ReCreation Tappers

Tap Syllabus

For use by ReCreation Tappers Affiliated Teachers

compiled by Judi Nelson Baruck

Jan. 2015
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GENERAL INFORMATION FOR TAP DANCING

TAP DANCING:
A form of dance wherein regulated and rhythmical sounds are created by the feet, usually,
but not exclusively, to the accompaniment of music. When properly and seriously studied,
the benefits to be gained are many. The most important being:

I. Rhythm and coordination

2. Self expression
3. Accepting criticism and making the proper corrections
4. Being able to analyze yourself and your work
5. An opportunity to learn the art of performance
6. Learning to work with others

GENERAL RULES FOR GOOD TAP TECHNIQUE:

I. Dance with the legs under the hip line except when executing spacious movements such as
lunges, draws, slides, etc.
2. Do not dance with the feet turned in except for stylization. Many tap dancers tend to
execute tap movements pigeon-toed.
3. Dance on the balls of the feet except for percussive sounds.
4. Use a natural plie (bending) of the knees. Do not keep the knees stiff or rigid.
5. Execute each tap sound with clarity and precision. The addition of accent and
syncopation will produce rhythmic sounds.
6. Observe correct body placement.
7.Dancers who desire to become accomplished in Tap Dancing must consider the fact that
BALLET training is extremely important for their development as is training in jazz,
modern, etc.

THE ART OF TAP DANCING SHOULD ALSO INCLUDE:

I. Tap Dynamics: Clarity of sound, emphasis and accent (loud and soft), tonality (high and
low), and shading (blending).
2. Stylization: The ability to express the mood of the music and the essence of the
choreographic piece through the use of the arms, body, attitude, and stage dynamics.
3.Presentation: How the dancer communicates and conveys a feeling, idea, or mood in
regard to the routine, music, and the audience.

COMMON FAULTS IN TAP DANCE:

I. Inability to feel rhythm or tempo of music
2. Dancing fiat footed
3. Overlapping or slurring of tap sounds
4. Loss of balance due to incorrect body placement
5. Lack of plie
6. Toes turned in
7. Legs too far apart
 The spoken vocabulary for Tap Dance includes many terms that may vary from place to place as well as
from teacher to teacher. The purpose of any term is to verbally identify the action involved, but it is equally
important to know, understand, and execute a movement as well as know its name. The terms and
abbreviations in this syllabus seem to be the most widely accepted and frequently used.

ABBREVIATIONS
AL T - alternating L - left

AST - at the same time LOD - line of direction

BEG - beginning L/S - left stage

B/C - ballchange LXB - left crossed back

BK - back LXF - left crossed front

BR - brush NW - no weight

BKWD - backward NTO - no turn out

CONT - continued OPP - opposite

CR - cramp roll PAR - parallel

CIS - center stage POS - position

CT - count PT - point

DIAG - diagonal R - right

DIR - direction REP - repeat

D/S - downstage RXB - right crossed back

DRBK - drawback RXF - right crossed front

EXT - extend SH - shuffle

FL - flap SP- spank

FRT - front ST - step

FT - foot TI(TO - turned in! turned out

FWD - forward TOG - together

HL - heel U/S - up stage

HLD P - heel drop # - number

IP - inplace x _.number of times or cross/crossing

TERMINOLOGY

BALL CHANGE: Step on the ball of the R FT, then step on the ball of the L FT,
AST releasing the R FT. There is a quick transfer of weight with the accent on the last
foot. A ball change may be executed in any position (feet together, apart, crossed) and in
any direction.

BALL TAP: Begin with the working foot flexed and slightly off the floor. Strike the
bottom of the front tap (ball of foot) on the floor and finish with the foot flexed again.
The motion is in the ankle only with the toes relaxed.

BOMBERSHAY: Step L to L, AST lift R toe TO to R, spank RXF, heel stand R (heel
grind)/suzie Q), step L to L

BRUSH: Standing on one foot, raise the free foot with the knee bent. Strike the ball of the
foot to the floor as the knee straightens (but not tensed). A brush can be done to the front,
side or back and usually (but not always) moves in an outward direction away from the
body.

BUFFALO: (Shuffle off to Buffalo) Leap R to R, SH L, leap LXB ASTbend (lift)

RXF ofL knee. The distinguishing characteristic of a Buffalo is that the free leg raises
up in front and the Buffalo usually travels sideways.

CATCH: Standing on both feet in plie, slide or scoot backward finishing in releve.
(A hitch on two feet.)

CHUG: Stand on one foot and slide or scoot forward with a bent knee, keeping contact
with the floor. Drop heel sharply making a distinct accented sound to complete the
movement. (Called BUCK if both feet perform simultaneously.)

CINCINNATI: (Back to the Woods)

Single: SP R, heel drop L, SH step R BK, reverse to continue
(Also called a Triple Drawback)
Double: SP R, heel drop L, SH R, heel drop L, ST R BK, reverse to continue

CRAMPROLL: There are many types and variations of cramprolls. A four count and
four point cramproll are interchangeable terms meaning that 4 sounds are being
executed.
Regular: Step or leap to the ball of the R, ball of the L, heel drop R, heel drop L
Alternating: Step or leap to the ball of the R, ball of the L, heel drop L, heel drop R
Flap Cramproll: FL R, ST L, heel drops R- L
Shuffie Cramproll: SH R, leap or step R-L, heel drops R-L
 ...... _ _-_ _ _--_._
..... ... .. _----------------------
..

CRAWL: (Walk-out) Step R, heel drop R TO, toe drop R TO, heel drop R TO

DIG: Strike the ball or heel of the foot next to the supporting foot with a slight forward
motion. It carries no weight and remains grounded.

DRAG: (Draw) Stand on one foot and slide or pull the working foot on the floor into a
closed position toward the body. The sound created is not distinct and can be extended
over many counts. Any part of the foot may be used.

DRAWBACK: Spank R, heel drop L, step R BK, reverse to continue

(A drawback may be done in any rhythm and may begin with any of the tap sounds, but
the sounds must always remain in the same order, i.e. the step always follows the heel
drop which always follows the spank)
Double drawback: Execute a regular drawback replacing the step with a flap.
Triple drawback: Execute a regular drawback replacing the step with a shuffle step.
(Also called a Cincinnati.)

ESSENCE: There are many types and variations of essence.

Single Front: Step R to R, BR L, BC L frt R (Known as the Soft Shoe Time Step.)
Double Front: Flap R to R, BR L, BC L frt R

Back Essence: Spank step R bk L, step L to L, step R IP (B/C L-R in open pos.)

FLAP ISLAP: (Flap) Execute a brush step FWD - AST transfer weight
(Slap) Execute a brush that ends with a ball tap - no weight

GRAPEVINE: Patterns made by the feet while traveling sidewards in a series of steps
that alternately cross the feet in FRT and BK

HEEL CLICK:
Standing on balls of feet - turn heels inward and strike them together.
Or plie, spring into the air hitting both heels togther AST.
Or stand on one foot and click the opposite foot to the standing foot.

HEEL DROP: Begin with the working foot on the floor with the heel raised. Drop the
heel leaving the ball of the foot on the floor. It mayor may not carry weight.

HEELST AND: Standing and balancing your weight on the back edge of one or both heels
with the toes lifted from the floor.

HITCH: Standing on one foot in plie, slide or scoot backward finishing in releve.
(A catch on one foot)
HOP: Stand on one foot in plie and spring into the air landing on the ball of the same foot
in plie.

IRISH:
Front: Shuffle R X frt of L, Hop L, ST R X frt of L. Reverse to alternate-travel fwd.
Back: Shuffle RX bk of'L, Hop L, ST RXbkofL. Reverse to alternate-travel bkwd.

JUMP: Stand on both feet in plie and spring into the air landing on the balls of both feet
in plie.

KlMBO: Step bk on R in plie, knee turned out. L leg remains straight with heel on the
floor, foot flexed. Lean slightly fwd in flat back position. A clap or snap may be added.

LEAP: Stand on one foot in plie and spring into the air landing on the ball of the
opposite foot in plie.

LINDY: Step or flap Rto R, B/C L-RtoR,stepLXbkofR,stepRIP.

MAXIE-FORD: Leap R to R, Shuffle L to L, leap L, toe tip R X back L

PADDLE STEP: Step R to R adding three B/C's L-R, L-R, L-R

PAD DLE TURN: Execute paddle step while turning on the spot to the R.

PARADIDDLE: (Paddle and Roll)

Heel dig R, spank R, step R, heel drop R. Reverse to alternate.

PAS DE BOURREE: (borrowed terminology from ballet.)

Step R X back of L, step L to L (znd. pas.) step R X front of L.

PIC K-UP/pULL-BAC KlGRAB-OFF:

Single: Stand on the ball of one foot in plie with the other off the floor. Spring into the air
executing a spank, nerve tap, or ball tap, landing on the same foot.
Double: Stand on the balls of both feet in plie. Spring into the air executing a spank on
the R, then the L, landing on the R and then the L.

RIFF: Basic or Two count Riff: Stand on one foot and raise the free foot with the knee
bent. Strike the ball of the foot to the floor (brush) and follow it immediately with a
scuff as the knee straightens (but not tensed).
(Riff variations are too many and too numerous to list. They are devised by the
addition of heel drops, toe drops, and the combining of FWD and BKWD riffs, along
with crossing and uncrossing the feet).

RIFFLE: Execute a two count riff followed by a spank (the last sound of shuffle)
SCISSORS STEP: Leap R to R, leap LX frt of R, leap R to R, heel dig L to L.

SCUFF: Standing on one foot, raise the free foot with the knee bent and the foot
flexed. Swing the working leg fwd. striking the back edge of the heel tap on the floor
as the knee straightens (but not tensed).

SCUFFLE: Execute a scuff immediately followed by a spank. (Resembles a shuffle.)

SHIM SHAM: (usually begins on the 8 cr)

Original: Stomp, spank step, reverse, stomp spank B/C, stomp, spank step
Or: SH step, SH step, SH B/C, SH step
Or: Heel dig, spank step, reverse, heel dig, spank B/C, heel dig, spank step
Or: SC step, SC step, SC B/C, SC step
Note: To prepare for the shim sham break, execute the original 3 times, but on the 3rd time
substitute spank dig step ending on ct 8.

SHIM SHAM BREAK: Toe tip (or dig) LbkofR,stepL, HopL,step Rbk, HopR
step L bk, step or sugar R-L fwd. (or jump ft apart and jump ft tog)

SHUFFLE: Standing on one foot, raise the free foot with the knee bent. Brush the ball of
the foot FWD on the floor then spank the ball of the foot BKWD finishing with the knee
bent.

SlAP /FlAP: (slap) Execute a brush FWD that ends with a ball tap - no weight.
(flap) Execute a brush step FWD - AST transfer weight.

SPANK: Stand on one foot with the free leg raised fwd off the floor, straight but not tensed.
Strike the ball of the foot BKWD finishing with the knee bent.

STAMP: Strike the whole foot on the floor immediately transferring weight and raising the
opposite foot off the floor. A stamp is always executed on the whole foot and always
transfers weight.

STEP: Strike the ball of the foot on the floor immediately transferring weight and raising
the opposite foot off the floor. A step is always executed on the ball of the foot and always
transfers weight. '

STOMP: Strike the whole foot on the floor without any transfer of weight. A stomp is
always executed on the whole foot and never transfers weight.

SUGAR: (Sugarfoot) A twisting movement executed on the balls of the feet. Step FWD
on ball ofR TO, twist R heel outward as you step FWD L TO. Travel FWD or IP.
 --.~.--~-----.-.---------

SUSIE-Q: Heel stand R X front L (R toes TI) heel grind on R as L steps to L

(R toes now TO)

TIME STEPS: The only differencebetween the standard and buck time step is the very
beginning. (8&)
Single Standard: 8& SH R, Hop L, Step R, FL L FWD, Step R IP
Double Standard: 8& SH R. Hop L, FL R, FL L FWD, Step RIP
Triple Standard: 8& SH R, Hop L, SH Step, FL L FWD, Step R IP
Standard Break: 8& SH R, Hop L, Step R, SH Step L, SH Step R, SH B/C L

Buck Time Step: Replace SH with a Stomp spank

Buck Break: 8& Stomp SP R, Hop L, Step L, SH Step L, SH R,
Hop L, FL R, B/C R

Military Time Step:

Single: SH R, HOPL, Step R, L, R- reverse
SH R, HOP L, Step R - reverse
SH R, HOP L, Step R, L, R
Double: Change every Step to a FL
Triple: Change every Step to a SH Step (veryseldom used)

Soft Shoe Time Step: Refer to Single Front Essence

Standard Traveling Time Step:

Single: SH R, Step R, SH L, B/C L-R, B/C L-R (travel Ron B/C)
(SP is optional) Hop R, Step L, SH R, Step R
Double: After Hop replace Step with FL
Triple: After Hop replace Step with SH Step

Waltz Clog Time Step:

Single: Step R, SH L, B/C L-R
Double: FL R, SH L, B/C L-R
Triple: SH Step R, SH L, B/C L-R

TO E CLI CK: Weight on the heels of both feet, toes raise and turn sharply inward and click
together.

TOE TAP: (Toe hit, toe tip, toe strike, toejab)

Striking the very front edge of the toe of one foot on the floor with no weight.
Can be either raised or finish on the floor and in any direction.
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TOE DROP: Begin with the working foot on the floor with the toe raised. Forcibly
drop the toes to the floor. It mayor may not carry weight.

TOUCH: Extending and placing any part of foot (toe, heel) on the floor, no weight.
The word implies lightness.

TRENCH: With weight on one foot and the free leg straight and raised diagonally to the
back, slide on the outside edge of the supporting leg, landing on the free foot in the same
spot vacated by the standing leg. The body leans forward and arms alternate with each
slide.

WALKOUT: SeeCrawl

WINDSHIELD WIPER: Stand with weight on one foot and tap the other foot outward
and inward in an even rhythm.

PLEASE N O'TE Not included in the preceding list are variations, advanced
technique, and some ballet, jazz and modem terms, Training in other dance subjects is very
important for the technical development of a tap dancer. Many of these movements, steps,
and combinations, induding their terminology are not only applicable, but a necessity to
enable and enhance the learning, the teaching, and the performing of Tap Dance.

ROOM DIRECTIONS:

AUDIENCE

DIS
2 5 I

US 6 CIS 8 R/S

3 7 4

UIS