right hand. They pause for a moment in open extended hold.

The man then proceeds forward with his right foot diagonal along line of dance, then advances his left foot and closes feet together in a chasse movement. At this point, the man and lady adopt a double hold in promenade position.

From this position, both man and lady swing their right (man) and left foot (lady) forward, while swivelling toward the motion on their left (man) or right (lady) … and back again.

They both then do the same again, but with opposite feet and swinging in the opposite direction – against line of dance.

The man and lady then release one hold and turn outwards from each other along line of dance, until that they are back-to-back. They then swing their free hand across themselves while feet do a chasse and back high into the air with reverse chasse, then turn to face each other  again with a right-left-close and resume double hold in promenade position.

The man and lady then swivel inwards along line of dance while swinging their feet. Then step back and swivel in the opposite direction while swinging the opposite foot against line of dance. The man then releases his right hand hold with the lady and raises his left hand to allow her to turn under in a spiral type turn along the line of dance.

At the end of the turn, they adopt normal promenade hold (man’s hand on lady’s back) and once again, swing their inside legs forward along line of dance. As they retreat from this position, the lady spiral turns back under the man’s raised hand so that they come to normal ballroom hold with the man facing along line of dance.

The final phase of the swing waltz, is a reverse Viennese Waltz with two complete turns and coming to rest in normal ballroom hold, ready to begin the sequence again.

Enjoy This Video Demonstration of the Swing Waltz