Questions and Answers for Ballroom Examinations -Waltz

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WALTZ
QUESTIONS FOR ASSOCIATES,　MEMBERS AND FELLOWS

Q1. Dance the Basic amalgamation of the Waltz.

A1. This is always asked. Dance :— Natural Turn, Closed Change. Reverse Turn. Closed Change. Watch the alignment very carefully and be sure that the 4th step of each turn is taken down the LOD.

Q2. What is the Time and Tempo of the Waltz? Which beat is accented?

A2. Time 3/4. Tempo 31. The ﬁrst beat is accented.

Q3. What is the normal rise in the Waltz?

A3. Commence to rise at e/o 1, continue to rise on. 2 and 3. (With the addition. of “No foot rise” on inside turns.)

Q4. Which Basic ﬁgures have unusual Waltz rise?

A4. Hesitation Change; Spin Turn; Double Reverse Spin; Reverse Corte. Backward Passing Change. Syncopated Chasse.

Q5. Which Basic ﬁgures have not normal Sway?

A5. Spin Turn; Double Reverse Spin. (Note. It is easy to remember that there is no sway on any ﬁgure—or part of ﬁgure—where the word “Spin” occurs). Syncopated Chasse.

Q6. Give the alignment of the Natural Turn. Man.

A6. 1. Facing D.W.; 2,, Backing D.C.; 3, Backing L.O.D.; 4-,, Backing L.O.D..; 5, Pointing DC; 6, Facing D.C.

Q7. Give the amount of turn in Reverse Turn. Lady.

A7. 3/8 between 1 and 2, body tums less. Body completes the turn on 3. 1/4 between 4 and 5; 1/38 between 5 and ‘6.

Q8. Give the Rise and Fall in the Reverse Turn as Man.

A8. Commence to rise at e/o 1; continue to rise on 2 and 3; lower at e/o 3. Commence to rise at e/o 4; no foot rise; continue to rise on 5 and 6. Lower at the e/o 6.

Q9. When the 2nd step is” in position in the Natural Turn; is the weight taken entirely on to that step?

A9. No. Some weight is retained on the R.F. There should be pressure on the Toe of R.F. as it closes for 3.

Q10. What are the differences between the 2nd and 5th Steps of the Natural Turn? Man.

A10. 2nd step is wider than 5th. 2nd step moves across L.O.D. and 5th step is on the same L.O.D. Man continues to turn on 2nd step as 3rd step closes. 5th step is placed with the Toe pointing to the ﬁnishing position. There is no foot swivel on it.

Q11. What can precede a Natural Turn?

A11. L.F. Closed Change; A Natural Turn at a corner; ended diag. to wall of the new L.O.D.;
Reverse Corte. Syncopated Chasse. (M) Telemark; Outside Spin; Outside Change; Turning Lock.

Q 12. What can precede a Reverse Turn?

A12. R.F. Closed Change; Hesitation Change; Double Reverse Spin; commenced and ended D.C.; Underturned Spin (or Impetus) followed by 4; 5 ; 6 of Reverse Turn ended D.C. (M) Wing. Cross Hesitation taken after an Open Impetus (not good).

Q13. Give the Foot Positions of a L.F. Closed Change.

A13. 1; LP. forward; 2; R.F. to side and slightly forward; 3; L.F. closes to R.F.

Q14. Is C.B.M. used in a Closed Change?

A14. Yes; but very slight.

Q15. Name the Basic ﬁgures which change you from Natural to Reverse.

A15. Closed Change; Backward Passing Change; Spin Turn; Hesitation Change.

Q16. Which figures change you from Reverse to Natural?

A16. Closed Change; Backward Passing Change; Reverse Corte.

Q17. On which ﬁgures in the Waltz is a Hesitation used?

A17. Hesitation Change; Reverse Corte (Man)—Some examiners think that Double Reverse Spin (Man) should be mentioned. (M) Cross Hesitation; Drag Hesitation; Wing.

Q18. What is the difference between the Hesitation in the Reverse Corte and the Hesitation in the Hesitation Change?

A18. Answer usually required is that the former is a two beat and the latter a one beat Hesitation. Corte has a Rise on the Hesitation.

Q19. Are you still swaying to the R. when the feet are closed on the ‘3rd step of a Natural Turn?

A19. Yes. Sway is lost gradually as L.F. commences to move back on 4.

Q20. When the feet are closed on 6 of the Natural Turn (Man) what happens to the feet and body as the 1st step of a Closed Change is taken?

A20. L. Heel lowers lightly and the body immediately commences to move forward. Knees relax very slightly. (Sitting down must be avoided.)

Q21. What can precede a Reverse Corte?

A21. 1, 2, 3 of Reverse Turn; Spin Turn; Backward Passing Change (Natural to Reverse). Impetus Turn can be used.

Q22. Show and explain the various alignments that can be used on a Reverse Corte.

A22. From backing L.0.D.:—(1) 3/8 on Corte, No Turn on 4, 5, 6. (2) 1/2 on Corte, 1/8 to R. on 4, 5′, 6. (3) 5/8 on Corte, 1/4 R. on 4, 5, 6. From backing D.C. after a Spin Turn:—(4) 1/4 on Corte and no turn on 4, 5, 6. These are the most important alignments. Another good one is an underturned Spin (or an Impetus) to back D.C. against the L.0.D. and then make a 1/2 turn on the Corte to back diag. to wall. Follow with a Back Lock, or for Associates, follow with 4, 5, 6 of Natural Turn making a 1/4 turn to R. to face D.C.

Q23. Give the Footwork ofthe Corte as Man.

A23. 1, TH; 2, H. (L.F.) then Toes both feet; 3, TH. (RF); 4, T.H.; 5, T._;, 6, TH.

Q24. Would the Footwork be the same ifyou turned on Ball of R.F.?

A24. No. First 2 steps would be: 1, T.H.T.; 2, Toes (Both feet).

Q25. When the Man turns on Ball of RF. is the rise earlier or later?

A25. Theoretically the same, but Man will tend to rise a little earlier.

Q26. What is the technical name for steps 2 and 3 of the Corte (Man)?

A26. A Hesitation. (Not a Toe Pivot or Heel Pivot.)

Q27. What is the technical name for the last 3 steps of a Hes-itation Change as Man?

A27. A Heel Pull.

Q28. Is the Footwork exactly the same as the Heel Pull in Foxtrot?-

A28. The action of Pulling the 5th step back is the same, but as the LP. brushes to R.F. the
Footwork is “LE. of T. (L.F.)” while in the Foxtrot it is “LE. of foot”

Q29. Why is this?

A29. Theory is that the L. knee tends to relax on the one beat hesitation of the Hesitation Change and this brings the L. heel slightly off the ﬂoor.

Q30. Is the position of the Sth step of the Hesitation Change (Lady) the same as the 5th step of the Natural Turn?

A30. No. The 5th step of the Hesitation Change is across the L.0.D.. having made 3/8 of a turn between 4 and 5.

Q31. What causes this difference?

A31. The action of the Man’s Pull Step brings the Lady across the L.0.D. on 5.

Q32. Dance as Lady a Hesitation Change and then. as soon as normally possible. into a. Reverse Corte.

A32. This is easy, but many candidates fail by trying. to go straight into a Corte before dancing 1, 2. 3 of a Reverse Turn.

Q33. On which beat does a Man’s weight change on the last part of a Hesitation Change?-

A33. On the 5th beat is normal reply. Some dancers change it later.

Q34. What is the maximum amount .of turn made on a Natural. Spin Turn?

A34. 1 1/4 turns.

Q35. Give the Foot Positions on 4, 5, 6 of a Spin Turn (Man).

A35. 4, LP. back; 5. R.F. forward in C.B.M.P.; 6. LE to side and slightly back.

Q36. Give the Footwork on 4, 5, 6 as Man—then. Lady.

A36. Man: 4, T.H.T.; 5, H.T.; 6. TH. Lady 4, H.T.; 5. T.; 6. TH.

Q37. Give more detail of Lady’s Footwork on 4. 5. 6.

A37. R.F. moves forward on Ball, then Heel, then ﬂat. She will turn on Ball of RF. with Heel
slightly off the ﬂoor while the LP. is placed back and leftwards with the Ball of foot on the ﬂoor. She will rise higher to Toe of LP. as the R.F. is brought back with the Tee in contact with the ﬂoor to Brush up to LP… when she will be on the Toe of LP. with Toe of R.F. touching the ﬂoor lightly. R.F. then moves diag. forward on the Toes lowering to the Heel and releasing it again as the LP. moves forward. (Note. This detailed description is often asked for when Footwork has been danced incorrectly.)

Q38. When does the R. Heel touch the ﬂoor again after stepping forward on the Heel on 4 of the Spin Turn? (Lady).

A38. At the end of the 6th step.

Q39. What is the difference between the 6th step of Man and Lady?

A39. Man’s 6th step is “side and slightly back.” Lady, “diag. forward.”

Q40. Why is this?

A40. The Lady’s L.F. tends to move away from Man on 5. Stepping diag. forward with R.F. will bring her back to normal position. The Lady’s normal position with her partner, slightly to Man’s R. side, is also a contributory factor. She must tend to step between Man’s feet in order to get a strong movement forward on 7.

Q41. On which beat, or part of beat, .does the Lady brush the R.F. in the Spin? What count could you give it?

A41. The 2nd half of the 5th beat. It could be counted—4, 5 , “and ” 6.

Q42. If used at a corner, how much turn would you make (a) on the complete Spin Turn; (13) between each step on 4, 5, 6 (Man and Lady)?

A42. (a) A complete turn, (b) 3/8 on 4; 1/4 between 5-6 as Man and Lady.

Q43. In which directions could you end the last part of the Reverse Turn when taken after a Spin Turn?

A43. (1) Diag. to wall; (2) Down the L.O.D.; (3) If Spin Turn is underturned along side of room, end facing diag to centre.

Q44. If ended down the L.O.D. what would follow 4, 5, 6 of Reverse Turn?

A44. A Double Reverse Spin; 1, 2, 3 of Reverse Turn and a Backward Passing Change; at comer, .a Closed Change or Whisk danced with a slight turn to L. to end D.W. of new L.O.D. (M) Drag Hesitation, or Open Telemark. (Closed Telemark is possible but not good.)

Q45. In which direction could you commence 1, 2, 3 of the Natural Turn which precedes a Backward Passing Change from Natural to Reverse?

A45. L.O.D., diag. to centre, or diag. to wall. The last one is not good, as the turn is so cramped, and will most likely result in bad alignment on. the actual Backward Passing Change.

Q46. If the Natural Turn is commenced facing the L.O.D., what would precede it?

A46. A L.F. Closed Change danced with a slight turn to the L. A complete Natural Turn danced at a comer, making only 1/4 turn on 4, 5, 6 to end facing the new L.O.D. A Reverse Corte danced with a 1/2 turn on the actual Corte, and then no turn on 4, 5, 6.

Q47. Is it good dancing to commence the Natural Turn into Backward Passing Change in a direction diag. to centre?

A47. Yes. It is possibly the best position as it ensures a ﬂowing movement on the actual Backward Passing Change and a more attractive curve on it.

Q48. What would precede a Natural Backward Passing Change if you commenced 1,2, 3. of the Natural Turn diag. to centre?

A48. A complete Natural Turn along the side of the room, and then into 1, 2, 3 of Natural Turn and the Backward Passing Change. (M) An Outside Spin, taken after an Open Impetus Turn and Cross Hesitation. Make a complete turn on Outside Spin to end D.C. Follow with l, 2, 3 of the Natural Turn. and then the Backward Passing Change making a 1/4 turn on it.

Q49. Name and dance the best entries to the Backward Passing Change from Reverse to Natural.

A49. (1) Spin Turn, followed by 4, 5, 6 of Reverse ended down L.O.D. (2) A Double Reverse Spin ended down L.O.D. (3) Dance a Hesitation Change near a corner. Then dance 1, 2, 3 of Reverse Turn to end backing L.O.D. and follow with the actual Passing Change, curving a quarter turn to end backing the new L.O.D. (M) (4) After a Wing ended down the L.O.D.

Q50. What is the Rise and Fall on the actual Backward Passing Change (Man)?

A50. Commence to rise at 6/0 1 (N.F.R.), continue to rise on 2. Up on 3; Lower at end of 3.

Q51. When the LP. commences to move back for “the 3rd step, is the Toe or Heel of L.F. in contact with the ﬂoor?

A51. The Heel.

Q52. Give the Footwork as Lady.

A52. 4, H.T.; 5, T.; 6, TH.

Q53. Could you follow the Passing Change from Natural to Reverse with any ending other than 4, 5, 6 of the Reverse Turn?

A53. Yes. A Reverse Corte.

Q54. What else, except 4, 5, 6 of Natural Turn, could follow-the Passing Change from Reverse to Natural.

A54. (1) 4, 5, 6 of Spin Turn. (2) 4, 5, 6 of Hesitation Change. (Neither of these is very good). (M) Impetus or Open Impetus.

Q55. Dance a ﬁgure in which two steps are used on one beat.

A55. Double Reverse Spin (Lady) or a Syncopated Chasse. (M) A Backward Lock or Turning
Lock.

Q56. How many steps are there in the Double Reverse Spin—Man and Lady?

A56. Man; 2 actual steps and a Toe Pivot. Lady has 4.

Q57. What is the time value of each step in the Double Reverse Spin (Lady)?

A57. 1st step; 1 beat; 2nd; 1/2 beat; 3rd; 1/2 beat; 4th; 1 beat.

Q58. Give the Rise and Fall in Double Reverse Spin (Man and Lady).

A58. Man: Rise at end of 1; up on 2 and 3; lower at end of 3. Lady: Rise slightly at end of l
(N.F.R.); continue to rise on 2; up on 3 and 4;. lower at end of 4.

Q59. What are the Foot Positions as Lady?

A59. 1; R.F. back; 2, LP. closes to. R.F. (Heel Turn); 3; R.F. to side and slightly back; 4; LP.
crosses in front of R.F.

Q60. In which directions may the Double Reverse Spin be commenced?

A60. (1) Diag. to centre. (2) Down L.O.D. (3) Diag. to wall.

Q61. Give the entries from each position; above.

A61. (1) R.F. Closed Change; Hesitation Change; underturned Spin Turn or an Impetus Turn
followed by 4; 5, 6 of Reverse Turn ended D.C. (M) Wing. (2) Spin Turn followed by 4; 5; 6 of
Reverse Turn ended down L.O.D. Another Double Reverse Spin which has ended down L.O.D. (M) Wing. (3) A Reverse Turn. (M) Cross Hesitation after an Open Telemark (not good).

Q62. What is the most; and the least amount of turn that should be made on a Double Reverse Spin?

A62. Complete turn. Three-quarters of a turn.

Q63. Give the amount of turn between each step as Lady in the Double Reverse Spin (a) commencing DC. and ending D.W.; (b) commencing L.O.D. and ending D.W.; (c) commencing L.O.D. and ending L.O.D.

A63. (a) 3/8 between 1 and 2;. 1/4 between 2 and 3; 1/8 between 3 and 4. (b) 1/2 between 1 and 2; 1/4 between 2 and 3; 1/8 between 3 and 4. (c) 1/2 between 1 and 2; 3/8 between 2 and 3; 1/8 between 3 and 4. (Note. There is always 1/8 between 3 and 4).

Q64. In alignment (c) does the 3rd step move across the L.O.D.?

A64. No. It is on the same L.O.D. as L.F. The fact that body is backing D.W. on this step will result in it being side and slightly back.

Q65. Which ﬁgures may follow a Double Reverse Spin ended (a) down the L.O.D.; (b) diag. to wall?

A65. (a) 1, 2, 3 of Reverse Turn and Backward Passing Change. Another Double Reverse Spin. Whisk at a comer. (M) Open Telemark. Drag Hesitation. (b) L.F. Closed Change. Whisk.

Q66. Is the Lady’s 3rd step of Double Reverse Spin a short step?

A66. No. It is a normal length step.

Q67. Does the Man’s L. knee relax more, or less on 1 of the Double Reverse Spin-than it would on the ﬁrst step of a Reverse Turn?

A67. Less. The turn is quicker and the rise is commenced earlier, therefore there is not time for such a full relaxation. as is given to the ﬁrst step of Reverse Turn.

Q68. Describe the Whisk as a Man.

A68. 1, LP. forward, commencing to turn Lady to RP. at the end of step; 2, RF. to side and slightly forward; 3, Cross L.F. behind RF. in RP.

Q69. Where is C.B.M. used as Man and Lady?

A69. Man has slight C.B.M. on 1. Lady has no C.B.M. (she turns to R.).

Q70. Give the alignment of a Whisk as Lady, “then the amount ofturn.

A70. 1, backing D.W.; 2, pointing DC; 3, facing D.C-. Turn a. 1/4 between 1-2, body turns less. Body completes the turn on 3.

Q71. Should the Lady turn her head to the Right or keep it turned to the Left on a Whisk?

A71. It is a matter of personal expression. Candidates should say which they prefer and give

Q72. What may precede a Whisk?

A72. Reverse Turn. 4, 5, 6 of Reverse Turn taken after a Spin Turn. Double Reverse Spin. (M)
Cross Hesitation (not very good). It could follow a Wing in advanced variations.

Q73. If the Whisk is danced at a corner (normal alignment) will the Man still turn the Lady to PR?

A73. No. The Man will turn to RP.

Q74. When the Whisk is danced at a corner are any alterations made to the Foot Positions of Man and Lady. If so, describe them.

A74. The position of 2nd step is quite different. Man’s 2nd step is: “RF. .diag. fwd, R. shoulder leading.” LﬂdY’S is: “L.F. back, L. shoulder leading.”

Q75. IS the Whisk always commenced with a forward Step?

A75. No. It can be commenced backwards.

Q76. What would precede a Back Whisk?

A76. 1. 2, 3 of a Natural Turn. 3 steps of a Reverse Corte. (M) Cross Hesitation. Drag Hesitation. Backward Lock.

Q77. What can follow a Whisk?

A77. Syncopated Chasse. (M) The Wing. Natural Drag Hesitation (not standardised). Cross
Hesitation (not very good). Advanced endings would be Double Whisk, Syncopated Whisk,
Fallaway, The Weave, etc.

QUESTIONS FOR MEMBERS AND FELLOWS ONLY

Q78. Dance an Open Telemark Cross Hesitation and Outside Spin and say the Sway.

A78. Note. Watch alignments and positions of feet very carefully when dancing an amalgamation of this type. Your mistakes will prompt the following questions. Sway:— S.L.S. No more Sway.

Q79. What other ﬁgures could precede an Outside Spin?

A79. Reverse Corte; Open Impetus to Cross Hesitation; Drag Hesitation; Backward Lock.

Q80. Explain the C.B.M. and C.B.M.P. in Outside Spin—Man and Lady.

A80. Man: 1st and 2nd steps are taken in C.B.M.P. and C.B.M. is used on both. Lady: 1st step” is taken in C.B.M.P. and C.B.M. is used on it. The 3rd step is taken normally; but turns into C.B.M.P.

Q81. On which part of 3rd beat does Lady turn into C.B.M.P.?

A81. On the latter part of the beat.

Q82. Which steps are taken outside partner by Man and Lady in an Outside Spin and where do they get in line.

A82. Lady steps outside on. 1 and Man on 2. Man and Lady will get in line at the end of 2.

Q83. Give the amount of turn between each step as Man and Lady.

A83. Man: 3/8 on 1; 3/8 between 2 and 3; 1/4 on 3. Lady: 5/8 between 1 and 2; 1/4 between 2 .and 3; 1/8 on 3.

Q84. Is Rise and Fall the same for Man and Lady?

A84. No. Man rises at end of 2; up for 3; lower at end of 3. Lady commences ”to rise at end of 1; continues to rise on 2; up on 3; lower at end of 3.

Q85. In which other ﬁgure in the Waltz does the Lady get a. similar type of rise to that used in the Outside Spin?

A85. In the Backward Passing Change; the Wing and the Outside Change.

Q86. Why is the Lady’s rise on the Outside Spin and Wing different from the nornial Waltz rise of “Continue to rise on 2 and 3?

A86. Because the 3rd step is a Forward step. It is only possible to continue to rise on. 3 when the feet are together; or when an “Up” step is to follow.

Q87. Is the first step of the Outside Spin (Man) a Pivot, and is it the same as the ﬁrst step of a Natural Spin Turn?-

A87. Yes, it is a pivot, but it is shorter than 1 of a- Natural Spin, weight is held more forward, the Left Toe is turned in, and the Lady is outside.

Q88. Is the Outside Spin always danced making a. complete turn?

A88. No.

Q89. Does the Man always step forward with. R.F. after an Outside Spin?

A89. No. If the Outside Spin is underturned he will step back on R.F. It is possible to step to side R.F. for a Hover movement.

Q90. Show an entry into an Outside Spin on which (a) 3/4 turn and (b) a 1/2 turn is made.

A90. (a) Drag Hesitation (or Backward Lock) then L.F. back into an Outside Spin making 3/8 turn to end backing diag. to centre. 03) Open Impetus Turn. Cross Hesitation. ended facing diag. to centre. into an Outside Spin making a 1/2 turn to back diag. to centre. Follow with 4. 5, 6 of Reverse Turn or a Turning Lock.

Q91. What is the position of the 3rd step of an underturned Outside Spin as Man and Lady?

A91. Man: L.F. to side and slightly back. Lady: R.F. diagonally forward. The position is ”the same as the last step of a Natural Spin Turn.

Q92. Could you make a complete turn on the Outside Spin if taken after an Open Impetus and Cross Hesitation? What would follow?

A92. Yes. End facing DO. and follow with a R.F. Closed Change: or 1., 2, ‘3 of a Natural. Turn to back centre, and a Backward Passing Change.

Q93. Dance and state the Foot Position and alignment of the 3rd ”step ofan Open Telemark when a Wing is to follow. Man and Lady.

A93. Man: L.F. to side and slightly back in RP. L.F. pointing diag. to wall. Body facing wall. Lady: R.F. forward and slightly to R. in RR, R. shoulder leading. R.F. pointing to L.O.D. Body turned slightly to L.

Q94. Give the same details ofthe 3rd step of an open Telemark when a Cross. Hesitation follows.

A94. Man: L.F. to side and slightly forward in RP. Pointing D.W., Body facing wall. Lady: R.F.
diag. forward in RR, R. shoulder leading. R.F. pointing to L.O.D.. Body turned slightly to L.

Q95. Give the same details of 3rd step when an Open Natural Turn follows.

A95. Man: L.F. sideways in RP. Body backing D.C—L.F. will be facing D.W. against the L.O.D.