3. FOX TROT

The Fox Trot is by far the most common dance. It goes on and on—year after year. It is best, therefore, that you start with the Fox Trot.

The rhythm of the Fox Trot is what we call a variable rhythm—that is the rhythm pattern constantly changes, as slow steps and quick steps are mixed in various combin­ations. Steps taken to the side are followed by Together Steps which are quick. Forward and backward steps may be either quick or slow, but in most cases they are slow.

The side step is usually taken to the boy's left and the girl's right. As stated before, it is easier to lead a side step to the left than it is to the right, but for the sake of variety, the good dancer should learn to take side steps to the right as well as the left.

In the Fox Trot, since there is a constant combination of forward steps and side steps, and forward steps and backward steps, there is more necessity for the follow-through than in any other dance.

Since there is no consistent rhythmic-pattern in the Fox Trot, the ability to lead and to follow well is probably more essential in this dance than in any other except, perhaps, the Tango.

When Fox Trot music is played too slow, it loses some of its sparkle; therefore, to put variety and life into your dance, you may do one of two things:

1. Switch to those Tango Steps which use the dip.
2. Double your rhythm and do the steps described in the One Step.

Some steps in the Fox Trot are based on what is known as perfect-measure phrasing. By perfect-measure phrasing, we mean that the combination of slow and quick steps produces a rhythmic pattern that fits the four counts of the music, measure for measure, as it is written. When the steps are perfectly phrased, you will find that the accompanying melody of the music will act as an aid in guiding you through the rhythm.

Other steps in the Fox Trot, however, are based on a combination of slow and quick steps that do not correspond to the rhythm of the music, measure for measure. We call this inter-measure phrasing, meaning that the rhythmic pattern ends within the measure of the music instead of at the end. When dancing such steps, you will find that the melody is of no aid in guiding you through the rhythmic pattern. You merely dance to the drum beat, or the beat of the rhythm instruments, and disregard the melody entirely.

Since the Fox Trot is made up of slow steps and quick steps, first learn how to take the slow steps.

SLOW STEPS

BOY'S PART: Stand with your right arm close to any of the four walls of the room. This faces you in a counterclockwise direction—the direction in which you will dance around the room. Start walking around the room in a slow, rhythmic manner, noting as you walk the approximate bend of each knee. When dancing, your knees bend about the same as when walking.

Next, start counting your steps as you walk—counting in groups of four, starting count 1 with your left foot. The difference between this walk and the glide as used in the Fox Trot is that when walking your weight comes down slightly on your heels first, whereas when you dance you come down on the ball of your foot. Now practice this walk, letting your weight come on the ball of your foot first:

Forward—L	Forward—R	Forward—l	Forward—R
12	3	4

Note that your gliding step will be smoother and more graceful if you move the leg from the hip. Also, note that the knee is bent at the beginning of each step and straightens at the end of each step when the foot takes the body weight. Since the foot comes down toe first, the toe may barely touch the floor while the step is in progress. If you permit the toe to leave the floor entirely, do not let it lift higher than approximately a quarter-inch from the floor.

You should glide around the room in this manner in two lines—one for the left foot and one for the right foot. These lines are parallel and practically touching, that is, one foot must practically touch the other as it passes. Do not dance in one straight line as does a tight-rope walker.

Next, practice dancing this gliding step around the room while humming a tune to yourself. These slow gliding steps fit the melody of Yankee Doodle in the follow­ing manner:

Yank-ee	Dood-le	Went to	Town
12	3	4
Rid-ing	on a	Poo oo	nee
5	6	7	8

We have extended the count to eight in order to fit a phrase of the music. The rhythmic count of each step takes place when the foot takes the body weight, and not as the foot begins to move. Thus on Count 1 above the entire weight should be on the left foot, just as the accompanying music comes to the word "Yank."

GIRL'S PART: Girls should practice this gliding step while traveling backwards. The girl, too, travels counterclockwise around the room, only she travels in a back­ward direction while the boy travels in a forward direction.

This counterclockwise direction is a rule that has been established by custom. (If the ballroom is not too crowded, this rule may be violated to a slight degree, but never make a practice of taking more than one or two steps in the wrong direction. It is like driving a car on the wrong side of the road.) Because girls are not in the habit of walking backward they usually, when learning to take gliding steps back­ward, tend to let their feet become too far apart. This produces a straddled position which is ungraceful and never in good form. Therefore, be sure that when one foot passes the other foot that your feet practically touch. Step backward from your hip, letting the weight come on the ball of your foot. Your weight should never be com­pletely on your heel, even though you are stepping in a backward direction. The girl starts stepping backward on her right foot on Count 1.

Practice counting in series of four. Then adapt your steps to the music of Yankee Doodle, as explained in the Boy's Part.

QUICK STEPS

BOY'S PART: Quick steps are usually to the side or In place (In place steps are merely a shift of weight), or quick steps may be running steps which are either forward or backward. Since the side steps are the most frequently-used quick steps in the Fox Trot, they should be practiced first, apart from the other steps. Side steps are nearly always followed by together steps. This combination of side step followed by a together step is commonly referred to as a chassis. The chassis steps, when used in the Fox Trot, produce the syncopation of rhythm—that is they are combined with slow steps to give a variety in the rhythm pattern, thus:

Side—L	Together—R	Side—L	Together—R	Side—L	Together—R	Side—L
1	and	2	and	3	and	4
Side—R	Together—L	Side—R	Together—L	Side—R	Together—L	Side—R
5	and	6	and	7	and	8

GIRL'S PART:

Side—R	Together—L	Side—R	Together—L	Side—R	Together—L	Side—R
1	and	2	and	3	and	4
Side—L	Together—R	Side—L	Together—R	Side—L	Together—R	Side—L
5	and	6	and	7	and	8

Make all of these steps short, then practice placing your count to music. Your count will fit the music of Yankee Doodle like this:

Yank	ee	Dood	le	Went	to	Town
1	and	2	and	3	and	4
Rid	ing	on	a	Po	oo	nee
5	and	6	and	7	and	8

Here we extend the chassis more to one side than it is customarily used in the Fox Trot, for practice, but it is lots of fun to do it this way occasionally in the dance.

After you have practiced this until you can do it easily, then practice in this manner:

BOY'S PART:

Side—L	Together—R	Side—L	side—R	Together—L	side—R
1	and	2	3	and	4

GIRL'S PART:

Side—R	Together—L	Side—R	side—L	Together—R	side—L
1	and	2	3	and	4

After you have learned the chassis step as described here, and the slow gliding step as previously described, you will have no difficulty in learning the Fox Trot steps that follow.

Some of the steps described on the following pages are in perfect-measure phrasing while others are in inter-measure phrasing. During the past few years the trend has been for the Fox Trot to take inter-measure phrasing. This is really a delightful way to dance, but it has one draw back, that is the inter-measure phrasing steps always take the chassis only to one side which is the boy's left and the girl's right. This, after a while, can become monotonous, therefore to become a really skilled dancer you should learn the perfect-measure steps which take the chassis first to one side and then the other, as did the Two Step from which the Fox Trot originated, as well as the inter-measure steps which take the chassis only to one side. Then, later on, mix the two styles, and you will be an accomplished dancer in the Fox Trot.

RUNNING STEP

(in perfect-measure phrasing)

step no. 1 BOY'S PART:

Forward—L	Forward—R	Run—L	Run—R	Run—L
(Short Steps—Forward)
1	2	3	and	4
Forward—L	Forward—L	Run—R	Run—L	Run—R
(Short Steps—Forward)
5	6	7	and	8

GIRL'S PART:

Back—R	Back—L	Run—R	Run—L	Run—R
(Short Steps—Backward)
1	2	3	and	4
Back—L	Back—R	Run—L	Run—R	Run—L
(Short Steps—Backward)
5	6	7	and	8

The running steps progress the dancer in the same line of direction, but they should be much shorter in length than the other steps. The important thing is to learn to do the running steps without bouncing the body up and down.

STEP NO. 2

BOY'S PART:

Forward—L		Forward—R	Side—L	Together—R
1		2	3	and

GIRL'S PART:

Backward—R		Backward—L	Side—R	Together—L
1		2	3	and

This step, when repeated over and over, produces a rhythmic pattern that is inter-measure phrasing. It should be learned here primarily because it is used constantly when changing body positions with your partner, as explained later in this chapter by pictures.

STEP NO. 3

BOY'S PART:

Forward—L		Forward—R	Side—L	Together—R	Forward—L
1		2	3	and	4

(Follow-through with right foot, then start backward)

Backward—R		Backward—L	Side—R	Together—L	Forward—R
5		6	7	and	8

(Follow-through with left foot, then start over again.)

GIRL'S PART:

Backward—R		Backward—L	Side—R	Together—L	Backward—R
1		2	3	and	4

(Follow-through with left foot, then start forward)

Backward—L		Backward—R	Side—L	Together—R	Backward—L
5		6	7	and	8

(Follow-through with right foot, then start over again)

Here, on Count 5, go forward instead of backward. You should practice this for at least thirty minutes. It takes a different balance for the boy to move backward and the girl to move forward. However, you should learn immediately how to execute both forward and backward steps so that your dance movement will have a constant variety.

STEP NO. 4

BOY'S PART:

Forward—L		Backward—R	Side—L	Together—R
1		2	3	and

GIRL'S PART:

Backward—R		Forward—L	Side—R	Together—L
1		2	3	and

This step should be practiced for at least thirty minutes.

The follow-through, which should take place between counts one and two, is most important here. (If we continue to remind you of the follow-through, it is because experience has proven that students need to be constantly reminded of this until it becomes a habit.)

If this step, repeated over and over, as you are learning, tends to tire you, it is probably because you are fighting your own momentum. A change of direction from forward to backward, or from backward to forward, is easy when you put into practice the following principles:

Lean slightly backward when stepping forward. Lean slightly forward when stepping backward.

Thus your body weight is used to help you in your change of direction.

It must also be remembered that the boy knows in advance when he is going to change his direction. The girl does not. Thus the boy must use the principle as explained in the chapter on "How to Lead and How to Follow."

step no. 5 BOY'S

PART:

Diag. Forward—L		Diag- Back—R	Side—L	Together—R
Toe Out		Toe In
1		2	3	and

GIRL'S PART:

Diag. Back—R		Diag. Forward—L	Side—R	Together—L
Toe In		Toe Out
1		2	3	and

This step is fundamentally the same as the preceding step, except that the footwork is used to execute a turn to the left. Each time you do this step through, you should make a one-quarter of a turn.

After you have learned these five steps, practice taking walking steps around the room. Make each step about the same distance you ordinarily use when walking. Step on the ball of your foot. Do not let your foot drag along on the floor. It should be lifted a fraction of an inch. However, when it takes the body weight, your foot slides forward a fraction of an inch.

Swing your leg from the hip, allowing your knee to bend at the beginning of the step. At the end of the step, when the foot has the complete body weight, your knee should be practically straight.

These steps correspond to the number counts in your previous steps—that is they are relatively slow. Practice them in series of eight steps. Travel counterclockwise around the room. Let one foot pass closely by the other foot. Dance in two parallel lines. Keep your toes pointed straight ahead in the direction of travel.

After you are able to glide around the floor with ease, in this manner, practice the following:

BOY'S PART:

1. Take eight slow gliding steps starting with your left foot.
2. Do Step No. 1, exactly as it is written.

GIRL'S PART:

1. Take eight slow gliding steps backward, starting with your right foot.
2. Do Step No. I, exactly as it is written.

Though Step No. 1 starts with a forward step on the left foot, this entire step as described, should be considered and thought of as a step apart from the eight gliding steps around the room.

After you have practiced this, do the same thing with Step No. 2. That is—take eight slow gliding steps around the room, then put in Step No. 2, exactly the way it is written.

Continue in this manner until you have gone through all of the five steps previously listed. Then drop your gliding steps to six, and then to four.\\

The purpose of this is to make you realize that the Fox Trot is a dance that travels. You may place as many gliding steps around the room as you wish before changing your direction and rhythm with side steps or turning steps.

step no. 6 BOY'S

PART:

Forward—R	Back—L	Side—R	Together—L
1	2	3	and

GIRL'S PART:

Backward—L	Forward—R	Side—L	Together—R
1	2	3	and

This step should be regarded primarily as an exercise to prepare you for a turn to the right. Remember that, heretofore, our turn was to the left. For the sake of variety, you should learn to turn equally well in each direction.

After you have practiced this a few minutes, until the foot work becomes easy for you to do, go to Step No. 7 and use this same foot work while turning to the right.

step no. 7

BOY'S PART:

Diag. Forward—R	Diag. Back—L	Side—R	Together—L
Toe Out	Toe In
1	2	3	and

GIRL'S PART:

Diag. Back—L	Diag. Forward—R	Side—L	Together—R
Toe Out	Toe In
1	2	3	and

Each time you do this step, one complete time, you should make one-quarter turn. Now that you have learned how to turn to the right, you should practice turning first in one direction, and then in the other.

Practice the following sequence of steps exactly as written:

BOY'S PART:

1. Take four gliding steps, starting with your left foot.
2. Do Step No. 5, four complete times, exactly as it is written—making one complete turn to the left.
3. Take three gliding steps, starting with your left foot.
4. Do Step No. 7, four complete times, exactly as it is written—making one complete turn to the right.

GIRL'S PART:   

The girl does the complete opposite.

In the above sequence—No. 3: Note that three gliding steps are taken between the turn to the left and the turn to the right. This odd number makes the right foot available to start executing the turn to the right. This same principle applies in all turning steps. When completing a turn in one direction, take an odd number of steps before attempting the same turn in the opposite direction.

THE BOX STEP

The Box Step employs perfect-measure phrasing. It may be used as a step in itself, however, its chief value is to train the feet for the turning box step.

BOY'S PART:

Forward—L	Side—R	Together—L	Back—R	Side—L	Together—R
1	2	and	3	4	and

GIRL'S PART:

Backward—R	Side—L	Together—R	Back—L	Side—R	Together—L
1	2	and	3	4	and

TURNING BOX STEP

Diag. Forward—L	Side—R	Together—L	Diag. Back—R	Side—L	Together—R
Toe Out	Toe In
1	2	and	3	4	and

The above step reverses your direction and you are now facing in the opposite direction. Repeat this step exactly as it is written and you will be back to your original starting point.  (See Diagram "Principles of Box Turn.")

After you have mastered this left turn, practice starting with the right foot and turning to the right.

RIGHT TURN

BOY'S PART:

Diag. For.—R	Side—L	Together—R	Diag. Back—L	Side—R	Together—L
Toe Out	Toe In
1	2	and	3	4	and

GIRL'S PART:

Diag. Back—L	Side—R	Together—L	Diag. For —R	Side—L	Together—R
Toe In	Toe Out
1	2	and	3	4	and

Practice the turning box step to the left, then take three forward steps, starting on the left foot, then do the turning box step to the right. It should be noted here that this turning box step is similar to the turning step previously described. It is, however, a different step, employs a different rhythm, and should not be regarded as the same step.

After you have thoroughly mastered all of the steps described up to now, proceed with the following steps, all of which are explained in pictures.

All box turns use this principle. It can be used in the Waltz, Fox Trot, or Rhumba. Every three steps makes a quarter turn, thus in Waltz-time:

Diag. Forward—L	Side—R	Together—L
Toe Out
1	2	3

This takes you to the left corner of the box. Then

Diag. Back—R	Side—L	Together—R
Toe In
1	2	3

This takes you to top center, and you are now facing in the opposite direction from starting point. Repeat entire step and you have made a complete turn and are back to starting point. To do this in Fox Trot time, put PAUSE after Count 1, thereby increasing your count to four.

STEP TURNS ILLUSTRATED

This particular sequence shows how turning the toe first out and then in—causes the entire body to turn. Before starting remember that each step requires a shift of weight.

	Step straight forward on left foot. Then
	When right foot steps forward and toe turns out (Forward-R Toe-Out-90°) It automatically makes the body do a quarter turn to the right, when the left foot steps to the side.
	Then, when your right foot moves together here, you are ready to do
	A side step with your left foot, turning your toe in. (Side-L Toe-In-90°)
	Then, when you step back on your right foot here, your body has made a complete half-turn and you are facing the opposite direction.
	ALL OF THESE STEPS SHOULD FOLLOW ONE LINE OF DIREC­TION.

SHIFT OF WEIGHT TURNS

This is a step turn which the advanced dancer uses in the Fox Trot.

You take two slow steps forward, then turn half-way around. Next do two slow steps backward, then complete the turn.

Forward—L	Forward—R	Side—L	In place—R	In place—L
Toe Out	Toe In	Toe Out	Toe In
90°	(Slightly)	90°	90°
1	2	3	and	4

You have now made a complete half turn to the right and are facing in the opposite direction. Now continue with backward steps:

Forward—R	Forward—L	Side—R	In place—L	In place—R
Toe In	Toe Out	Toe In	Toe Out
90°	(Slightly)	90°	90°
5	6	7	and	8

This step is ideal for executing a fast, syncopated turn when the music is fast or medium in tempo

FOX TROT—SHOWING HOW TO CHANGE POSITION

	From a side position as shown in Figure I, boy steps Side-L —girl Side-R.
	Boy crosses R foot in front of L, as girl crosses L foot in front of R, as shown here in Figure 2.
	Boy steps side-L as girl steps side-R, then quickly step to­gether—boy bringing R foot to L—girl bringing L foot to R. These two steps are taken on Count 3.
	Notice here, boy has turned his partner forward and him­self backward, making a par­allel position. He steps back on his L foot FOLLOWING THE SAME LINE OF DI­RECTION. Girl steps forward on her R foot.
	Boy steps back on R foot—girl steps forward on L foot. Couple is still traveling in the same line of direction.

 

	Boy steps L foot in same line of direction, as he turns back and faces his partner. This step is quickly followed by a to­gether step, as boy brings R foot to L foot and girl brings L foot to R foot.
	Now—boy changes his line of direction for one step, as he steps forward-L toward his partner—she steps back-R. His left toe should turn out—her right toe in—in preparation for a one-quarter turn.
	After the follow-through movement, boy steps diagon­ally back on his R foot turn­ing his toe in, as girl steps diagonally forward-L, turning her toe out.
	Couple completes quarter turn as boy steps to side with his L foot, then quickly steps to­gether, bringing R foot to L— girl brings L foot to R. Couple is now in a completely closed position. The rhythm for this entire step is Slow—Slow— quick, quick; or 1, 2, 3 and.

Always face partner on the two quick steps—that is the side-together

FOX TROT COMBINATION OF SIDE STEPS AND DIP— PIVOT TURN AND DIP

When executing the backward dip as shown here, the boy's left foot should be slightly on the outside of girl's right foot. This prevents the knees from colliding when the dip is in progress. On the Pivot Turn to the right, as shown in Figures 5 and 6 below, the boy's right foot should be placed well in between the girl's feet.

BOY'S PART: Side—L 1

Cross Front—R	Side—L	Together—R	Back—L—Dip
2	3	and	4

Forward—R—Pivot Turn Right
5

Side—L—Continue Pivot Turn—R
and

In place—R Toe Out

Note: Girl's part is completely the opposite of boy's throughout the step.

FOX TROT UNWINDING STEP

In this step, which starts in open position, the boy puts his right foot Cross Front over left, then with the weight on the balls of both feet, he leads the girl in a direction around him to the left. The girl takes three running steps, and unwinds the boy, as he pivots on both feet to the left.

Practice this solo first, then try it with your partner.

BOY'S PART:

Side—L	Cross front—R	Pivot—L	Continue Pivot	Forward—L
1	2	3	and	4

(Pivot on both feet)

GIRL'S PART:

Side—R	Cross Front—L	Forward—R	Forward—L	Diag-  Back—R
1	2	3	and	4

(Steps taken in circle to left around partner)

STEPS FOR VERY ADVANCED DANCERS CROSSOVER AND PIVOT TURNS

BOY'S PART:

Start in Side Position:

Side—L	Cross Front—R	(Side—L	Side—R)*
Toe In	Toe Out
1	2	3	and

GIRL'S PART:

Side—R	Cross FrontL—	(Side—R	Side—L)*
Toe Out	Toe In
1	2	3	and

* The above steps follow in one line of direction. On Step No. 3, the boy places his
left foot on the outside of the girl's right foot and starts to execute a pivot turn to
the right; then on the following "and" count, his right foot is in between her feet,
as he continues to pivot.

On these two steps, the skillful dancer makes a complete turn and, when he starts the step again, he is ready to step in the same line of direction.

Body positions automatically close on Count No. 3 as the pivot turn begins. As soon as the turn ends, the bodies open out to a side position in preparation to start over again.

REVERSING SIDE POSITIONS

BOY'S PART:

Start in Side Position:

Side—L	Cross Front—R	Side—L	Together—R	Side—L
1	2	3	and	4
Cross Front—R	Side—L	Together—R	Side—L	(Cross Back—R	In place—L)*
5	6	and	7	8	and
Side—R	Cross Front—L	Side—R	Together—L	Side—R
1	2	3	and	4
Cross Front—L	Side—R	Together—L	Side—R	(Cross Back—L	In place—R)**
			(—start again—)

GIRL'S PART: (This is exactly the opposite.)

* Reverse line of direction and change to reverse side position. Boy's left arm goes
around girl's waist.

** Reverse line of direction. Change back to original side position.

The Fox Trot is the most fluid dance we have. It offers a chance for more variety than any other. You can constantly change your rhythmic pattern, and your body positions. You can do pivot turns to the right, step turns to the right and left. You may double your rhythm, and employ the steps of the One Step, and also you may borrow from the Tango, using some of the Tango dips.

Since it offers the opportunity for such constant variety, the ability to lead and follow is most important—probably more important in this dance than in any other. Therefore, you should study thoroughly the following chapter on "How to Lead and How to Follow" before attempting the more advanced steps with a partner.

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