DANCE TERMS

1. Abrazete — Girl at the right side, holds R arm of partner with her L hand, free hands down at the
sides. This term is of Spanish origin and is used in Rigodon and in other dances
2. Arms in Lateral Position – Both arms are at one side, either sideward right or left. This may be
done at shoulder, chest, or waist level.
3. Arms in Reverse T — Arms are side horizontal, elbows bent at right angles, forearms parallel to
head, palms forward or facing inward, fists loosely closed.
4. Bilao — To turn palms of hands up and down alternately, hands at waist level in front, elbows
close to waist.
5. Brush – Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot)
after which that foot is lifted from the floor to any direction.
6. Cabeceras— When dancers are in square formation, the couples occupying the width of the hall
are called “cabeceras” or head couples. This is of Spanish origin
7. Clockwise — Like the motion of the hands of a clock. R shoulder is toward the center of an
imaginary circle. When facing center, the movement is toward the left .
8. Counterclockwise — The reverse direction of clockwise. L shoulder is toward the center of an
Imaginary circle. When facing center, the movement is toward the right .
9. Costados – When dancers are in, square formation, the couples occupying the length of the hall
are called “costados” or side pairs. This is of Spanish origin.
10. Crossed Arms — Partners are facing each other or standing side by side, girl at the right of boy.
They join their L hands together and their R hands together; either Rover L or L over R hands.
11. Cross-Over — Two couples (the vis-a-vis) are opposite each other. Each couple proceeds in a
straight line to the opposite place. The girls pass by their L shoulders between the boys. Boys
bow to each other when they meet at the middle or about one-third of the way, then proceed to
the opposite place. Upon reaching the opposite place, partners turn about, girls stand at partners’
right side.
12. Cut — To displace quickly one foot with the other, thus completely taking off the weight of the
body from the displaced foot.
13. Do-si-Do (“Dos-A-Dos”) — The vis-a-vis (opposites) both advance forward, pass each other’s
right (or left) side, step across to the right (or left), move backward with- out turning around pass
each other’s left (or right) side to proper places. This is of foreign origin and is used in many
Philippine dances.

14. Draw —To pull one foot along the floor close to the other which has the weight of the body. The
weight may or may not be transferred.
15. Free Foot —The foot not bearing the weight of the body.
16. Free Hand — The hand not placed anywhere or not doing anything.
17. Hands on waist — Place hands at the waist line (at the smallest part of the trunk). Knuckles in,
fingers pointing in rear.
18. Hapay —To flourish or offer a handkerchief, hat or glass of wine to somebody as a – sign of
invitation
19. Hayon-Hayon — To place one forearm in front and the other at the back of the waist. This is a
Visayan term.
20. Hop - A spring from one foot landing on the same foot in place or in any direction. The other
foot may be raised in any direction (in front, in rear, sideward or across).
21. Inside Foot — The foot nearest one’s partner, when partners stand side by side.
22. Inside Hand — The hand nearest one’s partner, when partners stand side by side.
23. Jaleo – Partners turn once around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows almost touching) using walking or any kind of dance step. The
hands near each other are on waists. This is a Tagalog term but of Spanish origin.
24. Jump —Spring on one foot or both feet, landing on both in any direction.
25. Kumintang —Moving the hand from the wrist either in a clockwise or counterclockwise
direction. This is an Ilocano term.
26. Leap — A spring from one foot, landing on the other foot in any direction (forward, sideward,
backward, or oblique.)
27. Masiwak — To turn the hand from the wrist half-way clockwise then raise and lower wrist once
or twice. This is an Ibanag term.
28. Outside Foot — The foot away from one’s partner, when partners stand side by side.
29. Outside Hand — The hand away from one’s partner, when partners stand side by side.
30. Panadyak— To stamp in front or at the side with R (L) foot and tap with same foot close to the L
(R) foot, weight of the body on L (R) foot. This is a Tagalog term.
31. Place — To put foot in a certain or desired position without putting weight on it. The of the foot
rests on the floor.
32. Pivot — To turn with the ball, heel, or whole foot, on a fixed place or point.
33. Patay — To bend the head downward and to support the forehead with the R (L) forearm or with
the crook of the R (L) elbow while the L (R) hand supports lightly the palm of the R (L) hand.
This is usually done with the L (R) foot pointing in rear and knees slightly bent. This is an
Ilocano term and the movement is commonly found in Ilocano dances.
34. Point — Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
35. Salok — To swing the arm downward-upward passing in front of the body as if scooping , the
trunk is bent forward following the movement of the arm doing the “salok.” This is a Tagalog
term.
36. Saludo— Partners’ bow to each other, to the audience, opposite dancers, or to the neighbours with
feet together. This term is of Spanish origin and is used in almost all Philippine dances.
37. Sarok (or “Saroc”) — Cross the R (or L) foot in front of the L (or R), bend the body slightly
forward and cross the hands (forearms) down in front with the R (or L)) hand (forearm ) over the
L (or R). This is a Visayan term
38. Set — A dance formation like a square or a unit formation composed of two or more pairs.
39. Slide — To glide foot smoothly along the floor. The movement may be finished with or without
transfer of weight.
40. Stamp — To bring down the foot forcibly and noisily on the floor (like doing a heavy step) with
or without transfer of weight.
 41. Star with Right Hand — Four or more people join R hands at center and circle around clockwise
using walking or any kind of dance step.
42. Star with Left Hand —Same as “star with R hand,” but joining L hands and turning
counterclockwise.
43. Step — To advance or recede by raising or moving one foot to another resting place. There is a
complete transfer of weight from one foot to another.
44. Supporting Foot — The foot that bears the weight of the body.
45. Tap — To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight
of the body on the other foot. There is no change or transfer of weight.
46. Whirl — To make fast turns by executing small steps in place to right or left.

ABBREVIATED MUSIC TERMS

p-piano, soft

pp-pianissimo, very soft

f-forte, loud
ff-fortissimo, very loud

mf-mezzo forte, moderately

loud

mp-mezzo piano, rather soft

accel. Accelerando, increase rapidity –

decrease in tempo

cresc. Crescendo or increasing power of tone –

D. C.-Da Capo, from the beginning

D. S. Dal Segno, from the sign

EQUIVALENT TERMS
Amplified (arms)

Draw

- Slide one foot to bring close to the oth- -foot flat on the floor but no weight

Place ..

- Heels together, toes apart

- More open

Second position ..-feet apart sideward

Third position

 Heel and instep together – feet apart in walk-stride position

Fourth position
Fifth position .-heels and toes together

Step ... ...put weight .--- point

Touch

Intermediate position (feet) – oblique’

TEMPO TERMS
A tempo means in time.

GRAVE-The slowest tempo in music, heavy

LARGO-Slow and solemn

ADAGIO – Slower than lento

LENTO-Slowly

ANDANTE-Moderately slow
ANDANTINO-A little faster than andante

MODERATO- Moderately

ALLEGRETTO-Light and cheerful, not so fast as allegro

ALLEGRO-Quick, lively

VIVACE-Brisk, lively, gr vivaciously

PRESTISSIMO – As fast as possible, the most rapid rate of speed

90

KEY TO SYSTEM OF COUNTING

Counting is the most practical way to describe a rhythmic pattern. The note is the unit in musical rhythm
showing the duration in which a tone or movement (in case of dancing) is taken.
Rest is a character used to indicate silence or pause (in the case of dancing ) for a certain time .

Note and rest values refer to the music al notations which give the exact duration values of the rhythmic
patterns.

NOTE AND REST VALUES

Whole

4 beats

2 beats
1 beat

2 to 1 beat’

4 to one beat

8 to one beat

I or X
។

Thirty-second

Half

Quarter

Eighth

Sixteenth
MUSIC TERMS

Time refers to the number of beats in a measure and their value is signified by the mu

Sical signature. Examples: 2/4, ¾, C or4/4, 6/8, C or 2/2, 3/8, etc.

Tempo is the rate of speed at which a piece or a passage moves.

Rhythm is the regular recurrence of accented and unaccented beats .

Rhythmic Pattern is the arrangement of long and short intervals with relation to the un

Derlying beat, accomplished by dividing the beat into parts and combining beats into

Different ways.
Beat is the steady underlying pulse of rhythm

Underlying Beat is a series of units or beats that are regularly repeated.

Measure is the unit formed by the recurrence of accent or the fundamental rhythmic group .

Phrase is a group of measures which has a feeling of unity.

Accent is the stress given to a beat. It marks the first beat in a measure.
Syncopation is the shifting of regular metrical accent.

Anacrusis or Up-Beat is a note or several unaccented notes which precede the first accent

Or first beat of the first measure.

Time Signature. The number above denotes the number of beats in a measure and the

Number below denotes the kind of note that receives one beat.

Example: 2/4, ¾, 4/4, etc.