TATD Jazz Flashcards
Jazz First Position Feet
Feet are parallel, about one or two inches apart
Jazz Second Position Feet
Feet are parallel, approximately shoulder width apart
Jazz Fourth Position Feet
Feet are parallel separated approximately twelve inches apart with one foot in front of the other
Jazz Fifth Position Feet
Feet are parallel with the heel of one foot in line with the toe of the other foot
What does choreography mean
charting dance to music
Jazz First Position Arms
low V
Jazz Second Position Arms
Arms held horizontal with palms down
Jazz Third Position Ams
One amor is extended over head with other arm in jazz second
Jazz Fourth Position Arms
Either arm may be overhead, opposite arm is extended forward in front of shoulder
Jazz Fifth Position
High V
Plies
demi and grand to warm up joints of feet and legs, improve balance, control and placement. Should be done in 1st, 2nd, 4th, and 5th both turned in and turned out
Plie Technique
Proper alignment. Knees directly over toes. Don’t allow ankles to roll. weight equal between feet. shoulder over hips
Grand plie Technique
don’t let students hips go lower than knees. Master demi before allow grande. Pass through demi during grand
Warm up and stretches
Plies, Releves, Battements, rond de jame, leg swings in attitude, développé, Basic body positions
Isolations definition
the movement of one single part of the body to allow the dancer to fain control over all body parts.
Isolations
Head, shoulders, arms, hands, fingers, ribs, whole torso, hips, legs and knees, feet and ankles
Jazz Walks
stylized steps longer than the normal stride performed in any tempo and in any direction with or without isolations
Types of Jazz Walks
Plie, releve, forced arch, strut, bounce walks, etc
Step Touch & Cross Touch
step front, side or back and touch opposite foot to floor
Jazz Square
consist of four walking steps performed in a square. Step across, step back, step side step front
Jazz slide
also referred to as a “drag”. stepping side to a turned out second position lunge and slide the straight leg along the floor, foot pointed
Grapevine
Step side, step cross back, step side, step cross front. Can travel side to side, in a diagonal, or in a circle
Chasse
Step-together-step. Jazz dancers must execute this movement in a deep plie, stress working”Into the floor” Opposite arm as leg, stress lengthening the leg. lead movements with the ball of the foot
Cross ball change
step one foot across the other and ball change in an open second position. Stays in plie. Works primarily from a turned out position. Stress correct weight placement (especially on the ball change)
Pas De Bourree
3 steps based on a “Back side front:” attack. Stay in plie, weight stays forward on the balls of the feel. Stress the difference between this step ad cross ball change and chasse
Triplets
a three step run with every step front. Each step is forward with the last step in plie
Kick Ball Change
kick one leg forward, kicking leg steps to the rear of the supporting leg placing the weight on the ball of the foot. The other foot steps in place. Primarily used as a transition step
Kicks (Grand Battement)
Do not collapse chest, depress shoulder, maintain proper alignment especially in the hips/pelvis, lengthen kicking leg, point the foot
Fan kick
the leg makes a sweeping arc through space and be be straight or in attitude. hit all points in the arc and maintain turnout.THIS MOVEMENT SHOULD NOT BE TAUGHT UNTIL BATTEMENTS HAVE TECHNICALLY MASTERED.
Pivot Turn
step forward on one foot, step again executing a half turn to change direction. repeat this movement to complete the t
Paddle Turn
The supporting stationary leg pivots on the ball of the foot with the heel lifting slightly off the floor. The other leg is extended to the side and paddles on the ball of the foot rotating the most in a circular direction. Imagine a clock (12, 3, 6, 9)
Chaine Turn
a two step turn performed in plie or releve that travels in a straight line. Stress placement of the arms to assist the turn from second to first. Emphasize spot.
Soutenu Turn
step to parallel second, then cross the second leg either in front or back to the preparation leg to complete the turn. Weight is shared equally by the feet. Emphasize spot.
Touch Turn
The turn is partially executed around on one leg as the opposite foot touches the floor. To complete the tun the right transfers to the “touching” foot by stepping onto that foot
Pirouettes
This ballet turn is executed with the supporting leg in blue or releve and the passe leg is turned out or parallel. Maintain proper alignment- tall back and close rib cage. Emphasize spot. Shoulder done. Make sure passe is connected. do not turn on the ball of the heel
Drag turn
This turn is executed like a single inside pirouette by instead of a high passe the leg drags on the floor next to the supporting leg. Maintaining turn out in the drag leg with toes pointed under
Spiral Turn
A defending or ascending tun. Starts with legs crossed and after reaching up or down position, legs are crossed again.
Pencil Turn
Instead of a high passe, the non supporting leg is straight and pulled highly along side the supporting leg, Pull inner thighs together.
Progression of Arms and Feet Beginner
Parallel feet position: 1st, 2nd, 5th
Turned out feet: 1st and 2nd
Ballet arms: 1st, 2nd 5th
Jazz arms: 1st, 2nd, 3rd, 5th, diagonal, jazz hands
Progression of Arms and Feet Intermediate
Parallel feet position: 4th
Turned out feet: 5th
Ballet arms: 3rd and 4th
Jazz arms: 4th, long jazz arms
Progression of Arms and Feet Advanced
Turned out feet: 4th
Jazz arms: inverted long jazz arms, spiral, s-curves
Warm up & Standing stretches Beginner
Most exercise should be done at the barre, facing it with both hands. Include demi plies, relieves, balances, tendus, battements, rond de jambe in the positions listed for beginners (Parallel 1st, 2nd, 5th and turned out 1st and 2nd) Grande plie can be added when demi plie is mastered.
Most leg work should be done front and side only. Back can be added when student progress.
Body positions should include contraction, flat back, and lunge. Order beginners should learn hinge from the knee
Standing stretches: Side stretch parallel second and fist position stretch, body wave/roll, calf stretch runner’s lunge
Warm up & Standing stretches Intermediate
Exercises should be done with only one hand on the barre. Add arms to all plies.
Most tendus, rond de jambe and battement exercises should be done to the back. Add leg swings and simple developpes
Add a diagonal flat back, hinges, and layouts to basically body positions
Add lunge with opposition stretch, the arch, and full runner’s lunge
Warm up & Standing stretches Advanced
Student should work in the center. Include plies in an through forced arch position of the feet. Add head and arms to all plies, tends, rond de jambe, and battements. Reeves and balances should include work on one foot
Add releve to leg swings and develop work. Add Develop to the back.
Add hinges in various foot positions.
Body rolls and waves should be added center throughout the arm up to increase strength and fluidity of movement.
Locomotor movement Beginner
Simple jazz walks, step/cross touch, jazz runs, jazz squares, jazz slides, grapevines, kick ball change and chasse.
Battements forward across the floor and add second as dancers progress
depending on the age of the beginner, start with cross ball change traveling forward, then progress into pas de bourree
Locomotor movement Intermediate
Combine jazz walks and other locomotor skills with isolations, increase tempos and direction changes. Add triplets to this level as well as pas de bourree in varied tempos and rhythms and pas de bourree turns
add battements to the back, then combine with battements front and side in a pattern
Fan kicks should be taught at this level
Locomotor movement Advanced
Students should be able to easily combine all skills and dance at various tempos/ Isolations should be natural component of all steps. All locomotor movements can be turned at this point
Add releve to all battement sequences
student should be proficient in fan kicks executed in plie, forced arch, or with a straight supporting leg
Turns Beginner
Pivot turns, 3 step turns, and chaines.
Add paddle turns and soutenu as dancer progresses
Pirouettes (inside and outside) should be introduced at this level. Initially work on holding balance in the pirouette position. Exercises for spotting should be given
Turns Intermediate
Single pirouettes should be mastered at this level working towards doubles.
Add drag turns, touch turns, spiral turns, and single pencil turns.
Depending on ballet skills, add single pique/arabesque/attitude turns when working lyrically
Introduce chaine fan kick and barrel turns into other skills such as chaine into a jete or single outside pirouette into a fan kick
increase speed of chaine turns
Turns Advanced
Triple outside and inside pirouettes should be a goal. Should have mastered double turns.
Should be able to execute turns in a serious and into other skills.
Mastered at this level: chaine fan, barrel turn, attitude turn, multiple pique turns.
Introduce barrel turn en l’air
Work on change of direction in all turns as well as a change of spot to propel the dancer in a different direction. Add various arms to increase difficulty.
Aerial Movements Beginner
Simple jumps on two feet in 1st and 2nd both turned in and turned out
Should progress to include straight jump, tuck jump, passe saute, passe saute with tuck, assemble, and jetes
Aerial Movements Intermediate
continue to work on jumps listed in beginner as well as adding sautes to all battements to increase strength in the leg.
Add jetes in developpe (saut de chat) single tours en l’air, stag leaps, tuck turns, sissone, hitch kicks front and side, arch jumps, and jetes in second.
combined skills should also be introduced such as chaine axle and chaine jete
Aerial Movements Advanced
Add passe saute with a 360 degree turn, roundhouse (Double fan kick) single tour en l’air with tuck, double tours, russian, back stag leaps, switch leaps, straddle toe touch.
Multiple jumps and leaps should be done in a series with simple steps and classes in between for ease of transition.
Fouettes can be added to most leaps to “Reverse” them.
Floor Work Beginner
Begin with squat, tuck roll, knee falls, and pretzels.
Once a student processes with both turn and flexibility jazz splits may be added.
When a student masters chaine turns, knee chaines may be added to floor work
Floor Work Intermediate
Skills include Russian or straddle roll, knee slide, seat spin, and side fall.
Mastered beginner skills can now be combined to extended floor work
Floor Work Advanced
Skills include front fall, backwards fall, swedish fall, knee spins and a variety of turns from the knee including pirouettes, coupe, attitude, and soutenu turns.
Dancers should connect multiple skills into a longer floor work series.
Floor Stretches Beginner
parallel 1st position stretch and butterfly stretch, the pretzel stretch, and 2nd position straddle stretch, knee bend stretch , cobra stretch, and quadricep stretch
Floor Stretches Intermediate
include all stretches listed in beginner with more advance applications.
parallel 1st position stretch should alternate between rounded and flat back. Butterfly should include forward stretch as well as contractions. Pretzel should have a bent bottom leg on the floor, 2nd position straddle should include a flat back forward stretch and the knee bend stretch should include extended bottom leg.
Dancer should begin to lengthen arms in cobra.
Chest lift should now be added
Floor Stretches Advanced
include all floor stretches in increasingly advanced applications. This might be achieved by increasing the length or intensity of the stretch or connecting all stretches in a non-stop series through choreography.
Strength Building Beginner
Class should include a moderate amount of simple sit-ups and moderate amount of modified push ups
Strength Building Intermediate
Sit up amounts should be increase. Tempos should be varied as well as leg/foot/arm position. Rest should be given between sets.
Push up amounts should be increased. Vary tempo, and hand position. Students should attempt a few full body push-ups
Strength Building Advanced
include a substantial variety to work all areas of the abs. limited rest should be taken to the contraction can be maintained. Extended duration and intensity are both vastly important. Tempo should be slowed to increase difficulty.
Push up should reflect both full body and modified position. The legs and arms can also assume a more wide or narrow position on the floor. Tempo should be slowed to increase difficulty.
Isolations Beginner
begin standing or sitting executing simple patterns in diminishing counts. All eight areas should be introduced.
Add jazz walks as students become more proficient
Isolations Intermediate
Class should combine isolations both standing and moving across the floor.
Isolations should be introduced in center combination as well.
Isolations Advanced
Isolations should be part of almost every aspects of class. While they may be done as part of a standard warm up, they should be incorporated in all movements with stress placed on performance and style rather than just simple execution.
Barrel Turn
similar to pirouette only your body is bent forward from your trunk with eye contact towards the floor. Arms are in a jazz second position creating a windmill effect.
SHOULD NOT BE TAUGHT UNTIL THE PIROUETTE IS MASTERED.
Stress being forward from the hips and keeping back straight.
Stress importance of the arm position and “Following through” on the spiral
What Should a Jazz Class include?
Barre or center warm-ups, stretching, isolations, locomotor movements including progressions, battements, turns, jumps, floor work and finally a center combination.
Arabesque/Attitude turn
these turns are used exactly as in ballet. Body is supported on one leg as the other leg is lifted in an arabesque or an attitude position.
Stress a strong supporting leg, the use of alignment and placement, control of the arms, and the use of shoulder in the momentum of the turn
Spot!
Pique Turn
Also borrowed from ballet. It is a full turn performed in releve on one foot with the passe turned out and progresses in a straight line. Pique turns are distinguished from other turn as the dancer steps onto a straight leg.
Chaine Fan Kick Turn
perform a low chaine turn right lifting the right leg into an outward fan kick right. The dancer may step out to the right or repeat the chaine for a continuous turn series. The can can be done in a layout
Lift the fan from underneath the leg. Do not grab with quads.
chaine in a low plie for good preparation.
6 principles must be applied when performing aerial work of any kind
- begin aerial work from the demi-plie position
- to achieve height, the dancer must press off the floor and point feet
- Dancer must land on the balls of the feet, rolling through the feet to the heels
- Aerial work must end in demi-plie
- Torso must remain in proper alignment
- Abdominal muscles must always be engaged.
Straight Jump
Body is erect in the air
Arch Jump
At the heigh of the straight jump, arch the back and lift the leg to the rear keeping them straight
Pike Jump
At the heigh of the straight jump, flex at hips and bring both legs forward, keeping back straight
Tuck Jump
At the heigh of the straight jump, bring both knees together toward chest keeping back straight
Passe Hop
A jazz hop with the free foot in passe
Passe hop with Tuck
At the height of the hop, tuck the supporting leg into the chest parallel, extend the ticked leg prior to landing
Passe Hop with a 360 turn
At the height of the hope execute a 360 degree turn en dedans
Assemble
Any aerial movement that starts on either one foot or both feet and ends with both feet together
Sissonne
A jump that takes off from both feet and lands on one foot with the other leg lifted in the air in various positions
Hitch Kick
the legs pass each other in a scissor like fashion in the air, the first kicking leg becomes the landing support leg.
a “roundhouse” for double hitch kick is usually executed from a chaine
Tour En L’air
a jump with a 360 degree turn in the air en dehors.
Straddle Toe Touch
Begins from a two foot preparation, spring into the air touching toes in second position turned out
Russian
similar to the toe touch but results from a series of leaps or a running preparation.
At the height of the jump, lean chest forward and rotate hips slightly back as your reach for the toes
Double attitude/stag leap
Begin from two foot preparation. Spring into the air and take legs to attitude front and back
Back Stag Leap
A variation of the jete in which the back leg is lifted to attitude attempting to to the head as it releases back
Switch Leaps
at the heigh of the jete, exchange legs in a scissor like fashion so the rear leg becomes the forward leg for landing.
Tuck Turn or Pas De Chat Turn
Stepping in plie, execute a parallel pas de chat with the opposite foot leading in a 360 turn en dedans.
Axle
a combination of the passe hope with tuck and a ballet fouette. Prepare with a chaine turn in plie, execute a fouette into the passe to lift the body into the tuck.
