Waltz Steps

---

Oh no, not a waltz!  Let's sit this one out: I've got the wrong number of legs for it.  I can't waltz — or I don't want to waltz; it makes the backs of my legs ache.

I'll grant you that some Folk dances in waltz time aren't much good; I don't think ladies chains and right & left throughs work all that well, and “Streets of Laredo” is possibly the worst dance I've ever done — even Pat Shaw had his failures.  But there are some beautiful dances in waltz time, and I've become much more keen on waltz dances once I discovered I could waltz after all!  The other aspect of course is a free waltz — no caller, just you and your partner.  If you go to a contra dance or an English (Playford-style) dance in the States they always finish with a waltz; at some places the dancers demand a waltz at the end of the first half too, and they're all out there doing it and loving it.  They'd be appalled at the idea of finishing with a polka the way we often (used to) do in England!

  I get people into a circle, with a partner, and then I stand in the middle while explaining this, turning round every so often so that I don't always have my back to the same people.  And I do it without a microphone — that makes it more likely that people will actually listen!

When people say “I can't waltz”, they're probably thinking back to their ballroom dancing days.  But a ballroom waltz is quite a different animal from a country dance waltz.  For one thing, it's a lot slower.  For another, you spend almost the whole time in ballroom position.  But the crucial difference is that a ballroom waltz is made up of three steps.  The man steps forward, putting his right leg between his partner's legs, then he takes his left leg forward and to the side, then he closes right to left.  In the next bar he steps backward on his left, and it's the lady's turn to step forward on the right.

The folk waltz is quite different; it's sometimes described as a “one-step waltz”.  You still do three steps, but the second and third are pretty much on the spot; the first step is where you do most of the travelling.  It really isn't forward-side-together; it's step-two-three, step-two-three.  If you concentrate on the first step and let the other two just happen, you'll find the whole thing much easier.  Turn your shoulders and your feet will follow — it sounds silly, but it's absolutely true.

But make sure you actually do all three steps, even if 2 and 3 are just a transfer of weight.  I've seen people (men actually) who instead of 1-2-3, 1-2-3 do right-left-pause, right-left-pause — that's not a waltz, it's a limp.  And other men who are obviously thinking: “I hate waltz dances — I hate everything about them — I will not walk in time with the music — I'll pretend it's a reel instead.”

I go down onto a flat foot for beat 1, and up on the toes for beats 2 and 3, but I don't know whether a real expert would agree with that or would be on the toes the whole time.

  So let's try that to music.  Four waltz steps for each of these moves: Circle left.  Circle right.  In to the middle.  Back out.  Circle left.  Right-hand turn your partner.  Left-hand turn your corner.  Two-hand turn your partner.  That should be 32 bars — once through the tune.

A lot of waltz dances — “Nan's Waltz”, “Waltz Country Dance”, “Maggie's Waltz Square”, “Circle Waltz” “The Ely Waltz” — have various figures and then finish with waltzing round in a ballroom hold.  If you happen to dance Waltz Cotillion there's a great deal of that.  And at the end of an evening the band may play for a free waltz.  This is where the men really panic, because they're supposed to be dancing with someone.  So here are four bits of advice, chaps:

• Firstly, hold your partner close: you can't waltz with someone if you're keeping her at arm's length and trying to pretend she's not with you.
• Secondly, don't think of the first step as being out to the side; think of it as stepping round your partner.  Usually the man starts with his left foot and the lady with her right.  So in the first bar the man is moving round the lady, while she's not travelling much at all; on the second bar the lady does the moving.  Whichever sex you are, make sure that the travelling is done on the left foot, and that you're going round your partner.  Some women believe they should be going backwards, but that's not true — in a turning waltz no-one is going backwards.  Either you're going round your partner or you're turning on the spot.
• Thirdly, in a free waltz you don't have to turn all the time — it's just you and your partner so the choice is yours.  You could do some steps in a straight line, with the man going forwards and the woman backwards, and then as many steps as you need to turn all the way, and repeat this as often as you like.
• And finally, give a firm hold with your right hand on her back and lead her, for heaven's sake.  That's why the ballroom position is the way it is.  It's the man's right hand that controls the woman, not the one that's sticking out in front — you can let go with your left hand and still waltz well.  It's much harder for the woman to control things with the hand on your shoulder.  And she won't mind which foot you start on or which way you go, provided you show her that you know what you're going to do.

For years I used to tell people I was no good at waltzing.  I would call “Circle Waltz” at a Barn Dance and when it came to the final waltz around I'd say “If you can't waltz, just bluff like I do”.  But then several women in a short period told me I was a good waltzer, and I began to feel much happier about it.  I can't compete with some of the men in the States though — they are just amazing.

  For waltzing round, practice setting on the spot.  Now rotate as you do it.  Now with a partner.

Some waltz dances which I particularly like are:

Title	Author	Collection
The Bonny Cuckoo	Gail Ticknor	Gail's Maggots
Margaret's Waltz	Pat Shaw	Pat Shaw Collection
Waterfall Waltz	Pat Shaw	Pat Shaw Collection
Miss de Jersey's Memorial	Pat Shaw	Pat Shaw Collection
Turn of the Tide	Ron Coxall	Roles
Circle Waltz	Traditional	CDM2
When Laura Smiles	Orly Krasner	ED&S
Alice	Philippe Callens	Antwerp Antics
An Enchanted Place	Antony Heywood	Dutch Crossing
Emma's Waltz	Colin Hume	This website

Orly Krasner read this and was surprised (but pleased) that I'd put “When Laura Smiles” in this list, since she sees it as a three-time dance but not a waltz.  I don't think it's always black and white; there are dances which are certainly waltzes and dances which are certainly not, but there's a grey area in the middle.  My dance “Elizabeth” is popular in the States as a waltz dance, but when I wrote and tried out the dance it never occurred to me that anyone would do it at waltz speed!

Gene Murrow points out that the travelling waltz needs to go at a slower tempo than the ballroom position free waltz, and bands in both England and America play too fast, causing people to take little mincing steps or give up altogether.  The correct tempo makes dances like “Margaret's Waltz” work (ladies chain and all), and has a lot to do with dancers' enjoyment of a waltz country dance.

Brad Foster and many other leaders in the States teach that a waltz is three equal steps, which I totally disagree with, as did Wendy Crouch.  I said as much on the ECD List in 2020 when we were discussing favourite neglected dances and Victoria Bestock made the point that in White Wheat many people cannot manage four steps for the corners crossing and everyone is getting into the stars a bar early.  Bruce Hamilton agreed.

Lucy Weinstein said:

In the New York dance community, we were taught, as Colin says, to do the waltz step as long-short-short.  Fried Herman (and her disciples) made a big point about the difference between a waltz step, above, and a triple step (3 equal steps).  I can still hear Fried's voice admonishing us if we dared to challenge her instructions …

Graham Christian said:

Modern American dancers have the disadvantage of making big strides.  This is helpful in certain dances, but not in others.  The message we need to get across is not “get there as quickly as possible and show off how fast you can move,” but “listen to the musical phrase.”  Fried was very firm that a waltz is long-short-short, and that is absolutely what I teach, and have many times.

And Lucy added:

Exactly, Graham. But one can take big strides and still stay with the musical phrase.  Indeed, for me, there is pure ecstasy in arriving back to join my partner in the correct place exactly on the beat.  As you say, big strides are not for all dances.  Fried liked us to take up more space in many of the dances than other callers.  Of course we needed to follow the musical phrase.  (Sad that many of our dancers don't seem to hear the musical beat and/or don't seem to get the same joy as I do about arriving in the right place in time.)

And of course I agree with all of that.

---

Waltz Notes by John Wells and Ann Fallon

Introduction

I was in the States at the Winter Dance Week at Brasstown, North Carolina in 1995 (an event which I highly recommend), and on the staff were John Wells and Ann Fallon teaching a Waltz Class each day — now that's something I've never heard of in England.  A few years later, when Renata and I were at Buffalo Gap on our honeymoon, we again went along to a Waltz Class for an hour a day.  We learnt all sorts of fancy moves, many of which we've now forgotten, but I find I get up with much more confidence to do a waltz now.

John and Ann have kindly allowed me to publish their notes here.  I've modified them and changed bits I didn't understand, so you can blame me too!  They explain the basic waltz step and then move on to the clever stuff, so if there's a waltz at the end of the evening you and your partner can impress the crowd!  If you want to book them to run a waltz class, their contact information is at the end.  One particularly impressive move is the Pivot, in which you do six full steps, turning on each.  Get in really close, warn your partner that you're going to do it — then get up on your toes and go for it.  It's something you cannot be tentative about — you've got to do it with confidence.  You should turn round completely twice in the six steps, and be ready to set off in the direction you were going.  Or you'll both be lying on the floor!

I should mention that Paul and Victoria Bestock strongly disagree with the bit about the woman's arm position.  They feel that the woman will be dragging the man down, and he will not enjoy waltzing with her.  They recommend the woman to put her left arm under and in contact with his right arm, matching the curve, and placing her hand behind his back, on his shoulder blade.  This allows both partners to give weight, support and balance each other, and it makes turning much easier and more equal.

Posture and position

Your bodies should form a “V”, with feet very close together, in between partner's feet.  The Woman's left arm should rest on the Man's right arm.  Man's hand and wrist should be as flat as possible near upper center of partner's back.  This is extremely important, as this connection is where the Man or leader signals his lead.

Measures of music

Each waltz step uses one three-count measure of music (1, 2, 3), but try to think in terms of 6 — two measures.  Man begins on left foot, Woman on right.  These are referred to as the “first foot”.  So two measures would be counted:

                1  (first foot),  2,  3;  2  (second foot),  2,  3.

Turning Step

Ideally, one complete rotation is accomplished in two measures or two waltz steps.  After the end of the second waltz step, you are facing the direction you were before you began turning, with the Man facing towards LOD (line of dance).  Step into partner's place as you turn.  Man's first step is around partner; on the second step, Woman steps around partner.  Turn with confidence.  It's important to give weight and support when turning.  If it's too hard to do a full rotation in two waltz steps, try breaking it down into quarter turns, thus taking four waltz steps for the complete rotation.

Giving Weight

It's important, when turning, for each to give weight.  When moving straight, Woman can give weight by making sure she is leaning into partner's right hand (without making him “carry” her).  It's okay to ask verbally for weight, if you need to.

Phrasing

Most of the waltzes played at contra dances or elsewhere are written in eight-bar (measure) phrases.  Most of the choreography shown here is done in groups of eight measures or eight waltz steps, so that a move can be begun and completed in one or maybe two eight-bar phrases.

---

Open position

Open position is with Man's arm round Woman's waist, Woman's hand on Man's nearer shoulder — you must open out like a book or a hinge.  The lead comes from the Man's right arm.

Man signals the opening out just before beginning the second step, and must drop his right arm and “turn” the Woman with the palm of his hand, to guide her into the open position.  The strong hinge connection made by Man's right arm and Woman's left arm is very important here, and is still maintained after the opening out.

Suggested sequence:

• 1, 2, 3   Waltz steps
• 4   Open out (actually begin the opening out at the end of the 3rd measure)
• 5, 6   Promenade — reaching step, weight on balls of feet
• 7, 8   Close — Man can signal close with right arm, and step in front of partner.

While in Open position, Man can pass the Woman across to his other side and they can promenade improper for a few measures.  Man can then pass the Woman back and at the same time move into ballroom position.

---

Cape position

Cape position is with both dancers facing the same way, Man on the left, right hand joined to right and left hand joined to left — like a matador with a cape.  The man's left hand is behind the lady's back.  Also known as “Butterfly hold” and “Gay Gordons hold”.

Suggested sequence:

• 1 & 2   Waltz step without turning, and open out keeping hands joined, then Man raises his left arm to signal the twirl.
• 3 & 4   Twirl into Cape position: Woman does two complete turns to her left, guided by Man's left hand.  As she is doing the second turn, Man changes hands, moving his hand down and round her back, and they finish right-to-right and left-to-left.
• 5 & 6   Waltz forward
• 7 & 8   Close — Man signals an outside turn for Woman by raising joined left hands and moving them towards outside, letting go of right hand.  Woman turns clockwise to face partner, and he can place her left hand on his shoulder.

---

Optical Illusion

This one is easier than it looks, and should leave people saying: “Wow!  How did they do that?”

When you are both on your second foot (inside foot for both) the Man steps across in front of the Woman, gently “forcing” her to turn with him, until they have turned 360°, but Woman is on the Man's left.  It takes two steps to complete that turn, then the Man can waltz in place, guide the Woman across in front of him, to his right side.  Man should keep his hands directly over Woman's shoulders during the turn, so that the steps, and therefore the turn, will be small or tight.

Suggested sequence:

• 1 — 6   Twirl into Cape position and waltz forward as above.  Begin Optical Illusion turn on 6.
• 7 & 8   Complete the move and bring the Woman back to right side.

---

Windows

The windows step can begin on either right or left foot, and it's easiest to begin from Cape position.  It's difficult to describe the arm movements.  The windows step begins with a turn to the outside, Woman turning away from partner.  It's about 1½ turns around for the Woman, while the Man dances in place.  Partners do not “change” hands, they remain right-to-right, and left-to-left, but handhold must be loose in order for Woman to be able to turn freely.  Keep both hands high.  In the “right” window, the window is opened at the end of the two turns by bringing the joined left hands down to rest on the adjacent right arms, which compose the window sill.  You can get back to Cape position by turning in the opposite direction; when you reach Cape position the Woman can continue to turn towards the left, again about 1½ times, to make a window on the left.  The joined right hands are brought to rest on the left arms, which make the window-sill.

Suggested sequence:

• 1 — 5   Twirl into Cape position and waltz forward as above.
• 6, 7, 8   Begin windows; take three measures to get to right window.
• 1   Regular turning step, in right window.
• 2, 3, 4, 5   Begin turn to left window; take 4 measures.
• 6, 7   Turning step.
• 8   Close to ballroom position, using same single turn to outside for Woman.

                OR

• 1 & 8   As above.
• 1   Regular turning step, in right window.
• 2   Begin turn back into Cape position.
• 3 — 7   Move forward in Cape position, through into Optical Illusion if desired.
• 8   Close — Man must dance in place to keep footwork.

---

Reverse position

Reverse position is where the dancers are facing in opposite directions: Right Reverse position means they are right shoulder to right.

• 1 & 2   Waltz step without turning, and open out keeping hands joined.  Be sure to open the hinge out as far as possible; you will be stepping forward on next step.  Keep the elbow high after opening out, as a signal — something's going to happen instead of continuing forward.
• 3   Forward on beat one of third step, then Man stops and pulls Woman back as he steps in place for beats two and three.  When Man pulls Woman back, she turns towards him and they end up in right reverse position.  His stopping and turning her with his arm is the signal for her to turn towards him.  Hinge connection is maintained throughout.

---

Scissors

You travel in a saw-tooth pattern, at about a 45° angle in line of dance.  It's important to keep moving in line of dance.

Suggested sequence:

• 1 — 3   Get into Right Reverse position as above.
• 4   — First scissors step starting on Woman's left foot, Man's right foot.  Man takes long first step forward before Woman begins to turn towards him.  On One, Woman steps back, Man steps forward (diagonally left); on Two, they face each other and dance Two; on Three, Man guides Woman into left reverse position so they can begin Measure 5 with Woman going back on right and Man going forward (diagonally right) on left.  Look partner in the eyes when crossing; keep shoulders parallel; be sure to get all the way over to the side.
• 5   — Second scissors step — begins on Woman's right, Man's left.  On One, Woman steps back, Man steps forward; on Two, they face each other and dance Two; on Three, Man guides Woman into right reverse position, so they can begin Measure 6 with Woman going back on left and Man going forward on right.
• 6   — Scissors step
• 7 & 8   — Scissors step and close by Man stepping in front of Woman on beat One of 8 and doing basic step.

---

Easy Scissors

• 1 & 2   Move into left reverse position on two — Man leads by moving his body and using fingertips on Woman's back.
• 3 & 4   Begin scissors from the left side, on first foot for both.  The man must step across in front of his partner.  The woman should not have to change feet.
• 5 & 6   Scissors.
• 7 & 8   Man steps in front to close on 8.

---

Pivot

The emphasis is on stepping into partner's place, and turning further in the same amount of time.  We like to pivot at the end of an 8-count phrase, ideally doing 2 pivot steps on counts 7 & 8.  The lead is a shift in weight or a “tightening” of the connection between you and your partner, because this turn requires more support.  Coming out of the pivot, do a slight pause before the first beat of measure One (hang there) to tell partner you're not going to pivot again — she can feel it.

---

Reverse Turn

When turning counter-clockwise, you must be confident of your ability to step forward between partner's feet.  It's tighter than in the clockwise turn because you are not stepping around on the first, or lead foot, but rather, back for Man and forward for Woman.

Suggested sequence:

• 1, 2, 3   Do three half-turn steps.  Man then has his back to LOD.
• 4   A non-turning step, with the Man moving backwards.
• 5   Begin reverse turn on lead foot.
• 6, 7   After 3 turns (5, 6, 7) Man will be facing LOD.
• 8   Man moves forward in a basic step, ready to go on to the next thing.

---

Small-Caldwell Turn

This is best when done at the end of a phrase of turning steps, on measures 7 and 8.  This is a solo outside turn for the woman, mainly done on measure 8.  On beat Three of measure 7, Man begins to lead Woman to outside turn by disengaging his left hand from her right, and by movement of the palm of his right hand, to indicate an outside turn.  The Woman thus actually begins the turn on her first, or right foot, at the end of beat Three.  On beat One of 8, the Woman continues the turn, taking care to make it tight and small — which is helped by raising her left arm and keeping it close to her body.  Meanwhile, the Man dances forward to “catch” the Woman at the end of the turn, on beat Three of 8, in such a way as to continue turning on Measure 1 of the next phrase.

John Wells and Ann Fallon         You must enable JavaScript to see this email address.
11 Tucker Street
Annapolis
MD 21401
USA

Telephone: 1-410-268-0231

If you want to learn more, there are many resources on the web.  Richard Powers gives a demonstration of cross-step waltz at socialdance.stanford.edu/syllabi/cross-step_waltz.htm