West Coast Swing Notes

I have been going to the Bay Area Whip Dance Club for a few months. Classes are divided in levels and instructors rotate so they can teach different levels. So far our instructor for level 1 classes has been Chuck Anders. He knows how to dance Salsa, Bachata, Tango, Polka, Waltz, Rumba, Two Step, West Coast Swing, and East Coast Swing. If I remember correctly, he said he began dancing when he was about 14 years old. Luckily Chuck was also my instructor for level 2. I am repeating level 2. My current instructor is Ray.

West Coast Swing elements #

There are many elements in West Coast Swing dancing:

• Musicality: are the dancers synchronized to the music?
• Rock-and-go: are the dancers able to combine patterns without doing an anchor?
• Repetition: Are the dancers able to take a basic pattern, split it into increments, and repeat those increments?
• Tension and compression: Is the leader and the follower connected? Are they reacting to each other or dancing independently? Is the leader prepping correctly?

General dance knowledge #

• An inside turn is a left, counterclockwise turn
• An outside turn is a right, clockwise turn

Personal advice #

This advice is not verbatim. It is paraphrased in the manner I understood it.

From Chuck Anders:

• Aim to have fun, stay safe, and dance every song.
• The most important thing that you can bring to a dance is a smile.
• Do not prepare twice because it confused the follower.
• Move up, down, left and right to use all the slot. It makes the dance look good.

From Rick Brunson:

• After finishing a pattern on step 6 or 8, do not rush immediately into step 1 of the next pattern. There is a whole beat between step 8 and step 1 of the next pattern.
• When leading a whip, step back on 1 and pull straight back. Do not begin the J-hook prematurely.
• Tension should reach a maximum at the beginning of a pattern, then decrease, and then increase back again at the end of the pattern.

From Ray Trusty:

• A prep does not happen on step two, it happens between step 1 and 2, when the follower’s left foot is floating and pulling on the arm would cause a rotation on the follower’s right foot. In other words, it is 1-prep-2-3&4 as opposed to 1-prep-3&4.
• Do not open up you arms when doing a sugar push. Imagine you are holding a piece of paper under each armpit and you do not want the pieces to fall. Only open up your arms is when doing a hustle whip to close the space between you and the follower.
• Even if you are doing the steps correctly, you must actively lead the follower and move the slot. Otherwise she looks good dancing around you while you look like a pole standing in the middle.

From Bob Wilder:

• Move your head and shoulders to indicate where you want the follower to go. For example, look over your left shoulder when doing a left-side pass and look over your right shoulder when doing a right-side pass.

• When leading a whip, on step 1 pull, on step 2 grip the follower’s hand and post it so it does not move. Let the follower walk into the left hand so the momentum causes a clockwise rotation.

• During a sugar tuck, on step 4 keep your left elbow tucked in and relaxed, not floating. Imagine you are trying to hold a sheet of paper with your armpit.

• The follower should exert equal and opposite force as the leader to achieve good tension and compression.

  For example, if the leader pulls and slowly increases the force from 1lb to 6lb, then the follower should slowly increase the force with which she pulls back to cancel out that force. This causes tension. If the leader pushes and slowly increases the force from 1lb to 6lb, then the follower should slowly increase the force with which she pushes back to cancel out that force. This causes compression. After about 6lb of force is reached, the follower has a clear indication to move into the direction she is being pulled or pushed into.

• A good frame consists of having your right hand on the follower’s left shoulder blade and applying pressure, but an excellent frame requires the follower to actively push with her right hand into your left hand to provide some resistance. This allows the leader to use his left hand to move the follower to the back or to the right, and the right hand to move the follower to the front or to the left. This requires the follower to be pressed firmly between the left and right hands, which cannot be done without the follower’s help.

General West Coast Swing knowledge #

• There are 6 pattern types:

  • four count triple pairs (4 beats)
  • side passes (6 beats): result in 0.5 turns
  • sugar pushes (6 beats)
  • whips (8 beats)
  • dips
  • lifts

• Side passes are named from the leader’s perspective. For example, in a left pass, the follower passes by the leader’s left side.

• The forward and backward directions are named from the follower’s perspective. When a follower and leader move forward, it means the follower is moving forwards while the leader is moving backward.

Musicality #

• Music is commonly written in the 4/4 time signature and commonly structured in sets of 8 beats.

• The 4/4 time signature means 4 quarter notes per bar. How long is a quarter note? In this case it is one beat long, but that is not the case for other time signatures. The length of the beat is defined by the beats per minute (BPM) in a song.

  For example, if a song is fast and has 120 beats per minute, then there are two beats per minute. In other words, counting 8 beats will take 4 seconds.

• You can approximate the beats per minute in a song by counting 8 beats and seeing how many seconds it takes. If you started counting when the music player was at 2min 15 sec and you finished counting when it was at 2min 20 sec, then 8 beats take 5 seconds.

  If it takes 5 seconds to count 8 beats, then you are listening to a mid-tempo song with \(((8 beats / 5 seconds) * 60 seconds / 1 minute) = 96\) beats per minute.

  If it takes 3 seconds to count 8 beats, then you are listing to a really fast, non-danceable song of \(((8 beats / 3 seconds) * 60 seconds / 1 minute) = 160\) beats per minute.

• West Coast Swing competitions usually feature songs around 100 beats per minute, so that means songs between 80 to 120 beats per minute are good for social dancing.

• A major phrase is 32 beats. A minor phrase is 16 beats (usually) or 8 beats (rarely). Songs are usually structured in sets of minor and major phrases.

• All ballroom dances except Waltz are written in 4/4 time and can be danced using 8 beat patterns:

  • Bachata: 4- or 8-beat patterns
  • Chacha: 4- or 8-beat patterns
  • Country Polka: 4- or 8-beat patterns
  • Country Two Step: 4- or 8-beat patterns
  • Salsa: 8-beat patterns
  • West Coast Swing: primarily 6- and 8-beat patterns, with 10- and 12-beat patterns requiring a rock-and-go
  • Waltz is written in 3/4 time signature and has 6-beat patterns

Musicality exercises #

Musicality is hard. I suspect it will take anywhere from 3 months to 2 years to learn.

1. Count straight 8s up to 12 times. Repeat this exercise at least 3 times without mistakes.
2. Count straight 8s up to 12 times in sync with music. Repeat this exercise at least 3 times without mistakes.
3. Count straight 8s up to 12 times while doing whips. You may get unbearably dizzy. Repeat this exercise at least 3 times without mistakes.
4. Same as 3, but doing sugar pushes only.
5. Same as 3, but doing left-side passes only.
6. Same as 3, but doing right-side passes only.
7. Same as 3, but doing a sequence of 4 6-beat patterns and 1 8-beat pattern to add up to 32 beats.
8. Count straight 8s in sync with music for an entire song. Reset the count after each major phrase change. Repeat this exercise 3 times.
9. Same as 8, but doing whips only.
10. Same as 8, but doing sugar pushes only.
11. Same as 8, but doing left-side passes only.
12. Same as 8, but doing right-side passes only.
13. Same as 8, but doing a sequence of 4 6-beat patterns and 1 8-beat pattern.
14. To develop your phrase change intuition, jump to random points in a song and count the beats leading up to a major phrase change at least one third of the time.
15. Same as 14, but while dancing any 6- and 8-beat patterns required to hit the phrase change.
16. Listen to a song and pay attention to the chord progression. Detect the major phase change before it happens without doing any counting.
17. Now do 14, 15, and 16 all simultaneously. If you can manage to do this, you are a musicality professional.

These exercises miss a few things, like how to gracefully get on beat if dancing off-beat by 1, 2, 3, 4, 5, 6, or 7 beats.

You don’t have to hit all the phrase changes in the song. Aim for 1, then 2, then 3, then all of them for a specific song you are familiar with.

Rules: once the song starts and you make your first move, you cannot bail out and stop dancing. Doesn’t matter how fast, how slow, how tired, how sloppy, how confused you may be.

Note: I count beats in sets of 8 so I can do quick math on the total number of beats I have danced. The way I count beats in a song is as follows:

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

Rhythm #

Not really WCS related, but …

I have been told contradictory information about Rumba and Waltz:

• Rumba and Waltz have a box step, but the Rumba rhythm is slow, quick, quick, while the Waltz rhythm is even because all steps are the same speed
• Rumba and Waltz have the same rhythm: slow, quick, quick

Rock-and-go (RAG) #

A rock-and-go (RAG) combines the last two steps of a pattern with the first two steps of the next pattern.

A RAG reduces the beat count by 2, e.g:

• two 6 step patterns become 10 counts instead of 12
• an 8 beat whip and a 6 beat basic become 12 counts instead of 14
• an 8 beat whip and an 8 beat whip become 14 counts instead of 16

When leading a rock-and-go, do not let the follower settle back on the anchor step. The RAG must happen quickly so the anchor step — which usually happens in place — turns into triple step that moves the follower forward:

• In a basic 6 count pattern, the RAG replaces steps 5&6 and turns into the count 1 2 3&4 5&2 or 1 2 3&4 rock-and-go. The RAG must happen quickly so the follower does not settle on steps &6, but instead moves forward.
• In a basic 8 count pattern, the RAG replaces steps 7&8 and turns into the count 1 2 3&4 5 6 7&2 or 1 2 3&4 5 6 rock-and-go. The RAG must happen quickly so the follower does not settle on steps &8, but instead moves forward.

Turn variations #

Pass turn #

A traveling turn that uses normal, cross, or hook steps.

Pirouette #

A stationary spin on one leg.

Pivot turn #

A stationary turn in which the weight changes from one foot to the other, usually for a half-turn.

Chain turn #

A traveling turn in which the weight changes from one foot to the other, usually for a half-turn.

Preparation variations #

A prep is used to rotate the follower clockwise or counter-clockwise.

J-hook #

Use it to rotate the follower clockwise 180 degrees into a starter position during a whip.

L-hook #

Use it from a handshake hold to rotate the follower counter-clockwise 180 degrees into a closed position during a whip.

Piston #

Use it from an open hold to to rotate the follower clockwise 180 degrees into a back-to-front position during a single-arm turn-in. It consists of pulling the follower’s arm on 1 and pushing it on 2.

Left #

Use it from a left-pass inside turn, right-pass inside spin, handshake reverse whip, or free spin. Forward on 1, prep slightly to the left between 1 and 2, and rotate counter-clockwise on 3.

Right #

Used it from the right-pass outside spin. Forward on 1, prep slightly to the right between 1 and 2, and rotate clockwise on 3.

Handhold configurations #

The palm of the hand can point in four general directions:

• upwards (supination)
• inside (facing the interior)
• downwards (pronation)
• outside (facing the exterior/posterior)

Handhold configurations do not have formal names, but I refer to them like so:

• right to right: handshake handhold
• left to left: scout handshake handhold
• left to right: regular handhold
• right to left: goofy handhold
• left to right and right to left: double handhold
• left to left over right to right: cross-up handhold
• right to right over left to left: cross-down handhold

Examples:

• A double handed sugar tuck into a hammerlock.
• A double handed sugar push inside turn into a sweetheart.
• A crossed-up sugar push inside turn into a cross-down handhold.¹
• A crossed-down sugar push outside turn (sugar tuck) into a cross-up handhold.¹
• A double handed sugar tuck with a left hand release into a goofy handhold.¹

Stance configurations #

Stance configurations define how the leader and the follower stand relative to each other and what handhold configuration they are in.

Closed #

The leader’s right hand is on the follower’s back (on the left shoulder blade), and the follower’s left arm rests on the leader’s right arm. The leader stands face-to-face to the follower, sort of like the characters ||.

Reached via:

• Left side pass with inside turn from goofy position
• sugar push inside pivot turn into closed position
• right-side pass into closed position
• left-side inside chain turn into closed position

Starter #

The handwork is identical to the closed position, but the leader stands perpendicularly to the follower’s left side, sort of like the characters _|.

Open #

The leader’s left-hand ring and middle fingers (pointing to the right) are held by the follower’s right hand (pointing down) at waist level, sort of like the characters |¯|.

Reached via:

• left-side inside chain turn

Horn #

The leader’s ring and middle fingers point down. The hand looks like the sign of horns.

Reached via:

• Sugar tuck from open position

Spiderman #

The leader’s ring and middle fingers point up. The hand looks like spiderman shooting a spider web.

Weird #

The leader’s left-hand ring and middle fingers point to the left.

The leader’s right-hand ring and middle fingers point to the right.

Goofy #

This is mirror image of the open position. The leader’s right-hand ring finger and middle fingers (pointing to the left) are held by the follower’s left hand (pointing down) at waist level, sort of like the characters |_|.

Reached via:

• right-side goofy inside pass turn

Goofy horn #

This is a mirror image of the horn position.

Goofy spiderman #

This is a mirror image of the spiderman position.

Goofy weird #

This is a mirror image of the weird position.

Handshake #

This is the same as the open position, but it requires a right-to-right hand connection instead of a left-to-right hand connection, sort of like the characters |/|.

Reached via:

• right-side inside pass turn with raised right arm into handshake position

Horn Handshake #

This is the same as the handshake position with the horn handhold.

Spiderman Handshake #

This is the same as the handshake position with the spiderman handhold.

Reached via:

• sugar push right shoulder slide

Weird Handshake #

This is the same as the handshake position with the weird handhold.

Reached via:

• apache whip
• Chuck turn into weird handshake

Scout #

This is short for “scout handshake”.

This is a mirror image of the handshake position because it requires a left-to-left hand connection instead of a right-to-right hand connection, sort of like the characters |\|.

Reached via:

• behind-the-back whip

Horn Scout #

This is the same as the handshake position with the horn handhold.

Spiderman Scout #

This is the same as the handshake position with the spiderman handhold.

Weird Scout #

This is the same as the handshake position with the weird handhold.

Parallel #

A specific double handhold. The leader’s left hand ring finger and middle finger (pointing to the right) are held by the follower’s right hand (pointing down) at waist level, and the leader’s right hand ring and middle finger (pointing to the left) are held by the follower’s left hand (pointing down) at waist level sort of like the characters |=|.

Reached via:

• contemporary Hustle whip
• right-side inside pass into parallel position

Back-to-front #

The follower and the leader face in the same direction while the follower stands in front of the leader while holding the leader’s hand in a regular handhold at waist-level.

Reached via:

• single-arm turn-in

Left hammerlock #

The leader stands slightly to the left of the follower, maintaining a double handhold where the leader’s hands point down and the follower’s left hand is behind the back pointing outside while the right hand is pointing down.

Reached via:

• double-arm turn-in
• hustle whip outside pivot turn

Right hammerlock #

The leader stands slightly to the right of the follower, maintaining a double handhold where the leader’s hands point down and the follower’s right hand is behind the back pointing outside while the left hand is pointing down.

Left shoulder-lock #

A leader left hammerlock. A closed position variation. The leader stands face to face with the follower, but the leader is offset about one foot to the left of the follower because the leader holds the follower’s right hand with the left hand from a shoulder lock position. The leader places the back of the right hand on the follower’s right shoulder in order to lead a whip or some other pattern. This position can be reached by the leader by starting from an open position and performing a right-side pass inside turn with a leader clockwise turn without releasing the follower’s hand.

Right shoulder-lock #

A leader right hammerlock. A closed position variation. The leader stands face to face with the follower, but the leader is offset about one foot to the right of the follower because the leader holds the follower’s left hand with the right hand from a shoulder lock position. The leader places the back of the left hand on the follower’s left shoulder in order to lead a whip or some other pattern. ¹

Left waiter #

An open position in which the leader has the palm of his left hand horizontally positioned over his left shoulder (like a waiter carrying a big plate of food). In this case, the hand is as close to the shoulder and to the neck as comfortably possible. This hold requires the leader and the follower to be facing in the same direction, sort of like >¯>, where the follower stands behind the leader as the leader holds the follower’s hand at the shoulder. Usually the next step is to leave the follower’s hand at the shoulder.

Right waiter #

An open position in which the leader has the palm of his right hand horizontally position over his right shoulder (like a waiter carrying a big plate of food). In this case, the hand is as close to the shoulder and to the neck as comfortably possible. This hold requires the leader and the follower to be facing in the same direction, sort of like >_>, where the follower stands behind the leader as the leader holds the follower’s hand at the shoulder. Usually the next step is to leave the follower’s hand at the shoulder.

Left shoulder #

An open position in which the leader has the back of his right hand touching his left shoulder. In this case, the hand should rest over the shoulder close to the neck, with the palm of the hand visible and pointing up and to the left. This position is reached by bringing your right hand over your head onto your left shoulder, like tracing the character ⋂ over your head (an upside down U) while rotating 180 degrees clockwise (this can be done in two steps, like in a salsa left turn steps 3 and 4). At the end of the turn, the leader and the follower will be facing in the same direction, sort of like >¯>, where the follower stands behind the leader as the leader holds the follower’s hand at the shoulder. Usually the next step is to leave the follower’s hand at the shoulder.

Right shoulder #

An open position in which the leader has the back of his left hand touching his right shoulder. In this case, the hand should rest over the shoulder close to the neck, with the palm of the hand visible and pointing up and to the right. This position is reached by bringing your left hand over your head onto your right shoulder, like tracing the character ⋂ over your head (an upside down U) while rotating 180 degrees clockwise (this can be done in two steps, like in a salsa right turn steps 2 and 3). At the end of the turn, the leader and the follower will be facing in the same direction, sort of like >_>, where the follower stands behind the leader as the leader holds the follower’s hand at the shoulder. Usually the next step is to leave the follower’s hand at the shoulder.

Right picture #

In this position, you stand next-to-and-to-the right of the follower, with your hips only a couple of inches apart. Both of you face in the same direction with your faces, bodies, and feet. The follower’s right arm extends from your left shoulder, behind your neck, and the right hand rests on your right shoulder. Meanwhile, your left hand rests on the follower’s upper back or on the follower’s left shoulder.

Reached via:

• weird handshake left-side pass inside pivot turn right picture hold

Pattern count combinations #

Many popular songs are composed such that each phrase is 32 beats. The leader can use this knowledge to sequence his/her patterns such that they add up to 32 beats, leading to sequences that consistently end on a phrase change.

If you start dancing at the beginning of a phrase change, then you must sequence your patterns to add up to 32. If started late by two steps, then you sequence must last 30 beats, etc.

The equations below split up the total number of beats into chunks that can be translated into specific patterns. For example, the equation \(32=6+6+6+6+8\) could be translated into \(4\) basic patterns and \(1\) whip.²

$$ \begin{aligned} \\ 32&=6+6+6+6+8 \\ &=6+8+8+10 \\ &=8+8+8+8 \\ &=8+12+12 \\ \\ 30&=6+6+6+6+6 \\ &=6+8+8+8 \\ &=6+12+12 \\ &=8+10+12 \\ &=10+10+10 \\ \\ 28&=6+6+6+10 \\ &=6+6+8+8 \\ &=8+10+10 \\ \\ 26&=6+10+10 \\ \\ 24&=6+6+6+6 \\ &=8+8+8 \\ &=12+12\\ \\ 22&=6+6+10 \\ &=10+12 \\ \\ 20&=6+6+8 \\ &=8+12 \\ &=10+10 \\ \\ 18&=6+6+6 \\ &=10+8 \\ \\ 16&=8+8 \\ &=10+6 \\ \\ 14&=8+6 \\ \\ 12&=6+6 \\ &=12 && \text{When doing a 6+RAG+8 pattern} \\ \\ 10&=10 && \text{When doing a 6+RAG+6 pattern} \\ \\ 8&=8 \\ \\ 6&=6 \\ \\ 4&=? && \text{Not including 4-beat starter steps} \\ \\ 2&=? && \text{Not including styling variations} \\ \end{aligned} $$

I am not sure whether 4-beat or 2-beat patterns exist in West Coast Swing. There are starter steps that are 4-beats long, but they are only used to start the dance. Also, 6-beat and 8-beat patterns may be lengthened via styling to make them 2 beats longer, but I have never heard of a standalone 2-beat pattern.

Some ways to lengthen a pattern by 2 beats are:

• Replace the 2-beat anchor step with a 4-beat, slow, and smooth ronde
• Replace the 2-beat anchor step with 4 small steps, 1-beat each
• Split the 6-beat or the 8-beat pattern into 2-beat increments, and repeat any 2-beat increment. For example, a 6-beat pattern can be split into 2-beat increment like walk-walk triple-step triple-step, and then lengthened by 2-beats by adding another walk-walk at the beginning or another triple-step any time after the initial walk-walk. It is a subtle form of copy-and-paste.

Patterns #

Sugar pushes #

On 1, step back with left foot, on 2, step back with right foot, on 3&4 do a rock step, and on 5&6 do an anchor step.

Sugar push outside pivot turn #

Also known as a Sugar Tuck.

On 1 step back, on 2 raise your left hand to the follower’s ear level such that the hands are palm-to-palm. The leader’s hand can be pointing straight up at 12 o’clock or angled, pointing at 10 o’clock. The left arm should be kept close to the body before and after the turn, as if holding a piece of paper under the armpit, even during the turn. On 3&4 do the rock step while slightly pressing into the followers raised hand. The follower should press your hand back with the same amount of force to achieve compression. The turn should begin immediately on 4 after the compression was created on 3& and movement backwards has begun. The turn should be completed in one beat so there is time for the follower to anchor on the 5&6.

Sugar push inside pivot turn #

Use it from an open position. On step 2 raise your left hand and make it perpendicular to the floor. Your hand must be aligned with the follower’s left shoulder. The hand connection should be palm-to-palm and the leader’s left hand should be pointing at 2 o’clock to indicate the direction of the pivot turn. On 3&4 generate compression on the 3& and begin the turn on 4 as you step backwards. End in an open position.

Sugar push goofy inside pivot turn #

Use it from a goofy hold. On step 2 raise your right hand to her face level at shoulder width with your hand pointing at 2 o’clock. On step 3&4 do compression on 3& and begin the turn on 4 as you step backwards.

Sugar push inside pivot turn into closed position #

The footwork is the same as a sugar push inside pivot turn, and the handwork is the same up to step 3&. For the handwork, on 3& you should see the follower’s back, so place your right hand onto the followers left shoulder blade to achieve a closed position as the turn finishes and you step forward on 4.

Specifically, during the turn, place your right-hand fingers in between the follower shoulder blades. As the follower rotates, the right hand will be flat against the shoulder blade, achieving a closed position. Steps 4, 5&6 may need to be bigger than usual to close the gap between you and the follower, otherwise there will be a lot of space between you both, as if you were in an open position.

No-triple sugar tuck #

This is a sugar tuck but the 3&4 becomes a 3 and 4 step-tap because the & goes away.

For the leader’s footwork, there is no 3&4, it is only 3 and 4. Step 1 is back, step 2 is back and to the right. Step 3 is a tap step such that the leg points to the floor and slightly to the left, but your weight is still on your right leg from step 2. On step 4, you shift weight onto your left leg that was pointing to the floor. Steps 5&6 are an anchor step.

The follower also has the option to avoid the triple step by simply stepping forward on 1 with the right foot into point A, forward on 2 with the left foot while having the right foot plant fully flexed and still positioned on point A. Compression will happen on 3& like usual, and the right foot will rotate clockwise around point A on 4 to perform the outside turn.

Followers also have the advanced option to perform no-triple sugar tucks by kicking with the right leg on 2 and using the leg’s momentums to propel oneself through the turn.

Single-arm turn-in #

The footwork is the same as in a sugar push for the leader. Use it from an open hold. Steps 1 and 2 are for executing a piston so the follower will turn 180 degrees into back-to-front position by the end of step 2. On 3& raise your left arm over her head. On 4 gently push her back in between her shoulder blades so she knows to walk under the arm. Steps 5&6 are an anchor step. You should end in a back-to-front position.

Double-arm turn-in #

Same as single-arm turn-in, but use both hands to do a left hammerlock. It is technically possible to achieve the same by doing a sugar tuck while holding the follower’s left hand, but the correct way is to do a pump prep, which happens at waist level. You should end in a left hammerlock position.

Hairbrush #

Also known as a head-wrap. It requires a handshake or scout hold. The hairbrush can be performed by brining the hand behind the leader’s or the follower’s head. It is interchangeable.

Sugar tuck chase #

Same as a sugar tuck up to but not including step 4. Step 4 should be big and steps 5&6 should be big steps backward as the tuck turn happens. Usually, the follower does a turn, but this time the follower will do a 1.5 turn so the follower is facing backward. The leader should be on the follower’s left side, with the chest pointing to the followers left shoulder, in a starter position. The starter position can be followed by a passing tuck!

Sugar tuck with spin #

Same as a tuck turn, but on step 4 the left hand applies more force so the follower can do a double spin. Make sure to draw a halo around the follower’s head twice.

Chuck turn into weird handshake #

A pattern that Chuck Anders taught me.

Start in an open position. The footwork is the same as a sugar push outside pivot turn up but not including step 4. On step 4, rather than stepping forward into the slot at 12 o’clock, step forward and to the right slightly outside of the slot at 3 o’clock. On 5&6 do 0.5 turns clockwise so you will face 9 o’clock by the end of the pattern. The handwork is the same up to step 4. On 5&6 bring both of your hands to your lower back to swap the follower’s right hand from your left hand to your right hand. The swap should happen around 5&. By 6 you should be in a weird handshake.

Sugar push right shoulder slide #

Start in an open position. The footwork is the same as in a sugar push. The only difference is the handwork and the middle-body work. The handwork on 1 and 2 is bringing your left hand over your head and then to your right shoulder, as if drawing the letter ˥ (an upside-down and mirrored letter L) . In specific, your left hand should be about 1 inch above your head and the palm of your left hand should be horizontal and your fingers should point at 9 o’clock whenever the hand is over your head. . At the end of 2, the back your left hand should be pressed against the right side of your neck, so release the follower’s right hand because it has been positioned in your right shoulder. Depending on the follower’s arm-reach and your height, you will need to bend your back on 1 and 2 so that the follower is able to have the right hand go over your head and reach the right shoulder. On 3&4 keep your left hand at the right shoulder while offering your right hand by placing it under-and-in-front of your left elbow. The follower’s hand should slide down your left arm onto your right hand by the end of 4. You should be in an spiderman handshake by the end of 5&6.

Right-side passes #

Also known as a fake whip.

Right-side inside pass turn #

Also known as a right-side pass.

Starting in an open or horn position, step 1 is back and to the left, step 2 is back and to the left to face 3 o’clock. Do 3& in place and on 4 step into slot with your left foot pointing at 12 o’clock. Handwork 1 is straight back, 2 is raising your left hand to the follower face level with the back of your hand visible as if looking at the watch on your left hand. Handwork 3&4 is going over the follower’s head with the left hand, as if drawing an upside-down U over the follower. The left-hand should finish at the follower right-shoulder level. On 5&6 lower your left hand to waist-level so you will end up in an open position.

Right-side goofy inside pass turn #

Also known as a right-side underarm pass.

It starts from a goofy position and the footwork for the leader is the same as in a right-side pass. The handwork is the mirrored equivalent from a left-side outside pass. You should end in a goofy position.

Right-side outside chain turn #

Start from an open position. The footwork is the same as a right-side pass. The handwork is different. On step 1 do a prep to your right, and do not do a prep for step 2, instead, go directly into a J-hook (rotating clockwise) over her head. You have to be fast. It takes 2.5 chain turns.

Right-side inside pass into parallel position #

Use it from an open hold. The footwork and most of the handwork is the same as in a right-side inside pass turn. The follower will turn and her back should be visible by the end of step 2. Immediately when the follower’s back is visible, slide your hand from her back to her shoulder (3&4), and down the arm (5). You should have a parallel handhold when finishing the anchor step (5&6).

Right-side pass into closed position #

Use it from an open hold. The footwork and most of the handwork is the same as in a right-side inside pass turn. The follower will turn and her back should be visible by the end of step 2. Immediately when the follower’s back is visible, place your right-hand fingers in between her shoulder blades. As the follower rotates, the right hand will be flat against the shoulder blade, achieving a closed position. In steps 3&4, make step 4 bigger. Also make 5&6 bigger than usual to close the gap between you and the follower, otherwise there will be a lot of space between you both, as if you were in an open position.

Right-side inside chain turn #

This is a right-side pass with 2.5 turns instead of 1.5 turns. For step 1 give a prep toward her right ear and immediately begin spinning her counter-clockwise for 2.5 turns. If you give two preps instead of 1, then the turning will begin on step 3, and by that time it will be too late. The spinning must begin on step 2 or right before step 3.

There are two preps on steps 1, 2 and they are the same as in the inside turn.

Right-side outside leader turn #

Use it form an open hold. Same as a right-side pass up step 4. On the 5&6, the leader turns clockwise 1 time to the left of the slot into a left shoulder-lock. The back part of the hand should be firmly placed on the follower’s right shoulder for leading the following step.

This pattern can be followed by a reverse whip.

Short right-side inside turn #

Also known as a short right-side pass.

A variation of the right-side inside pass turn.

It is like an L in Tetris, whereas a regular right-side pass is the straight piece in Tetris. Step 1 is back-leftwards, and step two is a cross step. The movement leftwards happens on number 4. In other words, rather than stepping into the slot on step 4, you are stepping past the slot. The anchor step can be a front-check or a back-check.

Right-side inside pass turn with raised right arm into handshake position #

A variation of the right-side inside pass turn.

Starting in an open position, step 1 is back and to the left, step 2 is back and to the left to face 3 o’clock. Do 3& in place and on 4 step into slot with your left foot pointing at 3 o’clock. On 5&6 do 0.75 a counter-clockwise pivot turn. Handwork 1 is straight back, 2 is looking at the watch. Handwork 3&4 is going over the follower’s head with the left hand, as if drawing an upside-down U over the follower. The left-hand should finish at the follower right-shoulder level. On 4 open your left hand to release the follower’s hand and raise your right arm straight up as you walk into the slot. The follower’s arm should be pressed against your right rib by 5, right under the lifted right arm. On 5&6 lower your right arm smoothly as if surfing on a wave so you will end in a handshake position.

Right-side inside pass turn going under arm into open position #

This is a variation of the right-side inside pass turn with raised right arm into handshake position. The only difference is the handwork on the 4, 5&6. Do not raise your right arm on 4 5&6. Keep it at waist level. Instead, raise your left hand while holding the follower’s right arm so you can perform the 1.25 counter-clockwise under the follower’s arm. You will end up in open position because you never leg go of the follower’s right arm.

Left-side passes #

For the footwork, on 1 step backwards and to the right 45 degrees counter-clockwise, on step 2 step step backwards and to the right 45 degrees counter-clockwise. On step 3&4 step back and then front with the left leg, such that step 4 goes back into the slot at a 45 degree angle. On steps 5&6 do an anchor step, such that another 45 degrees are added on step 5.

Left-side inside chain turn #

Start from an open position. The footwork is the same as a left-side pass. The handwork is different. On step 1 go straight back (maybe raising your hand to her shoulder level). On 2 do left prep at the follower’s face level. On 3&4 lead 1.5 chain turns. You should end in an open position.

Left-side inside chain turn into closed position #

Start form an open position. The footwork and most of the handwork is the same as a left-side inside chain turn. For the handwork, on 3& you should see the follower’s back, so place your right hand onto the followers left shoulder blade to achieve a closed position as the turn finishes and you step forward on 4.

Left-side outside pass #

Also known as passing tuck.

For the handwork, start in open position. Raise your left hand above her head by step 2 such that her right hand is in front and above her face with about 1 feet of distance. On the 3&4 there should be some compression buildup so the highest compression happens on step 4 whenever you step into the slot and the follower begins the turn. By step 6 the hands should go back down to about waist-level.

Free spin #

It requires a goofy handhold. The footwork is the same as in a left-side pass. On step 2 prep to the left and on step 3 throw the hand to the right so the follower turns counter-clockwise. On 4 step into the slot and catch the follower’s hand. On 5&6 do an anchor step.

Roll-in-roll-out #

It is similar to a free spin. It requires a goofy handhold.

Left-side goofy inside chain turn into closed position #

Prep 1 is on line with the follower’s shoulder. Prep 2 is on line with the follower’s face. Step 3&4 is over and behind the followers head such that the follower’s hand gets released on step 4 so your right hand can slide down the follower’s head. On step 4 step back into the slot into closed position.

Trusty left-side pass #

A pattern that Ray Trusty taught me.

Use it from a handshake position. On 1, step back while turning 90 degrees counter-clockwise. On 2, turn 90 degrees counter-clockwise so the follower is facing your back. As you perform the half turn, bring your right hand over your right shoulder and then drop the follower’s hand on your shoulder. On 3&4 turn 180 degrees counter-clockwise such that the followers hand slides around the back of your neck and down your left arm, leaving you in an open position.

Weird handshake left-side pass inside pivot turn right picture hold walk-around into open position #

Start form a handshake or a weird handshake. Lead an inside chain turn and then go into a right picture position and then do a two-step walk-around before anchoring back. On steps 1 and 2, lead two steps back and prep a left-side pass with an inside chain turn. On steps 3&4, lead the inside chain turn such that instead of drawing a halo over the follower, your right hand draws s partial halo do you can bring your right hand behind her head, then behind your left shoulder, head, and finally to your right shoulder. On &4, your left hand should also be extended at chest-level so that you catch the follower’s back by the end of the rotation. By the end of &4, you should look like you are standing together to take a picture! On 4 also make sure to make s bigger step than usual. You are not stepping into the slot, you are stepping past it, since steps 4, 5, and 6 are part of the walk-around. On the walk-around, the follower will step backwards and stay in place, while you step forwards around her for 0.5 turns. Finally on 7&8, you will move away from each other while her arm slides down your left hand so you will end up in open position.

Whips #

Basket whip #

Steps 1 thru 4 are same as a right-side pass, but the handwork is different. For handwork, make an L, such that the left arm points up and the right hand points to left elbow. It is easier to start this pattern from a parallel handhold.

Basket whip with an outside turn #

It looks like a basket whip with a tuck turn exit. It is the same as a basket whip up to step 4. On step 5 raise the left hand (like in a tuck turn) and release the right hand, turning the follower from steps 6 thru 8.

Basket whip with an spinning anchor #

It looks like a basket whip with an accelerated tuck turn exit. It is the same as a basket whip up to step 4. On step 5 raise the left hand on and release the right hand, turning the follower from step 6 thru 8 with plenty of energy so she can do a double spin. Make sure to draw a halo around her head twice.

Car-wash whip #

It requires a goofy hold or a parallel hold. Be in a goofy hold by step 4. Same as whip up to step 4, on 5 don’t do a hook step, do a cross step forward. Then turn counter-clockwise on 6 and do an anchor step 7&8. I think in step 5 you switch hands (from left to right) and bring your right hand to your lower back, signaling her to go back. On step 5 you can give a strong indication for the follower to turn clockwise by putting her left hand on your right hip. Her left hand will collide with your right hip as she steps backwards and your hip will push her arm clockwise.

Contemporary Hustle whip #

A pattern that Zach taught me.

The contemporary Hustle whip is different from the regular Hustle whip because you do not “open the newspaper” on the 1-and-2 or 5-and-6. If the follower is not ready, opening the newspaper can hurt the follower (that is what Amber told me). The contemporary Hustle whip is also different because it does not require a parallel handhold at the start.

It starts from an open position and all the footwork is the same as in a regular whip, but the handwork is different. Handwork 1 and 2 is the same as a whip for the left hand because it is J-hook, but the right hand is offered at waist level with the palm up on 1. On 2, your body and your right hand should be pointing at 3 o’clock. By 2, you should have the follower’s left hand on your right hand. On 5 move your right hand in front of your right hip. On 6 move your left hand so it is parallel with the right hand. Anchor on the 7&8. You should end in a parallel position.

Decapitate whip #

A variation of a reverse whip. It requires a handshake hold. Do a J-hook, but on step 3 don’t release her right hand, go over her head. On step 4, hold or “cup” her left triceps with your left hand. Use your right hand to turn her back into the right position.

Hustle whip #

The footwork is the same as in a whip. For the handwork, a parallel handhold is necessary. Open the arms on 1,2 and close them by 3&. Open the hands on 4,5, and close them by 6. Post on 6 for the anchor step.

You may do a car-wash whip exit.

Hustle whip inside pass turn into open position #

The footwork is the same as a hustle whip, and the handwork is the same up to step 4. On step 4, apply tension to lead the follower forwards while raising your left hand. On 5, raise your left hand as though you were looking at your clock. Your left hand should be aligned to her nose. On 6, as she is passing by, draw an counter-clockwise halo around her head and release your right-hand grip. Then do an anchor position in open position.

Hustle whip inside pass turn into parallel position #

Same as a hustle whip inside pass turn into open position up to step 6. On step 6, immediately when the follower’s back becomes visible, slide your fingers across her back, shoulder, and arm into a parallel hold.

Hustle whip outside pivot turn #

The footwork is the same as a hustle whip, and the handwork is the same up to step 4. On step 4, apply tension to lead the follower forwards while raising your left hand. On 5, raise your left hand as though you were asking a question. On 5, lower your right hand so the follower is able to turn clockwise. Your left hand should be at her right-ear level and at shoulder-width. On 6, as she is passing by, draw a clockwise halo over her head without releasing your right-hand grip. This should put you into a left hammerlock position with both hands in a weird position, with the right hand against the follower’s right hip.

Hustle whip leader inside pivot turn into handshake position #

A pattern that Howard Rodriguez taught me.

The footwork and handwork are the same as a regular hustle whip up to step 4. On 5 and 6 go into a right shoulder position by brining your left hand to your right shoulder while still holding onto her right hand and while doing 0.5 turns clockwise (steps 2 and 3 in a salsa right turn). On 5&6 do another 0.5 turns (steps 2 and 3 and another 2 in a salsa right turn) as her right hand slides down your right shoulder and hand into a handshake position.

A good pattern to do after this one is a trusty left-side-pass.

Reverse whip #

From an open hold, for steps 1 thru 4, do a right-side pass into closed position. You must not let the follower step back on step 4. You have to pull her so she steps forward, otherwise she will already be anchored on her right foot. In other words, on step 4, she must be stepping forward with her right foot (in between your feet). If she is stepping backward, you are too late (put fingers in between shoulder blades as she passes). For steps 5 thru 8, continue the whip as normal.

From a handshake hold, for steps 1,2 do a reversed J-hook away from your right hip. On 3, toss her right hand away from your right hip. Use your right hand to hold her shoulder blade.

Pass-through whip #

It is similar to a car-wash whip. It requires a goofy handhold. In steps 1 and 2 raise your right hand over her head, in steps 3 and 4 bring your right hand to your lower back as to create tension and cause the follower to do a clockwise turn. If you place your right hand on your right hip as opposed to your lower back, then the follower will have no option but to rotate clockwise because your hip will push against her hand and prevent her from turning counter-clockwise. Step 4 is a regular whip step, but 5 isn’t. Step 5 does not have any rotation. Simply place your right foot next to your left foot. Step 6 requires your left foot to step back so you go into the slot. In steps 7&8 you are also stepping backward into the slot and offering your hand. At the end you should be in open position.

Behind-the-back whip #

Use it from an open position. On step 1 step back and to the left such that left foot points 90 degrees counter-clockwise. On step 2 close your feet so your whole body is pointing 90 degrees counter-clockwise. Also, on step 2 grab the follower’s right hand with your right hand and immediately offer your left arm at either waist level pointing at 8 o’clock or at neck level pointing at 2 o’clock. The 3&4 are not progressive, or they can be progressive but stepping backwards. Steps 5, 6, 7&8 are normal, as in, 5 is forward at 12 o’clock and 6 is to the left at 9 o’clock. You should end in a scout position. Watch video.

Apache whip #

Not to be confused with the behind-the-back whip. Same on 1 and 2, but on 3 and 4 you put the follower’s right hand behind her lower back and grab her right hand with your right hand into a weird handshake. Watch video.

Dips #

Piston into dip #

On 1 and 2 do a piston like in a single-arm turn-in. The step 2 is backwards with the right leg and the right leg should be ready to support your full weight and her weight, so position it in a stable position. On 3 and 4 put your arms under her arms such that your forearms (palmaris longi) are placed flat under and across the middle of her triceps long heads. Always keep your arms as parallel as possible and perpendicular to your body, and do not put your forearms under her armpits as not to invade her personal space. On 3, bend your right knee to initiate the dip. The knee on your left leg should not be bent; it should be locked. On 4 hold the dip. On 5 and 6 stand back up and lead the follower on a 180 deg clockwise turn into open position. On 7&8 do an anchor step.

Lifts #

These patterns require leaving the floor while being supported or being thrown into an airborne state.

I have yet to learn one of these patterns.

Anchor wheel #

The anchor wheel describes the anchor step variations that can be applied to anchor steps in sugar pushes, left-side passes, right-side passes, and whips.

The easiest way to practice the anchor wheel is to add an anchor variation after every single sugar push, left-side pass, right-side pass, and whip.

Front-check #

Also known as a cross-step.

Instead of stepping in place for the & step, step on front of your left foot with with your right foot.

Back-check #

Also known as a hook-step.

Instead of stepping in place for the & step, step behind your left foot with with your right foot.

Side-check #

Instead of stepping in place for the & step, step to the right, outside the slot, with your right foot.

Counter-clockwise ronde #

Instead of doing the anchor step for a duration of 2 beats, slide your right foot from 6, to 3, to 12 o’clock in a round motion and go back to 6 o’clock.

Slow counter-clockwise ronde #

Mechanically the same as a counter-clockwise ronde, but with a duration of 4 beats instead of 2.

Clockwise ronde #

Instead of doing the anchor step for a duration of 2 beats, slide your right foot from 12, to 3, to 6 o’clock in a round motion.

Slow clockwise ronde #

Mechanically the same as a clockwise ronde, but with a duration of 4 beats instead of 2.

Clockwise taps #

Instead of doing the anchor step for a duration of 2 beats, do 4 taps for a duration of 4 beats. The taps will be at 12, 2, 4, and 6 o’clock.

Counter-clockwise taps #

Instead of doing the anchor step for a duration of 2 beats, do 4 taps for a duration of 4 beats. The taps will be at 6, 3, 12, and 6 o’clock.