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The Quickstep evolved in the 1920s from a combination of the Foxtrot, Charleston, Shag, Peabody, and One Step. This dance is English in origin and was standardized in 1927. The Quickstep now is quite separate from the Foxtrot. Unlike the modern Foxtrot, the man often closes his feet, and syncopated steps are regular occurrences as was the case in early Foxtrot. In some ways, the dance patterns are close to the Waltz, but are danced to 4/4 time rather than 3/4 time.

This dance gradually evolved into a very dynamic one with a lot of movement on the dance floor, with many advanced patterns including hops, runs, quick steps with a lot of momentum, and rotation. The tempo of Quickstep dance is rather brisk as it was developed to ragtime era jazz music which is very fast paced compared to other dance music.

By the end of the 20th century the speed of Quickstep, as done by advanced dancers, has increased even more, due to the extensive use of steps with eighth note durations. While in older times quickstep patterns were counted with "quick" (one beat) and "slow" (two beats) steps, many advanced patterns today are cued with split beats, such as "quick-and-quick-and-quick-quick-slow".

Note that there was a 19th century Quickstep, which was a march-


Quickstep music has a 4/4 time signature and at 200 BPMs it is the fastest of the ballroom dances.


Quickstep is danced in closed hold position and is characterized by runs, hops, skips, flicks, points, crossing of the feet, and kicks. It is an extremely fun, lively, and dynamic dance.


MAN - Stand in a natural upright position with knees slightly flexed, body inclined forward from the feet braced at the waist with shoulders relaxed at normal level, and with no tension in the chest, body weight forward over the balls of feet with the feet flat

LADY - The poise as a lady will be the same as described for man, except that she would be poised backwards from the waist. This backward poise must not be exaggerated. Some dancers and teachers like to talk about the backward poise being created from the upper back rather than the lower back but it is definitely a point of contention.


MAN - Stand facing the lady as described above, with the lady very slightly to the man's right side. Hold the lady with the right hand, placing the hand just below her left shoulder blade with the fingers neatly grouped. The upper part of the r5ght arm should slope downwards from the shoulder to the elbow, then downwards from the elbow to the hand in a straight line.

The left hand will hold the lady's right hand between the thumb and first finger, the other fingers closed over the right side of her hand. The left wrist must not bend, there should be a straight unbroken line between the elbow and the hand. The palm of the hand facing diagonally to the floor., the upper part of the left arm should slope downwards slightly, the arm bent sharply at the elbow with the forearm slanting upwards from the elbow to the hand. The hand being held just above the height of the left ear,  the forearm inclined very slightly outwards from the body.

LADY - The left warm will be placed lightly on the man's right arm, the fingers of the left hand grouped neatly in the center of the arm just below the right shoulder (depending on the height of the partner).

The right arm will slope very slightly downwards from the shoulder to the elbow, then upwards from the elbow slanting forward towards man's left hand/ The fingers will fold lightly over the man's left hand between his thumb and first finger.,

Heel Turn:

In the Reverse Turn in Foxtrot; having stepped back on the RF, starting to turn to the left, the turn will commence on the ball of the RF, the heel will then lower and all the remaining turn will continue on the heel with the foot flat. A body rise will be felt.

The LF will be drawn back with the heel in contact with the floor. The heel of the LF will close to the heel of the RF with the fee flat and parallel. A weight change will be made to the LF at the end of the turn. The RF will then be taken forward onto the tow, then lower to the heel. Timing is SQQ.

The Heel Turn of Natural Turns would be the same except that it will start with the LF back and the turn will be made to the right.


Balance is the distribution of weight of the body over the feet. When taking a forward or backward walk there are three points of balance: forward, backward, and when the weight is equally distributed (middle of foot). When moving forward the center of gravity will start to travel from the heel, to the middle of the foot, then to the ball, and finally through the toes. When moving backwards the weight will start from the toes, to the ball, then to the middle of the foot, and finally through the heel. This is true if you are coming into a step and then going out if it. In other words, at standstill your weight should be over the middle of the foot.


This is the inclination of the body to the right or left from the ankles upwards. It is used to assist balance or turn, but mainly for effect.

The Principle of sway is to lean towards the inside of a circle. There will be no sway when using CBM, but the sway will be to the right after a RF CBM, and to the left after a LF CBM and is normally held for 2 steps following the CBM step (except step 3 of a Curved Feather).

Although it is normal to sway for two steps at a time, some figures have sway on one step only, such as, Telemarkds, Impetus and Open Imputeus Turn, Change of Direction, etc. In these cases the sway should not be overemphasized.

There are several figures where way is not used, such as Spins, Natural or Reverse Turn Pivots, Progressive Chasse to the Left or Right, Forward and Backward Lock Steps, Chasse from Promenade Position etc.

Sway can be used without actually making turn between the feet. For example a Whisk as a man, or when using a slight curve to the right or left in the body, as in a Feather Step and a Three Step.

The sway used in a Change of Direction or a Hover preceding a Hover Feather in Foxtrot and last part of a Natural Hesitation Change in Waltz, is not normal sway but is felt from the waist upwards and is sometimes referred to as broken sway.

Sway is most obvious in the Waltz due to the more pronounced rise and fall and the lilt of the dance.



Rise and Fall:

Rise is the increased elevation created by the bracing of the muscles of the legs, the straightening of the knees and the stretching upwards of the body, usually accompanied by the raising of the heel or heels from the floor.

Fall is the lowering of the supporting foot from the toe to heel and subsequent flexing of the knees , as the next step is taken.

No foot Rise - happens when the rise is felt through the legs and body as described above, but when stepping back no rise occurs in the supporting foot (as with the lady's part of a Feather and Three Step).

When a side step follows no foot rise, the supporting foot will be flat and when full weight is taken onto step 2, the heel of step 1 will be released from the floor (ex. 1-3 of a Natural Turn in Waltz or Quickstep as a lady).

When a step back is followed by another step back with no foot rise, the toe of the supporting foot is released from the floor so that when step 2 is taken pressure is felt in the heel of the front foot. A body rise will be felt when the weight is distributed between the hell of the front foot and the ball of the back foot, (ex. Feather Step or Hover Feather as a lady in the Foxtrot).

When no foot rise follows a step, the heel of the side step will lower (not the body) as the next step is taken to end up no foot rise (ex. Feather Finish as lady).

The body should be braced at all times, whether or not employing rise and fall.

In the Foxtrot, the normal rise and fall will be: Rise at the end of count 1, up on count 2 and 3, lower at the end of count 3 to denote a quicker type of rise.

Contra Body Movement (CBM) and Contra Body Movement Position (CBMP):

Contra Body Movement is a body action used to initiate turn. It is the moving of the opposite side of the body towards the stepping foot, either forward or backward. The action will be strongest on Natural and Reverse Turn Pivots. When stepping forward using CBM the toe will turn slightly out. When stepping back the toe will turn in.

Contra Body Movement Position is the placing of the stepping foot, forward or back, onto or across the line of the other foot, giving the appearance of CBM having been used, but without turning the body.

CBMP is used on all Outside Partner steps, except step 3 of a Fishtail, to ensure a good line and contact. CBM is also used on some Outside Partner steps.

CBMP can be used when in line with the partner (ex. step 3 of a Change of Direction and all normal LF forward steps in Tango.

"Forward and across" in CBMP means that the moving foot travels more across the line of the other foot. This applies to steps in Promenade Position only.

Promenade Position:

When the man's right and the lady's left sides are in contact with the opposite sides of the body turned out to form a slight V. The feet will normally match the turning out of the body.

Note: I am updating it step by step so if the link does not appear I don't have it done yet. Sorry - I will work as fast as possible I promise!

Quickstep Closed Syllabus


1. Quarter Turn to the Right

2. Progressive Chasse

3. Forward Lock

4. Natural Turn

5. Natural Turn with Hesitation

6. Natural Spin Turn

7. Natural Pivot Turn

8. Chasse Reverse Turn


1. Closed Impetus

2. Back Lock

3. Progressive Chasse to the Right

4. Tipple Chasse to the Right

5. Running Finish

6. Natural Turn Back Lock

7. Reverse Pivot

8. Double Reverse Spin


1. Quick Open ReverseS

2. Fishtail

3. Running Right Turn

4. Four Quick Run

5. V6

5. Closed Telemark


1. Cross Swivel

2. Six Quick Run

3. Rumba Cross

4. Tipsy to Right and Left

5. Hover Corte


Newcomer Class Choreography

1. Preparation Step (1234 5678)

2. Quarter Turn to R (SQQS)

3. Progressive Chasse (SQQS)

4. Lock Step (SQQS)

5. Natural Turn (SQQS)

6. Quarter Turn to R (SQQS)

7. Progressive Chasse (SQQS)

8. Forward Lock (SQQS)

9. Natural Spin Turn (SQQS)

10. Progressive Chasse (SQQS)

11. Quarter Turn (SQQS)

12. Progressive Chasse (SQQS)

13. Forward Lock (SQQS)

14. Natural Turn with Hesitation (SQQS)

15. Chasse Reverse Turn (SQQS)

16. Progressive Chasse (SQQS)

17. Forward Lock (SQQS)

18. Natural Pivot Turn (SQQS)


Bronze Class Choreography

1. Chasse Reverse Turn (SQQS)

2. Progressive Chasse (SQQS)

3. Forward Lock (SQQS)

4. Natural Turn with Back Lock (SQQS QQS)

5. Running Finish (SQQ)

6. 123 Natural Turn (SQQ)

7. Closed Impetus (SSS)

8. Reverse Pivot (S)

9. Double Reverse Spin (SSQQ)

10. Progressive Chasse to the Right (SQQS)

11. Back Lock (SQQS)

12. Tipple Chasse to the Right (SQQS QQS)

13. Natural Pivot Turn (SQQS)

16. Natural Spin Turn (SQQ SSS)

17. Progressive Chasse (SQQS)

18. Natural Spin Turn (SQQ SSS)

19. Heel Pivot - Quarter Turn to Left (SQQ)

19. Cross Chasse (SQQ)

19. Natural Turn with Hesitation (SQQ SS Hold S)

19. Zig Zag, Back Lock & Running Finish (SSS SQQS SQQ)

19. Natural Turn with Hesitation (SQQ SSS)


Silver Class Choreography

1. Running Right Turn (SQQSSSSSQQ)

2. Natural Turn with Hesitation (SQQSS hold S)

3. Chasse Reverse Turn (SQQ)

4. Reverse Pivot (S)

5. Double Reverse Spin (SSQQ)

6. Chasse Reverse Spin (SQQ)

7. Reverse Pivot (S)

8. Closed Telelmark (SSS)

9. Fishtail (SQQQQS)

10. Natural Turn Back Lock (SQQSQQS)

11. Running Finish (SQQ)

12. Forward Lock (SQQS)

13. Natural Spin Turn Underturned (SQQSSS)

16. Progressive Chasse (SQQSS)

17. Quick Open Reverse (SSQQ)

18. Four Quick Run (SQQQQS)

19. 1/2 Natural Turn (SQQ)

20. Tipple Chasse (SQQS QQS)





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