First bar: As the left foot crosses over to “3,” it will be noted that the next placement of the right foot is marked “and”; this is done because the time occupied by the little movement is only one-half beat. In practice the steps are counted, one, two, three and four. The left foot’s step marked “4” is a coupé; as the foot is planted, it displaces the right foot; which takes a position extended to the rear, raised from the floor.
Second bar: The space between the last place of the right foot in the first bar and its place in “1” in the second bar, does not represent proportionate progress across the floor; the steps of the three bars are diagrammed consecutively, to avoid the confusion of superimposed lines. On count “1” of the second bar, advance the right foot from its raised posterior position to anterior fifth position. Fill in the count of “2” with a slow advance of the left foot to fourth position, which it reaches on count “3”; upon which it receives the weight, the right foot simultaneously being raised from the floor in posterior fourth position on count “4.”
Third bar: On “1,” plant the right foot in posterior fourth position and slowly sink the weight back on it; on “2,” glide the left foot back slowly (3) to reach third position on count “4.”
The figure is executed in open position of the couple. Its manner is smooth, without dips. It is usually repeated several times in succession.
8. The Murray Anderson Turn: a turn en arabesque. The man crosses the right foot in front of the left, and transfers his weight to it (i. e., the right foot). Simultaneously the woman, holding his hand in her hand (open position of couple), begins a walk around a circle of which the man’s right foot is the centre. As his legs “unwind,” he rises to the ball of the right foot, extending the left leg easily to the rear (see arabesque, chapter on ballet technique) and raising the left foot from the floor.