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Walter Layred

TECHNOLOGY
Latin dance

Translated and edited by LD Vesnovsky


- 2 -

Contents

ABBREVIATIONS 3
GENERAL REMARKS four
main positions 7
SAMBA 13
CHA-cha 57
RUMBA 102
jive 134
pasodobl 160
- 3 -

ABBREVIATIONS

REV back Bas basic


Fwd forward Moved movement
C. wall PM left foot
D Center PS right foot
LT Line Dance K Heel
DC Bias Center H sock
DS Diagonally to the wall BH / F inside edge
Diag Diagonally Bm / P external rib
Transm Counter Promenade Position a left
ission
Pos position P right
PP Promenade position overhe left
ad
Prom Promenade VI right
Rev. outdoor M slowly
closed indoor Bytes quickly
Nat natures cial (pravovraschatelny) w. pitch
Inverse reverse(levovraschatelny) lane. Translator's note
- 4 -

GENERAL COMMENTS

The letters (A), (M) and (F) after the name of the figure indicate the group to which it belongs:
Associate, Member or Fellow.

Using Tables
In describing the figures during the exam do not try to immediately inform the maximum amount of
information. The best result is if give information separately for each column of the table in conjunction with
the step number or account. This approach, of course, can be used when training.

The position of the body (Poise) stand on the supporting leg


to Rumba and Cha-Cha-Cha:
1. Stand in a normal free position, feet together.
2. Straighten your back, pull your chest, but do not lift the shoulders.
3. Take a step to the side at any stop and straighten the supporting leg. Move the weight entirely on this leg,
allowing the pelvis to move sideways and backwards so that the weight is felt in the heel of the foot support.
The knee of the supporting leg by selling back (position locked back). The degree of displacement of the
pelvis backwards should be such as to position the upper portion of the housing remain unchanged.
For samba and jive:
1. Stand in a normal free position, feet together.
2. Straighten your back, pull your chest, but do not lift the shoulders.
3. Take a step to the side at any stop and straighten the supporting leg. Move weight fully on the stack,
holding the weight of the displaced to cushion the foot, wherein the heel is in light contact with the floor.
Knee support foot should be in a position locked back.
Except for such provisions are body shapes Rev. Rocky, Rocky back and spit in Samba and chicken Throw in
jive.
The Paso Doble is no movement of the pelvis or hips, so the housing situation is different:
1. The pelvis is served slightly forward.
2. Weight is distributed a little forward.
3. When the knees are straightened, they should not be in a position locked back.
The exception is the Spanish line.

Building (Alignment)
The constructions authorizing following tables indicate the orientation of the body, the face or the back,
relative to the room. In the case where the leading shoulder, the construction does not change.
The construction is only important in progressive dances, such as Samba and Paso Doble. Dancing the
Rumba, Cha-Cha-Cha and Jive are not progressive.

The degree of rotation (Amounts of turn)


in Latin dancing feet are never parallel, except when they are puts. Such a reversal of the foot outwardly
inherent like foot, on which there is a complete or partial weight and foot with no weight or both feet. Such
positions are related to the stop "natural reversal" (*).
Due to this rotation of the foot degree turn, makes the foot and body, as a rule, are not the same. A typical
example: III.2 whiskey Samba, Interrupted Run Forward, and all the steps back to the rumba and cha-cha-cha.
If the support foot does not face in the same direction as the casing, at the completion step, the rotation
degree is standardized by rotation of the housing, rather than stop.

* Because of the mechanics of stroke back to Rumba and Cha-Cha stop, on which the weight at the
completion of step, will be deployed by about 1/16. Such a reversal of the foot is called the "natural reversal"
(inherent turn), because without it is impossible to perform a step in the balance.
- 5 -

Latin zakreschivanie The Latin Cross


When Latin dance zakreschivaetsya one leg behind or in front of the other, the position achieved in all cases
the same. This position of the legs is called the Latin zakreschivanie. Next, consider the following example:
PS zakreschivaetsya behind drugs.
When PS zakreschivaetsya behind PM, both knees bent, the hip on the same level. Sock SS deployed and
invested R knee in the L knee. The distance between the toe and heel PS PM about 15 cm and can vary
depending on the length of the leg from the knee to the foot and on how bent knees.
The position of the stop, corresponding to the Latin zakreschivaniyu will "PS zakreschivaetsya behind
drugs."
The weight distribution will depend on the executable figures.
A similar situation will arise in the legs zakreschivanii drugs behind the PS or after svivla on one foot.

Hand Position
When moving from one basic position to another the best results will be obtained by the use of male or
Physics, or form of reference. The position of the hands in contact, will be determined by the nature of the
conduct.
If the executable uses the movement of the body rhythm, the free hand (or hands) becomes an extension of
the body, due to the additional effects, which passes through the wrist and fingers to get in the correct position
for the respective musical hit. Since the arm (or arms) is a continuation of the body, its operation will be
completed after the corresponding action of the housing.
The most common free hand position:
1. In the side is straight.
2. The side bent.
3. Next, bent.
4. Zakreschena front of the body, bent.
5. At the side, slightly bent.
When the execution of figures "linear", e.g., Samba, or Spanish Loki line position of arm (or arms) is
attained simultaneously with the stop position.
NOTE
Due to the fact that Interrupted Run Forward and Reverse run are not reciprocally, man's hand, which is in
contact, can move to "forward, straightened," when he does Interrupted stroke ahead of Revelation Pos.

Keeping
in Latin dances used two types of reference:
1. The physical reference
for the implementation of the conduct of a man uses force arm (or arms) that are in contact. The lady met
him force his hand in contact so as to give an opportunity to behave in a desired position.
The movements that require physical maintenance, ladies hand, as a rule, is slightly bent and strained.
2. Formative Doing
this creates a maintenance man at the expense of hand position, locks the position of the hands and body.
The principle involved here is that the position of the body and / or hand (s) is such that the lady was clearly
Sung movement.
in movements that require conducting formative, ladies hand, as a rule, is slightly bent and minimally
strained.

Locks brushes (Hand Holds)


Usually, brushes are in position "in the palm of his hand", with the thumb or wrist men or other fingers (*) are
at the back of the hand ladies, depending on the position of the hands.
When partners removed from each other, e.g., Rev Pos Pos Fan or ladies brush faces downward and upward
male and stored under the brush ladies. Thumb hand man located on the back of the hand ladies about a line
extending between the bases of the middle and ring fingers.
- 6 -

When a man raises his hand to indicate a turn of the HV, brushes are in the "palm to palm", thumb man in
the position described above. Exception: Changing Places L to R, the Shadow Botafogo and three Alemans.
When A man's hand is raised, indicating the rotation VP ladies, brushes are in the "palm to palm", with
fingers slightly male bow ladies back of the hand, allowing it (brush) to scroll inside his hand while rotating
the body ladies.
In Closed Pos A brush brush men and ladies P are in the "palm to palm," and fingers men lie on the back of
the hand ladies. Wrist A man's hands should be rectified, and P ladies wrist slightly bent.
In the transition from one castle to another should not be allowed contact loss. At the same time, a lady
should not squeeze your fingers clutching the man's hand.

* Hereinafter the fingers means all fingers except the thumb. per.

Foot Work (Footwork)


When people talk about the foot, we are talking about that part of the foot, which is in contact with the floor.
All steps forward starting with the toe, then the foot pad with a pressure on the floor. The heel is lowered
only at the time when the step is fully completed. Such work stops in the tables described as a "cushion, flat."
Backward steps start with the pads moving feet, then carried sock. Finally, the heel is lowered as the
weight transfer from the completion of step. At the end of step foot heel, find themselves without the weight
can come off the floor, but it should be natural and should not be affected in any noticeable bending of the
legs. Such work stops in the tables described as a "cushion, flat."
- 7 -

BASIC POSITIONS

Basic position - this position, of which begin and end with that figure included in the list of the main.
There are 23 basic positions.
If the position of the artist mentioned brushes castle, the first indicates the brush men, for example, "A
Castle in P" means that "A man is holding a brush P ladies wrist".
The letters (A), (M) or (F) after the title of the position is determined, that this position was first mentioned
in the figure relating to the Associate list, or Member of Fellow, respectively.

Closed position (A) Close Hold


In Closed Pos in Rumba, Samba and Cha-cha (Fig.1) partners are spaced approximately 15 cm apart, with the
lady slightly offset relative VI men. Weight is on any of the stop, but dissimilar. P Brush man "boat" is located
on A blade ladies. P is smoothly curved arm, the elbow at chest level. A lady's hand lies on a hand men P by
repeating a smooth bend, and its A brush on U male shoulder.
A man's hand is smoothly curved, about as well as the P arm, bend only A hand pointing up. A brush with a
straight wrist, is located approximately at the level of his nose. A man brushing lightly brush keeps P ladies.
Castle A brush brush men and ladies P must be a line lying between the partners.
In pasodobl Closed Pos (Figure 2) is similar except that the bodies are in contact from the hips to the chest,
said lock L to P, about 15 cm above, and in accordance with this level rises and both elbows.
Closed Pos in Jive is similar to the Closed Item in Rumba, Samba and Cha-cha-cha, except that brushes are
kept a little lower.
It is necessary to remember that the Closed Item in Latin dance is not static. For example, the performance
of moving in the Basic Rumba arms slightly "breathe" because Interrupted Run Forward and Run Reverse is
not the reciprocal of the degree of weight transfer. In addition, in some figures the body position can be more
dense and lock, respectively, slightly higher than usual. For example, in Nat gyroscope Rumba or Samba in
Roll Nat.

The open position (A) Open Position


Figure 3, 4 and 5 show the open position of the three embodiments of brushes locks.
A man and woman are at a distance from each other, about an arm's length. Weight can be at any stop, a
lady nominal weight on the opposite foot. The position of the stop is determined by the figure, which uses
Rev. Pos, e.g., hockey stick spot rotation, etc.
As used locking brushes determined subsequent figure and may be one of the following:
A to P, P to A, S to P, R to R and R to R (double lock) or without a lock.
In the case where there is the castle of the hands contacting the hand facing forward slightly bent at the level
just below the chest. Free hand held to the side slightly bent (*), forming a smooth arc from the shoulder.
When the deputy there and both hands are free, they are directed forward bent and your elbows close to the
body.
* The Jive bent.
- 8 -

Fan Position (A) Fan Position


This position (Figure 6) is used in the rumba and cha-cha-cha.
The lady is almost at arm's length with the L side of the male body at right angles. The weight of the lady
full of medicines in "back" position after execution stroke back. SS men to the side slightly forward with the
full weight. The line passing through the foot ladies extends approximately 15 cm in front of partner.
The fan-shaped brush Pos A man facing palm down, brush keeps P ladies facing palm up. Thumb A man
brushes located on the back of the hand ladies.
II ladies hand facing forward slightly bent just below the shoulder. A hand ladies and R man's hand are in a
position to the side slightly bent, forming a smooth line from the shoulder. Head partner in the natural
"forward-looking" position.

Follavey Position (A) Fallaway Position


This position (Figure 7) is used in Jive and Paso Doble (*).
Fallavier Pos Pos Prom is similar, except that the man takes a step back to the LAN (a lady with MS).
Spread between the body men and women are usually 1/4. (1/8 overhead lines for men, 1/8 of the EP for the
ladies).

Follavey open position (A) Open Fallaway Position


This position (Figure 8) is used in the rumba and cha-cha-cha.
Starting from Rev. Pos with lock L to P, entering in Rev. Follavey Pos with lock L to H, turning on the EP
1/4 (1/4 lady VL) and executing stroke back to the SS (lady with PM). A man's hand and arm P ladies directed
diag forward slightly bent at the level just below the chest. P arm men and ladies A hand laid to the side at
shoulder level. At a time when there is movement of the hips, hands-free men and women will be higher than
others.
Rev. Follavey with lock Pos P to A similar Rev. Follavey Pos with lock A to P. Male rotated 1/4 VL (lady
VI) from a lock Rev. Pos P to A, making the stroke back to the LAN (lady with MS). Hand positions are
opposite Rev. Follavey Pos with lock A to P.

Promenade Position (A) Promenade Position


This position is found in Samba, Jive and Paso Doble.
The Prom Pos exit the Closed Item, turning 1/8 of the HV and VP lady, dropping L arm (P lady's hand), just
below the shoulder.
However, you can make up 1/4 of the EP (the lady of the HV). Maximum turning to 1/4 in men and women
executed in the case of those figures, where the movement of the pelvis is used, for example Prom Samba
stroke. In this case, turn the shoulders a little less.
Depending on the shapes P thigh men and women will be A thigh or in contact or at a distance of 15 cm
from each other.
If the hips in contact with or close relative, such as Prom Samba stroke, the position P A brush men and
ladies changing hands. P Brush man slips just below the P blades ladies and ladies A hand extends across the
back of the man on the blade level.
NOTE:
The text before the table of the Paso Doble and Jive have further information on the application of PP and
PPC in these two dances.

Counter Promenade Position (A) Counter Promenade Position


This position (Figure 10) is found in Samba and Paso Doble.
Housing men and women at a distance, approximately 25 cm apart. A man's hand (R hand ladies) rises to
the level of the head slightly bent. The man turned 1/8 AM (lady VL) of the Closed Pos. P man's hand
pointing forward, slightly bent at the level just below the shoulder, and the P brush moves with A blade on top
of the ladies A ladies hand. A ladies hand easily lies along the P man's hands, repeating her bend.
- 9 -

Open Promenade Position (A) Open Promenade Position


This position (Figure 11) is used in the Rumba, Samba and Cha-cha-cha, like the Rev. Item to lock P to A
with a weight on the drug (the lady at the substation), but with the following differences:
1. P man's hand (A ladies hand) is directed diagonally forward slightly bent.
2. The man turned to 1/4 of the HV (lady CAP).
3. When the angle between the partners 1/4, the stop position will be "away in Rev. Prom Pos." When the
angle 1/2 - "forward Rev. Prom Pos".
The Rev. Prom Pos with lock L to R man holding lady in Closed Pos. Reversal of Revelation in Rev Pos Pos
Prom with lock A to P 1/8 HVL of a man (the lady 1/8 IP).

Open Counter Promenade Position (A) Open Counter Promenade Position


This position (Figure 12) is used in the Rumba, Samba and Cha-cha-cha, like the Rev. Pos with lock A to P
with a weight on the SS (the lady on the LAN), but with the following differences:
1. A man's hand (R hand ladies) aims diag forward slightly bent.
2. The man turned to 1/4 AM (lady VL).
3. When the angle between the partners 1/4, the stop position will be "away in Rev. Counter Prom Pos." When
the angle 1/2 - "forward Rev Counter Prom Pos".

Spanish Line (M) Spanish Line


This position (Figure 13) is used only in the paso doble. Detailed description of the stop positions, operation
of the foot and the weight distribution is given in the corresponding table.

Shadow Position (M) Shadow Position


This position is used in the Rumba, Samba and Cha-cha-cha.
The lady is a P by a partner, a little ahead and face in the same direction. Its weight can be with a man
heteronymic foot, depending on the executable figures. Castle brushes and hand position is also determined
executable figure:

1. SHADOW WITH LOCK KEY A to P and P to A (M) (Figure 14) n A man holding a brush brush lady and
her zakreschena A hand in front of her body. A brush keeps P men ladies wrist and her arm P zakreschena
front of the body at chest level. Weight in men and women at the feet of opposite.
Alternatively, P Brush man is on a P blade ladies. His hand will be P "in the direction slightly bent." A
lady's hand is "slightly bent forward and zakreschena front of the body," but now on top of P arm.
Both these positions are used during the forward Rumba.

2. SHADOW POSITION WITH LOCK L to L, R to R


This is the so-called position with the same lock (M) (Figure 15).
A ladies hand in position "toward the slightly bent" just below the shoulder.
, , .
, .
.
, , --,
.

(F) Contra Promenade Position


(.16) . , ,
, . 1/8 .

(F) Contra Counter Promenade Position


(.17) . , ,
, . 1/8 .
- 10 -

(F) Open Contra Promenade Position


(.18) . ,
, . 1/8 . ,
. , ( ).

(F) Open Contra Counter Promenade Position


(.19) . , ,
. 1/8 . ,
. ( ).

(F) Advanced Openning out Movement


.20 , ,
.
, .20 ,
,
.

.
- 11 -

. . . .
1 2 3 4

. .
6 7

. .
9 10

. . .
. 11 . 12. .
13
14 15 16 17
- 12 -

.
19
- 13 -


2/4 .

52-54 .


, .
:
-

3 12 3/4, 1/4, 1
7 1234 3/4, 1/4, 3/4, 1/4, 3/4, 1/4, 1
3 1, 1/2, 1/2
3 1/2, 1/2, 1
7 1, 1/2, 1/2, 1/2, 1/2, 1/2, 1/2
2 1, 1
5 1, 1, 1/2, 1/2, 1
3 123 3/4, 1/2, 3/4

(Bounce Action - )
, .. , ,
1 2 .
1/2 . 1/2
& (). , :
& 1 & 2 & 1 & 2 ... .
, :
& 1 & a 2 & 1 & a 2 ... .
, , 1, ,
1/4 .
.
. .

( )
2.

1/ 1/ 1/ 1/ 1/

1 2 1

1 2 1
3/ 1/ 1


1 2 1

- 14 -

() Natural Basic Movement

1 1 3/4 .
2 1/4

3 2 1 .
4 1 3/4 . 1/4
5 1/4

6 2 1 .

1 1 3/4 .
2 1/4

3 2 1 .
4 1 3/4 . 1/4
5 1/4

6 2 1 .


.1-6: .
, .
, .
.

.1-3 , .
, .
- 15 -

() Reverse Basic Movement

1 1 3/4 .

2 1/4

3 2 1 .

4 1 3/4 . 1/4

5 1/4

6 2 1 .

1 1 3/4 .

2 1/4

3 2 1 .

4 1 3/4 . 1/4

5 1/4

6 2 1 .


.1-6: .
, .
, .
.

.1-3 , .
, .
- 16 -

() Progressive Basic Movement

1 1 3/4 .

2 1/4

3 2 1 .

4 1 3/4 .

5 1/4

6 2 1 .

1 1 3/4 .

2 1/4

3 2 1 .

4 1 3/4 .

5 1/4

6 2 1 .


.1-6: .
, .
, .
: .
: .
- 17 -

() Samba Whisks to L and R

1 1 3/4 .

2 1/4 *
()

3 2 1 .

4 1 3/4 .

5 1/4


6 2 1 .

1 1 3/4 .

2 1/4


3 2 1 .

4 1 3/4 .

5 1/4


6 2 1 .


.1-6: .
) : , ,
( ), , ,
1/4 , , .
) : , , .
) : , , , ,
.
) : , , . , :
.
: .
: .
- 18 -

* ?? , , .
- 19 -

() Promenade Samba Walks

1 1 3/4 , . ,
()

2 1/4 , / ., *

3 2 1
8 ,

, ,

1 1 3/4 , . ,


2 1/4 , / ,,

3 2 1
8 ,


.1-3: .
, , , .
) : .
) : .
: .
- 20 -

*
- 21 -

() Side Samba Walks

1 1 3/4 , . ,

()
2 1/4 , / *
.,
.
3 2 1
8 ,


, ,

1 1 3/4 , . ,

2 1/4 , / *
,,
.
3 2 1
8 ,


.1-3: .
, .
) : , .1 .
) 1/8 : ,
, .
) 1/4 : , , .
: .

* 1/8 ( ) .2,3, ,
. .2 .
1/4 ( ) .2,3, . .2
, .3 .
- 22 -

() Stationary Samba Walks

1 1 3/4 C .
,

2 1/4 , /
,

3 2 1
8 ,


, ,

1 1 3/4 . ,


2 1/4 , /
,

3 2 1
8 ,


.1-3: .
1/4 , .
) : , ,
.
) : , , ,

.
: .
: .
- 23 -

() Close Roks on RF and LF

1 1 .

2 1/2 .

3 1/2

4 1 .

5 1/2 .

6 1/2

1 1 .

2 1/2 , *

3 1/2


4 1 .

5 1/2 , *

6 1/2
,


.1-6: .
, .
, , . : .
.1-3: , .
: .
: .
- 24 -

* , , 1/2 , .
- 25 -

() () Reverse Turn

1 1 3/4 . 3/4

2 1/4
,

3 2 1 .

4 1 3/4 . 1/4

5 1/4

6 2 1 .

1 1 3/4 . 3/8

2 1/4

3 2 1 .

4 1 3/4 . 1/4

5 1/4
,

6 2 1 .

.2,3 ( ), .5,6 ( ).
.1,2,3 ( ), .1,2,3 ( ), .4,5,6 ( ).

.1-6: .
, .1-3 , .1-3 , .1-3 .
, , , .
: , .3 , .
: , .3 , .
, 1/4 1/2
.1-3 / .4-6.
- 26 -

() Corta Jaca

1 1 .

2 1/2 * ,

3 1/2
8
4 1/2 * ,

5 1/2
8
.6-11: .2-5, .2,3. :

1 1 .

2 1/2 * ,


3 1/2
8
4 1/2 * ,

5 1/2
8
.6-11: .2-5, .2,3. :


.1-11: . .1 .
- .
, , , ,
.
.4-6 , .4-6 , ,
.
: .
: .
- 27 -

() Travelling Botafogos

1 1 3/4 .

2 1/4 / 1/8
,

3 2 1 .

4 1 3/4 .

5 1/4 / 1/4
,
6 2 1 .

7 1 3/4 .

8 1/4 / 1/4
,
9 2 1 .

1 1 3/4 .

2 1/4 / 1/8
,

3 2 1 .

4 1 3/4 .

5 1/4 / 1/4
,

6 2 1 .

7 1 3/4 .

8 1/4 / 1/4
,
9 2 1 .

.
.1-9: .
, .1-3 , .
, .
- 28 -

: , .3: , .6: ,
.
: , .3: , .6: ,
.
.
- 29 -

() Natural Roll

1 1 . 1/4

2 1/2 .

3 1/2 .

4 1 . 1/4

5 1/2 .

6 1/2 .

1 1 . 1/4

2 1/2 .

3 1/2 .

4 1 . 1/4

5 1/2 .

6 1/2 .

.1: , .

1/2 1-6, ,
.
.
.2,3 ( ), .5,6 ( ).
.1-3 ( ), .4-6 ( ).
.1-6: , , ,
.
, , , ,
.
, , , , , .
: .1: , .3 , .6: .
: .1: , .3: , .6: .
- 30 -

() Open Rocks to R and L

1 1 .

2 1/2 .

3 1/2 *

4 1 .

5 1/2 .

6 1/2 *

7 1 .

8 1/2 .

9 1/2 *

.4

1 1 . 1/4

2 1/2 . ,


3 1/2 . 8

4 1 . 3/8

5 1/2 . , 1/8


6 1/2 . 8

7 1 . 3/8

8 1/2 . , 1/8


9 1/2 . 8


.1: , , .3: , .
.6: , , .9: , .
, , .
(**), .6: (**).
- 31 -

: .
: .1: , .3: , .6: , .9: .

* , , 1/2 ,
** : , , .
- 32 -

() Promenade Botafogos

1 1 3/4 .

2 1/4 , / 1/8

3 2 1 .

4 1 3/4 .
*
5 1/4 , / 1/4

6 2 1 .

7 1 3/4 .
*
8 1/4 , / 3/8 **

9 2 1 .

1 1 3/4 .

2 1/4 , / 1/8

3 2 1 .

4 1 3/4 * .

5 1/4 , / 1/4

6 2 1 .

7 1 3/4 .
*
8 1/4 , / 3/8 **

9 2 1 .

.
.1: , .3: , .6: , .9: .
, .1-3 , , ,
, , 1/4 .
, .
: , .3: , .6: ,
.
- 33 -

: , .3: , .6: ,
.

* .
** .
- 34 -

() Backward Rocks on RF and LF

1 1 .

2 1/2 1/8


3 1/2 .

4 1 . 1/8

5 1/2 1/8


6 1/2 .

1 1 .

2 1/2 . 1/8

,

3 1/2 .

4 1 . 1/8

5 1/2 . 1/8

,

6 1/2 .

.
.1-6: .
.1-3 , .4-6 .1-3,
, .
.4-6 , .4-6 , .
: , .3: , .
: , .3: , .
- 35 -

() Plait

1 1 ,
*
2 1 ,
3 1/2 , ( 1)
4 1/2 ,
5 1 ,

1 1 . , 1/8 **
2 1 . - 1/4 **
3 1/2 . 1/4 **
4 1/2 . . 1/4 **
5 1 . 1/4 **

.
.1: , .5:
.

) , : , .1-3 , .
) , : , .1-3 , .

) , : .4-6 , .4-6 .
) , : .4-6 , .4-6 .
: .
: .

1. : .1 ,
, ,
. () , .1.
.
2. ( ).
- 36 -

* , .
** .
- 37 -

() Shadow Botafogos

1 1 3/4 . ,

2 1/4 / 1/4
,
3 2 1 .

4 1 3/4 . ,

5 1/4 / 1/4
,
6 2 1 .

1 1 3/4 .

2 1/4 / 1/4
,
3 2 1 .

4 1 3/4 .

5 1/4 / 1/4
,
6 2 1 .

.
.1: . .3: . .6: .
, .
, ,
. .1-3: , .
: , .3: ,
.6: .
.
- 38 -

- ,
, . ,
, .
, ,
.2,3 , 1/8.
, ,
, ,
.
,
, : 1 2 3 4.

() Volta Spot Turn to R for lady

.1-3 , *

1 1 3/4 . ,


2 1/4
,
3 2 1 .

.
.1: , . .3: .
, , (),
, .
, , .
:
: .
- 39 -

*
, .
- 40 -

() Volta Spot Turn to L for lady

.1-3 , *

1 1 3/4 . ,


2 1/4
,

3 2 1 .

.
.1: , . .3: .
, , ().
, .
:
: .


, ,
.
- 41 -

*
, .
- 42 -

() Travelling Voltas to R

1 1 3/4 . 1/4

2 1/4
,
3 2 1 .

4 1/4
,
5 1 3/4 .

6 1/4
,
7 2 1 .

1 1 3/4 . 1/4

2 1/4
,
3 2 1 .

4 1/4
,
5 1 3/4 .

6 1/4
,
7 2 1 .

.
.1: , .7: .
, , .
, .
: ,
.

1. ,
3/8 ( ) .1-7. : , ,
.
2. , 1/8
( ). : , ,
.
- 43 -

() Travelling Voltas to L

1 1 3/4 . 1/4

2 1/4
,
3 2 1 .

4 1/4
,
5 1 3/4 .

6 1/4
,
7 2 1 .

1 1 3/4 . 1/4

2 1/4
,
3 2 1 .

4 1/4
,
5 1 3/4 .

6 1/4
,
7 2 1 .

.
.1: , .7: .
, .1-3 .
, .
: ,
.

1. ,
3/8 ( ) .1-7. : , ,
.
2. , 1/8
( ). : , ,
.
- 44 -

() Continous Volta Spot Turn to R

.1-7 3/8

1 1 3/4 . 1 3/8


2 1/4
,
3 2 1 .


4 1/4
,
5 1 3/4 .


6 1/4
,
7 2 1 .

.
.1: , .7: .
, , .
, , .
: , : -
, - .

1. , 7/8 ( 1 7/8 ), :
, , , , ,
.
2.
.
3. , :
( 1 1/2).
- 45 -

() Continous Volta Spot Turn to L

.1-7 3/8

1 1 3/4 . 1 3/8


2 1/4
,
3 2 1 .


4 1/4
,
5 1 3/4 .


6 1/4
,
7 2 1 .

.
.1: , .7: .
, .1-3 .
, , .
: , : - ,
- .

1. , 7/8 ( 1 7/8 ), :
, , .
2.
.
3. , :
( 1 1/2).
- 46 -

(F) Circular Voltas to R



1 1 3/4 . 1 1/4

2 1/4
,
3 2 1 .
.


4 1/4
,
5 1 3/4 .
.


6 1/4 .2,3
,
7 2 1 .

.
( ) .1-5.
.1: , .7: .
, ,
.
, .
: .
, : .

1. ,
.6,7 .5 , .
2. .
.
3. , , .
- 47 -

(F) Circular Voltas to L



1 1 3/4 . 1 1/4

2 1/4
,
3 2 1 .
.


4 1/4
,
5 1 3/4 .
.


6 1/4 / .2,3
,
7 2 1 .

.
( ) .1-5.
.1: , .7: .
, .
, , ,
, ,
.
: .
, : .

1. ,
.6,7 .5 , .
2. .
.
3. , , .
- 48 -

(F) Contra Botafogos




1 1 3/4 , .

-
2 1/4 / 1/4
, , -

-
3 2 1 , .

4 1 3/4 , .

5 1/4 / 1/4
,
6 2 1 , .

.
.1: , .3: , .6: .
, .
, ,
, ,
. .3 .
: .
, .3: , : .

1. ,
.
2. .
- 49 -

(F) Samba Locks

1 1/2 , . 1/8

2 1/2 *

3 1 ,

4 1/2 , . 1/8

5 1/2 *

6 1 ,

7 1/2 , . 1/8

8 1/2 *

9 1 ,

1 1/2 , . 1/8

2 1/2 *

3 1 ,

4 1/2 , . 1/8

5 1/2 *

6 1 ,

7 1/2 , . 1/8

8 1/2 *

9 1 ,

.
.1: , . .9:
, .
, (),
(**), , ,
.
, .
- 50 -

: ( ),
.

* , , 1/2 ,
**
:
: ,
. .
:
1. , ( )................................. 1 (3/4
)
2. , ...................................................................... 2 (1/2
)
3. , ( )
................................................................................. 3 (3/4
)
- 51 -

(F) Promenade to Counter Promenade Runs

1 1 3/4 * 1/8

2 2 1/2 . .1,4,7.

3 3 3/4 . .4 -

4 1 3/4 3/4

5 2 1/2 .

6 3 3/4 .

7 1 3/4 1/4
8 2 1/2 .

9 3 3/4 .

.4

1 1 3/4 * 1/8

2 2 1/2 . .1,4,7.

3 3 3/4 . .4 -

4 1 3/4 1/4

5 2 1/2 .

6 3 3/4 .

7 1 3/4 3/4
8 2 1/2 .

9 3 3/4 .

.
.1: , , .3: , ,
.6: , , .9: , .
, , .
(), ,
(. ).
: .1: , .3: , , .6: , ,
.9: , .
- 52 -

: .1: , .3: , , .6: , , .9:


, .
.

* ( ) .
- 53 -

(F) Cruzados Walks

( ) .
,
. .
.

(F) Cruzados Locks in Shadow Position



1 1/2 .

2 1/2 *

3 1 .

4 1/2 .

5 1/2 *

6 1 .

,
,
.
.1-9: .
,
, , () .
.6: () ,
() , ,
, .9: , .
: .

1. .
2. / .
- 54 -

* , , 1/2 , .
- 55 -

(F) Methods of Changing Feet in Samba

,
. : , , ,
.
, ,
, .
) ( ) (),
( ) ().
, (12).
) (1), , / , (),
(2). (Ball
Change). (12).

, , .
:

1.


.
, 1/8 ( ) ,
(), ().
(12) 1 1/4 .
, .
: , ,
.
, ,
(),
().
.

2.


.
(),
(). (12).
. (12).
: , .

3.

.
(),
(). , , 1/4
(12). (12).
: , .

4.
- 56 -

.
, ,
(), ().
(12), .
: , .


, , ,
.
- 57 -

--


4/4 . ,
.

30/32 .


-- , .
-- , 1/2 .
.


, .
.
, .
, .
, .
, , ,
- .
, .
, - --
. ,
& ( 2) , --
, .
,
& ( 2). 2 &
3.
--.

-- .
,
( ). .
.
.
,
(bounce - ). ,
, ,
.

-- () ()


1 4 1/2 . .
, -

2 & 1/2 . .

- 58 -


3 1 1 .
.

-- () ()


1 4 1/2 . .
, -

2 & 1/2 . .


3 1 1 .
.

-- () ()


1 4 1/2 , . .
, -

2 & 1/2 .
.


3 1 1 , .
.

-- () ()


1 4 1/2 , . .
, -

2 & 1/2 .
.


3 1 1 , .
.

-- () ()


1 4 1/2 , .
, , -

2 & 1/2 . .
- 59 -

.


3 1 1 , .
.

-- () ()


1 4 1/2 , .
, , -

2 & 1/2 . .
.


3 1 1 , .
.

1. .
.
.
2. .
, - .

-- ()
-
(, .3-5 ) , (, ,
). ,
.
,
.
, , - ,
. , .3-5 -
.
: - .(*)
() Ronde Chasse

1 4 1/2 ,
. , -
.
. -
.

2 & 1/2 .
( .

)
- 60 -

3 1 1 ** . .
.

: .3-5 ; .3-5
. .3-5 - - .
- () Hip Twist Chasse



1 4 1/2 ,
, , -
. .
-
-
2 & 1/2 . .
.
3 1 1 .
.
.

, .
.
- ,
.
.3-5 - - - .
* - .3-5 -
.
** , :
, .

(F) Guapacha
-- , , 1/2 .
-- ( ).
.
, .

.1-5: .1-5 . 2, 3, 4 & 1.


.6: 1/2 .5. 2.
.7: . &.
.8: . 3.
.9-11: -- . 4 & 1.
.12: 1/2 .11. 2.
.13: . &.
.14: . 3.
.15-17: -- . 4 & 1.
.

, .
- 61 -

.7: , , , .

: ,
, , -, .2 .7.
- 62 -

- () Time Step

1 1 1 .
2 2 1 .

3 3 1 .
4 4 1/2 . --

5 & 1/2 .

6 1 1 .
7 2 1 .

8 3 1 .
9 3 1/2 . --

10 & 1/2 .

11 1 1 .
.2

1 1 1 .
2 2 1 .

3 3 1 .
4 4 1/2 . --

5 & 1/2 .

6 1 1 .
7 2 1 .

8 3 1 .
9 3 1/2 . --

10 & 1/2 .

11 1 1 .
.2
: .1-11: .
: , - .
: , - , - .6.

- () Time Step ()

- 63 -

1. .. --
,
.
2. .2: , .7:
. , . : ,
: .
- 64 -

() Close Basic

1 2 1 , .

2 3 1 .

3 4 1/2 . --

4 & 1/2 .

5 1 1 .
6 2 1 .
7 3 1 .

8 4 1/2 . --

9 & 1/2 .

10 1 1 .

1 2 1 .
2 3 1 .

3 4 1/2 . --

4 & 1/2 .

5 1 1 .
6 2 1 , .

7 3 1 .

8 4 1/2 . --

9 & 1/2 .

10 1 1 .

: .
: 1/2 .
: , , , -
, .
: -, , .5: , ,
.

1. , .5
.
- 65 -

2. .. ,
.
- 66 -

() Open Basic

1 2 1 , .

2 3 1 .

3 4 1/2 --

4 & 1/2 .

5 1 1 .
6 2 1 .
7 3 1 .

8 4 1/2 . --

9 & 1/2

10 1 1 .

1 2 1 .
2 3 1 .

3 4 1/2 --

4 & 1/2 .

5 1 1 .
6 2 1 , .

7 3 1 .

8 4 1/2 --

9 & 1/2 .

10 1 1 .

: .
: , - , ,
.
: .1-5 , - ,
, .

-- -
- , . : 2 3 4 & 1, 2 & 3, 4 & 1.
.
- 67 -

() Fan

1 2 1 , .

2 3 1 . 1/ 8

3 4 1/2 . --

4 & 1/2 .

5 1 1 .

1 2 1 .
2 3 1 . 1/8

3 4 1/2 -- 1/4

4 & 1/2 .

5 1 1 .

: .1: , , .2: , .5:


.
: .1-5 , .
: , .
- 68 -

() Hockey Stick

1 2 1 , .

2 3 1 .

3 4 1/2 . --
*
4 & 1/2 . -

5 1 1 .

6 2 1 . 1/8
7 3 1 .
8 4 1/2 . --
9 & 1/2

10 1 1 .

1 2 1 .

2 3 1 .

3 4 1/2 . --
4 & 1/2

5 1 1 .
6 2 1 . 1/8
7 3 1 . 3/8

8 4 1/2 -- 1/8
9 & 1/2 .

10 1 1 .

: .1: , .5: , , .10:


.
: , -, -.
: .1-5 , ,
, , -, - .
, : , .

, () Hockey Stick Turned To Open CPP


, .7
-- , . 1/8
.6. - 3/4 .7, .
.8-10.
- 69 -

: , ,
, .

* () .3-5 -.

(-) () Chek from Open CPP

1 2 1 , . 1/8 *

2 3 1 . 1/4 **
3 4 1/2 . --

4 & 1/2 .

5 1 1 .

1 2 1 , . 1/8 *

2 3 1 . 1/4
**
3 4 1/2 . --

4 & 1/2 .

5 1 1 .

: .1: , .5: .
: , : ,
, , .1-10 , , , -
, -, , - , - ,
, .
: , , . :
.
- 70 -

* .
** 3/8, .
- 71 -

(-) () Chek from Open PP



1 2 1 , . 1/8 1

2 3 1 . 1/4
**
3 4 1/2 . --

4 & 1/2 .

5 1 1 .


1 2 1 , . 1/8 *

2 3 1 . 1/4
2

3 4 1/2 . --

4 & 1/2 .

5 1 1 .

: .1: , .5: .
: , : ,
, , .
: . : ,
, , ,
.

1
2
- 72 -

() Spot Turn To Left

1 2 1 .


3

2 3 1 .
3 4 1/2 . --

4 & 1/2 .

5 1 1 .

1 2 1 .


*
2 3 1 .
3 4 1/2 . --

4 & 1/2 .

5 1 1 .

: .1-5: .
: .1-6 -, , , ,
, .
: , , , ,
. : , .

() Underarm Turn to Right.


.6-10 ,
. ,
, . .5 .
: .1-5 , , ,
.
: , . : ,
.

3
7/8, .
- 73 -

() Spot Turn To Right

1 2 1 .


4

2 3 1 .
3 4 1/2 . --

4 & 1/2 .

5 1 1 .

1 2 1 .


*
2 3 1 .
3 4 1/2 . --

4 & 1/2 .

5 1 1 .

: .1-5: .
: .1-6 -, , .
: , . : .

() Underarm Turn to Left.


.1-5 , (1/8
) .
,
, . .5 .
7/8 .
: , : .6-10 ,
, , .
: , , , .
.3-5: . : .

4
7/8, .
- 74 -

() Shoulder to Shoulder

,
( 1 1/8, 7/8),
.

(*)
.
- 75 -

() Hand to Hand




1 2 1 . 1/4 5

2 3 1 .

3 4 1/2 . -- 1/4

4 & 1/2 .

5 1 1 .

6 2 1 . 1/4 *

7 3 1 .

8 4 1/2 . -- 1/4 *

9 & 1/2 .

10 1 1 .

.11-15: .1-5, 6

1 2 1 . 1/4 *

2 3 1 .

3 4 1/2 . -- 1/4

4 & 1/2 .

5 1 1 .

6 2 1 . 1/4 *

7 3 1 .

8 4 1/2 . -- 1/4

9 & 1/2 .

10 1 1 .

5
.
6
.10 .5 .15.
- 76 -

.11-15: .1-5

: .1: ,
. .5: . .6: . .10:
.
: , , .
: , . .10:
, . .15: .

1.
, . .
, :
.
2. -- --. 234&1, 2&3, 4&1, 234&1, 2&3, 4&1.
1/4 --, .
.
- 77 -

( ) Natural Top

1 2 1 7

.

2 3 1 . 2 3/4

3 4 1/2 . -- .1-15
-
4 & 1/2 .

5 1 1 .

6 2 1 . 1/8

7 3 1 *
.15


8 4 1/2 . --

9 & 1/2 .

10 1 1 .

11 2 1 *



12 3 1 .

()
13 4 1/2 . --

14 & 1/2 .

15 1 1 .

()
13 4 1/2 . --

-
14 & 1/2

7
, .
- 78 -

15 1 1 .

- 79 -

( ) Natural Top ()

1 2 1 .

2 3 1 . .
3 4 1/2 . -- 2 3/4


4 & 1/2 . .1-15

5 1 1 .

6 2 1 .
7 3 1 . 1/8

8 4 1/2 . --
- .15
9 & 1/2

10 1 1 .

11 2 1 .

12 3 1 .
()
13 4 1/2 . --


14 &
1/2 .

15 1 1 .
()
13 4 1/2 . --

-
14 & 1/2

15 1 1 .

: .1-15: .
: .1-5 ,
, , -- ,
.
: : , , .
: -, - .

1. .11-15 .
- 80 -

2. 3 .
- 81 -

- () Close Hip Twist

1 2 1 , . 3/8 *

2 3 1 . 1/8

3 4 1/2 , 8

4 & 1/2 (
)
5 1 1 .
6 2 1 .
7 3 1 .
8 4 1/2 . -- 1/8

9 & 1/2 .

10 1 1 .

1 2 1 . 3/4 9
2 3 1 . , 1/2

3 4 1/2 , * -
4 & 1/2 . 1/4
5 1 1 .
6 2 1 .
7 3 1 . 3/8

8 4 1/2 -- 1/4

9 & 1/2 .

10 1 1 .

: .1: , , .3: , .5: , .7:


, .10: .
: , .
: , .

.3 , .

- ()
- , .7
-- ,

8
, .
9
.
- 82 -

. 1/4 .7-10, 3/4 .7-


10, .7.
.8-10, .
: , ,
, .
- 83 -

( ) Alemana




1 2 1 , .

2 3 1 .

3 4 1/2 . --
10
4 & 1/2 .

5 1 1 .

6 2 1 .

7 3 1 .

()
8 4 1/2 . --

9 & 1/2 .

10 1 1 .

()
8 4 1/2 . -- 1/8

9 & 1/2
10 1 1 .


1 2 1 .

2 3 1 .

3 4 1/2 . --


4 & 1/2
5 1 1 . 1/8

6 2 1 / 3/4
, 11


7 3 1 . 1/4

() .3-5 -.
10


11
- 84 -


()
8 4 1/2 . -- 1/8

9 & 1/2 .

10 1 1 .

()
8 4 1/2 . -- 1/4

9 & 1/2
10 1 1 .

: .1: , .5: , , .10:


.
: , -, -.
: : , , .
: -, - .
- 85 -

()
, : .1-5
, .6 1/2 , .7 3/8 . .
, , ,
: 1. , 2. .
.
.3-5, .3-5 -.
: , , .
: .

()
: .1-5 , .6 5/8 , .7 1/4 , .8-10
1/4 .
, .
: , ,
.
: - .7.

()
, .7
, .
1/8 .6. : .6 3/4 , .7 1/4 .
.8-10, .
: .
: , ,
, .
- 86 -

- () Open Hip Twist

1 2 1 , .

2 3 1 .

3 4 1/2 , / ,

4 & 1/2 8
5 1 1 .

6 2 1 .
7 3 1 .
8 4 1/2 . -- 1/8

9 & 1/2 .

10 1 1 .

1 2 1 .
2 3 1 .
3 4 1/2 . --
,
4 & 1/2

5 1 1 .
6 2 1 . 1/4
12

7 3 1 . 3/8

8 4 1/2 -- 1/4

9 & 1/2 .

10 1 1 .

: .1: , .5: , .10: .


: , , .
: , .

- ()
- , .7
-- ,
. 1/4 .7-10, 3/4 .7-

12
.
- 87 -

10, .7.
.8-10, .
: , ,
, .
- 88 -

- (F) Close Hip Twist Spiral

.1-6 , .1-6 -
7 3 1 . 1/4
8 4 1/2 . --

9 & 1/2

10 1 1 .

.1-6 , .1-6 -
7 3 1 , .,



8 4 1/2 1/4
9 & 1/2 1/2

10 1 1 . 1/8

: .7: , , .10:
.
: , .
: , ,
, .
- 89 -

- (F) Open Hip Twist Spiral

.1-6 , .1-6 -
.7-10 , .7-10 -

.1-6 , .1-6 -
.7-10 , .7-10 -

: .1-6 -, .7-10 - .
: , , .
: , ,
, .
- 90 -

() Cross Basic

1 2 1 .
,
2 3 1 , . 1/4

3 4 1/2 . --
13
4 & 1/2 .

5 1 1 .

6 2 1 .
,
7 3 1 , . 1/4

8 4 1/2 . --
*
9 & 1/2 .

10 1 1 .

1 2 1 .
,
2 3 1 , . 1/4

3 4 1/2 . --
*
4 & 1/2 .

5 1 1 .

6 2 1 .
,
7 3 1 , . 1/4

8 4 1/2 . --
*
9 & 1/2 .

10 1 1 .

: : .1,2 .6,7. : .1,2 .6,7.

-- , .
13
- 91 -

: .
: , , ,
.
: . .1-5: .

1.
.5, .8-10. .5.
2. .
, .
- 92 -

(F) Cuban Break in Open Pos



1 2 1/2 , .

2 & 1/2
3 3 1/2 .

4 & 1/2
5 4 1/2 , .

6 & 1/2
7 1 1 .

8 2 1



9 3 1


10 4 1/2 . --
14
11 & 1/2 .

12 1 1 .

.1-7, .1-5
.8-12, .1-7,

: .1-12: .
: .
: , .

-
14
- 93 -

(F) Cuban Break in Open CPP


. .1-7
. .1-7 , .
: .
: .

(F) Split Cuban Break in Open CPP

1 2 1/2 . 1/4
, 15

2 & 1/2 . 1/4



3 3 1 .
4 4 1/2 , .

5 & 1/2 .
6 1 1 .

1 2 1/2 . 1/4 *
,
2 & 1/2 . 1/4
3 3 1 .
4 4 1/2 , .

5 & 1/2 .
6 1 1 .

: .1: , .4:
, .6: .
: , .
: .

15
.
- 94 -

(F) Split Cuban Break from Open CPP &


Open PP

1 2 1/2 , . 1/8
16


2 & 1/2 . 3/8

3 3 1 .
4 4 1/2 , . 1/8 *

5 & 1/2 . 3/8
6 1 1 .

1 2 1/2 , . 1/4 *

2 & 1/2 . 1/4
3 3 1 .
4 4 1/2 , .

5 & 1/2 .
6 1 1 .

: .1: , .3: , .6: .


: , .
: .

16
.
- 95 -

(F) Turkish Towel

. 1 - 7 , .1-7
8 4 1/2 . -- 3/8

9 & 1/2 .

10 1 1 .
11 2 1 .
12 3 1 .
13 4 1/2 . -- 1/4

14 & 1/2 .

15 1 1 .
16 2 1 .
17 3 1 .
18 4 1/2 . -- 1/4

19 & 1/2 .

20 1 1 .
. 21 - 25 .11-15
26 1 1 . 1/8
27 1 1 .
28 1 1 . --

29 1 1

30 1 1 .
- 96 -

(F) Turkish Towel ()

. 1 - 7 , .1-7
8 4 1/2 . -- 1/2

9 & 1/2 .

10 1 1 .
11 2 1 , .

12 3 1 .
13 4 1/2 . -- 1/4

14 & 1/2 .

15 1 1 .
16 2 1 , .

17 3 1 .
18 4 1/2 . -- 1/4

19 & 1/2 .

20 1 1 .
21 2 1 , .

22 3 1 .
23 4 1/2 . -- 1/4

24 & 1/2 . .

25 1 1 , , 5/8
,


26 2 1 , . 1/8

27 3 1 . 3/8
28 4 1/2 -- 1/8

29 & 1/2 .

30 1 1 .

: .1: , .5: ,
, .10: , , , ,
.15: , , , , .20: .10, .25:
- 97 -

, , .30:
.
: , ,
.
: , , -, -
.
- 98 -


,
.
. 1 2
. 3
.
1 ()

1 2 1 .

2 3 1 .

3 4 1 .

4 1 1 . 3/8

5 2 1 . 1/8

6 3 1 .

7 4 1/2 . --

8 & 1/2 .

9 1 1 .

2 ()

1 2 1 .

2 3 1 .

3 4 1/2 . --

4 & 1/2

5 1 1 .

6 2 1 . 3/8

7 3 1 1/8

8 4 1/2 . --

9 & 1/2 .

10 1 1 .

- 99 -

1 2 ( )
. .6-10 , .1-5
. 2 3 4 & 1 2 3 4 & 1.
( 1 2): .1: , :
, .
( 1 2): .1-5 .
( ): , ,
- , - , ,
.
, .

, 1, 2 3.


1: .1-4 1, .1-5 .
2: .1-7 2, -- .
.
( ): 1: .6-10 . 2:
, , .
- 100 -

3 (F)

1 & 1/217 , .
2 2 1 .

3 3 1 , : ., 1/2
. :
, .
4 4 1/2 . --

5 & 1/2
6 1 1 .

.1-6, .6-10 .
:
1 2 1
, .
2 3 1
, 8 ,

.
3 4 1|2 --

4 & 1/2 .
5 1 1 .

: .1: , , .6:
.
: , .
: , , .

17
.
- 101 -


- 4/4 4- .
4- .

27/29


- .
. 1/2 .
2- 3- . ,
, 1.5 .
,
4, : 4 1 2 3 4 1 ...

Progressive Walks
, , . Because
, ,
.

( ) () Forward Walks
, , .
9, )() .
,
, .
, , ,
, , . ,
, .
, , - .
, , .
1/16 .
.

( ) () Backward Walks
, , .
(, )(18) .
, , , ,
, ,
, . . ,
, , ,
- .
. 1/16 .
( ), ,
.

- , .
18

, , ,
.
- 102 -

(Checked Forward Walk)


( --),
, ..
, .
, :

1. ,
;
2. ;
3. , ;
4. , 1/16.
, .. -
, ( ),
.

(Delyed Walks)
, --, ,
, ,
.
:
1. , ;
2. , ;
3. , .
, .
, , , .
: (
), , ;
, .
,
.
, .
- .

(Forward Walk Turning)


, , ,
,
. ,
, .

,
.

, , - 3/8.
.
, .
,
.

() Cucarachas
, , .
, , .
- 103 -

, , ,
. , , ,
. .
.
.
. : .1. , ; .2.
; .3. , . , :
, .
- .

()
. (,).
. 2 3 4.1 2 3 4.1
. (, ).
. .
.
. .1-6 .
. .4-6 , .6 .
. .

()
. (, ).
. 2 3 4.1 2 3 4.1
. (, ).
. .
.
. .1-6 .
. .1-3 , .3 .. .6 .
. .4-6 , , .6 , .
,

. , ( )
, . ,
, .
. .1-6 , .
. .1-3 , .3 , ; .1-3 -
, .3 .
. , - . .6 ,
.

() Forward Walks in Shadow Position


, .
, .
. .1-6 , ,
.
. .3 ,
, ( ).
. 4.1 , , .4-6
, . 2 3 4.1.
- 104 -

() Basic Movement

1 2 1 , .

2 3 1 .
3 4.1 2 . (1/8)

4 2 1 .
5 3 1 .
6 4.1 2 .

1 2 1 .
2 3 1 .
3 4 1/2 . (1/8)

4 & 1/2 , .

5 1 1 .
6 2 1 .

: .1-6.
: 1/4 .
: , - , , .
: , , . .3: , , .

1. .. ,
.
2. , .3 ( - ). -
, .3 . .6 ( - )
. .5,6 3/8 .

() Alternative Basic Movement


, , ,
:

1. .................................... 2
2. ..................................... 3
3. ........................ 4.1
.
, .1-3 ,
. .1, .2.
- 105 -

() Fan

1 2 1 .
2 3 1 . 1/ 8
3 4.1 2 .

1 2 1 .
2 3 1 . 1/8

3 4 1/2 . 1/4

: .1: ,
. .2: . .3: .
: .1-3 , , .
: , , , .

1. 3/8 .2,3, . :
, .1-3 , -,
(. . 2).
2. , , ,
: 1. ; 2.
.
- 106 -

() Hockey Stick

1 2 1 , .
2 3 1 .

3 4.1 2 .
4 2 1 . 1/8
5 3 1 .
6 4.1 2 .

1 2 1 .

2 3 1 .

3 4.1 2 .
4 2 1 . 1/8
5 3 1 . 3/8

6 4.1 2 . 1/8

: .1. . .3. ,
. .6. .
: , -, -, , ,
, -.
: .1-3 , ,
-, .

, ()
, .5
, . 1/8 .4. 3/4
.5 . .6,
.
- 107 -

- () Spot Turn to Left

1 2 1 , .


19

2 3 1 .

3 4.1 2 .

1 2 1 , .


*
2 3 1 .

3 4.1 2 .

:
: - , , , ,
.
: , - , , ,
.

() Under Arm Turn to Right


- .4-6 ,
. , ,
, . .3 .
- .
: .1-3 , - , ,
.
: , - . -
, .

19
7/8, .
- 108 -

- () Spot Turn to Left

1 2 1 , .

20

2 3 1 .

3 4.1 2 .

1 2 1 , .
*

2 3 1 .

3 4.1 2 .

:
: - , , .6.
: - , .4. - .

() Under Arm Turn to Left


- .1-3 ( 1/8 ),
. , ,
, . .3 .
- 7/8 .
: , : .4-6 , -
, , .
: - . . .3 ,
. - .

7/8, .
20
- 109 -

(-) () Chek from Open CPP

1 2 1 , . 1/8 21

2 3 1 .
3 4.1 2 . 1/4 22

1 2 1 , . 1/8 *

2 3 1 .
3 4.1 2 . 1/4 **

: .1 , .3 .
: : - , ,
, .1-6 , , -, -, ,
, .
: - , .
- .

.
21

3/8, .
22
- 110 -

(-) () Chek from Open PP

1 2 1 , . 1/8 23

2 3 1 .

3 4.1 2 . 1/4 24

1 2 1 , . 1/8 *

2 3 1 .

3 4.1 2 . 1/4 **

: .1 , .3 .
: : - , ,
, .
: - . : ,
.

23
.
24
3/8, .
- 111 -

() Hand to Hand

1 2 1 . 1/4 25

2 3 1 .

3 4.1 2 . 1/4

4 2 1 . 1/4 *

5 3 1 .
6 4.1 2 . 1/4

7-9 .1-3, 26

1 2 1 . 1/4 *

2 3 1 .

3 4.1 2 . 1/4

4 2 1 . 1/4 *

5 3 1 .
6 4.1 2 . 1/4

7-9 .1-3.

: .1. ,
. .3. . .4 .
.6. .
: - , , .
: - , . .6:
. .9: .

, ,
. , , .
: -
.

25
.
26
.6 .9 .
- 112 -

() Natural Top

1 2 1 27 1/4

2 3 1 . 1/4

3 4.1 2 * 1/4


4 2 1 . 1/4
5 3 1 * 1/4


6 4.1 2 . 1/4
7 2 1 * 1/4


8 3 1 . 1/4

9 4.1 2 . 1/4

1 2 1 . 1/4

2 3 1 . 1/4

3 4.1 2 . 1/4
4 2 1 . 1/4
5 3 1 . 1/4

6 4.1 2 . 1/4
7 2 1 . 1/4
8 3 1 . 1/4

9 4.1 2 . 1/4

: .1-9 .
: 2 1/4 . .
: .1-3 , ( :
). , .6 . ,
, . .
: , -, , , -
, -.
: 1. ,
.
2. .7-9.

27
, () .
- 113 -

3. , . ,
.
4. .4,5. ()
- 114 -

- () Close Hip Twist

1 2 1 .
2 3 1
3 4.1 2 .
4 2 1 .
5 3 1 .
6 4.1 2 . 1/8

1 2 1 .
1/2 28
2 3 1 . 1/2

3 4.1 2 ,

29

4 2 1 . 1/4 **
5 3 1 . 3/8

6 4.1 2 . 1/4

: .1: , . .3:
. .4: . .5: . .6: .
: , , , -, ,
-.
: , , , .
3/8 ( 5/8) .5,6, , - .

1. .3 , .
2. 3/8 .5,6, .
: , .1-3 , -
, . (. 2 .)
3. .1-3 .

-,

- , .5,
, .
1/4 .5,6, 3/4 .5,6,
.5. .6, .
.

28
.
29
.
- 115 -

() Reverse Top

1 2 1 () . . 3/8

()
2 3 1 1/8

3 4.1 2 . 3/8

4 2 1 . 1/8

5 3 1 . 3/8

6 4.1 2 . 1/4

1 2 1 . ( 3/8
)
2 3 1 () 30 1/8

()
3 4.1 2 , 3/8

4 2 1 * 1/8


5 3 1 . 3/8

6 4.1 2 . 1/4
( )

: .
: 1 5/8 .
: 3/8 .5,6, - 3/8
( 5/8) .5,6, . -, , ,
() 3/8 ( 5/8) .5,6, . .6
: . :
. , .
: . .3, .4-6 (. ),
.

1. ,
.
2. ,
, .

, () .
30
- 116 -

() Alemana

1 2 1 , .

2 3 1
3 4.1 2 .

4 2 1 .
5 3 1
6 4.1 2 .

1 2 1 . .

2 3 1 .

3 4.1 2 , 1/8
4 2 1 . 3/4
/, 31


5 3 1 . , 3/8

6 4.1 2 .
: .1: . .3: ,
. .6: .
: , -, -, , ,
, -.
: , -, -, , , -
, -, -.

()
: .1,2,3; 1/2 .4; 1/2
.5,6. , ,
, : 1: . 2: .
.
: , .
: .

, ()
, .5
. 1/8 .4. 3/4 .4. 1/4
.5. .6 .
: .
: .

(F)


31
- 117 -

: .1,2,3; 5/8 .4; 3/8 .5,6.


, .6, ,
.
: , .
: -, - -
, . , ,
.
- 118 -

- () Open Hip Twist

1 2 1 , .

2 3 1 .

3 4.1 2 .


4 2 1 .

5 3 1 .

6 4.1 2 . 1/8

1 2 1 .

2 3 1 .

3 4.1 2 . ,

4 2 1 . 1/4 32

5 3 1 . 3/8

6 4.1 2 . 1/4

: . .3: . .6:
.
: , . ,
: , -, -, .
: , , , . .5,6
3/8 ( 5/8), , : . .5,6
3/8 , , : , -, .
: .1-3 .

1. .1,2,3 -
.3.
2. . 2 .

-, ()
- , , .5,
.
1/4 .5,6, 3/4 .5,6,

32
.
- 119 -

.5. .6, .
.
- 120 -

() Opening out to Right and Left

1 2 1 , .

2 3 1
3 4.1 2 .

4 2 1 .

5 3 1
6 4.1 2 .

1 2 1 . 1/4
33

2 3 1 .

3 4.1 2 . 1/4

4 2 1 . 1/4 *

5 3 1 .

6 4.1 2 . 1/4

: .1: , . .3:
. .6: .
: , , -, , -
.
: -, , -,
-.

33
.
- 121 -

() Spiral

1 2 1 .
2 3 1
3 4.1 2 .
4 2 1 .
5 3 1 . 1/8
6 4.1 2 .

1 2 1 . 1/2 34
2 3 1 . , 1/4
.2,3. 3/4
2-

3 4.1 2 4, / , .3
35 4.
1, ,
.

4 2 1 . 1/8
5 3 1 . 3/8

6 4.1 2 . 1/8

: .1: , . .3: ,
1, . .4: . .6:
.
: , , , , -
, , -. .4-6 .3
, .3
.
: .1-3 .
, -, . .1-3 : ,
.

, ()
,
.3-6, , . : 7/8
.3; 1/8 .4; 3/8 .5; 1/4 .6. 1/8 .6.
: .
: , , , .
3/8 ( 5/8), .5,6, : .

, ()

34
.
35
.
- 122 -

, .3-
5, , . 3/4 .5,6,
.5. 1/4 .5,6.
.6, .
: .
: .
- 123 -

() Curl

1 2 1 , .

2 3 1 .

3 4.1 2 .

4 2 1 .

5 3 1 .

6 4.1 2 . 1/8

1 2 1 .

2 3 1 .

3 4.1 2 , . 5/8
,


4 2 1 . 1/8

5 3 1 . 3/8

6 4.1 2 . 1/4

: .1: . .3: ,
, . .4: .
.6: .
: , , , ,
-, -, .
: , , , .
3/8 ( 5/8) .5,6, , : . .3
. 3/8 .5,6, , :
, -, , .1-3
.

. 2 .

, ()
,
.5, , . 3/4 .5,6,
.5. 1/4 .5,6.
.6, . .
- 124 -

() (F) Fallaway

1 2 1 . 1/4
2 3 1 .

3 4.1 2 .

1 2 1 . 1/4 36
2 3 1 .

3 4.1 2 .

: .1: , , .
.3 .
: .1-3 . .1-3 . .1-3 .
: , ( ) .

.1-3 , .1-3 3/4


36

5/8 , . .1 , .2 .
- 125 -

(F) Cuban Rocks

1 2 1
2 3 1
3 4.1 2

1 2 1
2 3 1
3 4.1 2

: .1: . .2: . .3:


, .
: .
: - 37, 38 .

1. ,
.
2. 2 3 4.1.
, . 2
.

.
37

1/2 ( ) .
38

.
- 126 -

- (F) Rope spinning

1 1 ( )
, .
,
:
1 2 1 .

2 3 1
3 4.1 2 .

4 2 1 .

5 3 1
6 4.1 2 .

1 1
, .
.
( ). :
1 2 1 .

2 3 1 . 39

3 4.1 2 .

4 2 1 .

5 3 1 .

6 4.1 2 .

: : , .1,2. .4,5.
: .
: .1: , . .3:
. .6: .
: , , , -.
: -, , , -,
-, -.

.
39

: , , .
- 127 -

(F) Sliding doors

1-3 1-3
4 2 1 . 1/4
5 3 1
6 4.1 2 .
7 2 1 .
8 3 1
9 4.1 2 .
10 2 1 .
11 3 1
12 4.1 2 .
7-12, ,

1-3 1-3
4 2 1 . 1/8
5 3 1 , . 1/8

6 4.1 2 , .

7 2 1 .
8 3 1 .

9 4.1 2 .
10 2 1 .
11 3 1
12 4.1 2 , .

: .1-9 . .3: , . .4:


, . .6:
. 12: .
: , -, -, , ,
-, .
: , .3 40 , .1-3
, .4 .

.7-9 . .9
( ).

: .1,2 - ; .3; .4; 3/8


40

.5; 1/8 .6. - .


- 128 -

(F) Three Alemanas

1-6 1-6
7 2 1
8 3 1
9 4.1 2
10 - 12 4-6

1-5 1-5
6 4 1 , . 3/8
, .5,6

1 1 1/2

7 2 1 , . 1
,

8 3 1 . 1/2

9 4.1 2
41
10 - 12 4-6

: .1-6: , .6. .7:


, . .9: . .10: ,
. .12: .
: .
: -, , , -, -,
-.

41

- 129 -

(F) Advanced Opening out Movement

.1
- .
--.
: .1-3 -, .7-9
, .1-3 - -.

1 2 1 . 3/8 42

2 3 1 . 1/8

3 4.1 2

, , .1 1/4
, , .

: .1: , . .3: .

, ,
, : .6
, .9 .6
, .

.
42
- 130 -

- (F) Continuous Hip Twist

1-3 1-3 -
4 2 1 . 1/8

5 3 1
6 4.1 2 . 3/8

1-5 1-3 -
4 2 1 . , 1/4 43

5 3 1 . 3/8

6 4.1 2 . 3/8

: .1-3: -. .4: ,
. .6: .
: -.
: -, , , -,
-.

.1-3 .

.
43
- 131 -

- (F) Continuous Circular Hip Twist

1-3 1-3 -
4 2 1 . 1/8

5 3 1 44 1/8
.

6 4.1 2 . 1/8

7 2 1 .5
8 3 1 .6
9 4.1 2 .5
10 - 12 4-6 -

1-3 1-3 -
4 2 1 . , 1/8 45

5 3 1 3/8
,
46

6 4.1 2 .4
7 2 1 .5
8 3 1 .4
9 4.1 2 .5
10 - 12 4-6 -
: .1-3: -. .10-12: -.

: -.
: -.

1. .3,5,7 9 , .
2. .1-3 .
3. .3 .3 .

44
(), .
45
.
46
.
- 132 -


4/4,
.

42/44 .


- , - 34. ,
, (Triple Jive).
. , , 1.5
() ( ).
()
().
:
:


. 1 1 3/4 1/4 1 3/4 1/4 1
:


. 1 1 3/4 1/4 1
, ,
.
, :
1. () ().
2. () (Tap step movement) ().
3. ,
:
:
1. () ( ), 2. (), 3. (), 4.
(), 5. (), 6. ().
.
'' .
'', :
1. () ( ), 2. (), 3. (), 4.
(), 5. (), 6. ().
.
'' () .

-
.
- 133 -


, ,
.
.
. , .1,2 ,
. ,
, .

.
: , , . : ,
, .

, (),
, :
, ,
. , , .
, , .
, .


, , : .3-5
. ... .

()) () Jive Chasse to Left



1 3/4 .
-
2 1/4 . ,

-
3 1 . .

()) () Jive Chasse to Right




1 3/4 .
-
2 1/4 . ,

-
3 1 . .
47

, , 2- .
47
- 134 -

() Basic in Place
( , )

1 1 .

2 1 .

3 3/4

4 1/4

5 1 .

6 3/4

7 1/4

8 1 .

1 1 .

2 1 .

3 3/4

4 1/4

5 1 .

6 3/4

7 1/4

8 1 .

.1-8: .
, .
, .

.
- 135 -

() Basic in Fallaway

1 1 . 1/8
48

2 1 . 1/8
3 3/4
,
4 1/4

5 1 .
6 3/4

7 1/4

8 1 .

1 1 . 1/8 *
2 1 . 1/8
3 3/4
,
4 1/4

5 1 .
6 3/4

7 1/4

8 1 .

.1: , , .5: ,
.8: .
, .
, , .

48
.
- 136 -

() Change of Place Right to Left

1 1 . 1/8
49

2 1 .

3 3/4

4 1/4

5 1 .

6 3/4 1/8 *
7 1/4

8 1 .

1 1 . 1/8 *

2 1 . 1/8

3 3/4
,
4 1/4

5 1 . 5/8

6 3/4 1/8

7 1/4

8 1 .

.1: , , .3: ,
, .4: , .8: .
, , , , .
.3-6 ( ).
, , --.
: .

() Change of Place R to L with


Double Spin

.5-8. ,

.
49
- 137 -

.5 .7. .8,
.
, .6-8, ,
(. .14-16 . ), .
.
- 138 -

() Change of Place Left to Right

1 1 .
2 1 .
3 3/4 3/8

4 1/4

5 1 .

6 3/4

7 1/4

8 1 .

1 1 .
2 1 .
3 3/4 1/2 ,

4 1/4

5 1 . .5
6 3/4 1/8
7 1/4

8 1 .

.1: , .3: ,
, .8: .
, , ,
, --, , (.3-5 ),
.
, , , --.
: .
: , . : .

() Overturned Change of Place L to R


, 1/2
.5, .5 ,
.6-8.
, ,
.
, , ,
. .
: , , --, .
- 139 -

() Link

1 1 .
2 1 .
3 3/4
4 1/4

5 1 .
6 3/4
7 1/4

8 1 .

1 1 .
2 1 .
3 3/4
4 1/4

5 1 .
6 3/4
7 1/4

8 1 .

.1: , .5: , .8: .


, , , ,
--, , .
, ( ), ,
, . .1-5: , ,
. .5 .

.1-5 , , .5
, .
- 140 -

() Change of Hands Behind Back

1 1 .
2 1 .
3 3/4 1/8

4 1/4

5 1 .
6 3/4 3/8

7 1/4

8 1 .

1 1 .
2 1 .
3 3/4
4 1/4

5 1 . 1/8
6 3/4 3/8

7 1/4

8 1 .

.1: , .3: ,
, .5: , .6: , .7: ,
, .8: .
, , , ,
--.
, , --.
- 141 -

() Whip



1 1 3/4
() 50

2 1 .
3 3/4

4 1/4

5 1 .

1 1 . 3/4
*
2 1 .
3 3/4

4 1/4

5 1 .

.1-5: .
.1-5 , .
, ( ), ,
, .

.
50
- 142 -

() () Promenade Walks (Slow)

1 1 . 1/8
51

2 1 .
3 3/4

4 1/4

5 1 .
6 3/4
7 1/4

8 1 .
.3-8

1 1 . 1/8 *
2 1 . 1/8
3 3/4

4 1/4 ,

5 1 ., . 1/4

6 3/4
7 1/4

8 1 .

.1: , , .3: , .8: ..


, , , .
.3-8 , .3-8 , .3-6 ().

.3-8 1/4 .

51
.
- 143 -

() () Promenade Walks (Quick)



1 1 . 1/8
52 53

2 1 .
3 1 . ( .
4 1 . )

5 1 .
6 1 .
.3

1 1 . 1/8
**
2 1 . 1/8
3 1

4 1 , 1/4


5 1 , 1/4


6 1 , 1/4

.1: , , .3: , .6: .


, , , . .3
().
.3-8 , .3-8 .

.3-6 1/4 .

.3,4,5,6 , .
52

.
53
- 144 -

() American Spin

1 1 .
2 1 .
3 3/4

4 1/4
5 1 .
6 3/4

7 1/4

8 1 .

1 1 .
2 1 .
3 3/4

4 1/4

5 1 3/4
6 3/4 1/4
7 1/4

8 1 .

.1: , .5: , .8:


.
, .
.

) : .
) : , , -
-.

.
.
, , , .
- 145 -

() Double Cross Whip

1 1 1 1/4
54

2 1 .

3 1

4 1 .
5 3/4

6 1/4

7 1 .

1 1 . 1 1/4
*
2 1 .
3 1 .

4 1 .
5 3/4

6 1/4

7 1 .

.1-5: .
.1-5 , .
, ( ), ,
, .

.2 ,
.

54
.
- 146 -

() () Curly Whip

1 1 .
2 1 .
3 3/4 1/4
4 1/4
5 1 .

1 1 .
2 1 . 3/4
3 3/4

4 1/4

5 1 , , .5


.1: , , .2: ,
, .3-4: , .5: .
, , .
, , .

: , ,
. , .1 .
- 147 -

() () Throwaway Whip



1 1 3/4
55

2 1 .
3 3|4

4 1|4

5 1 .

1 1 . 3/4 *

2 1 .
3 3/4
4 1/4

5 1 .

.1: , .3: , .5: .


.1-5 , .
, , , --.

.
55
- 148 -

() () Reverse Whip

1 1 . 1/8
56

2 1 . 1/4
3 3/4

4 1/4

5 1 .

6 3/4 . 5/8

7 1/4 .

8 3/4

9 1/4

10 1 .

1 1 . 1/8 *
2 1 . 1/2
3 3/4

4 1/4

5 1 .

6 1 , 5/8

7 1/4 .
8 3/4

9 1/4

10 1 .

.1: , , .3: , .10: .


, , , .
, , ( ),
, .

.5-7 , .

56
.
- 149 -

() Fallaway Throwaway

1 1 . 1/8 57
2 1 . 1/8
3 3/4
4 1/4

5 1 .
6 3/4 1/8

7 1/4

8 1 .

1 1 . 1/8 *
2 1 .
3 3/4 .

4 1/4

5 1 3/8

6 3/4 1/8

7 1/4

8 1 .

: .3-5. : .3-5.
.1: , , .4: ,
.8: .
, , , . .3-8
( ) .
, , , --.

() Overturned Fallaway Throwaway


, 1/2
.5, .5 ,
.6-8. ,
, . , ,
, . .
: , , --, .

57
.
- 150 -

() Ball Change

1 3/4
,
,
, , 15
.
2 1/4
3 1 .

1 3/4
,
,
, , 15
.
2 1/4
3 1 .

.1-3: .
, .
.
, ,
.1,2 , . ,
, - .
, .
- 151 -

- - () Stop and Go

1 1 .
2 1 .
3 3/4

4 1/4

5 1 .
6 3/4 , .

7 1/4 .
8 3/4

9 1/4

10 1 .

1 1 .
2 1 .
3 3/4 1/2 ,
-
4 1/4

5 1 . .5
6 1 .
7 1/4 .
8 3/4 1/2 ,
-
9 1/4

10 1 . .10

.1: , .3: , ,
.5: , , .8: ,
, , .10: .
, , ,
, , .
--, , .
- 152 -

(F) Windmill

1 1 .
2 1 . 1/4
3 3/4
4 1/4

5 1 .
6 3/4 1/8

7 1/4

8 1 .

1 1 .
2 1 . 1/8
3 3/4 .
4 1/4

5 1 3/8

6 3/4 1/8
7 1/4

8 1 .

: .3-5.
: .3-5.
.1: , .3:
, .8: .
, , , . .3-8
( ) .
. : .
: .
- 153 -

(F) Chicken Walks

1 2 . (.

2 2 , ,
58

3 2 , , *

4 2 , , * 59

.5-10 , .3-8 ,

.11-14 .1-4
.15-20 ,

1 2 , :. , 1/2
:/ ,
. , 60


2 2 , :. ,
, :/ ,
,

3 2 , :. ,
, :/ ,
,

4 2 , :. ,
, :/ ,
,

.5-10 , .3-8 ,

.11-14 .1-4
.15-20 ,

, ,
, .4: .
, .
.

, , .
.1-4 .11-14.

58
.
59
1/4 ,
.
60
.
- 154 -

(F) Rolling off the Arm

1 1 .
2 1 .
3 3/4 1/8

4 1/4

5 1 .
6 3/4 1/2

7 1/4 .
8 3/4 1/4

9 1/4

10 1 .

1 1 .
2 1 .
3 3/4 3/8

4 1/4

5 1 .

6 1 . 1/2 , -
7 1/4 ,
, , 1/2
, .7

8 3/4 1/4

9 1/4

10 1 .

.1: , .5:
, .7: , .10: .
, ,

, ,
.

.
- 155 -

(F) Spanish Arms

1 1 .
2 1 .
3 3/4 1/8

4 1/4

5 1 .
6 3/4 1/4 61

7 1/4

8 1 .
9 1 .
10 1 .
11 3/4 1/8

12 1/4

13 1 .
14 3/4 1/4 *

15 1/4

16 1 .

1 1 .
2 1 .
3 3/4 - 3/8
4 1/4 ,

5 1 , 3/8

6 3/4 3/8

7 1/4

8 1 .
9 1 .
10 1 .
11 3/4 - 3/8
12 1/4 ,

13 1 , 3/4

61
.
- 156 -

14 3/4 ,

15 1/4


16 1 .

.1: , .4:
, , .8: , .12:
, , .13: , .16: .
. :
.
, --.
- 157 -


2/4 .

60/62


,
:
1. , , ,
, , 25 .
2. , , ,
, .7-16 ,
, .
.
,
, .
.


1.2.1.2. etc. ,
, 1234, 12345678.
,
.

() Appel
- , , ..
.
., , ( ),
, .
- , .
- 158 -

() Basic movement



1 1 1 1/2 *

2 2 1
3 1 1
4 2 1
5 1 1
6 2 1
7 1 1
8 2 1

1 1 1 1/2 *

2 2 1
3 1 1
4 2 1
5 1 1
6 2 1
7 1 1
8 2 1
* . , .
.

.1-8: .
.
: , .
: , .
- 159 -

() Sur Place

1 1 1 *
2 2 1 * 1/4
3 1 1 * **

4 2 1 *

1 1 1 *
2 2 1 * 1/4
3 1 1 * **

4 2 1 *
*
** , , ,
.

.1-4: .

. (1 ),
. ( ),
.
: ,
.
- 160 -

() Shasse to right




1 1 1 *
2 2 1

3 1 1
4 2 1


1 1 1 *
2 2 1

3 1 1
4 2 1

* 1/4 .

.1-4: .
, , , .
, , , , .
: , .
: .
: .
- 161 -

() Shasse to left

1 1 1 *
2 2 1
3 1 1

4 2 1

1 1 1 *
2 2 1
3 1 1

4 2 1
* 1/4 .

.1-4: .
, .
1. .4
, : , ., , .
: .
: .
- 162 -

() Elevations to Right

, .
:
1. .1,2 , - . .3,4 , ,
.
2. .1,2 , , . .3,4 , - ,
.
3. .1-4 , - , .1-4 ,
, .
4. .1-4 , , . .1-4 , - ,
.
.
.

() Elevations to Left

, .
:
1. .1,2 , - . .3,4 , ,
.
2. .1,2 , , . .3,4 , - ,
.
3. .1-4 , - , .1-4 ,
, .
4. .1-4 , , . .1-4 , - ,
.
.
.
- 163 -

() Huit

1 1 1 .

2 2 1 . 1/8

3 1 1
4 2 1
5 1 1
6 2 1
7 1 1
8 2 1

1 1 1 .

2 2 1 1/4

3 1 1 , .

4 2 1 .

5 1 1 1/4

6 2 1 .

7 1 1 . 1/8
.
8 2 1 .

: .2 3, .5 6. : .
.1: , .3: , .6: , .8:
..
, ,
.
, , , , , ,
, , , .
: , - ).

.3-8 , , .
- 164 -

() Attack




1 1 1 .
2 2 1 . 1/4
3 1 1
4 2 1 .


1 1 1 .
2 2 1 . 1/4
3 1 1
4 2 1 .

: .2-4. : .2-4.
, .
.1: ., .2-4:
.(*)
, , .
, ,
.
: , .
: , .
- 165 -

() Separation

1 1 1 .

2 2 1 .
3 1 1

4 2 1 *
5 1 1
6 2 1
7 1 1
8 2 1 .

1 1 1 .

2 2 1 .

3 1 1
4 2 1 *

5 1 1
6 2 1
7 1 1
8 2 1 .

* , : , , :
, .

: .1,2. .3, .4 .
.5-8, .
.1: ., .3: , .4: .
, .8: ..
, , , .
, , .
: .
: .
- 166 -

() Sixteen



1 1 1 .

2 2 1 . 1/8
3 1 1 .

4 2 1 . . 3/8

5 1 1 , - .

6 2 1 .

7 1 1 . 1/4

8 2 1
9-16 , .1-8 , .1,2

1 1 1 .

2 2 1 , . 1/8
3 1 1 .

4 2 1 . 1/8
5 1 1 , - .

6 2 1 .
7 1 1 3/8

8 2 1 .

9-16 , .1-8

: .4,5,10 11, .7,8,13 14.


: .4,5.
.1: , .2: , .4: , .8: .
.
, , , , .
, , , , , ( ),
, .
: , .
: , .8: , .
- 167 -

() Twist turn

1 1 1 .

2 2 1 . 1/8
3 1 1 .

4 2 1 . . 3/8

5 1 1

6 2 1 , : 3/4
()
:,
.
7 1 1 , :.
,

8 2 1 .

1 1 1 .

2 2 1 , . 1/8
3 1 1 .

4 2 1 . 1/8
5 1 1 , .

6 2 1 1/4

7 1 1 3/4

8 2 1 . 1/8

: .4,5.
: .4,5.
.1: , .2: , .4: , .8: .
, , , , .
, , , , , ,
, , , .
: .
: .
( .6,7 1/4 ). .
- 168 -

() Promenade



1 1 1 .
2 2 1 . 1/8
3 1 1 .

4 2 1 . . 3/8

5 1 1 , .

6 2 1 .
7 1 1 . 1/4
8 2 1 .

1 1 1 .
2 2 1 . 1/8
3 1 1 .

4 2 1 . 1/8
5 1 1 , .

6 2 1 . 1/4
7 1 1
8 2 1 .

: .4,5.
: .4,5.
.1: , .2: , .4: ., .8: .
, , , , .
, , , , , ( ),
, , .
: , .
: , .8: , .
- 169 -

() Promenade to counter promenade

1 1 1 .

2 2 1 . 1/8
3 1 1 .

4 2 1 . 1/4

5 1 1 . . 1/4

6 2 1 .

7 1 1 . 1/8
8 2 1 . 1/8

1 1 1 .

2 2 1 . 1/8
3 1 1 .

4 2 1 .
5 1 1 .
6 2 1 .

7 1 1 . 1/4

8 2 1 . 1/4

: .4,5,6.
: .4,5,6.
.1: , .2: , .5: , .8: .
, , , , .

() , ,
U, , , , , .
: , , .
: , .5: , ,
.
: , .5: , , .
()
, ..
. :
: 1/8 .2, 3/4 .4,5, 1/8 .7,8.
: 1/8 .2, 1/4 .4,5, 5/8 .7,8.
.6 , . , .
: , , , .
- 170 -
- 171 -

( ) () Promenade close




1 1 1 .

2 2 1 . 1/8

3 1 1
4 2 1

1 1 1 .

2 2 1 . 1/8

3 1 1
4 2 1

.1: , .2: , .4: ..


, , ,
, , .
) : , , ,
, , , , , .
) : , , , , ,
, , , , ,
.
:
: , .
: , .
- 172 -

() Grand circle

1 1 1 . .1
.

2 2 1 1/8

3 1 1 - .
4 2 1 ,
5 1 1 . 3/8
, ,
6 2 1 .

7 1 1 .

8 2 1 . 1/8

1 1 1 .

2 2 1 1/2
3 1 1
4 2 1
5 1 1
6 2 1
7 1 1 .

8 2 1 . 1/8

: .2,3,4,5 6.
: .
.1: , .8: .
, ,
.
, , , , , ,
, , , , ,
.
:
: , .
: , .
- 173 -

() La passe



1 - 5 , .1 - 5
6 2 1 . 1/4

7 1 1 ..
*
8 2 1 - -
9 1 1 - -
10 2 1 .*
11 1 1 - -
12 2 1 - -
13 1 1 .*
14 2 1 - -
15 1 1 - -
16 2 1 .


1 - 5 , .1 - 5
6 2 1 .
7 1 1 3/8

8 2 1 / .

9 1 1 .
10 2 1 1/4

11 1 1 ,. .

12 2 1 .

13 1 1 , 1/4

14 2 1 / .

15 1 1 . -
.
16 2 1 . 1/8

: .4,5.
: .4,5.
.1,2 4: , .8: , .11: , .14: , .16:
.
, , , , .
, , , , , ,
, .
: , .
- 174 -

: , .8: , .11: , .14:


, .
- 175 -

() Banderillas

1 1 1
2 2 1
3 1 1
4 2 1
5 1 1 .
6 2 1 ,

7 1 1
8 2 1
9 1 1 .
10 2 1 .

11 1 1 ,

12 2 1 1/2
,
13 1 1
14 2 1
15 1 1
16 2 1

1 1 1
2 2 1
3 1 1
4 2 1
5 1 1 .
6 2 1
7 1 1
8 2 1 .
9 1 1 .
10 2 1 . 1/8

11 1 1 5/8

12 2 1
13 1 1
14 2 1
15 1 1
16 2 1
.1: - , ,
- . , , ( ).
, (*). .8: ,
, , . ,
, ( ). . .11: , .12-15:
, .16: .
- 176 -

, , , .

, .
, , , , ,
, , , , .
: , .
: , .
* .
.
- 177 -

() Syncopated separation

1 - 4 , .1 - 4
5 1 1 ,
*
6 2 1 , -
*
7 1 1 ,
*
8 2 3/4 ,
*
9 1/4 .

10 1 3/4 / ,

11 1/4 .

12 2 1 / ,

13 1/2 , . 1/4

14 1/2

15 1 .

16 1 1 , , 3/8

17 2 1
18 1 1 : .18,
.

19 2 1 , .

1 - 4 , .1 - 4
5 1 1 , ,
*
6 2 1 , , ,
*
7 1 1 ,
*
8 2 3/4 ,
*
9 1/4 .

10 1 3/4 / ,

11 1/4 .

- 178 -

12 2 1 / ,

13 1/2 1/4

14 1/2 . .

15 1 ,

16 1 1 . 3/8

17 2 1

18 1 1
19 2 1 .

*
: .10,16,17,18. .12.
: .10, .12.
.1-4: , .15: , .16: , .19: .
, , , .
.2,
. .
: , .
: , .
- 179 -

() Fallaway whisk

1 1 1 .

2 2 1 .
3 1 1 . 1/8

4 2 1 .

1 1 1 .

2 2 1 .

3 1 1 . 1/8

4 2 1 .

.1: , .4: .
, , , .
, , , .
: , .
: , .
- 180 -

() Spanish line



1 1 1 . -

2 2 1 . 1/2 *

3 1 1 , .

4 2 1
.
.

5 1 1 . 3/4 *

6 2 1 .

7 1 1 , .

8 2 1
.
.


1 1 1 . -

2 2 1 . 1/2 *

3 1 1 , .

4 2 1
.
.

5 1 1 . 3/4 *

6 2 1 .

7 1 1 , .

8 2 1
.
.

* .

.1: , .2: , .3: , .4:


, .8: .
- 181 -

, , , ,
, .
, .
.4 8.
: , .4: ,
.
- 182 -

(F) Twists

1 1 1 .

2 2 1 . 1/8
3 1 1 .
4 2 1 . 3/8

5 1/2

6 1/2 , :. 1/2
.
:.
.
7 1 . *
8 1 . 1/2


9 1/2

10 1/2 , :. 1/2
.
:.
.
11 1 . *
12 1 . 1/2


13 1/2

14 1/2 , :. 3/8
.
:.
.
15 1 .

1 1 1 .

2 2 1 . 1/8
3 1 1 .
4 2 1 .
5 1/2 , 1/8

6 1/2 1/2
7 1 .

8 1 . 3/8

- 183 -

9 1/2 , 1/8

10 1/2 1/2
11 1 .

12 1 . 3/8

13 1/2 , 1/8

14 1/2 1/4
15 1 . 1/8

* , .
: .4,5,8,9,12 13.
: .4,5,8,9,12 13.
.1: , .2: , .4: , .7: ,
, .8: , .11: , , .12: , .15: .
, , , , .
, ,
.
: , ,
.
: , .
: , .
- 184 -

(F) Shasse Cape



1 1 1 . 1/2

2 2 1 .

3 1 1 .

4 1/2 . ,
-
5 1/2 . ,
.
6 1
7 1 , 1/2
8 1
9 1/2 . ,
-
10 1/2 . ,
.
11 1
12 1 , 1/2
13 1
14 1/2 . ,
-
15 1/2 . ,
.
16 1
17 2 1 1/4
18 1 1 .

19 2 1/2 - -
20 1/4 - -
21 1/4 .

22 1 1 * 1/8
.
23 2.1 2 -
24 2 1 . 3/8

* , ,
, .
.
, , ,
() ().
, .
- 185 -

(F) Shasse Cape ()


1 1 1 . 3/4

2 2 1 .
3 1 1 .

4 1/2 . ,

5 1/2 -

6 1/2 , :. .
1/2 . -
:/ .
7 1 . 1/8
8 1 . 7/8
,

9 1/2 . ,

10 1/2 -

11 1/2 , :. .
1/2 . -
:/ .
12 1 . 1/8
13 1 . 7/8
,

14 1/2 . ,

15 1/2 -

16 1/2 , :. .
1/2 . -
:/ .
17 2 1 . 2
18 1 1 , .
,
.
19 2 1/2 .

20 1/4 .

21 1/4 .

22 1 1 1/8
.
23 2.1 2 -
- 186 -

24 2 1 . 3/8

.1: , .4: , .9: , .14: , .18: ,


.21: , .22: , .24: .
, , , , , ,
, .
, , , .
: , .22 , .
: , .22 , .

.1 .2,3, .4
. .3 .
- 187 -

(F) Travelling Spins From PP



1 1 1 .
2 2 1 . 1/8
3 1 1 .

4 2 1 .
5 1 1 .

6 2 1 .
7 1 1 .

8 2 1 .

1 1 1 .
2 2 1 . 1/4
3 1 1 , 1

, -
4 2 1 .
-
5 1 1 , 1

6 2 1 .
7 1 1 , 7/8

8 2 1 .

.1: , .2: , , ,
, .8: .
, , , , .
, .
: , .
: , .

, ,
, , , .4, 1212.
, .4, , , , , ,
, , .
- 188 -

(F) Travelling Spins From CPP

1 - 6 .1-6 ,
7 1 1 . 1/8
8 2 1 . 1/8
9 1 1 .

10 2 1 .
11 1 1 .

12 2 1 .

1 - 6 .1-6
7 1 1 , 7/8

, -
8 2 1 .
-
9 1 1 , 1


10 2 1 .
11 1 1 , 7/8


12 2 1 .

.1,2 5: , .7: , .8:


, , .12: .
.
, .
( .1)
: , .5: , .
: , .5: , .

, ,
, , , .6, 121212.
. , .7, , , ,
, , , , .
- 189 -

(F) Flamenco Taps


,
.
.
, , ,
.

1 1 1 .
2 2 1/2 ,
, ,
, -
3 1/2 ,
, ,
,
4 1 1 , , .

5 2 1 , , *

1 1 1 .
2 2 1/2 ,
, ,
, -
3 1/2 ,
, ,
,
4 1 1 , , .

5 2 1 , , *

.1-5: , .
.
.
: .

, .
- 190 -


,
.
, , .
, .
:

1 () One Beat Hesitation


, .

2 () Syncopated Sur Place


, , .
1212.
.
, .

3 () Syncopated Chasse




1 1 1 . 1/4
2 2 1/2
3 & 1/2

4 1 1
5 2 1 .


1 - 5
* , - .

: .2-5.
: .2-5.
: .1,
.
.1: , .2-5:
.(*)
, , (
), , .
, .
: .

.2 3/4 , .3 - 1/4 .
- 191 -

4 (F) Left Foot Variation



1 1 1 .

2 2 1 .

3 1 1 , .

4 2 3/4 . ,


5 a 1/4 .
6 1 1 . ,


7 2 1 .

8 1 1
9 2 1

1 - 9

: .6. : .6.
.7-9.
.1: , .6: , .9: .
, , (
), , , .
, , , .
: .

.1,2 .
- 192 -

5 (F) Coup de Pique


- , , ,
, .
, .
, .
, , ,
, .
, , .
: .1-5
. .
, , :
) .
) .
) .
) .
.
) (F) Coup de Pique Changing from LF to RF



1 1 1 . 1/4
2 2 1 / ,


3 1 1 1/4


4 2 1 . 1/4

5 a 1 1/4


6 1 1 .


1 - 6

.1: , , .3: , .4:


, .5: , .6: .
, ( ),
.
.1,2 .
: .
- 193 -

) (F) Coup de Pique Changing from RF to LF



1 1 1 .
2 2 1 . 1/4
3 1 1 / ,


4 2 1 1/4


5 a 1 . 1/4

6 1 1 1/4



1 - 6

.1: , .2: , .4: , .5: , .6:


.
, ( ),
.
,
.
: .

) (F) Coup de Pique Couplet


.
, , . ,
, , .
.
.
, ( ),
.
. , ,
.
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