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West Coast Swing Notes

·73 mins
Dance West Coast Swing
Table of Contents

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 on beat, synchronized to the music? Are the dancers stopping on the breaks? Are the dancers accentuating the 1s in 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.
  • When doing a whip, do not do a round motion, do an L motion. You are standing perpendicular to the follower up to 3& as you let the tension on the follower’s back build up. On 4 you step straight across and slightly forward. On 5 rotate 0.5 turns clockwise on the ball of your left foot as you bring your right foot next to your left foot as if holding a quarter between your ankles. Both of your feet should be pointing at 3 o’clock as opposed to 6 o’clock.

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.

From Damon D’Amico:

  • Don’t step into slot on 4 when doing a left-side pass or a right-side pass. By not walking into the slot you can perform steps 3&4 even if the follower has not finished stepping across the slot. If you step into the slot on 4, you may step on the follower. Also, if you step into the slot on 4, you will be forced to square up on the anchor step and you will be unaligned with the follower instead of being face-to-face.
  • Don’t square up on the anchor step or you will look like a nooby. Use angles.
  • The slot is twice as wide as your body for the chain turn, it not a tight rope. Use the full width when turning, otherwise your feet will get crowded and unbalanced like you are walking on a tight rope.
  • Step 3 on a free spin should be a back drop so that backwards your body movement causes the follower to rotate counter-clockwise.

From Jennifer:

  • While leading a left-side inside chain turn, a right-side outside chain turn, a sugar tuck pirouette, or any turn in general, you must use as few fingers as possible to lead follower throughout the rotation. You can use two fingers in chain turns, but you must use one finger for pirouettes. As Jennifer’s instructor told her, this is the only time when a follower will be extremely happy to receive the middle finger.
  • Engage your latissimus dorsi in an open position as opposed to using your biceps or forearms so there is a direct connection to your core.

From Luke:

  • When stepping backward in a sugar push, do it as if doing a moonwalk, because your feet should remain connected to the slot.

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.

  • In West Coast Swing, the dancer is trying to trace his or her path on the floor while dancing, meaning that the feet should be in contact with the floor if possible. For example, this means that the first two steps in a sugar push should look like Michael Jackson’s moonwalk because the feet are always in the contact with the floor. When stepping forward, the follower also needs to trace the path while moving forward with the inside front part of the foot. The foot comes off the floor when the change is moved onto the hill. When the lead walks forward, he also needs to trace the path on the floor with the inside front part of the foot, but the weight change may happen on the ball of the foot as opposed to the hill because the lead may need to apply force on the ball of the foot to to stop the follower’s movement.

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.

  • Contemporary music is written in 8 bar phrases, and each bar has 4 beats. This means there are 32 beats in a phrase. In Blues each phrase is 12 bars, so there are 48 beats in each phrase.

  • 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.

Counting straight 8’s #

  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 ..

Accentuating the 1 #

Dance your basic patterns while counting straight 8s. Accentuate the 1 by any means necessary. This may mean a slide on 1, a back drop on 3, or a side check or sweep on 5. You can accentuate the 1 by accentuating the 3&4 compression on a sugar tuck. You may also sweep or point your free arm or head. Accentuations will all fall on 1, 3, or 5 while counting straight 8s to 6-beat patterns.

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

Sugar push #

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 #

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.

Make sure this hand preparation is done at waist level, not a chest level, so it is more comfortable for the follower.

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 #

Pull straight back on 1 while engaging your latissimus dorsi, not your forearm or bicep muscles. Prep slightly to the left between 1 and 2, and rotate your hand counter-clockwise in a circular motion on 3.

I have verified that the Left prep happens on 1.5 with Ray Trusty and with Damon D’Amico.

Use it in a:

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 ||.

Paraphrased advice from Damon D’Amico:

In general, in a closed position, the leader’s wrist should rest against the crook of the follower’s armpit, the axilla. There should be no gap between the wrist and the armpit. This is where the steering power comes from.

Reached via:

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 _|.

Reached via:

Leads to:

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:

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:

Goofy horn #

This is a mirror image of the horn position.

Goofy spiderman #

This is a mirror image of the spiderman position.

Weird goofy #

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:

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:

Weird Handshake #

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

Reached via:

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:

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:

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:

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:

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:

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 sweep
  • 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 #

There are two types of pattern names: common names and descriptive names.

Common names are short and not descriptive. Whenever you hear a common name, you either know the pattern or you do not. These are the official or well-known pattern names.

Common pattern names include: left-side pass, sugar tuck, sugar push, free spin, roll-in-roll-out.

Descriptive names are long and describe the movements in the pattern. Whenever you hear a descriptive name, you are able to imagine what the pattern may look like. These names are not well-known. I made them up.

Descriptive names include: left-side pass with a follower inside chain turn, whip with a follower inside turn, left-side with a follower free chain turn.

Pre-starter steps #

A pre-starter step or a groove step is a stationary step that you before a starter step or before you start dancing in general.

Left tap right tap #

On 1 do a tap step diagonally forward at 11 o’clock with your left foot and on 2 bring your left foot diagonally backward so you step in place and change weight onto your right leg. On 3 do tap step diagonally forward at 1 o’clock with your right foot and on 4 step diagonally backward with your right foot so you step in place as you change weight onto your left leg. You should be in the original position. Note that tap steps do not require a weight change, meaning that a 4-beat groove cycle only requires 2 weight changes.

This groove can be turned into a forward tap forward triple.

Starter steps #

Forward tap forward triple #

Start in closed position. On 1 do a tap with your left foot and on 2 step forward with your left foot such that it points at 10 o’clock. Notice how it was 2 beats but only one weight change. On 3&4 there should be a push and a pull. On 3&4 do a triple step forward while making your body and left foot point at 9 o’clock so that you end in a starter position.

Left triple forward triple #

Start in closed position. On 1&2 do a triple step with your left foot pointing at 10 o’clock as you move in the 9 o’clock direction. On 3&4 do a triple step forward while making your body and left foot point at 9 o’clock so that you end in a starter position.

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 forwards 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 #

Start in 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 forwards. End in an open position.

Goofy sugar push inside pivot turn #

Start in a goofy position. On step 2 raise your right hand to her face level and align your right hand with her left shoulder while your hand points at 2 o’clock. On step 3&4 do compression on 3& and begin the counter-clockwise turn around her head on 4 as you step forwards. Anchor on 5&6. You should end in a goofy position.

Goofy sugar push outside pivot turn #

Start in a goofy position. On step 2 raise your right hand to her face level and align your right hand a couple of inches above her forehead while your hand points at 10 o’clock. On step 3&4 do compression on 3& and begin the clockwise turn around her head on 4 as you step forwards. Anchor on 5&6. You should end in a goofy position.

Handshake sugar push outside pivot turn #

Start in a handshake or spiderman handshake position. On step 2 raise your right hand to her face level and align your right hand a couple of inches above her forehead while your hand points at 10 o’clock. On step 3&4 do compression on 3& and begin the turn on 4 as you step forwards. Anchor on 5&6. You should end in a handshake position.

Next pattern suggestion:

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 pirouette #

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. The palm of your hand should point up and be parallel to the floor on 1 to create a frame that looks like an upside-down, mirrored letter L (o˥) so that your head will go under the frame. 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, and your left wrist should be aligned with your right ear. 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 forearm onto your right hand by the end of 4. You should be in an regular handshake or a spiderman handshake by the end of 5&6.

Sugar push right shoulder slide outside turn #

This is an exit variation for the sugar push right shoulder slide.

Start in an open position. All the handwork and footwork is the same as in a sugar push right shoulder slide, but the handwork changes on the 5&6. You should have a handshake or spiderman handshake by 4, so you can add styling to the anchor by raising your right hand to follower head-height on 5 while looking at your clock, and performing an outside turn on &6. Of course, the 5&6 outside turn should be a single, smooth motion because there will be no compression in the 3&4 to indicate an outside turn.

The footwork and handwork for the follower should be very similar to a sugar push outside pivot turn, except that there will be no compression in the 3&4 to indicate an outside turn.

Sugar push left shoulder slide #

Start in a goofy or parallel position. The footwork is the same as in a sugar push. 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 right hand over your head and then to your left shoulder. The palm of your hand should point up and be parallel to the floor on 1 to create a frame that looks like an upside-down L (Γo) so that your head will go under the frame. In specific, your right 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 3 o’clock whenever the hand is over your head, and your right wrist should be aligned with your left ear. At the end of 2, the back your right hand should be pressed against the left side of your neck, so release the follower’s left hand because it has been positioned in your left 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 left hand go over your head and reach the left shoulder. On 3&4 keep your right hand at the left shoulder while offering your left hand by placing it under-and-in-front of your right elbow. The follower’s hand should slide down your right forearm onto your right left by the end of 4. You should be in an regular scout or a spiderman scout handshake by the end of 5&6.

Sugar push lead outside pivot turn to handshake #

Alternate names:

  • Sugar push clockwise hand change
  • Sugar push leader clockwise turn

Start from an open position. This step is the same as a sugar push up to step 4. On steps 5&6, do the footwork of a salsa right turn (for steps 2, 3, and 5). In other words, the right foot steps at 5 o’clock moving backwards, then the left foot at 7 o’clock doing a 180 degree clockwise turn and stepping in front of the right foot, and then the right foot at 12 o’clock moving forward. On step 5 bring your right hand to your lower back with the palm of your hand open and pointing away, ready to grab the incoming hand. On step 5, as the outside pivot turn finished, bring your left hand to your lower back while holding the followers hand, and then swap the follower’s hand to your right hand. By the end of the &6 you should be in a handshake position. If you only do 0.75 turns instead of the full turn, you will not be face-to-face with the follower. You may use this as styling, but it will make the following pattern harder to do.

Alternative explanation:

Start from an open position. Do a sugar push, but on 4, step with the left foot such that you face 3 o’clock. On 5 of the 5&6 rotate clockwise to face 12 o’clock while swapping the follower’s hand from your left hand to your right hand at butt-to-waist level behind your back. On the &6 of the 5&6 complete the turn.

Alternative explanation:

Start from an open position. The footwork and handwork are the same as in a [sugar push] up to 3&. The footwork on 4 is with your left foot stepping forward pointing at 2 o’clock. On 5&6 do a clockwise pivot turn while switching hands behind your back the hand-switch from your left hand to right hand should happen on 5 around the butt-to-waist level while you are facing 6 o’clock. At the end your body should point at 9 o’clock. You should end up in a handshake position.

Sugar push lead inside pivot turn to scout position #

Start from an open or goofy position. The footwork and handwork are the same as in a [sugar push] up to 4. The footwork on 5&6 is the same as in a salsa left turn. During 5&6 switch the follower’s left hand from your right hand onto your left hand. You should end in a scout position.

Sugar push clockwise duck to handshake #

Alternative name: Back-to-neck hand-slide

Start in [open position]. Do a sugar push, but on 3&4 begin lowering your body and pointing your body at 3 o’clock. Duck and slide under the right arm from a hammerlock position. On 5&6 you may skip the triple. By 6 you should be perpendicular to the follower, looking at 9 o’clock. You should end in handshake position.

Mirrored inside pivot turn #

Note that there are no triple steps in this pattern.

Start in an open position. On 1 and 2 step backwards towards 6:00. On 3 turn 180 degrees such that you are facing 6:00 and the follower is facing 12:00. On 3 you will do this by bringing your left hand all the way towards 3:00 and immediately releasing your hand. You should be back-to-back and your shoulder blades could be touching each other but they do not necessarily have to. On 3 and 4 your weight should be on your left leg as you are leaning towards the left. On 5 and 6 you should lean towards the right and change your weight into your right leg. On 7 you should turn clockwise by stepping on your left leg so your body points at 10 o’clock. On 8 turn slightly clockwise by stepping on your right leg while offering your left hand such that you end in an open position.

Variations:

  • On 3 instead of releasing your left hand you may choose to keep it connected and continue the rest of the pattern while holding hands. This easier to follow.
  • This pattern can be done from a parallel position while holding both hands throughout the entire rotation.

Right-side passes #

Also known as a fake whip.

Right-side inside 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.

Goofy right-side inside 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.

Goofy left-side inside chain turn #

It starts from a goofy position and the footwork for the leader is the same as in a right-side inside turn. 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 inside turn. 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 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 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 #

Start from an open position. This is a right-side pass with chain 2.5 turns instead of 1.5 turns. On step 1 step back and diagonally backward. In between 1 and 2 give a left 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. You should end in a open position.

Right-side outside leader turn into left shoulder-lock #

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.

Consider performing the 5&6 as an cross-legged outside turn.

This pattern can be followed by a left shoulder-lock reverse whip.

Short right-side inside turn #

Also known as a short right-side pass.

A variation of the right-side inside 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 turn lead inside turn into handshake position #

A variation of the right-side inside 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.

You may opt to do feminine handwork on the 4 5&6. The handwork does not look like asking a question, not like you are riding a bull, not like you are a monkey, and not like you are in the 1920’s. Your right arm must be pointed straight up, perpendicular to the floor, with your elbow locked straight. Your right bicep should be aligned with your right ear. If you are facing 12 o’clock relative to the floor, then your right hand fingers must be pointing at 3 o’clock and the palm of your hand must be parallel to the floor. To lower your right arm, bend your elbow in the 12 o’clock direction while your right hand palm slides across the back of your head, neck, and right shoulder while your right hand fingers point more or less towards the ceiling, perpendicular to the floor.

Right-side inside turn lead inside turn into open position #

This is a variation of the right-side inside turn lead inside turn 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 turn under the follower’s arm. You will end up in open position because you never let go of the follower’s right arm.

Right-side inside turn into starter position #

Start in an open position. Steps 1 through 3& are the same as in a right-side inside turn. Make sure step 3 is a back step, not a step in place. On step 4, do not step into the slot with your left foot. Instead, cross in front of your right leg with your left leg while moving toward the 6 o’clock direction. On steps 5&6 uncross your right leg while moving slightly in the 6 o’clock direction. Your steps will be smaller because you should already be in a starter position.

On steps 3& you should be in a shadow position, meaning the follower’s back should be in front of you, so place your right-hand fingertips in between the follower’s shoulder blades. Make there is no gap between you right-hand wrist and the follower’s armpit once you go into starter position.

Left-side passes #

Left-side pass #

Start from an open position. 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.

Fold #

Start from an open position. The footwork can be the same as in a left-side pass. However, it looks better if on step 4 your body faces 9 o’clock because the follower is also facing 9 o’clock. Then do the 5&6 anchor step to face 6 o’clock while the follower faces 12 o’clock. You should end in an open position.

As for the handwork, on beats 1 thru 3 do a left hand prep at waist level. You may use you left-hand middle and ring fingers and a sign-of-horn for the handle on beats 3&4. You may also do a bracelet around the follower’s wrist using your pinky and thumb as she rotates on 3&4.

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 from 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 starter inside chain turn into open position #

Whenever you are in a closed or starter position, your first two steps are half the length, so the left prep for the inside chain turn will happen on 2 rather than between 1 and 2. 3

Start in a starter position. Steps 1, 2, and 3& are done while facing 9 o’clock. Step 1 is to 6 o’clock. Step 2 is to 6 o’clock, but you must cross your right leg behind your left leg. Step 3 in the 3& is a back towards 3 o’clock so that your left foot goes backwards more so than where the right foot is standing. It looks better than doing the 3& in place. Step & in the 3& is done almost in place because there is very little travel towards 6 o’clock. Step 4 is diagonal towards 7:30 o’clock. Steps 5&6 are an anchor step. You should end in an open position.

Left-side starter back-lead free-spin #

Start in a starter position. The handwork for 1 is to lead the follower towards 6 o’clock using a flat right hand. On 1.5 lead the follower towards 7 o’clock with the palm of your right hand, which is the equivalent of the left prep. On 3 flex your wrist to lead the follower towards 5 o’clock. The right hand will disconnect from the shoulder blade on 3 and the follower will enter into a free spin.

Typically for an free spin, you would use your right hand to lead a left prep on 1.5 and lead the follower into the turn. In this case you are doing the same prep with the same hand and on the same beats, but from a starter position.

Left-side starter outside turn into a weird handshake position #

This is a pattern that Ray Trusty taught me.

Start in a starter position. Steps 1, 2, and 3& are done while facing 9 o’clock. Step 1 is to 6 o’clock. Step 2 is to 6 o’clock, but you must cross your right leg behind your left leg. Step 3 in the 3& is a back towards 3 o’clock so that your left foot goes backwards more so than where the right foot is standing. It looks better than doing the 3& in place. Step & in the 3& is done almost in place because there is very little travel towards 6 o’clock. Step 4 is diagonal towards 7:30 o’clock. Your left foot may be able to finish pointing directly at 6 o’clock. Steps 5&6 are an anchor step. You should end in an weird handshake position.

For the handwork, you should be able to do this pattern with your left hand in your pocket. On beats 1 and 2 your hand stays on the follower’s left shoulder. On step 3&4 you do a push-and-pull to lead the follower into a 0.5 clockwise turn. For the pulling motion on 4, you may need to use your right-hand fingertips to leverage the follower’s left shoulder blade groove. Without the grove, you will have nowhere to pull from. If you lead the 3&4 correctly, the follower will do a right side-check while turning 0.25 turns clockwise. The remaining 0.25 clockwise turn will be done by the follower on the anchor step. On 5&6, as the follower turns clockwise, slide your right hand across the follower’s back while rotating it into a weird handshake position without losing connection with the follower at any point throughout the entire pattern.

Next pattern suggestion:

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 #

A goofy unconnected right-side inside chain turn.

Start from a goofy position. 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. Step 3 is a back drop so that your backwards body movement causes the follower to rotate counter-clockwise. On 4 don’t walk into the slot if possible; step in place. On 5, catch the follower’s hand. On 5&6 do an anchor step. You should end in a open position.

Free spin leader pivot turn #

Star from a goofy position. This pattern is identical to the free spin up to step 3&. On 3& the follower faces 9 o’clock. On 4 the leader steps across while rotating 0.5 turns clockwise to face 3 o’clock. On 5&6 rotate 0.25 turns clockwise to face 6 o’clock while extending your left arm to grab the follower’s right arm and reach an open position.

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 #

A pattern that Bob Bowlby and Joan Peeples taught me.

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.

Basket whip with arm escape #

Start from an open or parallel position. Everything is the same as a basket whip up to 4. Don’t let your right hand go of the follower’s left hand for the entire pattern. On 5 let go of your left hand. You should be standing perpendicular to the follower, looking at 9 o’clock while she looks at 6 o’clock. Your right arm should be extended across the followers back, with your hand pressed directly under the follower’s armpit-to-shoulder-blade fleshy part. Your right hand should rotate 45 degrees in a counter-clockwise, pronating motion around the follower’s right shoulder-blade-armpit section. In other words, your hand must not be at her waist level or her neck level. This rotation will encourage the follower to duck slightly. If the follower does not know to duck, release the right hand and gracefully toss it from 9 o’clock to 12 o’clock before putting it by your waist. She should have escaped by 6. You may choose to skip the footwork after you reach 5. On 7&8 you are still perpendicular to the follower, looking at 9 o’clock. The follower should move toward 12 o’clock while facing 6 o’clock the entire time and then anchor. You should end in an goofy, perpendicular handshake.

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 handshake 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.

Right-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.

Handshake reverse whip #

Start in a handshake hold. Lead an L-hook between the 1 and 2. The follower should be facing 12 o’clock by the end of 2. On 3& take your sweet time making sure you get into a proper starter position and placing your right wrist under the follower’s armpit such that there is no gap. On 4 step across the slot and propel the follower forward across the slot, not in an orbiting motion. Step 5 is down the slot towards 12 o’clock, step 6 is across the slot towards 9 o’clock, not diagonally, and steps 7&8 are an anchor step. You should end in a open position.

Left shoulder-lock reverse whip #

Start in a left shoulder-lock position. Steps 1 and 2 are backwards diagonally such that you should face 3 o’clock by the end of step 2. On step 3& you enter starter position, and on steps 4 through 8 you lead a regular whip. You should end in open position.

For the handwork, pull the follower toward 6 o’clock on 1 using your left arm. Then invert the curvature of your right wrist on the follower’s shoulder between 1 and 2 to indicate a 0.5 counter-clockwise turn to the follower. The follower should be facing 12 o’clock by the end of 2. Your right hand should not lose contact throughout the turn because the follower does not know how much to turn. Between 1.5 and the end of 2 you will nee to turn your hand while maintaining contact. Your right hand fingers will basically from 9 o’clock to 3 o’clock counter-clockwise before your palm can turn and be placed on the follower’s left shoulder.

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.

Paraphrased advice from Damon D’Amico:

When performing an Apache whip, in addition to always keeping the right hand on the follower’s shoulder, the hand switch happens on 5, not 4. If you attempt the hand switch on 4, you are undermining the follower. On 5, do not take your right hand off the follower’s back to perform the hand switch because this is confusing for the follower. On 5, for the hand switch, while the right hand is pressed against the follower’s left shoulder blade and the right wrist is under the armpit with no gap, all you have to do is change the direction of your right hand from 9 o’clock to 6 o’clock while lifting your right-hand fingers, assuming the imaginary clock is mounted on the follower’s back. Then bring the follower’s right hand under those fingers using your left hand.

Continuous whip #

Do a regular whip, then on 3& you should be in a starter position with your left foot free to step across on 4. On 4 step across with your foot pointing at 9 o’clock, not 12 o’clock, so on 5 you can use your right foot to propel yourself on a 0.5 clockwise turn so your body, face, and feet face 3 o’clock. It is very important to perform steps 4 and 5 as a single, fluid motion. Then keep stepping across, as if repeating steps 4 and 5, alternating between facing 9 o’clock and 3 o’clock. Make sure that you are not making an orbiting motion. You should be stepping across the slot, and the follower should be moving up and down the slot, kind of like the + sign, as opposed to orbiting around the slot, like a circle O. As you are stepping across the slot, make sure there is tension on the 4 such that the tension directs the follower to move across the slot, not around the slot. Also, on 4 both will be very closed together whereas on 5 there should be a little bit of a stretch as the tension builds up before the next 4 and 5. To finish the pattern, stop creating tension on step 5 while the follower is in closed position, and slowly release the follower’s left shoulder blade into open position as you step across the slot on 6 so your body and feet can point either 12 o’clock or 6 o’clock depending on how many turns you did. Then 7&8 are a regular anchor step. You should end in an open position.

Note that the repetition ends on the odd beat 5 because the settling happens on the even beat 6.

One of the main uses of the continuous whip is to add 2-beat increments so that you are more easily able to predict or approach the 8th beat in the song.

Continuous whip into starter position #

Start in an open position. Then go into a continuous whip after 3& or the first 5. Then settle on 6 to go into a starter position.

The perpendicular angle is very important when stepping across on 4. Keep repeating 4 and 5 in one quick, smooth motion, like the 4 and 5 are one motion, not two steps, making sure to maintain this perpendicular shape at the end of each rotation on 5, and making sure the follower moves up and down the slot, not in a circular or orbiting fashion. On the last repeat of the 4 and 5, do not build tension on the 5, become gooey on 6 so the follower can settle, and should end in starter position on 6.

Next pattern suggestion:

Continuous basket whip into starter position #

Do a basket whip, then on 4 and 5 lead a continuous whip, an settle in a starter position on 6.

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.

Triple-step replacements #

Triple steps are the default footwork for steps 3&4 and 5&6 in 6-beat patterns and for steps 3&4 and 7&8 in 8-beat patterns.

On March 2024, Houston, I took a workshop at the Novice Invitational dance event and learned about replacing triple steps with level changes. Months later, Chuck Anders introduced me to the concept of the anchor wheel, and how the anchor triple-step can be replaced with a side-, a front-, or a back-check.

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.

Then, I took a styling class with Zach and Rachel and learned about replacing triple steps with tap steps, slides, and holding the beat (or eating the beat, jocosely speaking).

In other words, it looks like any triple step can be replaced with any step variation that is 2 beat in length, and all anchor steps can additionally be elongated from 2 to 4 beats. Elongating the steps makes more sense in faster songs because elongating an anchor step to a slow song will feel unnatural.

The number of triple-step replacements should be infinite, but this is an attempt to standardize some steps because as my dad says, “[one should] formalize [one’s] thoughts”.

The easiest way to practice triple-step replacements is to add a triple-step or anchor variation in every single sugar push, left-side pass, right-side pass, and whip.

Slide #

A slide is different from a sweep because a sweep does not require your to build momentum by lifting your free leg and standing on the ball of your other foot. Also, a sweep is a circular clockwise or counter-clockwise motion, whereas a slide is unidirectional.

There are at least 10 general ways in which you can slide, with 5 ways for each foot.

Starting with both feet together facing at 12 o-clock, you can jump on the ball of your right foot without becoming airborne so you can gain momentum as your left foot slides to 12, 10:30, 9, 7:30 or 6 o-clock.

Likewise, starting with both feet together facing at 12 o-clock, you can jump on the ball of your left foot without becoming airborne so you can gain momentum as your left foot slides to 12, 1:30, 3, 4:30 or 6 o-clock.

For styling, your body and foot can be perpendicular to the direction of travel. For example, if you step toward 12 with your left foot, then your body and left foot can point at 3 o’clock. If step toward 12 with your right foot, then your right foot and body can point at 9 o’clock. As another example, your body and feet can point at 10:30 if you are traveling to either 7:30 or 1:30 o’clock because 10:30 is perpendicular to the direction of travel.

Level change #

A level change, like a level up or a level down, means standing on your tippy toes or bending your knees to increase or decrease your height by a couple of inches.

Stand on the balls of your feet to increase your stature by about 2 inches.

Bend your knees slightly to decrease your stature by about 2 inches.

Level up on first triple #

On a left-side pass or a right-side pass, perform the steps 3&4 such that steps 3& are raised. On 4 you go back to a normal level as you step into the slot.

Level up on second triple #

On a sugar push perform the anchor step such that the 5& are raised so step 6 is in place and brings you down to a regular level.

On a whip it would be 7&.

Level down on first triple #

On a left-side pass or a right-side pass, do the 3&4 such that you bend your knees on 3& and go back to normal on step 4 as you step on the slot.

Level down on second triple #

On a left-side pass or a right-side pass, do the 5&6 such that you bend your knees on 5& and go back to normal on step 6 as you step on the slot.

On a whip it would be 7&.

Cross-legged outside turn #

A weird 180 degree cross-legged turn that Rachel taught me. Bend your left leg so there is a 70 degree angle in the posterior part of your left knee. Then cross your right leg behind your left leg such that your right knee touches the back of your left knee. Then turn around 180 degrees while pivoting on your legs such that your left knee touches the back of your right knee. You can reduce the amount you bend your knees by lowering the “cross-point” from your knees to your shins.

Cross-legged inside turn #

Also known as a cross-legged inside turn.

A weird 180 degree cross-legged turn that Rachel taught me. Bend your right leg so there is a 70 degree angle in the posterior part of your right knee. Then cross your left leg behind your right leg such that your left knee touches the back of your right knee. Then turn around 180 degrees while pivoting on your legs such that your right knee touches the back of your left knee. You can reduce the amount you bend your knees by lowering the “cross-point” from your knees to your shins.

Hitch #

Usually in a sugar push or side-pass you settle on your right leg and then step backwards twice on the 1 and 2. In a hitch step you settle on your right leg, but the weight is not on the ball of your foot or the middle of the foot, it is on the heel. The only way not to lose balance is to change your pitch forward, meaning your chest goes slightly forward while your hips go slightly backward. Your left foot should feel like it is floating because there is so little weight on it on the 1. Then on the &2 you quickly change weight onto your left leg before changing the weight back again onto your right leg. This steps fits blues well because blues is swung, but it may feel syncopated to a song that is not swung.

Video

Brush #

A brush step is different from a sweep because it does not have a rotating motion about the hip. A brush is also different from a slide because a slide is a progressive move, whereas a brush is an stationary move that resembles a kick.

This pattern takes 2 beats. The pawing takes 1 beat, and the kicking and coming back to a stable stance takes 1 beat.

A brush in the backward is identical to a bull pawing the ground because you drag your foot backwards against the floor before the friction with the floor is lost and you end up kicking back into the air because your hamstring is still contracting. For stability and styling, it is best to change your body’s pitch forward on 1, meaning your hips should go slightly back while your chest goes forward. On 2 you undo the pitch, which you can style it as a body roll.

A brush to the left with the left leg or to the right with the right leg also looks similar as in the backwards direction. Your drag the ball of your foot against the floor to the right or to the left on 1, the traction with the floor is lost and the kick happens on 2, and returning to a stable position also happens at the end of 2. You also change your body’s pitch, meaning that if you are using your right leg to brush to the left, then your chest will lean slightly to the left as your hips move slightly to the right on 1. On 2 you undo the pitch by smoothly contracting your right-side rib muscles to do a body roll.

You can probably brush to the left and to the right with either leg.

A brush forward is different from a brush backward or to the side because it looks like a kick that goes back a couple of inches in the air (winding up) and brushes the floor as it goes forward looking as a kick. Again, the kick happens on 1 and returning to place happens on 2 while the foot is in mid air. This time the pitch goes back on 1, meaning the chest goes slightly backwards while the hips go forwards. The pitch is undone on 2 by styling it like body roll with the forward going forward and the chest following it before the hips go back to place.

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.

Right side-check #

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

Left side-check #

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

Counter-clockwise sweep #

A rond de jambe.

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.

Pattern suggestion:

Slow counter-clockwise sweep #

A rond de jambe.

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

Clockwise sweep #

A rond de jambe.

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.

Pattern suggestion:

Slow clockwise sweep #

A rond de jambe.

Mechanically the same as a clockwise sweep, 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.

Sequences #

Hairbrush switcheroo:

  1. sugar push right shoulder slide outside turn
  2. sugar push left shoulder slide
  3. [fold from scout] RAG free spin

Goofy triplet:

  1. goofy left-side inside chain turn
  2. roll-in-roll-out
  3. free spin

  1. This is a hypothetical move. I have not actually tried it. 😸 ↩︎ ↩︎ ↩︎ ↩︎

  2. Thanks Daniela for the corrections and suggestions! ↩︎

  3. This needs to be verified. ↩︎