Silver Paso Doble

This routine is a legitimate Paso Doble routine, meaning it is completely musically phrased to the entire song. For more information about phrasing in Paso Doble, check out this BGBB article. Essentially, this routine is designed to fit the music perfectly. Make sure to get into position before the song starts, and begin as soon as the music starts playing.

The routine begins strongly with figures that are either extremely dynamic, or move aggressively. After the musical bridge (where a Chasse to the R is danced), the levity of the music is reflected with more shaping and less aggressive figures, such as the Sixteen. The Drag is used for the first highlight. The changes in phrasing found in this section (a phrase of 10 and of 6) are matched perfectly by extending the Grand Circle and using an entry to the Spanish Line. The following Flamenco section of the music, with its strong and recognizable rhythm, is expressed through the Flamenco Taps and the Coup de Pique. Finally, a Spanish Line is used for the second highlight. When the entire song is played, this routine may be repeated, and the Drag, which was used for the first highlight, will fall perfectly at the end of the song on the third highlight.

N.B. The Commencing Alignments given are those of the Man. From this alignment and the figure itself, the Lady's alignment can be inferred.

Commenced in Inverted CPP, without hold

Figure Commencing Alignment Timing
Spanish Line to Inverted PP Facing DC against LOD 1234
Promenade Close Facing DW 56
Chasse to Right Facing Wall 78
Promenade Facing Wall 12345678
Separation with Lady's Caping Walks Facing Centre 12345678
Chasse to Right Facing Centre 1234
Fallaway Reverse Turn Backing Centre 12345678
Separation Facing Wall 12345678
Sixteen Facing Wall 12345678
Attack Facing Centre 1234
Chasse to Right Facing against LOD 56
1-4 Slip Open Telemark Backing DC 7812
3-8 Twist Turn Facing DW against LOD 345678
Drag Facing Wall 1234
Promenade to Counter Promenade Facing Wall 12345678
Grand Circle, extended Facing DW 12345678910
Chasse to Right Facing Wall 12345678
Spanish Line to inverted CPP Facing Wall 123456
Flamenco Taps Facing DC against LOD 12&34
Spanish Line to Inverted PP Facing DC against LOD 5678
Promenade Close Facing Wall 12
Chasse to Right Facing Wall 345678
Coup de Pique, Method A Facing Wall 1234&56&78
Promenade to Counter Promenade Facing Wall 12345678
Spanish Line to Inverted CPP Facing DW 123456

At a corner:

Any Chasse to the R may be gradually curved to the R or to the L to reach the desired alignment
2 Between step 14-15 of the Lady's Caping Walks, the Man may turn 1/4 to the L (Lady makes no turn)
3 The Promenade to Counter Promenade may be curved around a corner

1) The first highlight occurs on beat 3 of the Drag. On this beat, stand up tall and shape to CPP
2) The second highlight occurs on beat 5 of the Spanish Line to Inverted CPP at the end of the routine. On this beat, raise the arm dramatically and look upward
3) The third and final highlight occurs again on the Drag, when repeating the routine. This time, the highlight is on beat 1, so emphasize that beat of the Drag, and hold the position for a few seconds after the song ends, for effect

1) The Spanish Lines are used three times in the routine. When commencing, the arms should be styled at waist level. Before the Flamenco Taps, they should also be styled at waist level. When used the third time, the arms will be styled up in order to accentuate the highlight
2) The Spanish Line to Inverted CPP (occurring before the Flamenco Taps) will commence with an Appel (beat 1) and a step to the side in PP (beat 2), ending in Inverted CPP on beat 6
3) When the Chasse to the R lasts only two beats, do not change the shape of the upper body; when it lasts more than two beats, gradually grow and shape to CPP
4) During the Extended Grand Circle, the Man will continue to twist for two extra beats as the Lady takes two extra steps