Term
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Definition
| The line of direction is an imaginary line on the ground, passing from front to back between the heels of the dancer when standing in first position. The angles of basic foot positions are measured from this line. |
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Term
| First Position of the Feet |
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Definition
| The heels are together with the weight of the body equally distributed on both feet which are turned out to form an angle of 90º (each foot being at an angle of 45º from the line of direction). The dancer my be standing with both feet flat on the ground or poised on the balls of the feet |
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Term
| Second Position of the Feet |
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Definition
The working leg is extended directly to the side, 90º from the line of direction. The toe and heel of the working foot being in line with the heel of the supporting foot. The working foot may be placed on the toe, half-point, ball, heel or flat. (E.g. Last step of the Highland Laddie)
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Term
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Definition
The working leg is extended to the side as in second position but is raised to the required level.
Low Level - Toe is in line with the ankle of the supporting leg.
Normal Level - Toe is in line with the center of the calf of the supporting leg.
High Level - Toe in line with the centre of the knee cap of the supporting leg. |
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Term
| Third Position of the Feet |
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Definition
The working foot which may be placed on the toe, half-point, ball, or heel touches the hollow of the supporting foot. When placed on the toe, half-point, or heel, the working foot is turned out at an angle of 90º from the line of direction.
Note: When the weight of the body is equally distributed on the balls of both feet, the sole of the front foot is directly over the instep of the rear foot, both feet equally turned out at an angle of not less than 45º from the line of direction. |
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Term
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Definition
| With the knee of the working leg well pressed back the outside edge of the working foot is placed in contact with the front of the supporting leg, to give normal level with the heel slightly below the level of the knee cap of the supporting leg, low level with the toe in line with the ankle of the supporting leg or very low level with the foot slightly off the ground above third position. |
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Term
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Definition
When placed on the toe, the hollow of the working foot touches the heel of the supporting foot. The working foot is turned outwards at an angle of 90º from the line of direction.
When the weight of the body is equally distributed on the balls of both feet, the sole of the front foot is directly over the instep of the rear foot, both feet equally turned out at an angle of not less than 45º from the line of direction. |
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Term
| Third Rear Aerial Position |
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Definition
| The working foot is placed behind the supporting leg at the same height as in third aerial position normal level, the inside edge of the foot being in contact with the calf of the supporting leg. The knee of the working leg is held well back, no part of the working foot being visible from the front. |
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Term
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Definition
| The working foot is crossed in front of the supporting leg with the half-point or ball of the working foot, placed near the outside edge of the instep of the supporting foot. |
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Term
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Definition
| The working leg is extended to the front with both heels in line with the line of direction. The working foot, which is placed only on the toe or half-point, is turned out at an angle of 45º from the line of direction. |
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Term
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Definition
| The working leg is extended to the front as in fourth position, but raised to normal level. |
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Term
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Definition
| As in fourth position but the working foot is taken to the rear, and is placed on the ball or flat. |
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Term
| Mid-fourth Position & Mid-Fourth Aerial Position |
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Definition
The working leg is extended to the front, midway between fourth position and fourth intermediate position and is placed on the toe.
The working leg is extended to the front as in mid-fourth position and raised to low level |
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Term
| Fourth Intermediate Position & Fourth Intermediate Aerial |
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Definition
The working foot is extended diagonally forwards at an angle of 45º from the line of direction with the working foot placed on the toe, half-point or ball.
The working foot is extended as in fourth intermediate position but raised to the required level. Low or normal. |
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Term
| Fourth Intermediate Rear & Aerial Position |
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Definition
As in fourth intermediate position, but the working leg is extended to the rear and is placed only on the ball.
As in fourth intermediate rear position, but the working leg is raised to normal level. |
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Term
| Fourth-Opposite-Fifth Position & Rear Position |
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Definition
The working leg is extended to the front, but with the toe of the working in line with the heel of the supporting foot and the knee of the working leg flexed. The working foot may be placed on the toe, half-point and, in the latter case, the heel is placed in line with the toe joint of the supporting foot.
This is the position of the rear foot is placed in fourth opposite fifth position. |
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Term
| Fifth Position & Fifth Rear Position |
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Definition
The working foot is in contact with the big toe joint of the supporting foot and is placed on the toe, half-point, ball or heel. When placed on the toe, half-point or heel, the working foot faces outwards at an angle of 90º from the line of direction.
Note: When the weight of the body is equally distributed on the balls of both feet, the sole of the front foot is directly over the toes of the rear foot, both feet equally turned out at an angle of not less than 45º from the line of direction.
Rear: This is the position of the rear foot when it is placed on the ball and the front foot is in fifth position. |
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Term
Arm Positions
Grouping of the Fingers |
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Definition
| In all positions of the arms except for first position. The fingers are lightly grouped and the thumb is in contact with the first joint of the middle finger. |
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Term
| First Position of the Arms |
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Definition
| Both hands rest on the hips with the back of the hands facing front, the knuckles facing the body, wrists straight, and elbows directly out to the side. |
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Term
| Second Position of the Arms |
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Definition
| One arm is placed in first position, the other is raised at the side, with the arm and wrist slightly curved, the hand slightly above and forward from the head-line, the palm turned inwards. |
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Term
| Third Position of the Arms |
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Definition
| Both arms are placed as described for the raised arm in second position the palms facing inwards towards each other. |
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Term
| Fourth Position of the Arms |
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Definition
| A closer and higher form of third position with the hands almost touching. |
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Term
| Fifth Position of the Arms |
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Definition
The arms are gently curved down in front of the body with the hands quite close to each other and the little fingers almost touching the kilt.
Note: When the arm is raised or lowered, there should be minimum displacement of the elbow and no part of the arm or hand should come in front of the dancer's face. Exceptions are in the fourth bar of the introduction to the Seann Triubhas, where the hands come up in front of the face as the arms are raised in front of the body from fifth position, and also in the first and second Seann Triubhas steps when the arms are circled from first or fifth position. |
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Term
Head Positions
First Position
Second Position |
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Definition
First: The head faces the front with the eyes level.
Second: The head is diagonally to the right or left, with the chin slightly raised. When the arms are in second position the head is turned away from the raised arm, except where otherwise stated. |
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Term
Basic Movements
The Bow for Introduction |
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Definition
Stand with the feet and head in first position, arms by the side or in first position. Bow by inclining the body forwards slowly and return to the original position. If the arms are by the sides, they should be taken to first position on the first count following 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 according to each dance. |
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Term
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Definition
| A hop is a movement of elevation begun on the ball of one foot and finish by landing on the ball of the same foot. |
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Term
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Definition
| As for hop but by landing on the ball of the other foot. |
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Term
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Definition
| A transfer of weight from one foot on to the ball of the other foot. Can be executed with or without travel and, where specially designated, the heel may be lowered to finish on the flat foot. |
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Term
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Definition
| A movement of elevation begun on the ball of one foot and finished by landing simultaneously on the balls of both feet in third or fifth position. |
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Term
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Definition
| 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, and finished by landing on the ball of one foot with the other placed in, or raised to a specified position. There is no travel on this movement unless otherwise stated. During the elevation, there is no extension of the foot upon which the dancer is to land. |
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Term
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Definition
| A movement of elevation begun with the weight of the body on the balls of both feet in third or fifth position and finished by landing on the balls of both feet simultaneously in third or fifth position with the other foot in front. During the elevation, there is no extension towards second aerial position. |
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Term
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Definition
| A movement of elevation begun from the balls of both feet in third or fifth position, extending both legs towards second aerial positon, and finished by landing simultaneously on the balls of both feet in third or fifth position with or without change of feet. On the extension duing the elevation, both legs should be straightened. |
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Term
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Definition
| A movement of elevation commencing on the balls of both feet in third or fifth position. During the elevation execute two change actions before landing with the same foot in front. (And a 1) |
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Term
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Definition
Outwards: The half-point of the working foot lightly touches the ground in his progress from third aerial position very low through third to an open aerial position; or from a rear position through first position to fourth 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.
Inwards: The half-point of the working foot lightly touches the ground in its progress from an open aerial position to an accepted position. |
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Term
Shake Pt.1
For the Seann Triubhas
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Definition
A shake is always executed in conjunction with a hop. Each shake action should be finished with a straight leg.
The working foot is progressively extended by two or more subsidiary movements called shake actions from third or fifth position to second aerial position high. The shake actions come 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. (And and a 1) |
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Term
Shake Pt.2
For the Highland Fling |
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Definition
The movement is always preceded by pointing the working foot in third or fifth position from where it is extended to fourth intermediate aerial position using only one subsidiary movement. Thus the actual shake movement consists of two shake actions, the first finished with the working foot in fourth intermediate aerial position low and the second, with that foot arriving at fourth intermediate aerial simultaneously on landing from the accompanying hop. ('1 and [and] a 2' or '1 [and] and a 2')
Note: When an 'and' is shown in brackets, this signifies that there is no action by the dancer on that quarter beat, nor should it be sounded when counting. |
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Term
Low Cutting
(For the Highland Fling) |
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Definition
| Extend the right foot to second aerial position low, strike the heel of the right foot against the heel of the left foot then sharply re-extend the right foot towards second aerial position low. During this movement the left foot travels sideways with minimum elevations. Strike the heel of the right foot against the left foot and almost simultaneously, spring onto the right foot finishing with the left foot which is sharply extended to second aerial position low (and a 7) this movement is also executed beginning with the left foot. |
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Term
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Definition
Preparing with an extension of the working foot to second aerial position low; spring to that side bringing the new working foot to third or fifth position, placing it on the half-point, then beat the ball of the other foot in third or fifth rear position at the same time sharply re-extending the other foot, if required, to begin the next movement.
Note 1: The same position, third or fifth must be used throughout the movement.
Note 2: When turning, use two pas de basque with no extension to finish the first pas de basque and the second is danced with little or no travel.
Note 3: 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 fourth intermediate aerial position.
Note 4: 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.
Sword Dance: 1& 2 3& 4
All other dances: 1 & 2 3& 4 |
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Term
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Definition
| As for pas de basque, except that the front foot is placed in fourth opposite fifth position, fourth position, fourth intermediate position and second position and there is no extension at the finish. This movement is only used in the sword dance. |
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Term
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Definition
Spring, hop or disassemble and, simultaneously on landing take the working foot to third rear aerial position. Then (working from the knee joint only) extend the working foot towards second aerial position and return it to third rear aerial position. During the elevation one or both legs may be extended towards second aerial position. Unless where specially designated, there is no side travel in this.
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Term
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Definition
Note 1: Performed in series, high cutting can be described as a succession of springs, from third aerial rear to third aerial rear position, executing a high cut each time and during each elevation extending both feet towards second aerial position, this extension of the foot from which each spring is commenced may be slight.
Note 2: If performed in a series, high cuts can be danced with or without extensions.
Note 3: In the sword dance and first basic reel steps where a series of extended high cuts are danced the high which is executed in conjunction with the disassemble must be extended.
Note 4: Where a series of high cuts are executed without extensions, it is permissible to extend a high cut which is executed in conjunction with a disassemble.
Note 5: In the reel is it permissible in each series to execute the first high cut with no extension, followed by high cuts with extensions, exception being the first setting step.
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Term
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Definition
Counting for High Cuts.
Sword and Seann Triubhas: 1& 2& 3& 4&
Seann Triubhas - high cut in front and balance: 1 and (and)
Reel: 1 & 2 & 3 & 4 & or 1 and (and) a |
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Term
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Definition
As for high cut but the raised foot is taken through fourth intermediate aerial position to third aerial position and the re-extension is towards fourth intermediate aerial position.
Note: High cuts in front are not performed in series and in certain specified cases (e.g. in the sixth or ninth Seann Triuhbhas steps) the extensions are towards second aerial position.
(Look at steps for the counting)
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Term
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Definition
| Commence with the right foot in fourth intermediate aerial position, with the hips facing forwards, right shoulder slightly advanced, the arms are in third position and the head is in second position. Spring onto that foot displacing the supporting foot, which is taken to fourth intermediate rear aerial position. Repeat contra to complete the movement and finish in the starting position. This movement occupies two beats of music. |
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Term
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Definition
Commence with the right foot in fourth intermediate aerial position, with the hips facing forwards, right shoulder slightly advanced, the arms are in third position and the head is in second position.
Bring the right foot inwards to take two steps and a soft spring. Right foot, left foot, right foot, travelling diagonally backwards in a line approximately 45° to the line of direction, the foot positions being fifth position, fourth intermediate rear position, and fifth position respectively, extending the left foot to fourth intermediate rear aerial position simultaneously on taking the soft spring. The above is now repeated contra, travelling forward along the same diagonal line to finish the movement in the original starting position.
Note: Throughout the movement, the upper body is held erect.
Count: 1 & 2 3 & 4 |
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Term
Travelling Balance Pt. 2
Arms |
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Definition
| The arms are taken upwards and inwards to fourth position during the backward travel then returned to third position during the forward travel or, alternatively during the backward travel they are circled outwards and downwards at the sides to fifth position then, during the forward travel, they are circled outwards at the sides to third position. |
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Term
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Definition
Spring from third or fifth position to third or fifth 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. |
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Term
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Definition
Single: The working foot is passed from third rear aerial position to third 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 left foot taking the right foot to third rear aerial position, quickly execute a round-the-leg movement to third aerial position and return it to third rear aerial position.
Note: This may only be executed in conjunction with a hop high cut during bars 7 &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 the last step. High-cutting. |
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Term
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Definition
| Hop, spring or disassemble pointing the working foot in second position simultaneously on landing (Count 1); hop taking the working foot to third rear aerial position (count 2); hop executing an round-the-leg movement bringing the working foot to third aerial position (count 3); hop, executing a round-the-leg movement with the working to third rear aerial position (count 4) |
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Term
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Definition
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 two beats of music.
Note: The specified position for this movement may be second, third, fourth-opposite-fifth or fifth position. The 90° turn out required for the working foot in second position should also be aimed for in the other three positions. |
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Term
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Definition
| Hop and simultaneously on landing place the heel of the working foot in second position. Hop and simultaneously on landing place the toe of the working in third or fifth position. This movement occupies two beats of music. |
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Term
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Definition
| A back-step begins in third aerial position or third rear aerial. With a spring and during the elevation, the working foot slides down the back of the supporting leg whilst the new working foot slides up the front of the new supporting leg. Each back-step occupies one beat of music. Back-stepping should be smooth continuous, flowing movements. When danced in a series of four, the last back-step of each series finishes in third aerial position or third rear aerial position. Each series within a step must be consistent. |
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Term
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Definition
Starting with one foot in mid-fourth aerial position 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 third or fifth position and immediately brush it outwards to mid-fourth aerial position low.
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Term
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Definition
Note 1: The inward brush is finished without the working foot losing contact with the ground and with the instep of the instep slightly relaxed to bring the heel over the instep of the supporting foot, a position referred to as 'over the buckle'
Note 2: Shuffles are executed without lateral or forward travel but, where specified, a slight backward travel is used.
Note 3: If the movement preceding a series of shuffles finishes with the working foot in an aerial position other than the starting aerial position given above, the first shuffle of the series may be started from there.
Counting
Seann Triubhas: 1& 2& 3& 4&
Other Dances: 1 & 2 & 3& 4 & |
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Term
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Definition
| Spring, and point the working foot in an accepted open position, both feet touching the ground simultaneously. |
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Term
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Definition
To the Left: Place the right foot on the half-point in third crossed position then pivot to the left on the balls of both feet without displacing them, finishing in third or fifth position with the left foot in front.
To the Right: as turning to the left but starting with the left foot and finishing with the right foot in front.
Note 1: The working foot may be extended to fourth intermediate aerial position before starting the pivot turn.
Note 2: Prior to placing in third crossed position a small step towards fourth intermediate rear position may be taken. There s no extension to fourth intermediate aerial position in this method. |
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Term
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Definition
Hop, extending the working foot to fourth intermediate aerial position, if not already so placed, then quickly execute an inward brush to third aerial position low (Count 1 and [and]); place the working foot on the half-point in third or fifth position then lightly beat the rear foot in third or fifth rear position (Count 'a 2')
Note 1: Simultaneously on executing the beat with the rear foot on the count of 2, the working foot may be extended to fourth intermediate aerial position or second aerial position according to the starting position required for the movement which is to follow.
Note 2: The brush movement may be executed directly to third aerial position low or it may pass through third or fifth position to third aerial position low. |
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Term
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Definition
Hop, executing a shake action with the working foot in fourth intermediate aerial position, hop carrying the working foot slightly backwards to execute another shake action with that foot in second 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 leap.
Note 1: Both shake actions may be executed in second aerial position.
Note 2: The starting position of the working foot depends on whether or not it has been extended to finish the hop-brush-beat-beat movement.
Counting: 3 & 4 - 7 & 8 |
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Term
Propelled Pivot Turn Pt. 1
Arms
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Definition
Danced during a Reel by two dancers, facing in opposite directions with the shoulder-lines parallel. The inner arm of each dancer is extended diagonally forwards and linked with that of the other partner, the outer arm being in second position, and the head turned slightly towards partner.
Note: 'The inner arms linked' - the inner forearms rest parallel and are in contact with each other, witht he palm of the hand lightly supporting the underside of partner's arm just above the elbow. Since this is not a grip but an aid to balance, the thumb must not encircle partner's upper arm. |
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Term
| Propelled Pivot Turn Pt. 2 |
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Definition
| 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 above. (Count 1); they now place the left foot on the half-point in second position to allow for a slight travel of the right foot (Count & 2) the turn is now continued by repeating the actions described for the count of & 2 as often as required (count & 3 & 4 etc) 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 turning 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. |
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Term
| Progressive Strathspey Movement |
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Definition
Beginning with the right foot in third aerial position, step onto the ball with that foot along the line of travel to fourth intermediate position (count 1); close the ball of the left foot to third or fifth rear position, extending the right foot to fourth intermediate aerial position (count 2) spring onto the right foot along the line of travel bringing the left foot to third rear aerial position (count 3) hop right foot with slight forward travel, executing a round-the-leg movement with left foot to third aerial position (count 4) the head is always directed along the line of travel.
On the first two counts the body is an angle of 45° to the line of travel with the right shoulder leading; on the third count, the body faces the line of travel; on the fourth count, the body is at an angle of 45° to the line of travel with the left shoulder leading. |
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Term
| Progressive Reel Movement |
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Definition
Hop on the ball of the left foot taking the right foot to third aerial position then step onto the ball with the right foot along the line of travel to fourth intermediate position. (Count &1); close the ball of the left foot to third or fifth rear position then step onto the ball with the right foot along the line of travel. (count & 2).
Note 1: During the hop the working foot may extend through fourth intermediate aerial position prior to placing in third aerial position, the exception being, there would be no extensions on the first progressive reel movement.
Note 2: The body is used as for the progressive strathspey movement beginning to change the shoulder lead on the step which precedes the hop. |
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Term
Basic Steps
Highland Fling |
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Definition
1 - First Shedding
2 - First Back-stepping
3 - Toe-and-Heel
4 - Rocking
5 - Second Back-stepping
6 - Cross-over
7 - Double Shake and Rock
8 - Last Shedding
Tempo - 112 to 124 beats to the minute (Or 28 to 31 bars per minute)
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Term
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Definition
1 - Addressing the Sword
2 - Open Pas de Basque
3 - Toe-and-Heel
4 - Pointing
5 - Diagonal Points
6 - Reverse Points
7 - Open Pas de Basque Quick-step
8 - Crossing and Pointing Quick-step
Tempo 1- 104 to 116 beats to the minute (Or 26 to 29 bars per minute)
Tempo 2 - 120 to 144 beats to the minute (or 30 to 36 bars per minute) |
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Term
Basic Steps
Seann Triubhas |
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Definition
1 - Brushing
2 - Side Travel
3 - Diagonal Travel
4 - Backward Travel
5 - Travelling Balance
6 - Leap and High cut
7 - Entrechat and High cut
8 - Leap and Shedding
9 - Entrechat and Shedding
10 - High cut in front and Balance
11 - Side Heel-and-Toe
12 - Double High Cutting
13 - Shedding with Back-step
14 - Toe-and-Heel, and Rock
15 - Pointing and Back-stepping
16 - Heel-and-Toe and Shedding
17 - Heel-and-Toe, Shedding and Back-stepping
18 - Back-stepping
Tempo 1 (Slow) - 92 to 104 beats to the minute (or 23 to 26 bars per minute)
Tempo 2 (Quick) - 112 to 124 beats to the minute (or 28 to 31 bars per minute) |
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Term
Basic Steps
Strathspey, Highland Reel and Tulloch |
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Definition
Strathspey
1 & 2- Figure of Eight
Setting steps - Any Highland Fling step.
Tempo - 112 to 124 beats to the minute. (or 28 to 31 bars per minute)
Reel & Tulloch
1 - Pas de Basque
2 - Shake and Travel
3 - Balance and Pas de Basque
4 - Brushing
5 - High cuts and Spring Points
6 - Balance and Round-the-Leg
7 - Back-step and Travel
8 - Assemble and Travel
9 - High cut in Front and Balance
10 - Shuffle
11 (Last step) - High Cutting
Tempo - 100 to 108 beats to the minute (or 50 to 54 bars per minute) |
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Term
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Definition
Highland Fling Tempo - 112 to 124 beats to the minute (Or 28 to 31 bars per minute)
Sword Dance Tempo 1(Slow) - 104 to 116 beats to the minute (Or 26 to 29 bars per minute)
Sword Dance Tempo 2 (Quick) - 120 to 144 beats to the minute (or 30 to 36 bars per minute)
Seann Triubhas Tempo 1 (Slow) - 92 to 104 beats to the minute (or 23 to 26 bars per minute)
Seann Triubhas Tempo 2 (Quick) - 112 to 124 beats to the minute (or 28 to 31 bars per minute)
Strathspey Tempo - 112 to 124 beats to the minute. (or 28 to 31 bars per minute)
Highland Reel & Tulloch Tempo - 100 to 108 beats to the minute (or 50 to 54 bars per minute) |
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