A series of exercises following the centre practice, consisting of a succession of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease.

The principal steps of adagio are pliés, développés, grand fouetté en tournant, dégagés, grand rond de jambe, rond de jambe en l'air, coupés, battements tendus, attitudes, arabesques, preparations for pirouettes and all types of pirouettes.

 In the air

Battement, sinking down, developed

This is an exercise in which the supporting leg is slowly bent in fondu with the working foot pointing on the ankle. As the supporting leg is straightened, the working leg unfolds and is extended to point on the floor or in the air.

Struck battement

An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back.

Small battement on the ankle.

This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa

 Battement stretched.

A battement tendu is the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position.

Large battement.

An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight.

Flying brisé.

In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. The foundation of this step is a fouetté movement with a jeté battu. In the Russian and French Schools the raised leg finishes sur le cou-de-pied devant or derrière and the brisé volé is done like a jeté battu.

Caper.

An allegro step in which the extended legs are beaten in the air

Chains, links.

This is an abbreviation of the term "tours chaînés déboulés": a series of rapid turns on the points or demi-pointes done in a straight line or in a circle.

On the "Neck" of the foot.

The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.

On the half-points.

Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, "sur la demi-pointe

Écarté is one of the eight directions of the body, Cecchetti method. In this position the dancer faces either one of the two front corners of the room. The leg nearer the audience is pointed in the second position à terre or raised to the second position en l'air. The torso is held perpendicular. The arms are held en attitude with the raised arm being on the same side as the extended leg.

Escaping or slipping movement

 An échappé is a level opening of both feet from a closed to an open position.

Six crossings.

Demi-plié in the fifth position R foot front. With a strong jump open the legs, beat the R leg behind the L, open the legs, beat the R leg in front of the L, open the legs and finish in demi-plié in the fifth position R foot back.

Sinking down.

A term used to describe a lowering of the body made by bending the knee of the supporting leg.

Bourrée step.

Pas de bourrée is done dessous, dessus, devant, derrière, en avant, en arrière and en tournant, en dedans and en dehors, on the point or demi-pointe.

Pas de bourrée, running.

This is a progression on the points or demi-pointes by a series of small, even steps with the feet close together. It may be done in all directions or in a circle.

Quatrième [ka-tree-EM]

 Withdrawn.

A position in which the thigh is raised to the second position en l'air with the knee bent so that the pointed toe rests in front of, behind or to the side of the supporting knee.

Rond de jambe on the ground.

An exercise at the bar or in the centre in which one leg is made to describe a series of circular movements on the ground. Both legs must be kept perfectly straight and all movement must come from the hip, along with the arching and relaxing of the instep. The toe of the working foot does not rise off the ground and does not pass beyond the fourth position front (fourth position ouvert) or the fourth position back.

Rond de jambe in the air.

Ronds de jambe en l'air are done at the bar and in centre practice and may be single, or double, en dehors or en dedans. The toe of the working foot describes an oval, the extreme ends of which are the second position en l'air and the supporting leg. The thigh must be kept motionless and the hips well turned out, the whole movement being made by the leg below the knee. The thigh should also be held horizontal so that the pointed toe of the working foot passes at (approximately) the height of the supporting knee. Ronds de jambe en l'air may also be done with the leg extended to the second position en l'air (demi-position) and closed to the calf of the supporting leg.