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the reverse Pivot
The Reverse Pivot is a beautiful and essential turning figure in Modern Waltz, often classified at the Bronze level but requiring refinement throughout a dancer’s journey. It acts less as a standalone step and more as a dynamic conclusion or modifier to figures like the Reverse Turn, Closed Impetus, or Spin Turn. Executed on the “&” count, it occupies the last half-beat of a musical bar, typically following a “1, 2, 3” pattern to create a “1, 2, 3&” timing. This half-beat action involves a smooth, controlled rotation of approximately 1/2 turn to the left (though 1/4 or 3/8 are also possible), transforming the dancers’ alignment. The man typically begins backing the line of dance and ends facing it, while the lady reverses from facing to backing. Its magic lies in its compact power, elegant body lines, and seamless connection, achieved through precise technique in body action, footwork, and partnership. The overall movement is a pivoting action on one foot, with the free leg held in a controlled position, creating a moment of poised rotation before transitioning smoothly into the next step.
The Reverse Pivot is usually a bronze level Modern Waltz figure. For the full list of Modern Waltz figures corresponding to each medal level, as per the book “Ballroom Technique” and the Imperial Society for Teachers of Dancing (ISTD). For more details, see the Figure List for Modern Waltz.
Reverse Pivot (Man)
Commence in Closed Position, backing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | & | RF back in CBMP, small step with toe turned in | T H T | Backing LOD to facing LOD | DC | 1/2 to L | Closed |
The Step (& Count): Step back diagonally towards the center with your right foot, ensuring the step is small and straight back from your hip, not angled. Place your right foot on the floor with the toe turned slightly inward, directly under your body, in Contra Body Movement Position (CBMP) due to the strong body turn already commencing. Use the power from your gently flexed standing leg to drive your body backwards and immediately into the rotation. The footwork is a distinctive toe-heel-toe action; while the weight is predominantly held towards the ball of the foot to facilitate the pivot, allow the heel to lower and maintain light contact with the floor to prevent unnatural rising. There is no foot rise (NFR) during this step; focus on maintaining a consistent height or a very subtle lowering. The strong left turn is generated from your center; your head weight should remain predominantly over your left side, helping to control the rotation and prevent over-turning or “peeling” away from your partner prematurely. Maintain a strong, supportive frame with your right side, guiding the lady firmly but gently through the turn, ensuring your bodies rotate as one coordinated unit, preserving elegant lines throughout the pivoting action.
Reverse Pivot (Lady)
Commence in Closed Position, facing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | & | LF fwd in CBMP, small step with toe turned in | T H | Facing LOD to backing LOD | DC | Closed |
The Step (& Count): Step forward diagonally towards the center with your left foot, keeping the step small and controlled. Place your left foot on the floor with the toe turned slightly outward, directly in line with the man’s right leg, moving forward in Contra Body Movement Position (CBMP) as your body begins to turn. The footwork is toe-heel (TH), again with weight held forward for pivoting ease but allowing the heel to lower gently for stability and to avoid lifting. There is no foot rise (NFR) on this step. To achieve a smooth and elegant rotation, initiate the turn from your center; a helpful image is to feel your belly button and center wanting to turn slightly right as your whole body turns left, preventing your shoulders from squaring rigidly with your hips – allow your right shoulder and hip to feel subtly open. Keep your head turned gracefully to the left, extending your neck line beautifully. Crucially, maintain the primary connection through your upper thighs: your right thigh against the inside of the man’s right leg, and your left thigh against the outside of his right leg. Track your left leg precisely with his right leg, avoiding traveling too far forward or losing contact, allowing his lead to guide the rotation smoothly. Feel controlled and supported within the frame as you pivot together, maintaining graceful body lines and a sense of harmonious movement. Prepare for a gentle lowering at the very end of the pivot before the next step.
General Notes
Core Points:
- Precise, Small Steps: Man steps straight back small with right foot (toe in), lady steps small forward with left foot (toe out). Avoid large, traveling steps.
- Distinctive Footwork: Man: Toe-Heel-Toe (weight forward, heel lightly down). Lady: Toe-Heel (weight forward, heel down). Prevents unnatural rising and aids pivot.
- Controlled Rotation & CBMP: Generate the turn from the center. The step is placed in Contra Body Movement Position (CBMP) due to the body turn starting early. Control the amount of turn (1/4, 3/8, or 1/2).
- No Foot Rise (NFR): Maintain consistent height or a subtle lowering throughout the pivot step. No rise occurs on this “&” count.
- Connection & Tracking: Lady, maintain thigh contact and track your left leg precisely with the man’s right leg. Man, ensure your right foot tracks under your body.
Advanced Principles:
- Harmonious Sway: Let elegant sway develop naturally as a result of the controlled turn and body lines, not as a forced tilt. It should feel like a natural extension of the rotation.
- Unified Frame & Center Connection: Maintain a strong, yet supple frame. The feeling should be of rotating around a shared central axis. Keep the center connection alive and responsive.
- Seamless Flow & Musicality: Treat the Reverse Pivot as an integral, flowing part of the preceding figure, not a separate jerk. Respect the stolen “&” count timing – it should feel like a swift, smooth continuation, not rushed nor lagging.
- Poised Preparation: The controlled lowering at the end of the pivot is crucial for a smooth, grounded transition into the next figure, maintaining the waltz’s characteristic flow.
“Like a compass needle finding true north in a single, smooth sweep.“
See also general technical notes on Modern Waltz technique, and also general Modern Ballroom technique.
Preceding Figures
Commenced backing LOD (as described above)
| Bronze | 1-3 Reverse Turn Natural Spin Turn (at a corner) |
| Silver | Outside Spin |
Commenced backing DC
| Bronze | Natural Spin Turn Closed Impetus (at a corner) |
Commenced backing DW
| Bronze | 1-3 Reverse Turn Natural Spin Turn (at a corner) |
| Silver | Outside Spin |
Commenced backing DC against LOD
Following Figures
Ended Facing LOD (as described above)
| Bronze | Reverse Turn Back Whisk Double Reverse Spin Progressive Chasse to Right |
| Silver | Drag Hesitation |
| Gold | Fallaway Reverse & Slip Pivot |
Ended Facing DC
| Bronze | Reverse Turn Back Whisk Double Reverse Spin Progressive Chasse to R |
| Silver | Closed Telemark Drag Hesitation Open Telemark |
| Gold | Fallaway Reverse & Slip Pivot |
Ended Facing DW (along the side of the floor)
| Bronze | Left Foot Closed Change Whisk |
| Silver | Drag Hesitation |
| Gold | Contra Check |
Ended Facing DW
| Bronze | Whisk Outside Change |
| Silver | Drag Hesitation |
| Gold | Fallaway Reverse & Slip Pivot |
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 Reverse Pivot 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”.