Two beat step

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.

Improved anchor step #

Damon D’Amico taught me this.

This is a stylized version of the regular triple-step anchor step. You should be able to use it all the time instead of a regular anchor step.

At the end of an anchor, the follower’s hips should be pointing slightly to the left because the weight is on the left foot and the right foot is on front. The follower should not square her hips on step 1. The follower should square the hips on step 2 unless there is a prep. For example, a left prep will move the hips to the right. On the 5&6, the follower may choose to move slightly to the left and to allow the movement to lead the follower to settle on the left hip with the hips pointing slightly to the left, at 11 o’clock. The lady should make sure to close her hips on step 1 if taking a step forward would result on a big un-lady-like gap.

The leader should do the anchor step such that the hips point slightly to the right at 1 o’clock. Also, on the 1, the right foot big toe and the middle toe should make contact, but not the third toe, before stepping back with the left foot. Steps 1 and 2 should be with open legs, like you are straddling over a puddle, or like your balls are so big you couldn’t close your legs even if you wanted.

Whenever you square your hips, you walk out of an anchor step looking like an I. The goal is to look like a K or a Ʞ.

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:

• On a [left-side pass], replace steps 5&6 with a sweep.

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:

• On a [right-side inside turn], replace steps 5&6 with a sweep.

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.

Laser swivels #

Just like in Lindy Hop.

Chick-ball-change #

It is very important that your change happens such that your toes are behind your knee so that there is a natural drop. Also, the “ball-change” part are almost instantaneous. They happen very quickly next to each other, which may mean they will will be syncopated to the music.