Quickstep Routine

8 phrases (64 bars), 73-77 minutes based on 50–52 bars per minute for quickstep.
90 seconds music should allow 9-10 phrase.

written from lady's perspective


first wall, long
8 count Prep 1234,5678
Runs (step hop chasse)123&4, rocket step 2 runs( 2234)
Repeat runs 3234, 4234
Step hop 52 contra check, 34
2 Jump 62
Kick right foot twice, 3472
Kick left foot once 34
Low kick right, left, right, ending in PP.  Place right foot back on 4. 8234

toward 2nd wall corner, then to second wall
From PP, 2 Step hops: Step hop on L(S&) 12, Step hop on R(S&) 34
Scatter chasse Q&Q to L (q&q&) 2&2 (Is this a scatter chasse kind of chasse with some sort of lowering as apposed to the type of chasse in pepper pot? )
Step hop (S&) 34
Scatter Chasse: Slow &32 Slow &34 Quick & quick 4&2(Is this a scatter chasse kind of chasse with some sort of lowering? )
Step hop (s&) 34 , ending going down line of dance in new long wall.

3rd wall, long
chasse to left (for lady)(q&q&) 5&2&. the last & is a small step back on the right foot.
Pepper pot: Step Hop on L backward outside partner(34, S&), Chasse (q&q) 6&2, lock (qq) 34
Stephop on L, 72
Pepper pot: stephop on R, 34, chasse. (q&q, 8&2), qq(34)

Outside change Sqq 1234
Open Natural, SQQ 2234
Outside spin. SQQ 3234

4th wall, short

Turning lock,QQQQ4234
open natural, SQQ 5234 (this open natural is different from the last one? What direction am I going?)
outside spin again SQQ 6234
Hesitation 7234, 8234 (at the end, up on toes, girl sway right)

5th wall, long 
Side lock (1a2) (left foot lock in the front, sway left)
Hop hop (3 4)
3 Low kicks then a bent kick(2234) (QQQQ)
Hesitation ending with girl sway right 3234 (SS)
Side lock ( 4a2) sway left, two more back steps (34)
Forward lock 523&4 (SQ&Q&?)

Quick open reverse (6234)

close telemark (7234) (SQQ)
left foot pick up (8234) (SS) (82 stepping right foot, 34 pick up  left foot)

2 Samba step. 1234, 2234
recover step, 3234(SS)  32 is stepping back, 34 is bush forward.

Turning lock (ending in PP), 423&4
Open Natrual 5234
running finish, 6234 (Ending backing DW of short wall)

6th wall, short
Tipsy (L,R,L) SQ&Q, Q&Q, Q&Q 723&4, 8&2, 3&4

1 back (for man) locks(1&234, Q&QS)

pepper pot: 2 locks(2&234, Q&QQQ)
running finish (3234, SQQ)
Natural turn (4234, SQQ), lower at the end
Impetus (5234, SQQ), to PP,
check and kick left foot(62&34, S&S),
2 fast kick to the right, 1 slow kick to the left. Twice (7234, 8234, QQS, QQS), ending in PP.

7th wall, long
Fast low side kicks in PP, 1234
Step hop (left foot), step hop(right foot, turn) (S&S&),2234
Chasse (q&q, 3&2) & (a change step on right foot)
Pepper Pot to R: step hop (on left foot)(S&) 34, chasse(Q&Q), cross(QQ)  4&234
Step hop(left) 52, step hop (on right foot) 34, chasse to L(q&q), & (6&2&)

Step hop (left), step hop(right), step hop(left)(34, 72, 34, S&, S&, S&)

Pepper Pot: chasse to R + Rocket step (Q&QQQ), ending PP. (8&234)

Toward the short wall corner that begins 8th wall
Open Natrual (SQQ, 1234),from PP, All forward steps.
running finish (SQQ, 2234), first step forward, next two backward. Can sway right, but not in PP
Open Natrual (SQQ, 3234),
running finish(SQQ, 4234),
Natrual (SQQ, 5234),
Spin (SQQ, 6234) ending in close position facing toward DC on the long line.(Is the spin turn timing SSS?)
Pepper pot: double locks (Q&QQQ, 7&234)
Outside change: (SQQ, 8234)
Repeat from from beginning.

Waltz Routine

Totally 6 phrase (48 bars), with 28-30 bar per minute, that is 96-102 seconds to finish.  Typically would dance to the end of 5th phrase in 90 seconds.

Waltz Routine
1st wall (Long)
1. Natural turn 123
2. Running spin turn 4&56
3. Reverse turn ending VCross 223&
4. fall away slip pivot 4&56
5. double reverse over spin 3&2&3
6. Left Whisk 4 5 6
7. run around 4&2&3&
8. Ending in PP 4 5 6
9. zigzag: 1&2 3  2nd wall (short)

10. pivot and spin turn: 4& 5 6  (4& are pivots, keep it flat, 5 is spin turn rise.)
11. turning lock ending PP: 2&23
12. chasse: 4 5&6 (on the 6, goes back, instead of side)
13. natural: 3 2 3
14. spin turn: 4 5 6 (where do we need to face at the end of the spin turn? Is this an under turned spin turn?)
15. turning lock to PP: 4&23
3rd wall (Long) 
16. chasse: 45&6
17. quick open reverse + a pivot: 1&23&
18. double reverse overspin: 4&5&6
19. throw away : 223 456
20. turn around develope: 323 456
21. weave from PP 423
22. Outside change to PP 4 5 6
22. lunge roll  12&3
23. right foot lunge 456
4th wall (Short)
24. check & slip pivot 223 456
25. chasse to right. 32&3
26. tumble turn. 45&6&
27. reverse turn. 423
28. contra check. 456 (weight on R foot on 3)
29. two step forward then rounde on right foot. (1&2
30. run around ending in PP (Standing spin) (3& 4 &56), &3 step forward, & get on left foot, 123 turn into PP)
5th wall (Long)
31. wave to outside change to PP (223, 456)
32. telespin. (3&2&3)
33. outside swivel,(&456)
34. change of direction.(like a reverse turn?) (323)
35. develope on right foot, outside partner. (456)
36. outside spin.(1&23)
37. pivot, pivot. (4& 5& 6) Not sure about the rest
38. heel turn, change foot,
39. step back right foot to same foot lounge (head left)
40. shape head right,
41. shape head left, weave coming out. (what is the head out step called?)
42.  outside change to PP.

Standard Lesson with Ieva on 9/21/2011

August and September just flew by!

This is the second lesson Denis and I had with Ieva. We looked at waltz mostly, then a little bit of VW. It was a great lesson.

1. At last Sunday's lesson, we focused on space. Having a bigger space.
a. Put a dot on foot, knee, hip, shoulder, elbow, wrist, finger, neck. feeling like the space between each dots are bigger, longer.
b. Thinking of the space around the body, rather than the body itself as a way to renew/maintain the shape. Think as if there are balloons all around.
c. Think of the elbow going where the movement is going.

I asked a couple questions today
2. How to get a bigger shape on the natural turn? Keep in mind there is not much time to finish the shape though, so need to start early. Remember to keep the space big all around. do not sacrifice one part of the space to achieve bigger space on another part. For example, don't shorten the back, keep both side of the neck long (don't short the left side of the neck).

3. Running spin turn:
Don't rise completely to the end, rising after the weight is moved onto the standing foot , second rise gradually.

4. Left Whisk:
Sharron need to remember not to collapse the left side.

5. run around:
On the first step coming out of the left whisk, put right hip down, to change to a sway toward the center of the turn, (while keeping the shape to the left).

6. Promenade position:
Remember to keep the space big, not having head leaning forward into the direction.

7. zigzag: do not shift the frame when turning from PP to close position. Keep the frame (i.e. spine, elbow, arms) moving forward consistently at the same speed.

8. pivots+ spin turn: difference between pivots and spin turn. no rise on pivots? what was she addressing here?

9. Throw away then into a left foot develope: do not close the space when turning around to the develope. Need to move the hip up/forward for the develope.


VW:
1. direction: Remember to step the right foot right under partner's spine to ensure that I'm following his direction.

Standard Lesson with Ikaika 7/18/2011

I had three lessons with Ikaika this two weeks in California. We looked at Waltz and Foxtrot.

Waltz.
1. We looked at a small amalgamation:

Foxtrot
1. The frontal plane is non negotiable: Keep both side toward partner, especially in the rotational steps, since there is always a tendency to peel off one side.

2. Feather step: when Damien told me to step side to cut off partner. He was trying to make sure that my right side doesn't peel off.

3. Feather finish:
a. feel like anchoring on the left foot at the end of the first step.
b. step straight forward on the second step, turn at the end. (there is room for style differences on this)
c. Make sure that when the left foot passed the right foot on the last step, the right foot heel is down already. There is not foot rise in Foxtrot, so all the passing steps has TH TH.
'4. On the back lowering steps (Eg, last step of feather), don't try to bend the hip excessively out of context. ( This is consistant with what Ieva was saying that I was sitting back)

Standard Lesson with Anna 7/1/2011 II

In this second lesson we mostly worked on Tango.

1. Position: In tango, the shoulders are at an an angle. instead of parallel as in the other dances. This results in a strong connection.
2. How to get into position: Girl walk up and get into the position described above. Stand on the right foot.
3. In tango, foot and leg moves before the body, in all directions. Especially need to practice this on close promenade step. Try to practice it slowly.
4. Close Promenade: Close to the guy. When closing the foot, both toes are turned in (very much). This is one of the steps that is an aquired taste. As time goes, you will start to appreciate it.
5. Fall away reverse slip pivot:, V cross, Spanish drag:
a. fall away: just step backwards for 3 steps.
b. then the slip pivot step: don't think about turn, just follow the amount of the turn lead by the guy, then the forward step also, just find the step size and space to fit in. Basically this is a passive step here.
c. V cross: start with an upperbody underturned position. (Remember that this steps follows a reverse turn)
d. V cross: steps side back with a wide base, on the right foot.
e. Anna talked to Charles a little bit about the different choice of shaping here.
6. Promenade position:
a. still need to maintain vertical. Do not exaggeratedly held head way out back there behind the foot.
b. roll around partner's hip.
7. On all the reverse turns, due to centrafrical force, the internal twist in the body is felt more exaggerated than it actually is. In other words, try to exaggerate the internal twist, (i.e. shoulder keeps a left side lead shape, but turn the leg for the turn), you will end up with the right look.

Standard Lesson with Anna 7/1/2011

1. Center is the center line from head to toe. It's a line, not a point. Project the center to partner from bot side: right side aim directly at partner's center; Left side aim diagonally toward partner's right side (indirect center), creating almost a hugging feeling.

2. Project the upper body forward and upward. The upward is created by extend arms out, turn arms upward (think of turning the inside of the elbow up toward ceiling, this pull the shoulder bides down and out) and the head is turned up at the same time. Next bend the elbow and keep the left wrist straight and keep the energy expanding outward extending inside partner's frame.

3. The frontal(&back) plane.
Chest+knee -- align with ball of foot.
Head+ hip -- align with hell.
Shaping is not moving the head back, but rather project the neckline forward. (Although in our discussion of the basics in foxtrot (feather, reverse, feather finish, three step) there isn't much a a shaping figure, it was mostly about movement).

4. Think rotation of the shoulder, movement (forward/backward) of the hip.

5. Movement: pull back with the hip. The person moving back is the engine. Three aspects of movement
a. forward & backward
b. Swing: Wing the hip upward as soon as the down finishes.
c. rotation: feather step is curved to the left (for the lady) so there is a slight curvature to let the partner pass (not completely straight).

6. Movement:
a. pull back (hip really really back)
b. upswing: (hip, especially helps with heelturn).
c. knee forward (use the standing leg to drive back)
d. chest forward (really stretch)
e. head back

7 foot readiness
a. the back(next) step is ready to be placed but not really placed yet.

8. Connect: It is not just glued together, but rather a smooth connection through rotation.

9. Practice slow.

10 reverse turn slow.

Standard Lesson with Ieva on 6/1/2011

Questions:
1. Turning lock: how does the hip eye align with the ball of the foot during turning lock?
Answer: The hip eye always align with the same side foot. (left with left, right with right). It's the shoulder that may cross sometimes to the opposite foot.

2. How to do the double reverse with
The routine goes as the following:
1. chasse close.
2. quick open reverse with a pivot (1 2&3&)
3. double reverse overturned(1 2&3&)
4. left whisk (123)
5. run around.

There are a lot of syncopation and turns here. In turning, need to remember the following
a. get out of the way when in inside of the turn. This is used in after the pivot step and after the double reverse. Basically overturn a bit to get to the right position, and then step the right foot toward under the right elbow to get out of the way.
b. use arm to help partner get out of the way when on outside of the turn, this is used in the last step of the quick open reverse, to prepare for the pivot step
c. She also suggested to do another reverse turn, instead of a pivot after the double reverse to turn around.
d. on runaround, keep the inside hip (i.e. right keep) down. this helps with the turning. But to keep a nice picture, still project left/up on the shoulder/upper body.

3. How to do the develope picture line (Need to ask her on this again when Charles is around)
a. Look up/forward, not down.
b. bend left knee before stepping back.
c. there are two choices on the shaping here, which leads to either keep the lady's head left, or turn it right. Not really sure how she lead these two.
d. slight left foot forward before getting onto left foot.
d. move the weight forward to left foot, and pick up right knee.
e. extend right foot, and do both foot rise and body rise. (do foot rise if possible, can skip it if need it for balance)
f. on coming out of this figure, the first right step is around leader's left side, then the next step is around his right side. there are similarity to this in fall away whisk.
e. She also mentioned that this is a definitely a waltz picture line, with the rise and fall. And most of the picture line should be phrased on the first bar 123 in the 8 bar phrase.

4. We then worked on foxtrot a little bit.