Basic Movements

Question 1

Bow

Answer 1

stand with feet and head in first position, arms by the side or in first position.
Bow by inclining the body forward slowly and returning to the original position.
If arms are by the side then they should be taken to 1st position by the first count after the bow (unless otherwise stated)
At the end of each dance, feet, head and arms are in first position for the bow.
Note; the depth of the bow must not be exaggerated and the count varies by dance.

Question 2

Hop

Answer 2

A movement of elevation begun on the ball of one foot and finished by landing on the ball of the same foot

Question 3

Spring

Answer 3

A movement of elevation begun on the ball of one foot and finished by landing on the ball of the other foot

Question 4

Step

Answer 4

A transfer of weight from one foot to the ball of the other foot
Can be executed with or without travel and (where specifically designated) the heel may be lowered to finish on the flat foot.

Question 5

Assemble

Answer 5

A movement of elevation begun on the ball of one foot and finished by landing simultaneously on the balls of both foot in 3rd or 5th position

Question 6

Disassemble

Answer 6

A movement of elevation begun in a closed position with the weight of the body equally distributed on the flat or balls of both feet.
Finished by landing on the ball of one foot with the other placed in or raised to a specific position.
There is no travel to this movement unless specified
During the elevation there is no extension of the foot upon which the dancer is to land

Question 7

Change

Answer 7

A movement of elevation begun with the weight of the body on the balls of both feet in 3rd of 5th position and finished by landing on the balls of both feet simultaneously in 3rd or 5th position with the other foot in front.
During the elevation there is no extension towards 2nd aerial position

Question 8

Leap

Answer 8

A movement of elevation begun from the balls of both feet in 3rd or 5th position extending both legs towards 2nd aerial position, and finished by landing simultaneously on the balls of both feet in 3rd or 5th position with or without change of feet.
On the extension during the elevation, both legs should be straightened.

Question 9

Entrechat

Answer 9

A movement of elevation commencing on the balls of both feet in 3rd or 5th position.
During the elevation execute two change actions before landing with the same foot in front (and a 1)

Question 10

Brush outwards

Answer 10

the half point of the working foot lightly touches the ground in its progress from 3rd aerial position very low through 3rd to an open aerial position or from a rear position, through 1st position to 4th aerial position.
When an outward brush is executed in conjunction with a spring or a hop, the working foot touches the ground almost simultaneously on landing

Question 11

Brush inwards

Answer 11

the half point of the working foot gently touches the ground in its progress from an open aerial position to an accepted position

Question 12

Shake

Answer 12

A shake is always executed with a hop. Each shake action should finish with a straight leg

Question 13

Shake for Seann Truibhas

Answer 13

The working foot is progressively extended by 2 or more subsidiary movements (called shake actions) from 3rd or 5th positions to 2nd aerial position high.
The shake action comes from the knee controlled by the thigh and they should be started while flexing the knee of the supporting leg in preparation for the hop, simultaneously on landing from which the working foot arrives at its highest point. for counting “1 and and a 1”

Question 14

Shake for Highland fling

Answer 14

the movement is always preceeded by pointing the working foot in 3rd or 5th position from where it is extended to 4th intermediate aerial position using only 1 subsidiary movement. Thus the actual shake movement consists of 2 shake actions, the first finished with the working foot in 4th intermediate aerial position low and the second, with that foot arriving at 4th intermediate aerial position. Simultaneously on landing from the accompanying hop. Counting “1 and (and) a 2” or “1 (and) and a 2”

Question 15

what does (and) mean for counting?

Answer 15

there is no action by the dancer on that quarter beat, nor should it be sounded when counting

Question 16

Low cutting for the Fling

Answer 16

Extend RF to 2nd aerial position low, strike the heel of the RF against the heel of the LF then sharply re-extend the RF towards 2nd aerial position low.
During this movement the LF travels sideways with minimum elevation.
Strike the heel of the RF against the heel of LF and almost simultaneously, spring onto RF finishing with LF which is sharply extended to 2nd aerial position low (count and a 7). This movement is also executed beginning LF

Question 17

Pas de Basque

Answer 17

Preparing with an extension of the working foot to 2nd aerial position low, spring to that side. Bringing the new working foot to 3rd or 5th position, placing it on the half point then beat the ball of the other foot in 3rd or 5th rear position at the same time sharply extending the front foot, if required to begin the next movement.
Counting for swords 1AND 2, 3AND 4
counting for all other dances 1 and 2 3 and 4

Question 18

Notes for pas de basques

Answer 18

• the same position, 3rd or 5th must be used throughout the movement
• when a turn or part of a turn is excecuted with 2 pas de basques, there is no extension to finish the first pas de basques and the second is danced with little to no travel
• this movement may also be danced with other than lateral travel. In which case the extension of the starting foot is along the required line of travel, generally towards the 4th intermediate aerial position
• the back beat should not be exaggerated and should be executed on count 2 and the toe raised no higher than the heel of the supporting foot

Question 19

Open pas de basques

Answer 19

as for pas de basque, except that the front foot is placed in 4th opposite 5th postition, 4th position, 4th intermediate position and 2nd position and there is no extention at the finish. This movement is only used in the sword dance

Question 20

Highcut

Answer 20

spring, hop or disassemble and simultaneously on landing take the working foot to 3rd rear aerial position. Then (working from the knee joint only) extend the working foot towards 2nd aerial position and return it to 3rd rear aerial position. During the elevation one or both legs may be extended towards 2nd aerial position. Unless where specially designated, there is no side travel in this movement.

Question 21

Highcut counting

Answer 21

Swords and seann truibhas - 1AND 2AND 3AND 4AND
seann truibhas - high cut in front and balance 1 and(and)
Reel - 1 and 2 and 3 and 4 and OR 1 and (and) a

Question 22

Highcut notes

Answer 22

• performed in series, high cutting can be described as a succession of springs from 3rd rear aerial position to 3rd rear aerial position, executing a high cut each time and during each elevation extending both feet towards 2nd aerial position, although this extension of the foot from which each spring is commenced may be slight
• if performed in a series, high cuts can be danced with or without extensions
• in the sword dance and first basic reel step where a series of extended high cuts are danced the high cut which is executed in conjunction with the disassemble must be extended.
• where a series of high cuts are extended without extensions, it is permissible to to extend a high cut which is executed in conjunction with a disassemble
• in the reel it is permissible in each series to execute the first high cut with no extension, followed by high cuts with extension(s) exception being first setting step

Question 23

High cut in front

Answer 23

As for high cut, but the raised foot is taken through 4th intermediate aerial position to 3rd aerial position and the re-extension is towards 4th intermediate aerial position
note - high cuts in front are not performed in series and in certain specified cases (eg in the 6th or 9th seann truibhas steps) the extensions are towards 2nd aerial position. Refer to individual steps for counting

Question 24

Balance

Answer 24

Commence with the RF in 4th intermediate aerial position, with hips facing the front with the right shoulder slightly advanced, the arms in 3rd position and the head in 2nd position. Spring onto that foot displacing the supporting foot which is taken to 4th intermediate rear aerial position. This movement occupies 2 beats of music

Question 25

Travelling balance

Answer 25

Commence with the RF in 4th intermediate aerial position with hips facing the front, right shoulder slightly advanced, the arms in 3rd position and the head in 2nd position.
Bring the right foot inwards to take 2 steps and a soft spring, RF, LF, RF, travelling diagonally backwards in a line approximately 45 degrees to the LOD, the foot positions being 5th position, 4th intermediate rear position and 5th position respectfully, extending the LF to 4th intermediate rear aerial position simultaneously on taking the soft spring (count ‘1 and 2’) . The above is now repeated contra, travelling forward along the same diagonal line to finish the movement in the original starting position (count ‘3 and 4’)
Note - throughout the movement the upper part of the body is held erect

Question 26

Travelling balance ARMS

Answer 26

the arms are taken upwards and inwards to 4th position during the backwards travel then returned to 3rd position during the forward travel or, alternatively, during the backward travel they are circled outwards and downwards at the sides to 5th position then, during the forward travel, they are circled outwards and upwards at the sides to 3rd position

Question 27

Rock

Answer 27

Spring from the 3rd to 5th position to 3rd rear position,or vice versa, pointing the working foot simultaneously on landing. Rocks are usually danced in series, in which case the first rock may be executed starting from an open position. The rear foot is always pointed first.
Note - when the working foot is pointed during this movement the toe touches the ground lightly

Question 28

Round-the-leg

Answer 28

SINGLE - the working foot is passed from 3rd rear aerial position to 3rd aerial position or vice versa. During the movement the working foot must be kept as close as possible to the supporting leg with the knee of the working leg held well back.
DOUBLE - spring onto LF taking RF to 3rd rear aerial position, quickly execute a round-the-leg movement to 3rd aerial position and return to 3rd rear aerial position
Note- this may only be executed with a hop high cut during bars 7 and 8 of the following:
- basic reel steps - 2nd, 3rd(1st alt), 6th (1st alt),
9th alt.
- this may also be executed throughout the
16th basic reel step in last step - high cutting

Question 29

Shedding

Answer 29

Hop, spring or disassemble pointing the working foot simultaneously in 2nd position (count ‘1’)): hop taking the working foot to 3rd rear aerial position (count ‘2’): hop, executing a round the leg movement with the working foot to 3rd aerial position (count’3’): hop, executing a round the leg movement with the working foot to 3rd rear aerial position (count ‘4’)

Question 30

Toe and Heel

Answer 30

hop or spring and, simultaneously on landing point the working foot in a specified position, then hop and, simultaneously on landing, place the heel of the working foot in the same specified position. This movement occupies 2 beats of movement.
Note: the specified position for this movement may be 2nd, 3rd, 4th opposite 5th, or 5th. The 90 degrees turn out needed for the working foot in 2nd position should also be aimed for in the other 3 positions

Question 31

Heel and Toe

Answer 31

hop and simultaneously on landing place the heel of the working foot in 2nd position. Hop and simultaneously on landing point the working foot in 3rd or 5th position. This movement occupies 2 beats of music

Question 32

Back-stepping

Answer 32

A back-step begins in 3rd aerial or 3rd rear aerial position. With a spring and during the elevation, the working foot slides down the back of the supporting leg while the new working foot slides up the front of the new supporting leg.
The working foot passes through 3rd aerial and 3rd rear aerial position during each back step.
Each back step occupies one beat of music.
Back stepping should be smooth, flowing, continuous movements. When dances in a series of 4, the last back step of each series finishes in 3rd aerial position or 3rd rear aerial position. Each series within a step should be consistent.

Question 33

Shuffle

Answer 33

Starting with one foot in mid-fourth aerial low, spring or hop and during the elevation, extend the original supporting foot to mid-fourth aerial position low. Then almost simultaneously on landing, brush the new working foot inwards on the half point in 3rd or 5th position and immediately brush it outwards to mid-fourth aerial position low
Counting (four shuffles)
seann truibhas - 1AND 2AND 3AND 4AND
all other dances - 1 and 2 and 3 and 4 and

Question 34

Shuffle NOTES

Answer 34

• the inward brush is finished without the working foot losing contact with the ground and with the instep slightly relaxed to bring the heel over the instep of the supporting foot, a position referred to as over the buckle
• shuffles are executed without lateral or forward travel but, where specified, a slight backward travel is used
• if the movement preceding a series of shuffles finished with the working foot in an aerial position other than staring aerial position given above (mid-fourth aerial position low) the first shuffle of the series may be started from there

Question 35

Spring point

Answer 35

spring and point the working foot in and accepted open position, both feet touching the ground, both feet touching the ground simultaneously

Question 36

Pivot turn

Answer 36

Turning to the left: Place the RF on half point in 3rd crossed position, then pivot to the left on the balls of both feet without displacing them, finishing in 3rd or 5th position with the LF in front.
Turning to the right: as above, but starting with the LF and finishing with the RF in front
notes
- the working foot may be extended to 4th intermediate aerial position before starting the pivot turn
- prior to placing in 3rd crossed position a small step backwards towards 4th intermediate rear position may be taken. There is no extension to 4th intermediate aerial position in this method

Question 37

hop-brush-beat-beat

Answer 37

hop, extending the working foot to 4th intermediate aerial position if not already so placed, then quickly execute an inward brush to 3rd aerial position low (count ‘1 and [and]’); place the working foot on the half point in 3rd or 5th position then lightly beat the rear foot in 3rd or 5th rear position (count ‘a 2’)

• simultaneously on executing the beat with the rear foot on the count of ‘2’, the working foot may be extended to 4th intermediate aerial position or 2nd aerial position according to the starting position required for the movement which is to follow
• the brush movement may be executed directly to 3rd aerial position low or it may pass through 3rd or 5th position to 3rd aerial position low

Question 38

shake-shake-down

Answer 38

hop, executing a shake action with the working foot in 4th intermediate aerial position, hop carrying the working foot slightly backwards to execute another shake action with that foot in 2nd aerial position, then spring to displace the supporting foot which, if required is sharply extended to any open aerial position to start the next movement or finish with an assemble prior to a quick step or a leap.
Counting ‘3 & 4’ or ‘7 & 8’
- both shake actions may be executed in 2nd aerial position
- the starting position of the working foot depends upon whether or not it has been extended to finish the hop-brush-beat-beat movement

Question 39

Propelled pivot turn - arm

Answer 39

danced during a reel by 2 dancers, facing in opposite directions with the shoulder lines parallel. The inner arm of each dancer is extended diagonally forward and linked with that of the partner, the outer arm being in 2nd position, and the head turned slightly towards the partner
note - the inner arms linked means - the inner forearms rest parallel and are in contact with each other, with the palm of the hand lightly supporting the underside of partners arm just above the elbow. Since this is not a grip but an aid to balance, the thumb must not encircle the partners upper arm

Question 40

Propelled pivot turn - feet

Answer 40

when danced turning to the right. The movement is begun by the partners moving forward with a slight spring on to the right foot whilst linking their right arms and adopting the position described in (right propelled pivot turn arms) count ‘1’. they now place the left foot on the half point in 2nd position to allow for a slight travel of the right foot count ‘ and 2’. the turn is now continued by repeating the actions described for the count of ‘and 2’ as often as required. so that while the right foot takes the main weight of the body, the left foot acts as a propelling force to produce the turn, during which the knees must be slightly relaxed.
When danced turned to the left, the movement is begun by a slight spring forward on to the left foot whilst linking left arms; the left foot then becomes the main supporting foot with the right foot providing the propelling force

Question 41

Progressive strathspey movement

Answer 41

Beginning with the right foot in 3rd aerial position, step on the ball with that foot along the line of travel to 4th intermediate position (count 1); close the ball of the left foot to 3rd or 5th rear position, extending the right foot to 4th intermediate aerial position (count 2); spring onto the right foot along the line of travel bringing the left foot to 3rd rear aerial position (count 3); hop RF with slight forward travel