Waltz 28-31 mpm
Pre-Bronze/Student Teacher
1. Closed Changes
2. Natural Turn
3. Reverse Turn
4. Natural Spin Turn
5. Whisk
6. Chasse from Promenade Position

Bronze/Associate
7. Closed Impetus
8. Hesitation Change
9. Outside Change
10. Reverse Corte
11. Back Whisk
12. Basic Weave
13. Double Reverse Spin
14. Reverse Pivot
15. Back Lock
16. Progressive Chasse to Right

Silver/Licentiate
17. Weave from Promenade Position
18. Closed Telemark
19. Open Telemark & Cross Hesitation
20. Open Telemark & Wing
21. Open Impetus & Cross Hesitation
22. Open Impetus & Wing
23. Outside Spin
24. Turning Lock
Drag Hesitation*

Gold/Fellow
25. Left Whisk
26. Contra Check
27. Closed Wing
28. Turning Lock to Right
29. Fallaway Reverse & Slip Pivot
30. Hover Corte
Fallaway Whisk*

In the early 19th Century, the "Waltzen" became popular through many partsof Germany and Austria, with the local variants being called by the name of the area in which they were danced. The form from "Landl ob der Enns" in upper Austria became very popular, and became known by the abbreviated name of the 'Landler'.

Initially the Landler was danced in heavy shoes, and had animated hopping, slapping and stamping steps, with complex underarm turns. However, by 1800 the Landler was described as being done with lighter shoes, and having the same quick gliding rotating movements steps as the Waltzen but done to a slower tempo.

A more sedate form of the fast Viennese Waltz, danced at a leisurely 90 beats per minute, also evolved in America around 1870 known originally as the "Boston". This version of the Waltz retained the characteristic turning figures and added others such as a dip, and was danced with the partners holding their hands on each others hips. The Boston also had the distinction of being the first ballroom dance to be done with feet parallel (rather than turned out, as in ballet).

The present form of the dance has been variously described as being derived around 1910 in England both from the Landler and from the Boston .Either way, the dancers began taking advantage of the slower tempo to add more figures, some with extra syncopated beats, some with slow "picture" steps. These give the dance light and shade, and make it more interesting to perform and to watch.

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