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Jive
4 beats/measure; 26 - 46 meas/min
The term "swing" music, referring to the driving beat of the rhythm section of a jazz band, is
thought to have been coined by Jelly Roll Morton in his 1906 composition, Georgia Swing. In
1932, Duke Ellington wrote It Don't Mean a Thing (If It Ain't Got That Swing). By 1936,
clarinetist Benny Goodman was being called the "King of Swing."
In the 1920s, swing dancing became big as young people moved to the jazzy, bluesy, big band
music of the time, maybe most famously at Harlem's Savoy Ballroom. This athletic style of
dancing came to be called the Lindy Hop, to commemorate Charles Lindbergh's solo flight or
"hop" across the Atlantic in 1927. The Lindy of the '30s gave rise to Jitterbug in the '40s, to
Rock and Roll in the '50s, and to East Coast Swing, West Coast Swing, Jive, Shag, and others.
In round dancing, the dominant swing rhythm is East Coast or triple swing. However, the
figures that we use have mostly come from International-style, competition Jive, and most of
our cue sheets identify these dances as "jives." Many figures are written to span a measure
and a half with a rock, recover, and two triples. Another group of figures span two measures
with a one, two, and a triple, one, two, and a second triple.
There has been some effort to distinguish between triple-swing and triple-jive. Swing is
slower, and the triples travel more with a side/close, side and a count of 1&2. An "&" divides
a beat in half, so the timing of a swing triple is half beat, half beat, whole beat. These triples
might make you think of cha cha, but this is rock-and-roll music; the music doesn't say "chacha-cha." Swing can be quite easy-going, loose, and rag-doll-like. Jive is tighter, faster,
bouncier, has more knee action, and the triples are more in place with a step/close, side and a
count of 1a2, with sharper and briefer second step. The timing of a jive triple is 3/4 beat, 1/4
beat, whole beat.
Another view from a ballroom expert and for those who like the picky details says that both the swing and the
jive triple really have the timing of 2/3 beat, 1/3 beat (of a triplet musical figure), whole beat. I don't know. My
ear is not that good.
Both swing and jive make use of the Latin hip at the end of the triple: step/step, side/hip.
Eight steps over six beats of music or ten steps over eight beats always puts you back with
your lead foot free, so it's easy to move from figure to figure. Almost any figure can follow
almost any other.
When the tempo gets faster, there isn't time to fit those triples in, and we switch to what is
called "single swing." Each 6-count figure becomes, rock, recover, step, step (q,q,s,-; s,-,),
four steps over the six beats of music. Less common is "double swing" with six steps or
actions over the six beats: rock L, recover R, press L, step L; press R, step R, (q,q,q,q; q,q,)
(of course, the woman begins with her right).
Figure
Name,
Here are
some
Roundalab
Phase Level,
& Timing
q=quick, 1 beat
s=slow, 2 beats
& =1/2 beat;
a=1/4 beat
Chasse
phase III
1a2
Continuous
Chasse
phase IV
1a2a3a4
Basic Rock
phase III
sequences to
help you
visualize the
figure in
context.
Scott's No
Particular
Place To Go
Although this step pattern works fine with the slower swing begins with a
music that is common in round dancing, with the faster tempo balance
of true jive, you won't have time. If you are doing a fast jive, (chasse) left
and right; to a
dance the triple almost in place. Keep softer knees and stab
rock, recover,
the ball of the foot into the floor -- stab, bum/bum, stab,
bum/bum; -- little steps. You will exhaust yourself if you try swivel two;
two forward
to reach out for a real side step.
triples; swivel
In addition to side chasses, we dance forward, back, forward four; and four
point steps;;
and back locking, and turning chasses. During a turning
chasse, we can turn gradually over the three steps of the
triple, but our jive will be crisper if we concentrate most of
the turn during the first or last step of the triple, spinning on
the ball of the lead foot.
In a facing position, step side/close, sd/cl, sd/cl, sd;
In When Will
I Be Loved by
the Moores,
we start with
lead feet free;
cross in front
unwind step
side and close
lead feet;
continuous
chasse to
RLOD; whip
throwaway
facing wall;;
to an
american
spin.
there is
change hands
behind the
back to face
wall ~ rock
recover to;;
spanish arms
twice ~ basic
rock;;;;
mooch;;;;;
123a4; 1a2
Link
phase III
123a4;
Note that the link is a one-measure figure.
Link Rock
phase III
123a4; 1a2
Fallaway
Rock
phase III
123a4; 1a2
In the Fishers'
This Business
of Love, part
A begins with
a link to a
whip
throwaway;;
change left to
right and a
triple wheel
to butterfly
wall;;;;
In Won't You
Come Out
and Play by
the Weisses,
there is a
fallaway
throwaway ~
neck slide ~
rolling off the
arms ~ link
rock;;;;;;;;
change places
right to left ~
change hands
behind the
back;;;
The Lawsons'
Pink Cadillac
has a
throwaway to
line; change
left to right
and fallaway
rock;;;
change right
to left to
handshake
and change
left to right to
tandem;;; to a
catapult and
lindy
catch;;;,,
Fallaway
Rock in 4
1234;
Fallaway
Throwaway
In closed position facing wall, rock back L (W bk R) to semiclosed position, recover, dance sd/cl, sd (W triple turning LF
to left open facing position) man facing LOD; sd/cl, sd (W
bk/cl sd),
phase III
In the Bonds'
Lefty Louie,
there is a
change left to
right and
change hands
behind the
back;;;
spanish arms
to closed
position and
fallaway
throwaway;;;
and two slow
and 4 quick
chicken
walks;;
123a4; 1a2
Throwaway
phase III
1a23a4;
In My Baby
Just Cares
For Me by
Clements,
there is flicks
into break;;;;;
throwaway
overturned;
lady swivel to
chicken
walks 2 slo; 4
qk; chg R to
L.
Slingshot
Throwaway
123a4; 1a2
Slingshot
Runaway and In an L-position with the man facing wall and the woman
Back
facing LOD, the man lunges to the side L and extends his
arms to lead the woman to rock back R (this is pulling back
1234; 1234; the slingshot). Then both recover to their trail feet (releasing
the slingshot). This move gives a little more propulsion or
drama to the next figurein this case a runawaythan a
tamer entry, such as a fallaway rock recover. Following this
entry, we might expect jive triples, but this figure is evencount. The man steps small fwd L keeping lead hands joined
and leading the woman to turn LF (W fwd R spinning LF one
full turn to face LOD), small fwd R continuing to face wall
(W fwd L); bk L (W fwd R swiveling 1/2 RF), bk R (W fwd
L toward RLOD), step L (W fwd R turning RF), step R (W sd
L) to an L-position man facing wall again;
The man is dancing pretty much in place, facing the wall,
while the woman is running in front of him to his left and
then back to her starting position again. May be done in other
facing directions.
Hip Bump
In Beale
Street Blues
by the
Lillefields,
there is
spanish arms
to face wall right to left
man face
LOD;;; kick
whip;;;;;
slingshot
runaway and
back twice;;;;
start a
slingshot
right to left left to right;;;
1234; 1a2
position lowering slightly, rise and bump M's L & W's R hips
[no wt chg]; chasse away R/L, R trng 3/8 LF to face ptnr and
wall again,
Sole Tap
phase IV
1234; 1a2
In a facing position, rock back L (woman back R) to semiclosed, recover R to face, side/close, side turning LF 1/4 sort
of like starting a Pickup; and side/close, side again turning LF
1/4, The full figure makes a turn of 1/2, perhaps from facing
wall to facing center.
123a4; 1a2
Right Turning In a facing position, rock back L (woman back R) to semiFallaway
closed, recover R to face, side/close, side turning RF 1/4 sort
of like starting a Maneuver; and side/close, side again turning
RF 1/4, The full figure makes a turn of 1/2 perhaps from
phase III
facing wall to facing center.
123a4; 1a2
Again, we can distinguish between jive and swing styling.
The above is more "swingy."A more "jivey" rendering
concentrates the turn on beat 4. During the first chasse,
step/step in place, and then step, lift, and pivot 1/2 to face
center. Do the second chasse facing center. If the tempo is
fast, don't try to progress on the chasses. Stay low and jab in
place. Rise for the pivot. Lower again for the second chasse -jab/jab, jab.
A common
sequence is to
begin in
closed
position
facing wall
and do a right
turning
fallaway
twice back to
your starting
position;;;
In Jailhouse
King by
Woodruff,
facing ptnr &
LOD, we
change L to R
w/ continuous
chasse;; right
trng fallaway
to COH ; ,,
change R to L
to RLOD , ;;
chg hnds
behind the
back to
LOD ; ,,
In Calendar
Girl by the
Rotscheids,
the dance
begins with a
link rock pretzel turn;;;
double rock;
unwrap the
pretzel;
double rock;
jive chasse
left and right
- change left
to right;;;
In How
Lucky Can
One Guy Be
by Preskitt,
we are facing
partner and
COH. We
dance a link
to dbl whip
trn w/
continuous
chasse to face
wall;;; triple
pretzel
turn;;;;; lindy
This figure is like the first half of a pretzel turn, but you don't
maintain the lead hand-hold and there are three triples instead
of two. In closed position facing wall rock back to fallaway
position, recover to face, step sd L/cl R, sd L turning RF 1/2
to back-to-back position (woman steps sd R/cl L, sd R
turning LF); sd R/cl L, sd R turning 1/2 to face, sd L/cl R, sd
L; Often you will be cued to chasse roll back toward reverse.
Or, you might think of these triples as something like a twostep face to face, back to back, and then around to another
face to face.
May begin in other positions and may progress in opposite
direction with opposite footwork and turn.
Turnstile
I'd better start this with a disclaimer. We've never danced the
standard figure, and every description we've heard or read is
different from the previous one. But I want to be complete,
phase VI
and it is a Roundalab Standard. Let me try and maybe you
123a4; 1234; will be good enough to give me a critique.
1a2
Start in a handshake position, perhaps facing wall. In the first
measure, rock back L (woman bk R), recover R (woman rec
L), chass L/R, L beginning to turn LF and releasing
handshake for right-wrist-to-right-wrist contact, woman's
wrist on top (woman chasss R/L, R and turns a little to the
In Do You
Love Me by
Eum &
Hadley, we
do a triple
wheel to
handshake
COH;; ,,
miami special
,;; chasse roll
LOD;; rock
& chasse R;
open break
hold recover;
merengue 4;
As I say, we
have never
encountered
the standard
figure in a
dance, and
we have only
just been
introduced to
the
"modified"
Turnstile in
the
right); At the end of the first measure the man is facing line
Blackfords'
and wall, the woman line and center.
Cat Daddy.
This one
During the second measure, the man raises his right arm a
begins in Left
little to continue the woman's turn, he completes his 1/2 LF
turn and steps R (woman steps L) to finish that step in a back- Open Facing
Position with
to-back position. Man will touch left wrist to woman's right
wrist now and press down a little to turn her. Both turn 1/2 to a rock apart
face, and man steps side L (woman sd R). On the third beat, and recover
he uses his right wrist to press down on her left and turns 1/2 to three
LF and steps side R (woman turns 1/2 RF and steps side L). turning
Finally, he uses his left wrist again. Both turn 1/2 to face and chasss, man
step side. Of course, this is the actual "turnstile" movement. turning RF
and woman
We are rolling to reverse in four steps and making two
turning LF,
complete revolutions.
1/2 turn on
each triple,
The revolutions I am describing above are individual halfspins spin and face away, spin and face partner, and so on. progressing
straight
In addition, you might be turning as a couple to the left, so
toward
each of those four steps is not toward RLOD but on a small
arc, the circumference of of a circle on which the two of you RLOD to a
continuous
are standing. The choreography will have to specify, but at
chass
the end of measure two, you could be facing partner and
(123a4;
LOD, or you could have turned as a couple 1/2 and so be
1a23a4;
facing partner and COH.
1a2a3a4;).
We end the figure with a side chass R/L, R (woman L/R, L).
The form of
the Turnstile
There might be a temptation to make these turns double
is certainly
underarm turns, but you don't join hands. Keep your arms
not fixed. It
stiff and down. Each lead by the man stays below the
might even
horizontal it's just a nudge. Think "penguin arms." As
be better to
Meredith and I play with this in the kitchen, we seem to
think of it as
contact elbows as often as wrists. The figure does seem to
an action that
flow more smoothly if you stay close.
can be used
in lots of
Another feature of styling that is important is sway toward
different
your partner during measure two. As you take the first step,
incline toward your partner and touch man's right shoulder to ways in
woman's left. As you turn the turnstile, roll across the top of different
her shoulders, back-to-back, and touch man's left to woman's figure
right. Engage his left and her right arms, roll, and engage his combinations,
right and her left arms, leaning toward partner. This feels odd. much as a
Spiral is used.
Normally, we try to keep our toplines apart.
We have the option to turn more than two full turns. You
might begin with a rock apart, recover, and chass with a half
turn for the man and a full turn for the woman to end in
In Big Man
Jive by
Molitoris&
Gareis, part A
begins with a
right to left
and left to
right;;; to a
rock apart
recover kick
ball change to
butterfly;
windmill
Of course, we can begin and end in other positions and in
twice;;; and
other facing directions, and we often under- or over-turn the progressive
figure -- for instance, the man might start facing wall and end rock 4 to
facing LOD or COH.
semi;
Change Left
to Right
phase III
123a4; 1a2
In Night
Train by the
Lawsons, part
A begins with
a chasse left
and right;
change right
to left and left
to right;;; and
then a change
hands behind
the back;,,
Or the woman can hear the word right and know she
will turn right-face under lead hands. If the first
directional word is left, she will turn left-face. These
directions guide her to the proper side of the man.
We can't just hear these two cues and think generically, "okay
this is where we sort of do an underarm turn and change
sides." We have to hear that there are two different cues and
then dance different figures.
Miami
Special
phase IV
123a4; 1a2
She Go, He
Go
phase V
123a4;1a2
This one is a bit like a Left to Right with a man's head loop.
Start in a right handshake position facing partner. Rock apart
L (woman R), recover R, step fwd L/R, L turning RF 3/4 and
lead woman to turn LF under joined R hands and put joined
right hands over man's head; then step side R/L, R allowing
her R hand to slide down his L arm ending in left open
position, If you begin facing wall, you will both end facing
line with the man on the outside of the circle.
In left open facing position facing partner and wall, rock apart
L (woman apart R), recover R, fwd L/cl R, fwd L turning 1/8
RF and turning woman 1/2 LF under lead hands; step fwd R
turning 5/8 LF under lead hands/close L, side R to end facing
partner and center,
In Wake Me
Up Before
You Go-Go
by the
Robinsons,
there is a
change right
to left to
handshake
miami
special;;; rock
to step tap;
step tap step
tap; triple to
face,
In A Brand
New Me by
Hoffman we
dance a
throwaway to
LOD; lindy
In essence, she does a LF underarm turn on the first triple and catch;; she go
he does a LF underarm turn on the second triple. May begin he go 2X;;;
link rock to
in butterfly. May be done in other orientations.
CP wall ; ,,
Start in handshake position facing partner. This is a twomeasure figure consisting of four triples. First, the man triples
in place and leads the woman in a full turn LF under joined
right hands. The hands go up and down in a complete CCW
circle over your heads and back to low handshake. He steps
in place L/R, L, and she spins in place R/L, R, During beats 3
& 4, she steps in place L/R, L; and he spins RF R/L, R; under
joined right hands. The second measure repeats the first.
This is the Roundalab description. URDC describes a threemeasure chopper that begins and ends for both with a rock,
recover.
The
Worlocks'
Boogie With
Me has a
slow side
break to a
handshake;
chopper;
american spin
both spin to
continuous
chasse;;
I have also seen a one-measure "chopper ending" and a onemeasure "chopper 4" that was not only done on an even count
(man steps L, R, L, R; and woman spins on step 1 and man
on step 3), but the woman spins RF and the man LF. So there
is some variability out there.
Change
Rock bk, rec, fwd/cl, fwd trn lf she rf he changes her r hand
Hands Behind to his r; bk/cl, sd to face and change hand back to his l, (half
Back
turn for eack)
phase III
123a4; 1a2
Stop and Go
Side Breaks
In the
Easterdays'
Nosey Joe,
there is an
american spin
to change
hands behind
back;;; rock
to 4 dig steps
and change
hands behind
back;;;; 2
sailor
shuffles;
merengue 8;;
In Stagger
Lee by
McGee, there
are chicken
walks 4 qk;
throwaway
LOD; stop &
go;; whip
throwaway;;
whip turn;;
phase IV
1a2a3a4a;
It's a little difficult to keep this figure from becoming a pair
of "jumping jacks." Try not to move up and down, but keep
the upper body still.
These are also known as "Quick Side Breaks." Slow Side
Breaks are danced a/slow, -, a/slow, -; and you might hear
cued Side Breaks, two slows and four quicks (two measures
total).
In In, Out Out In a facing position a little apart from partner, lift slightly and In Shout by
step forward L (woman fwd R) toward partner/close R, -,
the Worlocks,
lifting again bk L (woman bk R) away from parther/cl R, -;
there is a vine
1a - 3a -;
3 & flick;
side two-step
to open; thru
side close to
butterfly; in
in, out out;
swivel walk 3
to semi; kick
step twice to
face; and a
side two-step;
(The above
sequence is
really stepcued twostep, but the
dance is a
wonderful,
bouncy
single-swing
jive.)
Flea Hops
phase VI
a; 1a2a3a4a;
1a2
In You Make
My Pants
Want to Get
Up and
If you want to make this figure more "jivey" and less
"swingy," take out the progression and focus more on lift and Dance by
Hixson we
on body rotation.As you triple with your lead feet, rise and
turn toward your partner. In place, jab/jab step/swivel to face. change L to R
to wall; ,, link
As you triple with the trail feet, swing the right hip (W left
rock , ;; SCP
hip) thru and turn a little away -- triple up and face, triple
dbl rock to ;;
down toward line. Often, we do jive walks and then swivel
jive walks ;
walks. This jive styling gives the jive walks the look of
swivel walks -- with triples, we are swiveling toward partner swivel walk 4
; throwaway
and away.
LOD ; stop &
go w/ dbl
stop action;;;
chg L to R to
wall ; ,,
Swivel Walks In semi-closed position, step forward on the lead foot and
lead the woman to swivel just a little LF, -, fwd on trail feet
and woman swivels RF, -; With each step, she turns her knee
phase III
in a little and steps one step in front of the other. With your
frame, you are rotating her just a little: left, right, left, right.
ss; or qqqq;
Both could swivel: in, out, in, out. You could do this figure in
open position.
As with the jive walks above, up-down motion is a jivey sort
of addition. The man steps down line, rising, and leading
strongly with the left shoulder. She steps, rises, and turns
sharply toward him. Then with the trail foot, he crosses in
front and falls or relaxes a little. She steps forward, falls, and
turns toward line. Repeat. The man is almost doing a Limp.
The woman is doing the swivel walks.
Chicken
Walks
phase IV
qqqq;
In the
Lillefields'
Got a Brand
New Bag,
part B begins
with two
triples down
line; and then
the cue is "up
down swivel
4;" to a
throwaway;
In the
McGees'
Stagger Lee,
there are four
quick chicken
walks;
throwaway;
stop & go;;
whip
I think most men dance this figure with soft knees and maybe
a kind of "coaxing" attitude: "Come on, baby." and the
woman leans back away from him with something of a
resisting attitude: "No, I'm not giving in easily." She might be
a little haughty. You have to play around with that sort of
styling, but do try for some kind of "attitude." Don't just
walk.
Rooster
Walks
In left open facing position, stand tall, puff out chest, and
strut forward L (woman bk R), fwd R, fwd L, fwd R;
qqqq;
Think dominant "cocky" thoughts. Push her ahead of you
relentlessly, inexorably.
Turkey Walks In a left shadow position both facing the wall and no hands
joined, hands down and slightly out from the body, palms
qqqq;
forward and fingers splayed, shake or slightly rotate hands
back and forth in a "jazz hands" sort of way, and step sd L
toward LOD (W sd R to RLOD), cl R, sd L, cl R;
Of course, the hand styling may vary. Another common style
is to put the right hand on your hip and "jazz" only the left
hand.
throwaway;;
whip turn to
semi-closed
position;;
In Man In
Love by the
Hiltons, there
is a fallaway
throwaway ~
rock recover;;
chicken
walks QQS
twice;; kick
ball change ~
link rock to
semi;;
In the Hurds
Fine Brown
Frame,
interlude 2
consists of
chicken
walks 2 slow
and 4 quick;;
rooster walks
2 slow and 4
quick;; and
repeat;;;;
In Your Feet's
Too Big by
the Scherrers,
there is a
change left to
right and rock
rec to face
wall;; camel
walks 2 slo 4
qk;; link
rock; ,,
fallaway
throwaway
both face
wall ,;; turkey
walk 8;; link
to a whip
turn;;
In I'll Be
Uptown by
the Hiltons,
there are 2
fwd triples;
swivel walk
4; point steps
twice;;
throwaway;
camel walk 4
qk; sailor
shuffle
twice;;
Boogie Walk
ss; ss;
Dig Steps
qqqq;
With the lead foot raised, toe pointing down, lower the foot to
the floor as though you are thinking of digging your toe into
the sand on a beach and step small forward, repeat with the
trail foot, lead foot, and trail foot again;
In Fine
Brown Frame
by the Hurds,
there is a
man's dig
step 8
woman's
boogie walk
4 to butterfly
wall;;
progressive
rock 4 to
SCP; to a
throwaway;
Rock the
Boat
phase III
1,2,
Progressive
Rock
phase III
Often done
twice.
In Rock 'N
Roll Heart by
the Cantrells,
the dance
begins with a
rock the boat;
kick twice,
back 2; to a
fallaway right
face turn
twice;;;
1234;
Point Step
phase III
1,2,
Shag Step
phase III
1234; 12
In Sunshine
Quickstep by
Hoffman, we
step hop 4X;;
walk face; sd
draw close;
shag step
American
Spin
phase IV
123a4; 1a2
Passing
American
Spin
123a4; 1a2
American
Spin Both
Spin
phase IV
123a4; 1a2
American
Back Spin
2X;; side
close 2X;
walk PU;
hitch 6;;
In Nosey Joe
by Easterday
we face
partner and
wall for
chicken
walks moving
toward
COH;;
american spin
; ,, chg hnds
bhnd bk , ;;
rock to 4 dig
stps ; ,, chg
hnds bhnd
bk , ;;
In Runaround
Sue by
123a4; 1a2
Simple Spin
phase VI
1,2,
Windmill
phase IV
In the
Easterdays'
Boogie Blues,
part A has
you in open
postion
facing reverse
for four point
steps;; triple
away and
together;
simple spin
and change
places left to
right to a
handshake
facing line;;
and then a
passing
american spin
to left open
facing
position
reverse;,,
Often
repeated back
to starting
position, or
do a windmill
over and a
spanish arms
back.
The windmill (above) can be thought of as a "reverse" or leftturning windmill, and at a first approximation, the sugar
wheel is a "natural" or right-turning windmill. However, the
styling of the sugar wheel is sharper than that of a windmill.
Where the 1/2 turn of a windmill is begun on the recover step
and is then distributed over both triples, the 1/2 turn of a
In Kansas
City by the
Rumbles, we
do a triple
wheel to face
wall;; ,,
123a4; 1a2
Sugar Wheel
123a4; 1a2
Rumble part
A begins with
a chasse
L&R;
fallaway
throwaway ; ,
, american
back spin , ;;
chg places L
to R ; ,,
Shoulder
Shove in 4
1234;
spanish arms
twice,;; ,,
basic rock,;;
sugar wheel
twice;;; into a
change left to
right to face
center.
In the
Rumbles'
Switchin' In
the Kitchen,
there is a kick
to the
shoulder
shove to a
double whip
throwaway;;;;
and chugging
around;;;
Shoulder Roll In a facing position with right-right hands joined, rock back L
(woman bk R), recover R, fwd L/R, L beginning RF
underarm turn (woman turn LF full turn under joined R
phase VI
hands); in place R/L, R completing RF turn (woman triple in
place),
123a4; 1a2
Note that both turn under joined R hands, woman a bit ahead
of man. Couple may end in starting facing direction or may
change facing direction.
And I Love
You So
In Your Feet's
Too Big by
the Scherrers,
1234;
there is an
Just a little different is Slow Slow I Love You So. In loose CP american
we step sd L and move the hips left (W sd R hips right), sd R spin; ,, basic
hips right (W sd L), move the hips away from ptnr, and move rock ,;; link
hips toward ptnr with a bump;
rock; ,, rock
rec and I love
This figure is not at all standardized. The important
you so ,;;
component is the pelvic bump.
rock rec
swivel 2;
In How Sweet
It Is by
Cantrell, we
start in BFLY
COH with
sand step
2X;; R trng
fallaway; ,,
rock rec to
CP wall ,;
slow slow I
love you so;
vine 4; sd
break hold;
slow slow I
love you so;
Spanish Arms In butterfly wall rock back, recover turning rf quarter and
drawing lead hands in front of body woman turning lf to
partial wrap both facing reverse, sd/cl, sd turning rf quarter to
phase IV
face center and turning woman 3/4 rf to face wall; sd/cl, sd,
(the couple turns 1/2 as the woman is wrapped and
123a4; 1a2
unwrapped)
In the Bahrs'
Zat You, part
B begins with
a jive chasse
left and right;
windmill and
spanish
arms;;;
fallaway
throwaway to
a rock,
recover;;
point step
twice; and a
slow side
break;
Triple Wheel In an open facing position with right-right hands joined, rock
apart L (woman bk R), recover R, step sd L/cl R, sd L turning
RF and wheeling RF to touch your partner's back with your
phase IV
left hand (woman turns LF and wheels RF to turn her back to
her man); chasse a second time continuing to wheel RF and
123a4;
1a23a4; 1a2, turning 1/2 LF (woman RF) so woman can touch man's back
In the
Worlocks' A
Letter To You,
there is a
trade places
twice to a
with her left hand, chasse a third time wheeling and turn 1/2
RF (woman LF) to touch woman's back; finally chasse in
place and lead the woman to tuck LF and spin a triple RF to
face partner,
At first, the name Triple Wheel makes you think of three
things, and yet the figure uses four chasses. Think of the
figure beginning with a rock, recover, and ending with an
American Spin ending, with three back-touching chasses
between.
handshake
facing line;;
triple wheel
one with spin
to face
partner and
wall and an
american spin
both spin;;;
In Been
There, Done
That by the
Rumbles,
there is a link
to a whip
spin;; change
places left to
right to a
triple travel
with roll and
change left to
right;;;;;;
continuous
rolling off the
arm;;;;
change left to
right to a
double whip
turn;;;;
Lindy Catch
In the Scotts'
Little Deuce
Coupe, part A
begins with
ive walks;
swivel 4;
throwaway;
kickball
change twice;
lindy catch;;
stop and go;;
change left to
right to face
wall and link
rock to
semi;;;
The lower body should pendulum back and forth under a still
upper body as on a rocking boat. May be done in any position
with either foot.
Often this figure will be cued with the number of triples to be
danced, e.g., "three sailor shuffles" takes 1 1/2 measures of
music.
Riverboat
Shuffle
phase IV
1234;
Do a fallaway
rock to a
single side
chasse down
line;;
riverboat
shuffle; again
blending to
semi; one
triple down
line, kick ball
change;
Larry
Monday and
Gladys
Gunter, in
their Little
Shoes, did a
shoulder roll
lady
transition to a
riverboat
shuffle in
tandem
position. I'll
let you look
at page 2 of
that cue sheet
yourself.
In Southern
Nights III,
Vincent
begins with a
riverboat
shuffle to
reverse; back
to line; and
then a double
cuban and
point;
Coca Rola
phase VI
1234; 1234;
Whip Turn
phase V
123a4;
In the
Schmidts'
Better Listen
To Me Now,
there is a stop
& go; link to
a whip turn;;
to a fallaway
throwaway
side lunge &
freeze;;
turn RF; This sets up the actual "whip" turn. But we don't
have uniform consistency. Sometimes a "whip" figure will be
choreographed as a two-measure figure as if the link is part of
the whip turn.
Whip
Throwaway
phase V
123a4;
On the other
hand, in
Crazy Little
Thing Called
Love, the
Lillefields
have a twomeasure whip
turn (the link
included);;
In the Scotts'
Bad Leroy
Brown, part B
begins with
chicken
walks;; a
two-measure
whip
throwaway;;
american
Again, sometimes the preceding Link is choreographed as
though it were part of the whip figure (see Whip Turn above). spin, stop &
go, and rock
recover;;;;
In Choo
Choo
Ch'Boogie,
the Gosses
also
choreograph
a twomeasure
Whip
Throwaway;;
to a Left to
Right and
rock recover;;
Whip Spin
phase VI
123a4;
This is a Whip Turn in which the man takes the woman's right
hand in his right hand behind her back and pulls her into a
full RF free spin during the triple of the whip turn. So,
usually in closed position facing reverse and wall, he XRIB
of L turning RF (woman fwd L turning). He may have
changed from lead hands joined to the "behind-the-back
handshake" during the link, or this could happen during the 1
or the 2 of the whip spin itself. On count 2, he steps side L
In the
Rumbles'
Been There,
Done That,
there is a link
& whip spin;;
change places
left to right to
turning and she steps fwd R between his feet. During the
triple, the man complete up to 7/8 RF turn and leads the
woman to turn and to spin about 1 & 1/2 RF to end in open
facing position.
Curly Whip
Kick Whip
a triple travel
with roll and
change left to
right;;;;;;
In Bassett's
House of
Blue Lights,
there is a
Stop & Go;;
to a Curly
Whip;;
In the
Woodruffs'
Shamey
Shamey
Shame, there
is a link to a
whip turn;;
curly whip;;
to a pretzel
turn;;
In the
Lillefields'
Beale Street
Blues, we do
a spanish
arms to face
wall, a
change places
right to left to
face line;;; to
a kick
whip;;;;; and
then slingshot
runaway and
back to the Lposition
twice;;;;
In Tulane by
the Fishers,
part A starts
with a neck
slide;; rolling
off the arm to
face wall;;
sandstep
wheel;;;;;
phase III
1a2
Jitterbug
Kicks
Continuous
Sand Step
qqqq; qqqq;
qqqq;
Traveling
Sand Step
1234; 1234;
In Choo
Choo
Ch'Boogie by
the Gosses,
there is a
change places
left to right
rock recover;;
continuous
sand step;;;
Elvis swivels
and quick
rock recover;
to jive walks;
swivel walk
4;
In the Hurds'
Fine Brown
Frame, part B
begins with
traveling sand
steps;; away
kick face
point; sailor
shuffles;;
progressive
rock 4 to
face; and 2
slow and 4
A slightly different performance asks us to touch left toe to rt quick side
instep, tch L heel to sd, sd L & tch R heel to sd, XREF of L; breaks;;
repeat; Note that the actions and the timeing are a little
different: instead of toe, step, heel, cross; we have toe, heel, In Chain of
step/heel, cross;
Fools by the
Cantrells, we
Triple Travel
with Roll
1a234;
1a23a4;
1a234;1a2
dance the
second form
of the figure.
Part B starts
with a link &
whip
throwaway;;
change hands
behind the
back rock
apart recover
to butterfly;;
2 traveling
sand steps; to
a right
turning
fallaway and
back 2;;
In Grace
Kelly by Goss
& Figwer,
part B begins
with a change
places L to R
into a triple
travel with
roll--stop &
go--change
places L to
R;;;;;;;;
In the Fishers'
Tulane, there
is a
neckslide;;
rolling off the
arm to face
wall;;
sandstep
wheel;;;;; to a
stop & go
with double
stop action;;;
In the
Rumbles'
Runaround
Sue, part D
consists of a
sandstep
wheel;;;;; and
Spanish arms
twice;;;
Mooch
In the
Cantrells' I
Wanta Dance
With You,
there is a left
to right with
continuous
chassee;; new
yorker 4 to
SCP; mooch
to open
facing
left half-open, open and left open, or side-by-side positions. position
wall;;;;; and a
Another variation is to use a slight hop on the supporting foot stop and go;;
when flicking the free foot and again when closing the free
In Man, I
foot to the supporting foot. Instead of simply closing after a
flick, you may also spring onto the free foot, ball-flat, in front Feel Like A
Jive by the
of the supporting foot with a cut action.
Rotscheids,
there is
change hands
behind the
back to face
wall ~ rock
recover to;;
spanish arms
twice ~
basic;;;;
mooch;;;;;
double rock;
right turning
fallaway to
semi reverse;
mooch;;;;;
Marchessi
phase IV
1a2a3a4a;
1a2a3a4a;
In Midnight
in Austin
Texas by
Filardo we
start the
dance with a
slow
marchessi;;;;
away kick
face tch 2X;;
throwaway;
In Rock Right
by Woodruff
we
throwaway;
chicken
walks 2S &
4Q;; chasse
roll to OP
LOD;;;; slo
back
marchessi;;;;
Catapult
phase V
123a4; 1a2,
Flicks into
Break
phase V
1234; 1234;
1234; 1234;
1, -, -/a, 4;
Savoy
In Sorry Jive
by the Bahrs,
there is a stop
& go with
double stap
action;;;
flicks into
break;;;;;
throwaway;
to chicken
walks slow;
sheesh," or
"ma-sheesheh")
1234; 1234;
Jerk
1-3-; 1-3-;
Swim
1---; ----;
Plunge
----; ----;
Hand Jive
1-3-; ----;
In Happy by
Halbert we
dance a
windmill to
fc wall ; ,,
basic rock
with slide , ;;
jerk;; swim;;
plunge;; hand
jive;; R trng
fallaway
2X ;;;