Learn how to beautifully dance
the FALLAWAY WHISK
Gold Level Figure*. A Blend of opposition with elegant closure.
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The Fallaway Whisk is a sophisticated turning figure, essential for navigating corners or changing direction fluidly in the Waltz. It combines the controlled opposition of the fallaway position with the neat closure of the whisk, demanding precise coordination and shared rotation. Like a fan closing with a graceful twist, this figure resolves movement into poised stillness.
For the full list of Modern Waltz figures corresponding to each medal level, see Figure List for Modern Waltz.
Fallaway Whisk (Man)
Commence in Closed Position, backing LOD.
- Count 1 (LF back, Backing LOD): Commence a right turn using strong CBM, stepping back diagonally to center along LOD with the left foot, heel first. Maintain a firm frame and upright posture, initiating a subtle rise from the ankle at the very end of the beat. Keep sway neutral while focusing on driving the movement backwards with controlled power through the standing right leg. Ensure your upper body rotation leads the step, maintaining connection through your right side without hunching the shoulders.
- Count 2 (RF to side and slightly back, Pointing DC): Continue the right turn (completing a total of 3/8 between count 1 and 2), stepping side and slightly back onto the toe of the right foot, allowing the body to face diagonally to center. Sustain the rise initiated on count 1, feeling the body move diagonally backwards towards the new alignment. Keep sway neutral and the frame expansive, ensuring the lady has space to move; the left side leads the turn, with the head held naturally or turned slightly left. Focus on controlled side step placement, avoiding collapsing the left side or pulling the lady off balance.
- Count 3 (LF crosses loosely behind RF in Fallaway, Facing DC): Continue turning the body slightly right (adding up to 1/8 more turn) as you cross the left foot loosely behind the right foot in the fallaway whisk position, onto the toe then lowering to the heel. Introduce right sway by stretching the right side upwards and across, creating a beautiful opposing curve to the lady, while lowering smoothly at the end of the beat. Maintain a strong, supportive frame with the right arm guiding firmly but gently, ensuring the lady feels secure to complete her whisk; head remains poised or turns slightly left. Guide the lady firmly into the whisk position with your frame, ensuring your own body turn and sway create the necessary space and lead.
Fallaway Whisk (Lady)
Commence in Closed Position, facing against LOD.
- Count 1 (RF fwd, Facing LOD): Respond to the man’s CBM lead by stepping forward along LOD with the right foot, heel first, initiating a right turn. Start a subtle rise from the ankle at the end of the beat while maintaining neutral sway and a forward intention through the body. Keep the frame strong and elastic, feeling the man’s lead through his right side; head remains forward or turns slightly right. Move positively forward into the man’s frame, keeping your core engaged and avoiding sitting back on the step.
- Count 2 (LF to side, Backing DC): Continue the right turn (completing a total of 3/8 between count 1 and 3), stepping side and slightly forward onto the toe of the left foot, allowing the body to turn to back diagonally to center. Sustain the rise, moving diagonally forward towards the man and feeling the body turn guided by his frame. Maintain neutral sway and a forward body carriage; keep the frame responsive and connected, feeling the lead for the upcoming whisk; head turns smoothly to the left, looking towards the man. Keep your upper body moving forward towards the man even as your foot steps side, maintaining connection and preventing a backward lean.
- Count 3 (RF crosses loosely behind LF in Fallaway, Facing DC against LOD): Complete the whisk action by crossing the right foot loosely behind the left foot in the fallaway position, onto the toe then lowering to the heel, adding up to 1/8 more body turn right to face diagonally to center against LOD. Introduce left sway by stretching the left side upwards and across, matching the man’s opposing curve, while lowering smoothly at the end of the beat. Keep the body forward and centered over the feet within the man’s frame; shoulders remain down and back, head turned decisively left to look at the man with elegance. Maintain a strong back and engaged core during the whisk to prevent collapsing the shoulder blades or losing upper body posture, allowing the man to support your position.
General Notes
Core Points
- Shared Rotation: Both partners must execute a smooth, continuous right turn totalling approximately 1/2 (3/8 primarily between 1-2, plus up to 1/8 on 3), driven by CBM on count 1.
- Footwork Precision: Leader: TH, T, TH. Follower: HT, T, TH. Accurate foot placement (back diagonal, side-back/side-forward, crossed behind) is crucial for balance and rotation.
- Alignment Shifts: Alignment changes significantly each beat (Backing LOD -> Pointing DC -> Facing DC / Facing LOD -> Backing DC -> Facing DC against LOD). Maintain awareness to avoid drifting.
- Rise & Fall Timing: Rise late end of 1, continue through 2, lower at end of 3. Smooth application prevents jerky movement.
- CBM Application: Strong CBM only on count 1 for both partners to initiate the turn effectively.
Advanced Elements
- Opposing Sway: Develop clear, matching sway on count 3 (Man Right, Lady Left) to create elegant body lines and counterbalance the turn.
- Frame Integrity: Maintain a consistent, supportive frame throughout, especially crucial during the turn and whisk closure. Avoid stiffness or collapse.
- Body Flight & Flow: Focus on controlled diagonal movement (Man back, Lady forward) during counts 1-2, resolving into the closed whisk position with poise.
- Connection & Harmony: The lady must feel the man’s lead for the turn and whisk positioning through his frame; the man must provide clear direction and space. Work as a single unit rotating.
| Common Mistake | Solution |
|---|---|
| Leader steps straight back on 1, not diagonal | Step back diagonally towards center, aligning with LOD. |
| Lady uses “H” not “HT” on step 1 | Place heel first on the forward step, rolling through to toe for rise. |
| Under-turning or over-turning between 1-2 | Aim for a controlled 3/8 right turn completed by the end of count 2. |
| Rising too early or abruptly on count 1 | Initiate the rise very late at the end of count 1, from the ankle. |
| Lack of clear sway on count 3 | Stretch the side upwards and across (Man right, Lady left) for opposition. |
| Lady collapses frame or shoulders in whisk | Maintain strong back muscles and upright posture, supported by the man. |
| Musical phrasing ignored | Ensure the 3 beats flow continuously, matching the Waltz’s rise and fall. |
Preceding Figures
Commenced Backing LOD (as described above)
Commenced Backing DW
(turn only 1/4 between steps 1-2)
| Bronze | Reverse Corté Back Lock Progressive Chasse to Right |
| Silver | Cross Hesitation Drag Hesitation |
Following Figures
Ended Facing DC (swivel 1/8 to L at end of step 3)
| Bronze | Whisk Back Whisk |
| Silver | Open Impetus Turning Lock to L (ended in PP) |
| Gold | Turning Lock to R |
Ended Facing LOD (as described above)
| Bronze | 1-3 Natural Turn Double Reverse Spin |
| SIlver | Drag Hesitation |
| Gold | Fallaway Reverse & Slip Pivot |
Ended Backing DW of new LOD
(at a corner, swivel 1/8 to L at end of step 3)
| Bronze | LF Closed Change Whisk |
| Silver | Drag Hesitation |
List of Abbreviations
| Steps | RF: Right foot LF: Left foot fwd: forward diag: diagonally CBMP: Contra Body Movement Position |
| Footwork | T: Toe H: Heel F: Flat |
| Turn | L: Left R: Right cont: continue com: commence |
| Alignment & Moving | LOD: Line of Dance DC: Diagonal Centre DW: Diagonal Wall |
| Rise & Fall | NFR: no foot rise com: commence cont: continue e/o: end of |
| Position | OP: outside Partner PP: Promenade Position CPP: Counter Promenade Position PO: Partner outside |
| Sway | L: Left R: Right F: Forward |
For a more detailed explanation of terms and abbreviations, see the Glossary.
Demonstrations
These 3rd party (external) demonstration videos typically show the Open Impetus & Wing being performed from different angles, perspectives and speeds. However, they generally have little or no commentary or explanation.
For videos that also include commentary and tips that are aimed at assisting you perform the figure properly, see the next section “Tutorials”.
Tutorials
These 3rd party (external) tutorial videos include commentary and advice, that are aimed at teaching you how to perform the Open Impetus & Wing, properly.
Test Questions
Here are some questions relating to the Open Impetus & Wing, in the style and spirit of both:
- the DanceSport Australia Level 1 instructor/competition adjudicator technical assessment accreditation; and
- the ISTD “Waltz – Questions and Answers” by Elizabeth Romain, fellow ISTD.
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- When ended backing DW, what may follow an Open Impetus & Wing?
- Give two commencing alignments for the Open Impetus & Wing, and what are the completing alignments for these two versions?
- Is there rise on Man’s step 2 of the Open Impetus & Wing? If so, when and if not, why not?
- Which steps for the Man, and which step for the Lady of the Open Impetus & Wing have CBM?
- In the Open Impetus & Wing, why does the Man have two CBM steps, but the Lady only has one?
- When commenced backing down LOD, what three figures may precede an Open Impetus & Wing?
- When commenced backing DW, what five figures may precede an Open Impetus & Wing?
- For the Man, is the step following the Open Impetus & Wing always danced outside Partner?
- List the steps for the Open Impetus & Wing, for the Lady.
- Why is there no continuation of rise on the third step of the Man’s impetus turn?
- What may be the practical use of an Open Impetus & Wing?
- What figures may precede an Open Impetus & Wing?
- State the amounts of turn for each step for the Man, when commencing the Open Impetus Turn & Wing from Backing DW?
- Describe the differences between the Man and the Lady’s use of Rise on the Open Impetus & Wing.
- What may follow an Open Impetus & Wing?
- For each possible variation, state what the total (net) turn made on an Open Impetus & Wing?
- Step 3 of the Man’s Open Impetus & Wing is toe then heel. When does his left heel actually lower?
- What is the beat value of each step in an Open Impetus & Wing?
- State the alignments for the Lady, when the Man commences the Open Impetus & Wing backing DW.