Level 3 overview

Charis Dexter
Ballet III
(ages 10-12)
1.25 hr 3x per week
Barre
Rotation warm-up
Pli (adding 4th)
Tendu/cou de pied chang
Dgag (with pli and relev
Rond de jambe with accent
Fondu to 90 degrees
Frapp / petit battement
Serr (all directions
Dvelopp
Grand battement
Traveling piqu steps down the barre
Balances on two legs for over 16 counts
Balances on one leg for 8 counts

Center
Adagio (dvelopp through conditional
cou de pied 45-90 degrees, tour lent in
sur le cou de pied, pass, degage f,s,b,
battement releve lent)
Pirouette prep. (balance in center from
4th and 5th, quarter turns, half turns, full
at end of year)
Consecutive arabesque relev on one leg
Piqu sous-sus, piqu passr
Pas de bourre
Contratemps
Tours debouls
Soutenu en tournant across the floor
Piqu turns
Preparation for en dedans piqu turn
Italian Changement
Saut de basque
Failli
Saut battement devant/chass
(alternating legs) traveling across the
floor
Fouett saut
Grand Jet
Port de bras with body directions

Floor Barre/Conditioning
The purpose of these exercises is to continue the strength for dvelopp extension
that we started building in the previous level. The swan exercise will give them the
strength needed for the arabesque exercises in class.
Partner stretch:
Music: 3/4 adagio.
One partner lays on back and extends one leg perpendicular to the floor, partner
pushes the leg toward higher extension while dancer on floor pushes leg toward
lower extension, relax and allow leg to be pushed higher. Rpt. 3x per leg. Switch

partners. (make sure standing partner is using upper body strength to resist-this
exercise works partners simultaneously)
Aided extension:
Music: 4/4/Adagio
This exercise is done at the barre. From retire position hold foot and extend leg to
highest extension, hold for 8 counts. Let go of the barre, balance for 8 counts. Hold
barre, let go of leg and hold through count 8. Let go of barre and leg to lower on
and before the 1. Devant, la second, and Derrire.
Back strength: (music from swan lake, imagery-- you are swans in the lake and you
want to get your head as far out of the water as possible, keep those long necks)
Lay in prone position, hands by the shoulders, elbows down by the side, legs
straight and turned out with heels squeezing together. Pull energy in elbows down
toward pelvis to activate lattisimus dorsi. Take gaze to the front of the room to
initiate spinal length, lift upper back all the way to arabesque shape. Lower to floor
keeping the elbows pulling down. This exercise is from the previous level, this year
also emphasize the use of front abdominal muscles and the psoas. Do not allow
them to separate their heels.
Focus and emphasis
This level introduces a new dimension of movement as they are now combining
larger positions in jumps and turning while traveling across the floor. Now that they
have been building strength in one leg jumps from last year, they can be expected
to start to have a more solid sense of balance in stillness and in movement. This
year adds strength to the flexibility and stability that was built into extensions last
year. They now have a clear understanding of the eight body directions, it should be
natural to move through these positions for them. This level should continue to
incorporate the steps used in ballet I and II.
Barre
At this point students need to be taught that the barre is not a crutch and they can
dance without it- it is only there in as a back-up. Taking the hand off of the barre
and balance checks should be built into exercises. They are expected to hold their
posture and turn-out (probably not fully rotated by this level-depends on student)
throughout barre exercises, especially once they have arrived in positions
(transitions will come later). This level starts to build consistency in foundational
movements.
Center
There is much to be learned in new movement vocabulary this year. The goal is to
make sure all students understand the details of how steps should be done. Give
them repetition as often as possible, this will help the goal of becoming comfortable
with ballet mechanics and moving bigger. Do not worry about technical perfection at

this level . Once they have been taught and practiced new steps have them teach it
to you so that you can be sure they have mastered it.

Level 3 sample lesson -end of the year

Charis Dexter
Ballet III
(ages 10-12)
1.25 hr 3x per week
Barre
The purpose of this barre is to increase awareness of, and use core
strength within grand and petit movements.
Battement Relev lent
Music: 4/4 adagio
Preparation: arms through 1st to 2nd, head turns and inclines away from the barre.
Music
body
arms
th
1&2&3& Port de corps forward in 5
R arm rounds to 5th en haut, arrives
4&
overhead when body is fully folded
5&6&7& Recover
Maintain 5th en haut
8&
1&2&3& Battement releve lent devant

4&
5&6&7& Ferm

8&
1&2&3& Port de corps forward
Opens 2nd and rounds to 5th en
4&
haut, arrives overhead when body
is fully folded
5&6&7& Lift leg and body together
Maintain 5th en haut
8&
1&2&3& Engage core and grow taller as

4&
leg lowers to 5th
5&6&7&
8
Rpt. la second with port de corps toward the barre (visualize working side with
same length during battement lent)
Rpt. derrire with port de corps back
Rpt. la second with port de corps away from the barre (visualize standing side
with same length during battement lent)

Dvelopp
Music: slow adagio waltz
Side to the barre, 5th position, prepare arms low 5th.
(8 ct. dvelopp to attitude, en croix, port de bras to 5 th en haut each time, arm and
leg in coordination-like a marionette puppet)
Music
Body
1&a
Cechetti sur le cou de pied devant
2&a
Toes pointe fully to lift to cou de pied
3&a
Lift to highest retire without displacing hips
4&a
Foot draws up the leg still in contact
5&a
Rotation initiates attitude
6&a
Lift attitude higher
7&a8
Extend to straight leg
&a
Ferm 5th
Penche
Music: popular song in 3/4 time
(use energetic and fun music for combinations that are especially grueling, you
dont need to use typical adagio music for every adagio)
Facing the barre in 5th position on count 7, ct. 8
Preparation
arms through 1st position place fingertips on barre
tendu derrire
1-2-3
Lift up in spine, Turn head to right
2-2-3
as head inclines begin cambr back
3-2-3/4-2-3
arrive at deepest cambr
5-2-3/6-2-3
reach tendu leg out of hip and begin to lift to
arabesque
7-2-3
leg and body keep the same angle as they come up to
arabesque
8-2-3
pass through erect arabesque position
1-2-3/2-2-3
promenade till L hand on barre, R arm 1st arabesque
3-2-3/4-2-3
leg initiates penche
5-2-3
Let go of the barre (L arm joins 1 st arabesque shape)
6-2-3
Recover to tendu derrire
7-2-3
Fouett to tendu la second facing the barre (hands back
to the barre)
8-2-3
Close 5th devant
Rpt to the opposite side.
Center
Conditioning: Pilates Roll Up
Music: popular song in 3/4 time
Prepare: lie flat on back, legs straight and engaged together, arms on floor
overhead.
1-2- 3
Sweep arms down like a snow angel

2-2-3
Tuck chin and start roll up
3-2-3
Continue pulling elbows toward hips (think of doing
sit-up from the back of the body)
4-2-3/5-2-3/
Roll sequentially through the spine until top of head
touches knees
6-2-3/7-2-3/8-2-3
Reverse to roll down
Rpt at least 4 times.
Traveling arabesque
Music: ragtime
Preparation: 5th position en face, lift arms to 1st
1&a2
fondu dgag devant R leg
3&a4
Right leg soutenu sous-sus
5&a6
Dgag R leg devant en relev
7&a8
Tomb to pli en avant (back foot dgag derrire)
st
arms 1 arabesque
1&a2
Straighten standing leg, L leg lifts to 45 degrees or above
3&a4
fondu R leg, L toe in a hole
5&a6
straighten knee
7& a 8
fondu
1&a2
Relev
3&a4
Pas de bourre dessus
arms to preparatory
5&a6
Pli 5th (adjusting only back foot)
7&a8
straighten
Repeat alternating sides at least 4x
Tour Lent
Music: 3/4 adagio
Preparation:
5th position en face, 1st port de bras on intro
1& a 2 &a
arms lower to 5th and lift to 1st as leg draws to cou de pied
3 & a 4 &a
arms open to 2nd, dvelopp a la second 45 degrees
5&a 6&a
tour lent quarter turn en dehors
7&a 8&a
quarter turn en dehors
1&a 2&a
quarter turn en dehors
3&a 4&a
quarter turn to finish en face
5&a6&a7
hold and improve position
&a 8
close R foot 5th derrire
Rpt on opposite leg
Can also be done with the leg devant
Rpt in retire, arms 5th en haut
Port de corps
Music: 6/8 adagio
Preparation crois 5th. arms lengthen from preparatory position out to 2nd,

downstage arm continues to high diagonal, simultaneously take a deep

breath
1&2&3&4&
port de corps forward, arm 5th en haut when body is fully
folded
5&6&7&8
recover to vertical by reaching energy out the top of the
head, arms stay en haut
1&
downstage arm opens to 2nd, eyes follow,
2&
Begin port de corps to the R, downstage arm continues
th
toward 5 low
3&4&
bend fully side
5&6&7&8
recover to vertical, downstage arm stays 5 th low
1&
downstage arm to 5th en haut, other to 1st
2&3&4
port de corps derrire
5&6&7&8
recover to vertical
1&
arms 1st position,
2&
back leg tendu crois derriere, fondu
3&
side bend over supporting leg
4&
recover to vertical (tendu en fondu crois derrire on R
leg)
5&6&7&8
rond de jambe en dedans a terre to crois devant
(standing heel swivels), head rolls from R to L initiating port de bras
through preparatory, out to 2nd upstage arm continues out and around to
5th en haut. Head turns and tilts toward corner 2

This lesson example uses several similar music forms because of the exercises I
chose to notate, the other exercises within this class should use different music
forms for variety.

Level 4 overview
Charis Dexter
Ballet IV
(ages 13-14)
1hr 40min class, 3x per week
+conditioning 1hr, 1x per week
Barre
Rotation warm-up
Pli
Tendu
Dgag
Dgag w/ Pli
Pas de cheval and cou-de-pied (for clean
footwork and articulation)

Center
Retir Elev and relev (through 5th,
then staying in retire)
Piqu pass (stepping out and then
coup under)
Tour lent in attitude (devant,
derriere)
Pirouettes (half turns and singles)

Frapp
Rond-de-Jambe (w/ grand)
Rond-de-Jambe en lair
Fondu (45 and 90 degrees)
Attitude Balanoire
Dvelopp
Grand battement

Arabesque (piqu, relev and elev)

Changement en tournant
Entrechat quatre
Emboit sans entournant
chapp battu
Glissade (en avant, en arrire)
Jet w/ temps lev
saut traveling (f,s,b)
Soubresaut
Assembl (en avant, en arrire,
derrire, devant, with and without
port)
Bris preparation
Ballonn (alternating legs)
Ballott to 45 degrees
Grand Jet (en avant and de cote)
Saut de Chat
En dehors piqu turns
Entrelac
Port de bras
Cool down

Conditioning
This year they will continue doing exercises from level III, building of off the
dvelopp height and strength they gained the previous year. Working extension
will automatically build standing leg rotators and also stability for the smaller
movements.
Partner stretch
Since the meter of the music may not be consistent give them a number of minutes
to stretch each partner so that time is not wasted)
Music: classical ballet repertoire
One partner lays on back and extends one leg perpendicular to the floor, partner
pushes the leg toward higher extension while dancer on floor pushes leg toward
lower extension, relax and allow leg to be pushed higher. Rpt. 3x per leg. Switch
partners. (make sure standing partner is using upper body strength to resist-this
exercise works partners simultaneously)
Dancers must maintain square hips and straight knees, help them to resist from the
core and back of the body, watch that they do not resist with the inward rotators,
hip flexors and shoulders lifting.
Aided extension
Music: 4/4 Adagio

This exercise is done at the barre. From retire position hold foot and extend leg to
highest extension, hold for 8 counts. Let go of the barre, balance for 8 counts. Hold
barre and let go of leg - hold for 8 counts. Let go of barre and leg to lower on and
before the 1. Devant, la second, and Derrire.
Back strength: Lay in prone position, arms in 5 th en haut, latts pulling down, legs
straight and turned out with heels squeezing together. Feel energy going down the
back away from neck (not lifting up into shoulders) to activate lattisimus dorsi. Take
gaze to the front of the room to initiate spinal length, lift upper back all the way to
arabesque shape. Legs lifting to initiate the upper body lowering (like pench) to
floor keeping the latts pulling toward coccyx. This exercise builds on the previous
level, continue to emphasize the use of front abdominal muscles and the psoas. Do
not allow them to separate their heels.
Other conditioning exercises for conditioning day: pilates hundreds, roll up, and
teaser; theraband for feet.
Focus and emphasis
paulement
More extreme tempos for adagio and allegro movement
Performance quality
Musicality
Strength in jumps
Jumps entournant
Jumps w/ batteri
Full pirouettes
Endurance
Joy of dancing
Barre
At this level, barre work should be strength building. The exercises should not be
complex (tricky, hard to memorize), the goal is to fit as much repetition as possible
into that first third of class. Exercises should include varied tempo to build
musculature for sustained movement and speedy allegro work. This will build off of
the last level - they know the basic steps, now you can increase the range of
tempos.
Center
At this level students are expected to practice performance quality. They are
expected to use full paulement in all combinations. They are significantly stronger
this year, especially toward the end they can be expected to be more precise in
the movement. This level is designed to get students ready for pointe and
performance.

Level 4 Lesson plan

Beginning of the year
Ballet IV
(Ages 13-14)
1hr 40min class, 3x per week
+conditioning 1hr, 1x per week
Barre
The purpose of this lesson is to train rapid footwork and precision, especially the
strength responsible for metatarsal mobililty.

Tendu
Music: gavotte
Prepare fifth position side to the barre, arms lift to first and open to
second, exercise begins devant.
A1a2
Initiate tendu with pressure into floor, brush as far as leg goes with heel in
contact w/ floor
A3a4
Brush toes to full pointe
A5a6
Pull the toes back, heel reaches for the floor
A7a8
Ferm 5th straight knees
Rpt. devant, do exercise en croix
Rpt 4x in half the time.

Dgag
Music: march noble
Same pattern as tendu.
Accent out on slower degage, accent in on the 4 faster.
Rond-de-jambe
Music: czardas lassu
Prepare 1st position, Simply stand and grow taller on preparatory music
(all rond de jambe accent in ala second)
&1
Port de bras lift to 1st position
rond de jambe a terre
&2
open 2nd (L hand on barre), head turn and tilt away from barre

&3
Lengthen elbow and turn palm down,

&4
Port de bras rounds down to preparatory position

&5
Maintain port de bras, stand in 1st position
&6
port de bras to 1st,
brush devant 45 degrees
&7
Carry arm and leg simultaneously to la second
&8
Maintain port de bras,
close to 1st
&1
Hold first, (alignment check)
&2
Battement relev lent to 45 degrees la second
&3
Demi-rond de jambe en dehors
&4
Lengthen leg derrire
&5
ferm to 1st position
&6
tendu devant
&7&8
increase paulement with slight cambr in upper back
Reverse entire combination.
Height of leg increases throughout the year.
Center

Floor Barre.
Music: running polka (friszka)
Inner thigh scissors. Begin lying supine with both legs en lair, la second (middle
splits on their backs).
(1-2-3-4-5-6-7-8)
Ferm legs to sous-sus (perpendicular to floor)
(1-2-3-4-5-6-7-8)
Return to center split
Rpt. 2x
Rpt. In half time, 4x
Rpt. Cut music in half again, 8x.
(1-2-3-4-5-6-7-8)
Hold in sous-sus, thinking of pulling the right leg past the left
and the left past the right
Switch legs, Rpt the hold.
Shake it out and stretch through the end of the music.
Stretching. Wall splits: lay on back with hips up against the wall, open legs to
center splits, allow gravity to increase stretch.
Purposely done in this order to warm up the muscles with dynamic stretching which
will make static stretching more effective.

Changement
Music: coda
Preparation 5th position, arms remain 5th low throughout, sideways to the mirror
Music
Body
&1
changement
&2

&3

&4

&5

&6

&7

&8

&1
chapp saut
&2
Saut to 5th
&3
chapp saut
&4
Saut to 5th
&5
Echappe saut
&6
saut to 5th
&7
chapp saut
&8
saut to 5th
Rpt. With a quarter turn to L every odd count.
Rpt. Simple version.
Rpt. With quarter turns to the R.

Emboit preparation
Music: lively jig
Preparation first position, arms 5th low throughout, facing sideways to the mirror (so
dancers can check own alignment)
Music
a1a2a3a4a5a
6a7a8
a
1
a
2

Body
8 sautes in 1st
Jump to first en lair
Land on R, L foot cou de pied
devant
Jump to 1st en lair
Land on L, R foot cou de pied
devant

Rpt through
count 8
Rpt. entire sequence 4x.

Assembl
Music: tarantella
Preparation 5th position en face, arms remain 5th
low throughout.
&a1
Brush R assembl dessus
&a2
Brush R assemble dessous
&a3
Brush R Glissade derrire
&a4
Brush R assembl port de ct
Rpt. Alternating sides. Rpt. 8x total
head always turns toward front foot with very slight incline

Level 5 overview
Charis Dexter
Ballet V
(Ages 15-16)
5x per week 2hr class

Bartinieff warm up (especially for

coordination and rotators)
Pli (add grand pli in 4th)
Slow Tendu
Quick tendu (tendu por batterie)
Dgag
Dgag in pli
Rond de Jambe (and en fondu)
Fondu ( with relev)
Frapp (with flic-flac)
Extension stretch (minimal barre use)
Dvelopp with raccourci
Balanoire (parallel and turnout)
Grand battement + Pench

Adagio (includes promenade en attitude,

arabesque, fouett arabesque, renvers,
fondu and relev with leg in full
extension, balance on one leg en relev)
Transitions+weight shift+footwork
exercise (includes all pas de bourre)
Pirouette en dedans, en dehors(singles,
including grand)
Fouett Rond de Jambe en tournant
preparation
Adagio+waltz+pirouette across the floor
(incorporate some off balance+inverted
work here)
Warm up jumps (two leg sauts, chasse)
Petit allegro (introduce battu, pull from
all steps learned previous and add bris
dessous and dessus, ballott,
Soubresaut w/ port all directions)
Ballonn (traveling on one leg)
Mezzo allegro (low cabriole, petit
ballott, .5 tour en lair, pas failli, temps
lie saut en tournant)
Grand allegro (grand jet en tournant,
rond de jambe en lair saut, grand pas
de chat, grand fouett saut, grand
Sissonne ouverte, en mange)
Port de bras
Cool down (connect to warm up)
Stretch

Floor barre and conditioning

Theraband: with the ankle fully pointed do 15 reps of toes pointing and coming back
to demi-pointe accent on the pointe, this is for fast twitch muscles and should be
executed as quickly as possible.
Repeat 15 reps with the accent to demi-pointe.
Standing leg stability: standing in parallel on one straight leg, the other slightly bent
and connected at the ankle, hinge forward at the hips (while pulling up through
muscles on all sides of the leg, and hollowing transverse abdominus) return to
standing with a straight back.
Rpt. in turn out
Rpt. en fondu

Upper Body strength: plank position, arms straight but not locked, hips in line with
the rest of the body. Beginning of the year hold for 30 sec. by the end of the year
build to 3 min.
Focus and Emphasis
Strength on one leg in grand positions
Grand pirouettes
Clean footwork
Major traveling steps
Shaping individual artists
Performance quality
Ballet repertoire
Varied movement quality (off balance, contemporary elements)

Barre
Barre work should be constructed to keep the dancers moving as much as possible;
it should not be intricate choreography. Keep the exercises simple and use much
repetition, body directions and full port de bras should be used along with full
paulement. Continue to give exercises in extreme speeds, en fondu and en releve.
Whenever applicable, incorporate inversion and off balance movement in
connection with center exercises for that day.
Center
At this level the dancers have a solid base of all ballet basics. They thoroughly
understand the mechanics, artistry, and body directions of fundamental steps. They
have also developed enough strength to do more advanced movement without
worry of injury. This is the level to add layers of difficulty by doing more steps en
arrire, en tournant, en lair, and traveling different directions. It is also acceptable
to give more combinations that will encourage artistic choices in musicality,
traveling farther and faster across the floor, and even introducing off balance
movement typical of various styles and techniques such as Balanchine.

Every other day the students will wear pointe shoes for either barre or center, on
opposite days they will have a 45min pointe class following technique. This class will
incorporate pas de deux once per week when gentlemen are present.

Sample lesson level 5-beginning of the year

Charis Dexter
Level V
Ages 15-16
5x per week. 2hr class

Barre This lesson builds into renvers in the center. The focus is on strength and
mobility in the hip joint. It is designed to find freedom in the hip joint by using
tempos quicker than adagio work in femur flexion, and also to strengthen in slower
tempos for control.
Rond De Jambe
6/8 waltz (with a pianist it would increase in speed with each set)
123/223/323/423four ronds de jambe in dehors, port de bras through 5 th low, 1st,
5th en haut, 2nd
523/.ferm to 1st position, port de bras through 5th low
623/723.battement relev lent en fondu devant, bras through 1 st to 5th
en haut
823/.ferm to 1st position, bras open 2nd
Reverse with rond de jambe en dedans, battement lent to arabesque, arm reverses
on ronds de jambe then does en dehors port de bras with the battement lent.
Repeat entire combination 4x.
Fondu
Popular song 4/4
1-2 Fondu supporting leg, brush to high attitude devant, port de bras 2 nd
with paulement
3-4 Ferm 5th, straight legs
5-6 Fondu supporting leg, brush to high attitude devant, port de bras 2 nd
with paulement
7-8 Ferm 5th
1-2 Fondu supporting leg, brush to high attitude devant, port de bras 2 nd
with paulement
3-4 Extend both legs
5-6 Hold (growing taller through core)
7-8 Ferm 5th
1-2-3-4-5-6-7-8four attitude en cloche (devant, derrire, devant, derrire)
1-2 ..Brush through 1st to fondu 45 degrees devant, bras preparatory
position,
3-4 ..battement jet rond de jambe (full port de bras)

5-6 ..finishing tendu derrire

7-8 ..ferm 5th
Repeat combination from derrire
1-2 .brush relev la second, looking straight forward
3-4 demi rond en dehors (second to derrire), head toward the barre
5-6 .fondu attitude derrire, Pench from the top of the head toward the
barre (body direction spirals to crois)
7-8 pas de bourre en tournant en dehors, return to vertical
repeat 4x
Adagio
Music: 3/4 Adagio
7-8 Preparation tendu la second, port de bras 2 nd
&.Tomb coup crois devant, arm 5th low, inside foot picks up to cou-de-pied
1. Coup brush relev crois devant, above 90 degrees, arm arrives 5 th en haut
simultaneously, vertical head placement
2Promenade to effac devant, head turns toward the barre
3Demi-rond en dehors (shifting weight forward and over standing leg)
4lift higher
5-7From relev supporting leg fouett en dedans until arabesque facing the
barre, arm reaches forward from 5th en haut to place on the barre
8lift arabesque
1-2 Pench arabesque
3-4.stay
5-6.lift back up to arabesque
7-8..Ferm sous-sus, pas de bourre en avant to other side, arm open la
seconde
Repeat each side 4x

Center
Stretch and strength: Sit in swastika position en face, R leg attitude devant, L
leg attitude derrire
Straighten L knee to toe directly behind the hip (or as far back as possible
while keeping the L hip level)
Fire rotator muscles successively as the leg rotates in the hip socket and
simultaneously executes rond de jambe en dedans

Retrograde
Rpt 8x
Rpt other side

Tendu
Music: running polka
(Accent is out on the tendu)
&1-&2..Two tendu crois devant R leg, opposition arms low third, looking to
corner 2 (vaganova)
&3-&4..Two tendu effac devant R leg, arms stay, look toward corner 8
&5-&6. Two tendu cart derrire closing derriere, arms a la second, looking to
corner 8
&7-&8..Two tendu crois derrire, downstage arm rounds to low third
Rpt L side
(temps li segment - arms are same per body direction as tendu segment, accent
on the finish of the rond de jambe)
&-1. Tendu en fondu crois devant, rond de jambe to tendu crois derrire
&-2. pli crois 4th
&-3. tendu en fondu crois devant, rond de jambe to tendu crois derrire
&-4. pli crois 4th
Rpt. 2 more times

Renvers
Music: march noble
(traveling from one side of the room to the other)
Preparation tendu crois devant, arms la second
(arms will gather from first to 5th en haut, supporting side arm stays in 5th, other
arm opens to 2nd as the leg carries from side to back)
&-Tomb cou-de-pied derrire to crois devant, downstage arm rounds to
low 3rd
a-1.Coup renvers through crois devant to effac devant
2..Carry through cart, incline over standing leg
3-4..Carry to crois derrire, fondu en attitude increase tilt en attitude fondu
&-a-5.Piqu to sou-sus
6.....pas de bourre dessous, en tournant
7..hold sous-sus
8..Dgag crois devant en relev to repeat.
Rpt. the width of the room
Saut attitude

Music: grand allegro waltz

Emphasis on deep pli throughout
Preparation crois 5th to corner 8
&-1.. Gliss crois toward corner 8 into saut attitude derrire L leg, R arm
through preparatory to 5th en haut, L arm seconde
2..Chasse en arrire en tournant to face corner 2, both arms opens to demi
2nd to transition
&-3.. Gliss toward corner 2 into saut attitude derrire, L arm through
preparatory to 5th en haut, R arm seconde
4 .. Chasse en arrire en tournant to face corner 8, both arms open to demi
2nd to transition
Rpt. a total of 4x
&-1.After the last saut, failli to chass effac, corner 2, into saut crois
attitude devant (port de bras is same as 1st half)
2... Chass crois corner 2
&-3.. Saut attitude devant corner 8
4... Chass corner 8
&-5.Saut attitude corner 2
Finish out the set of 4
Run offstage with first arabesque port de bras