Favorite Waltz Patterns

[spatten]

I am in the midst of putting together my first choreography for open waltz.
I don't know how many amateurs put together their own routines, but choreography is something that fascinates me - so I am going to try.

I have about 3 lines worked out, but I just wanted to get others opionions on favorite steps that you have danced or seen in competition, or just steps you would include when doing your own choreography.

I'll start with mentioning a couple patterns that I love, and have put into the routine so far.

1) Travelling Whisk- I saw Massimo and Alessia dance this step in Blackpool 2001 and I think it absolutely beautiful. It moves well, and has nice rotation.

2) Double Side Cross into Double Forward Side Cross - This I got from the Hearn video serivce danced by Chris Hawkins and Hazel Newberry. Again it moves somewhat nicely, but has a quality to the shaping that I can only describe as natural and flowing.

3) N. Turn (1-3), N. Pivot, Curving feather. I saw the Dokmans dance this on the first Blackpool tape I ever watched. All I could think was "Oh My, How Beautiful". I immeadiately stopped the tape and rewound and watched several times. Anyone else think I am silly?

Thanks,
Scott

[Chris Stratton]

3) N. Turn (1-3), N. Pivot, Curving 3 step.

I'm confused. Wouldn't you have the right foot free after the natural pivot?
So are you going backwards into the back curved three, or forwards into a curved feather?

[spatten]

Chris,

You are correct, I should have written curving feather. Just got confused.

Scott

[spatten]

Hmmm. Nothing.

Doesn't anyone have any favorite patterns? Or is it that choreography is too much of a trade secret?

Well in the spirit of freedom of information, I list the following routine
that I am working on - unfortunately I only have 3 lines at this point. Anyone's comments are more than welcome.


1st long Line (On a rather large floor)
Natural Turn, Natural Pivot, Curving Feather
1,2,3 & 1,2,3

Open Impetus, Weave from PP ending in PP
1,2,3 1,2,3,1,2,3

Travelling Whisk (in the corner against LOD)
1, &, 2, 3

Left Turn into Contra Check
1,2,3 1,2, recover on 3

2nd Line

Natural Pivots and Syncopated Natural Pivots
1,2,3 1, & ,2, 3

3rd Line

Rising Heel Pull with Pivot
1, 2, 3

Double Side Cross into Forward Double Side Cross
1,2, &, 3,&, 1, 2 ,& , 3,&

Chasse Roll into Throway Oversway
1,2&, 3, 1,2,3

Well, that is about all I have. I will probably add some left turning figures to round out the fourth side - perhaps the ever popular Fallway Reverse, Slip Pivot into Telespin.

Thanks,
Scott

[delamusica]

try sticking in two double reverse spins in a row - it's not the most complex thing in the world, but it's pretty tough to get two in a row to look good, and it's not done often, so it's always unexpected for you to do two in a row. and - it's a lot of fun! one of my fav waltz steps, even though i think it's technically only a bronze or silver one.

[Sagitta]

I would love to reply, but I don't know much waltz. You know while you talk your fancy moves, I know twinkle, natural turn, right turn, zigzag, underarm turn, just started learning continuity rather then closed half basics.... :(

Perhaps in a year or so, when I know enough to have fave patterns. :wink:

[Chris Stratton]

I was thinking the other day, and realized that I almost never do either of the basic telemarks - the one exception being the open telemark-open natural-outiside swivel group in silver foxtrot.

What are some nice sequences in waltz using a telemark?

The only thing I can really think of off the top of my head would be a telemark into the corresponding wing and then maybe a chasse to R. I think I might have been playing with that sometime last summer.

(By basic I mean a complete open or closed telemark with a real heel turn, and normal rise and fall, not one of the quick or flattened versions to get into or out of a line)

[delamusica]

oh, yeah! telemark into a wing - good thinkin' chris, i like that one, too! :)

[Chris Stratton]

oh, yeah! telemark into a wing - good thinkin' chris, i like that one, too! :)

Gosh I feel so inventive.... I go to check other possibilities in the book, and find out that the open telemark is practically defined in this context. Oh well, one can always suprise her with a cross hesitation instead - the other basic case in the book.

Other options are left whisk, and a weave or chasse from promenade. I was also thinking hover corte, but the promenade entrance to that is apparently not syllabus so the book doesn't cover it.

What else is nice to try in novice or early pre-champ?

[Warren J. Dew]

try sticking in two double reverse spins in a row - it's not the most complex thing in the world, but it's pretty tough to get two in a row to look good, and it's not done often, so it's always unexpected for you to do two in a row.
Interesting - when I was first taught the double reverse spin, I was taught to use two in a row because the second one would always be better. I quit doing that when a different coach pointed out that two in a row tend to drive too much toward the center of the floor unless the floor is really big.

My favorite waltz group - checked spin turn, reverse pivot, double reverse spin, overspin, viennese cross turn, left whisk, standing spin. Older, fuller ball gowns get three chances to expand to maximum size - clockwise on the check spin, counterclockwise on the double reverse/overspin, and clockwise on the standing spin. Not so good with today's slimmer skirts, though.

Oh, wait - my real favorite is the back half of the natural turn. It seems particularly difficult to do well, though - which is perhaps why it's never seen in competition.

[delamusica]

I quit doing that when a different coach pointed out that two in a row tend to drive too much toward the center of the floor unless the floor is really big.


Towards the center of the floor? We always did them down line of dance, parallel to the wall. Don't remember how we got into going that way, though.

[Chris Stratton]

A DRS taken facing LOD can end up 'translating' a bit to center. Since you likely started it a bit to the left side of the lane anyway (back half reverse after spin turn?) two in sequence could put you well into the center.

You could do them on a track biased a bit towards DW, but this may be considered a bogus alignment - not really sure.

[KevinL]

My favorite waltz pattern is DVIDA's 2-way underarm turn, but since it's american style bronze I don't think it will help you at all.

[spatten]

I do like the open telemark, though I have found it a particularly difficult step to get the correct amount of travel. I have done Open Telemark into 1-3 of Weave and a back check. It ended in a strange alignment, so my coach changed it to a Telemark into Promenade Run. I was never wholly satisfied with my performance of the Promenade Run, but when done correctly it is quite beautiful.

I do agree with the double DRS, for some reason I enjoy doing that in the quickstep too. It seems easy to get ahead of the music in Waltz, perahps that is why you say it is difficult.


checked spin turn, reverse pivot, double reverse spin, overspin, viennese cross turn, left whisk, standing spin

This seems like a nice pattern, I am having difficulty thinking of going from overspin into viennese cross turn. Maybe I am thinking about it wrong. I love the viennese cross turn cause it gives you a nice chance to really draw out the 2 and slow down, after some fast moving stuff. I don't remember ever checking a spin turn, I will have to try that. Thanks!

My favorite waltz pattern is DVIDA's 2-way underarm turn...

Kevin, This is one of my favorite patterns to lead in a social situation also.

[DanceMentor]

I'd love to better understand some of these variations. I'm especially interested in the Overspin and the Travelling Whisk. Any chance one of you would film one of these patterns? Or take a few still shots? I'd be happy to host the film or images on the Dance Forums.

Anyways...any further explanation of the travelling whisk or overspin would be appreciated.

Thanks,
David

[spatten]

Hmm. While I am sure I am not the one to be demonstrating open patterns on video - I might be able to con some beautiful dancers I know into it - but it would probably take a while.

I can give you a brief descprtion of the leader's parts for both of those steps - though without a good technical reference I am just relating my impressions.

Overspin - A pretty popular figure for competition, due to the added speed. From a footwork standpoint, the leader does the normal Double Reverse Spin with weight ending on the right foot. The leader transfers weight and continues the turn to end against LOD ( assume DRS taken LOD). I have used a 1,2,3 & (12&3& for follower) timing, but I don't know if this is standard or if there are more popular timings. The overspin feels to me that you are adding a pivot to the end of the DRS. Please note you could also do a Double Natural Spin with Overspin just as easily.
Also, it is important not to lower on to the right foot at the end of the DRS but continue directly into the pivot. Footwork should be HT, T, TH.

Travelling Whisk - I don't think this figure is as popular - I haven't seen it on the Geoffery Hearn Letter service. It feels to me like 123 of an Open Natural turn, taken from PP without as much rise. Then finish with the left foot crossed behind in whisk position. Probably completes 3/8 - 1/2 turn.

Warren, Chris, or any other "technician" please feel free to correct and add to anything I have written.

[DanceMentor]

Well, I figured out the Overspin with my wife just now, and I really like the step. I assume the last step for the man is forward down the line of dance (TH) pivoting 1/2 turn (need to lower quickly on the final "&"). I followed that with a running finish. Sound reasonable?

I found another figure in "Popular Variations" called the Continuous DRS where the the man dances the DRS and continues to turn left as the lady dances &1&2&3, Is this still hip? 8)

[etchuck]

My favorite waltz pattern is DVIDA's 2-way underarm turn, but since it's american style bronze I don't think it will help you at all.

Well, as I do mostly AmW, I've finally been able to arrange following open pattern (warning: not standard nomenclature coming up):
1) from turning box, ladies underarm turn to
2) traveling hand-to-hand (back-to-backs), with free spin ending
3) finish in two hand hold, change places and do single twinkle
4) directly go to "flip-flops" (woman goes from man's right side to left side)
5) finish with spiral/underarm turn or "triple-twinkle" combination

[pygmalion]

flip-flops? I think I know what they are, but could you clarify a bit? :wink: 8)

[etchuck]

what had been called flip-flops by other people... and I'm sure I'm not being technically correct, but it's American style...

from closed basic position
1) bronze twinkle (1 measure), opening out (only point of contact is man's right hand on ladies' left shoulder blade)
2) lady progresses forward (diag center?) with L foot, crossing man's trajectory (LOD) towards man's left arm, lady spot turns left 270 degrees (2), close L foot to R foot (3). Man progresses down LOD (123) or can do a small bronze twinkle.
3) lady progresses forward diag wall w R foot, as before, crossing man's trajectory (LOD) towards man's right arm, lady spot turns right 270 degrees.
Repeat steps 2 and 3 until man picks up woman's free right arm to close figure.

I think that's right.

[pygmalion]

Oh yeah. That's what I was visualizing, although it's in silver at the franchise studio where I learned that pattern. You can do it in waltz or samba, and if the lady has her act together, the arm styling, head styling, and audience eye contact can be beautiful. :D 8)

Edit: waltz twinkles are replaced by samba traveling bota fogos :wink:

[spatten]

I followed that with a running finish. Sound reasonable?

Works for me, though I might want to double check the timing worked if doing it in quickstep. Isn't DRS in QS "SSQQ", so you end up with "SSQaQ?" Darn it- I am goign to have to buy a ISTD book just to keep at work.

Yes, the last step of the DRO will be taken LOD, and finish against LOD (1/2 rev). I think some people will actually do 2 pivots after the DRS - with wierd timing. Have fun, experiment with it. I used a feather finish after a Double Natural Overspin once and I really liked it.

[Warren J. Dew]

I pretty much agree with spatten's description of the overspin, especially the part about staying up at the end of the double reverse spin. I note that the version I learned has two added pivots rather than just one, and so ends in the same alignment as the double reverse spin begun in. The trick is getting the foot placements so that the legs don't get in each others' way in the pivots.

As for a video, I think I'd recommend a Blackpool tape of a few years ago where Hawkins & Newberry's overspin was caught in a slow motion section. I don't think mine is really good enough to use as an example.

[Kitty]

Such a guy's topic:-)

[DanceMentor]

Such a guy's topic:-)

I want to say this carefully but...ladies can be choreographers too! :D
(surely you have some patterns you enjoy more than others, right?)
Or am I missing your point?

[Kitty]

Such a guy's topic:-)

I want to say this carefully but...ladies can be choreographers too! :D
(surely you have some patterns you enjoy more than others, right?)
Or am I missing your point?

yes, but I don't know their names. (Which isn't good, of course, but that's the honest answer)

[pygmalion]

Eek! Not know the names of the patterns? :shock: School figure exams, here we come! :P :lol:

[Sagitta]

Such a guy's topic:-)

Well we do need to lead, unless you will let us follow. Actually if you ladies tell us what patterns you like we know what will pleasure you. :wink: :)

[Kitty]

Eek! Not know the names of the patterns? :shock: School figure exams, here we come! :P :lol:

I know the names of the ones that I do in competition and that have been formally taught to me, which is not a lot since our coach doesn't give us a new step until almost everyone does the steps we already know correctly. On the other hand, at a social I do more than what I do in competition (by analogy from other dances, and because many steps I can just follow). I know it is funny. But look, most people talking in this thread are guys. That is what I meant when I said this is a guy's topic - I'm not the only girl that doesn't know standard steps.

[Kitty]

Well we do need to lead, unless you will let us follow. Actually if you ladies tell us what patterns you like we know what will pleasure you. :wink: :)

I'm glad there are guys who want to pleasure us:-) In standard I like all the steps I know (which is not a lot) equally, and as I understand in standard choice of steps is very much tied together with the floorcraft. In smooth I like steps that move more.

I can lead, it can be fun. However, you are not allowed to judge my choice of steps and floorcraft since it is not what I practice during classes.

[spatten]

So I saw the Punisher the other day, and this dude had an amazing build of the 1911 Colt...

Now that would be a guy's topic. :)

Actaully all of the choreography I have had done for me, has been done by women. And most, if not all, women at the top levels really know their fundamentals and alignments etc. Somebody told me that Joanne, (of Timothy Howson and Joanne Bolton) is the real technician and Timothy is much more inspiration. So, maybe adding to this thread will really improve your dancing ladies.

Scott

[Chris Stratton]

I actually have a little theory about this.

I'm guessing that often advanced female dancers learned the book theory of the basics later, at a time when they were already good at the motions and skills of dancing. Similarly learning to lead at a time when they were already confident dancers (Donna Shingler specifically said in a seminar that it was this way for her).

Perhaps as a result of not confusing theoretical ideas with the intial challenges of learning to dance, sometimes I think these ladies end up with a cleaner idea of the technique. And because it is something they consciously studied in a structured manner rather than picked up slowly by experiment, perhaps can communicate the details to students in a more efficient manner. Also, in training students to lead they may be in a better position to evaluate the result than their male co workers.

But obviously someone's qualification to choregoraph routines or teach students depends infinitely more on their individuality than on their gender.