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Flashcards

Theory for Elementary Exam

Amy Scott-rogers English 200 cards

Cards in this deck (200)

  1. 1LOW 2ND AERIAL TO WHICH DIRECTION IS THE LEG RAISED?TO SIDE
  2. 2LOW 2ND AERIAL TO WHAT HEIGHT IS THE LEG RAISED?NO HIGHER THAN THE BASE OF CALF
  3. 3LOW 2ND AERIAL WHICH FOUNDATION MOVEMENT USES LOW 2ND AERIAL?LOW SIDE CUTTING
  4. 4PARALLEL POSITION WHAT TYPE OF POSITION IS A PARALLEL POSITION?AN ELEVATED POSITION AND A PASSING THROUGH POSITION
  5. 5PARALLEL POSITION WHERE DOES THIS POSITION COME IN RELATION TO THE TIME COUNT?PRECEDING THE TIME COUNT
  6. 6PARALLEL POSITION HOW FAR ARE FEET EXTENDED FOR A PARALLEL POSITION?EXTENDED EQUAL DISTANCE
  7. 7PARALLEL POSITION WHICH TWO FOUNDATION MOVEMENTS INCORPORATE A PARALLEL POSITION?PARALLEL SPRINGS, PARALLEL HIGH CUTTING
  8. 8SHEDDING NAME IN ORDER POSITIONS USED IN SHEDDING?5TH AERIAL, 1ST AND 3RD AERIAL TO 5TH AERIAL ON OTHER LEG
  9. 9SHEDDING WHAT ARE THE PASSING THROUGH POSITION USED?1ST AND 3RD AERIAL
  10. 10SHEDDING HOW IS SHEDDING COUNTED?&1
  11. 11SHEDDING WHAT ARM POSITION CAN BE USED FOR SHEDDING?BOTH ARMS 4TH OR BOTH ARMS AKIMBO
  12. 12WINGING WHICH POSITIONS ARE USED FOR WINGING?5TH AERIAL FROM THE DIRECTION OF 2ND AERIAL
  13. 13WINGING HOW IS WINGING COUNTED?1&
  14. 14WINGING HOW MANY CUTS ARE PERFORMED AND HOW ARE THEY TIMED?TWO EVENLY TIMED CUTS
  15. 15WINGING HOW MUST WINGING MOVEMENTS BE DANCED?WINGING MUST BE IN BALANCED NUMBERS
  16. 16WINGING WHAT TYPE OF MOVEMENT IS WINGING?A HIGH CUTTING MOVEMENT FROM ONE FOOT TO THE OTHER
  17. 17WINGING WHERE ARE THE ARMS HELD FOR WINGING?ARMS 3RD
  18. 18OPEN PAS DE BASQUE TURNING WHICH POSITION IS USED FOR THIS MOVEMENT?4TH OPPOSITE 3RD POINT
  19. 19OPEN PAS DE BASQUE TURNING HOW MANY PAS DE BASQUES ARE USED FOR THIS MOVEMENT?2
  20. 20OPEN PAS DE BASQUE TURNING HOW IS OPEN PAS DE BASQUE TURNING COUNTED?1& 2, 3& 4
  21. 21OPEN PAS DE BASQUE TURNING HOW FAR AND IN WHICH DIRECTION DO YOU TURN?HALF TURN TO RIGHT PRIOR TO THE SECOND OPEN PAS DE BASQUE
  22. 22OPEN PAS DE BASQUE TURNING NAME THE FOUNDATION MOVEMENT USED IN OPEN PAS DE BASQUE TURNING?OPEN PAS DE BASQUE
  23. 23OPEN PAS DE BAQUE TURNING WHEN IS THE TURN MADE?PRIOR TO 2ND OPEN PAS DE BASQUE
  24. 24REVERSE TURN OVER THREE SWORD ENDS NAME POSITIONS USED?4TH, 2ND, 5TH, 2ND POINT POSITIONS
  25. 25REVERSE TURN OVER THREE SWORD ENDS HOW MANY TIME COUNTS ARE USED FOR THIS TURN?FOUR TIME COUNTS
  26. 26REVERSE TURN OVER THREE SWORD ENDS WHAT MUST BE DANCED PRIOR TO THE REVERSE TURN OVER THREE SWORD ENDS?CONTINUOUS TURNING TO THE RIGHT
  27. 27REVERSE TURN OVER THREE SWORD ENDS IN WHICH STEP CAN THIS TURN BE USED?USED ONLY IN QUICK TIME
  28. 28REVERSE TURN OVER THREE SWORD ENDS TO WHICH DIRECTION DO YOU TURN?LEFT
  29. 29REVERSE TURN OVER THREE SWORD ENDS ON WHICH COUNTS IS THIS TURN EXECUTED?LAST 4 COUNTS OF EACH QUARTER IN QUICK TIME
  30. 30OUTWARD BRUSH IN SIDE DIRECTION NAME IN ORDER THE POSITIONS USED?2ND AERIAL, 3RD HALF POINT, 2ND AERIAL
  31. 31OUTWARD BRUSH IN SIDE DIRECTION FROM WHICH POSITION DOES THE MOVEMENT COMMENCE?2ND AERIAL
  32. 32OUTWARD BRUSH IN SIDE DIRECTION WHICH POSITION IS TAKEN ON THE TIME COUNT?3RD HALF POINT
  33. 33OUTWARD BRUSH IN SIDE DIRECTION AFTER THE 3RD 1/2 POINT HOW IS THE FOOT TAKEN TO 2ND AERIAL?BRUSHING LIGHTLY TO 2ND AERIAL
  34. 34OUTWARD BRUSH IN SIDE DIRECTION HOW IS OUTWARD BRUSH IN SIDE DIRECTION COUNTED?1&
  35. 35OUTWARD BRUSH IN SIDE DIRECTION IN WHICH POSITION DOES THE MOVEMENT END?2ND AERIAL
  36. 36DOUBLE FRONT CUTS NAME THE POSITIONS USED?FROM 4TH INTERMEDIATE AERIAL TO 3RD AERIAL
  37. 37DOUBLE FRONT CUTS WHEN MAY DOUBLE FRONT CUTS BE USED?MAY BE USED FOLLOWING 5TH AERIAL AND PRECEDING SIDE TRAVEL
  38. 38DOUBLE FRONT CUTS HOW MANY CUTS AND WHAT TYPE ARE USED?TWO SHORT CUTS
  39. 39DOUBLE FRONT CUTS WHAT MAY PRECEDE DOUBLE FRONT CUTS?SIDE TRAVEL
  40. 40DOUBLE FRONT CUTS HOW MANY HOPS AND COUNTS ARE USED?ONE HOP EXECUTED TO ONE TIME COUNT
  41. 41DOUBLE FRONT CUTS WHAT MAY DOUBLE FRONT CUTS FOLLOW?5TH AERIAL
  42. 42SHAR STEP BACK AND TURN HWO IS THIS COMPLETE MOVEMENT COUNTED?1 BRUSH &2&3&4
  43. 43SHAR STEP BACK AND TURN ON WHAT COUNT DOES THE STEP BACK HAPPEN?COUNT 2
  44. 44SHAR STEP BACK AND TURN WHAT MSUT FOLLOW THE STEP BACK?MUST BE FOLLOWED BY A TURN
  45. 45SHAR STEP BACK AND TURN WHAT TAKES PLACE ON COUNT 2 OF THE SHAR?STEP BACK
  46. 46PARALLEL SPRINGS WHERE IS A PARALLEL SPRING COMPLETED AND HOW?FINISHING IN 5TH BALL WITH OR WITHOUT A CHANGE OF FEET
  47. 47PARALLEL SPRINGS NAME THE POSITIONS USED FOR A PARALLEL SPRING?5TH BALL AND PARALLEL POSITION
  48. 48PARALLEL SPRINGS HOW IS A PARALLEL SPRING COUNTED?&1
  49. 49PARALLEL SPRINGS NAME THE PASSING THROUGH POSITION USED?PASSING THROUGH PARALLEL POSITION
  50. 50PARALLEL SPRINGS WHEN CAN A PARALLEL SPRING BE USED?USED IN REEL TIME ONLY
  51. 51SIDE TRAVEL WHAT TYPE OF POSITION PRECEDES TRAVEL TO SIDE?CLOSED POSITION
  52. 52SIDE TRAVEL NAME OPEN POSITION USED IN SIDE TRAVEL?2ND INTERMEDIATE BALL
  53. 53HISTORY OF HIGHLAND REEL HOW EARLY WAS THE HIGHLAND REEL DANCED?17 CENTURY JACOBITE DAYS
  54. 54HISTORY OF HIGHLAND REEL NAME THE TOWN THAT COULD HAVE BEEN THE BIRTH PLACE OF THE HIGHLAND REEL?STRATHSPEY
  55. 55HISTORY OF HIGHLAND REEL WHAT IS THE FIGURE OF 8 THOUGHT TO REPRESENT?THE DESIGN FOUND IN AN ANCIENT MOUND ON ORKNEY, POSSIBLY ASSOCIATED WITH DRUID WORSHIP
  56. 56HISTORY OF HIGHLAND REEL WHERE WAS THE DESIGN OF THE FIGURE OF 8 THOUGHT TO HAVE BEEN?IN AN ANCIENT MOUND IN ORKNEY
  57. 57HISTORY OF HIGHLAND REEL WHAT WAS THE FIGURE OF 8 IN THE HIGHLAND REEL POSSIBLY ASSOCIATED WITH?DRUID WORSHIP
  58. 58HISTORY OF HIGHLAND REEL GIVE ANOTHER NAME FOR THE HIGHLAND REEL?FOURSOME REEL
  59. 59HOW MANY DANCERS MAKE UP A SET OR TEAM?FOUR DANCERS
  60. 60HOW ARE THE DANCERS GROUPED?TWO LADIES AND TWO GENTLEMEN GROUPED IN TWO COUPLES
  61. 61WHEN COMMENCING FROM LINE SETTING WHAT IS ORDER OF ENTRY?L G G L
  62. 62WHEN ENTERING TO COMMENCE FROM A RECTANGLE WHAT IS THE ORDER OF ENTRY?L G L G
  63. 63FROM WHERE MAY THE HIGHLAND REEL COMMENCE?LINE SETTING OR RECTANGLE
  64. 64WHAT IS THE DISTANCE BETWEEN COUPLES ONLY?3.6 METRES
  65. 65WHAT IS THE DISTANCE BETWEEN PARTNERS ONLY?1.8 METRES
  66. 66WHAT DOES EACH COUPLE REPRESENT?EACH COUPLE REPRESENTS A LADY AND GENTLEMAN
  67. 67ON WHICH SIDE OF THE GENT DOES THE LADY STAND IN RECTANGLE?THE LADY IS ON HER GENTLEMAN PARTNERS RIGHT
  68. 68WHEN STEPPING INTO RECTANGLE HOW DO THE CENTRE DANCERS MOVE?MOVE EITHER DIAGONALLY WELL FORWARD OR BACKWARDS
  69. 69WHEN STEPPING INTO RECTANGLE HWO DO THE END DANCERS MOVE?END DANCERS MOVE EITHER SLIGHTLY FORWARD OR BACKWARD
  70. 70WHERE DO LADIES FINISH FIGURE OF 8?LADIES ALWAYS RETURN TO THEIR OWN POSITION AT THE END OF THE LINE SETTING
  71. 71WHERE DO GENTS FINISH EACH FIGURE OF 8?GENTS FINISH IN THE CENTRE POSITION FACING THE OPPOSITE LADY AND PARTNER ALTERNATELY
  72. 72AFTER THE FIRST FIGURE OF 8 (RECTANGLE SETTING) WHERE DO SUBSEQUENT FIGURES COMMENCE?ALL OTHER FIGURES COMMENCE FROM LINE SETTING
  73. 73FIGURE OF EIGHT WHAT IS ANOTHER NAME FOR THE FIGURE OF EIGHT?REEL OF FOUR
  74. 74FIGURE OF EIGHT WHAT IS MEANT BY THE TERM REELING?REELING IS WHEN ALL DANCERS ARE PERFORMING THE FIGURE OF EIGHT AT THE SAME TIME
  75. 75FIGURE OF EIGHT NAME THE TYPE OF MUSIC USED FOR FIGURE OF EIGHT?STRATHSPEY AND REEL TIME
  76. 76FIGURE OF EIGHT HOW IS THE PATTERN OF THE FIGURE DESCRIBED?LIKE A FIGURE OF EIGHT WITH A LOOP IN THE MIDDLE
  77. 77FIGURE OF EIGHT FOR STRATHSPEY TIME HOW MANY BARS OF MUSIC ARE REQUIRED FOR FIGURE OF EIGHT?EIGHT BARS OF MUSIC
  78. 78FIGURE OF EIGHT HWO MANY TIME COUNTS ARE REQUIRED FOR REEL TIME FIGURE OF EIGHT?16 COUNTS
  79. 79FIGURE OF EIGHT WHIC SHOULDER IS IN ADVANCE WHEN COMMENCING FIGURE OF EIGHT?RIGHT SHOULDER
  80. 80FIGURE OF EIGHT WHICH SHOULDER IS IN ADVANCE WHEN PASSING IN THE CENTRE?LEFT SHOULDER
  81. 81FIGURE OF EIGHT WHEN TRAVELLING TOWARDS THE OUTSIDE FROM CENTRE OR LINE WHICH SHOULDERS ARE IN ADVANCE?RIGHT SHOULDERS
  82. 82FIGURE OR EIGHT WHICH STEPS MUST JUNIORS DANCE TO PERFORM FIGURE OF EIGHT?PROGRESSIVE GLIDE STEP AND PROGRESSIVE REEL STEP
  83. 83FIGURE OF EIGHT WHICH STEPS CAN SENIORS DANCE TO PERFORM THE FIGURE OF EIGHT?PROGRESSIVE GLIDE STEP OR PROGRESSIVE CUTTING STEP AND PROGRESSIVE REEL STEP
  84. 84FIGURE OF EIGHT HOW MANY COMPLETE PROGRESSIVE STEPS AND DANCED FOR FIGURE OF EIGHT FROM RECTANGLE SETTING IN STRATHSPEY TIME?6
  85. 85FIGURE OF EIGHT FIGURE OF EIGHT COMMENCES WITH WHICH SHOULDER IN ADVANCE?RIGHT SHOULDER
  86. 86FIGURE OF EIGHT IN FIGURE OF EIGHT (RECTANGLE SETTING) IN STRATHSPEY TIME ON WHICH COUNTS OF WHICH BAR IS THE UNFOLD MADE?COUNT 4 OF THE 7TH BAR
  87. 87FIGURE OF EIGHT IN FIGURE OF EIGHT (RECTANGLE SETTING) I STRATHSPEY TIME ON WHICH COUNTS OF WICH BAR IS THE PARALLEL SPRING PERFORMED?COUNT 2 AND 3 OF THE 8TH BAR
  88. 88COMMENCEMENT OF DANCE FROM RECTANGLE-LADIES WHERE DO THE LADIES MOVE ON THE FIRST PROGRESSIVE MOVEMENT?TOWARDS EACH OTHER
  89. 89COMMENCEMENT OF DANCE FROM RECTANGLE-LADIES WHICH SHOULDER IS IN ADVANCE ON LADIES 1ST MOVEMENT?RIGHT SHOULDER
  90. 90COMMENCEMENT OF DANCE FROM RECTANGLE-LADIES WHICH SHOULDER ARE IN ADVANCE ON LADIES 2ND PROGRESSIVE MOVEMENT?LEFT SHOULDER
  91. 91COMMENCEMENT OF DANCE FROM RECTANGLE-LADIES AT COMMENCEMENT OF DANCE WHEN WILL LADIES PASS BACK TO BACK?ON THE SECOND TRAVEL MOVEMENT
  92. 92COMMENCEMENT OF DANCE FROM RECTANGLE-LADIES WHERE DO LADIES PASS BACK TO BACK?IN CENTRE POSITION
  93. 93COMMENCEMENT OF DANCE FROM RECTANGLE-GENTS HOW FAR DO GENTS TRAVEL ON 1ST PROGRESSIVE MOVEMENT?HALF WAY TOWARDS THE POSITION FROM WHICH THEIR LADY PARTNER COMMENCED
  94. 94COMMENCEMENT OF DANCE FROM RECTANGLE-GENTS TO WHICH DIRECTION AND HOW FAR IS THE TURN FROM GENTS 1ST PROGRESSIVE MOVEMENT?QUARTER TURN TO THEIR RIGHT
  95. 95COMMENCEMENT OF DANCE FROM RECTANGLE-GENTS HOW FAR DOES THE GENTS TURN ON 2ND PROGRESSIVE MOVEMENT?HALF TURN INWARDS
  96. 96COMMENCEMENT OF DANCE FROM RECTANGLE-GENTS AT COMPLETION OF 2ND PROGRESSIVE MOVEMENT WHERE ARE ALL DANCERS FACING?THEIR LEFT
  97. 97COMMENCEMENT OF DANCE FROM RECTANGLE-GENTS ON GENTS 2ND PROGRESSIVE MOVEMENT TO WHICH DIRECTION DO YOU TURN?LEFT OR INWARDS
  98. 98SETTING STEPS HOW DO STEPS IN STRATHSPEY TIME FINISH-WHICH FOOT?WITH RIGHT FOOT IN POSITION TO LEAD INTO THE FIGURE
  99. 99SETTING STEPS WHEN HIGHLAND REEL COMMENCES FROM LINE WHAT TYPE OF STRATHSPEY STEPS ARE PERFORMED?HIGHLAND FLING TYPE STEPS
  100. 100SETTING STEPS WHEN HIGHLAND REEL COMMENCES FROM RECTANGLE WHAT TYPE OF STRATHSPEY SETTING STEPS MAY BE PERFORMED?GLIDE, CUTTING OR HIGHLAND FLING TYPE STEPS
  101. 101SETTING STEPS IN RECTANGLE SETTING WHICH DIRECTION MAY STRATHSPEY STEPS TRAVEL?RIGHT OR LEFT OF LINE SETTING
  102. 102SETTING STEPS ON LAST COUNT OF SETTING STEPS IN WHICH DIRECTION IS A SLIGHT TURN PERMISSABLE?A SLIGHT TURN TO THE LEFT
  103. 103SETTING STEPS WHEN IS A SLIGHT TURN TO THE LEFT ALLOWED?ON THE LAST COUNT OF ALL STRATHSPEY AND STEPS
  104. 104SETTING STEPS FOR REEL TIME WHICH FOOT IS READIED TO LEAD INTO FIGURE?RIGHT FOOT
  105. 105SETTING STEPS HWO IS TRAVEL MADE FOR ALL REEL STEPS?TRAVEL IS EVENLY SPACED TO RIGHT AND LEFT OF LINE SETTING
  106. 106SETTING STEPS WHEN PERFORMING STEPS WHICH DANCERS ARE FURTHER APART?WHEN PERFORMING STEPS, THE LADY AND GENTLEMAN ARE SLIGHTLY FURTHER APART
  107. 107SETTING STEPS NAME THE TYPES OF HIGH CUTTING WHICH MAY BE DANCED IN REEL TIME?ALL TYPES OF HIGH CUTTING
  108. 108SETTING STEPS HOW MUST HIGH CUTTING BE PERFORMED-HOW MANY?HIGH CUTTING MUST BE BALANCED NUMBERS AND ALWAYS COMMENCE WITH LEFT FOOT
  109. 109ARMS NAME THE ARM POSITION USED FOR HIGHLAND FLING TYPE STEPS?ONE OR BOTH ARSM ARE IN 4TH AND AKIMBO
  110. 110ARMS WHEN MAY OPTIONAL ARMS BE USED?STRATHSPEY AND REEL STEPS
  111. 111ARMS WHEN MUST BOTH ARMS BE IN 3RD POSITION?FOR ALL FIGURES OF EIGHT AND ALL HIGH CUTTING
  112. 112TIME WHAT ARE THE TWO DIFFERENT TIMES USED FOR HIGHLAND REEL?STRATHSPEY AND REEL TIME
  113. 113TIME GIVE ANOTHER NAME FOR THE STRATHSPEY TIME?SLOW TIME
  114. 114TIME IN WHAT TIME IS THE SECOND HALF OF THE DANCE?REEL TIME OR QUICK TIME
  115. 115TIME WHICH PART OF THE DANCE IS IN REEL TIME?THE SECOND HALF OF QUICK TIME
  116. 116TIME WHAT IS ANOTHER NAME FOR THE QUICK TIME?REEL TIME
  117. 117TIME HOW MANY CLAPS ARE THERE TO SIGNAL CHANGE OF TIME?4
  118. 118TIME WHY ARE THE FIRST AND THIRD BEATS OF THE BAR SLIGHTLY ACCENTED IN STRATHSPEY TIME?TO GIVE THE DANCE GREATER EXPRESSION AND TO ENABLE THE DANCER TO INTERPRET THE LILT OF THE MUSIC
  119. 119TIME WHENIS THE SIGNAL FOR CHANGE OF TIME MADE?CLAP THE LAST FOUR COUNTS OF THE LAST STRATHSPEY STEP
  120. 120FLINGING NAME IN ORDER THE POSITIONS USED?5TH, 1ST, 3RD, 1ST, AND 5TH AERIAL POSITIONS
  121. 121FLINGING WHAT TYPE OF MOVEMENT OS FLINGINGBASIC MOVEMENT
  122. 122FLINGING WHAT IS IMPORTANT ABOUT THE HEIGHT OF FLINGING?KEEP CLOSE AND SAME HEIGHT AROUND LEG
  123. 123FLINGING NAME THE PASSING THROUGH POSITION?1ST AERIAL
  124. 124FLINGING HOW MANY TIME COUNTS REQUIRED FOR FLINGING?3
  125. 125FLINGING WHICH POSITION USUALLY PRECEDES FLINGING?2ND POINT
  126. 126TURN NAME THE FOUNDATION MOVEMENT USED IN TURN?FLINGING
  127. 127TURN WHICH POSITION IS USED TO COMMENCE TURN?2ND POINT
  128. 128TURN HOW MANY TIME COUNTS ARE USED FOR A TURN?4
  129. 129TURN NAME THE ARMS USED FOR TURN?AKIMBO
  130. 130CLOSED TOE AND HEEL NAME POSITIONS USED FOR TOE AND HEEL SINGLE?3RD POINT AND HEEL
  131. 131CLOSED TOE AND HEEL THROUGH WHICH POSITION DO YOU PASS WHEN DANCING TOE AND HEEL IN A SERIES?REAR 3RD
  132. 132CLOSED TOE AND HEEL WHICH POSITIONS ARE USED FOR CONTINUOUS TOE AND HEEL?3RD POINT AND HEEL CHANGING THROUGH REAR 3RD
  133. 133CLOSED TOE AND HEEL WHEN THE CHANGE IS MADE THROUGH REAR 3RD WHICH TOE AND HEEL WOULD YOU BE DANCING?CONTINUOUS
  134. 134CLOSED TOE AND HEEL HOW MANY TIME COUNTS ARE REQUIRED FOR A CLOSED TOE AND HEEL?TWO TIME COUNTS
  135. 135SINGLE BACKSTEP FROM WHICH POSITION DOES THE SINGLE BACKSTEP COMMENCE?3RD AERIAL
  136. 136SINGLE BACKSTEP NAME THE PASSING THROUGH POSITIONS FOR SINGLE BACKSTEP?1ST AND 5TH AERIAL
  137. 137SINGLE BACKSTEP HOW IS A SINGLE BACKSTEP COUNTED?&1
  138. 138SINGLE BACKSTEP NAME THE ARM POSITIONS USED FOR SINGLE BACKSTEP?1 OR BOTH 4TH ARM POSITION
  139. 139SINGLE BACKSTEP NAME IN ORDER ALL THE POSITIONS USED FOR A SINGLE BACKSTEP?3RD, 1ST AND 5TH AERIAL TO 3RD AERILA ON OTHER LEG
  140. 140BACKSTEPPING HOW IS BACKSTEPPING COUNTED?&1 ETC
  141. 141BACKSTEPPING WHICH ARM POSITION MUST BE USED FOR BACKSTEPPING?BOTH ARMS 4TH
  142. 142BACKSTEPPING WHAT MOVEMENT IS USED IN BACKSTEPPING?A SINGLE BACKSTEP REPEATED IN A SERIES
  143. 143ROCK NAME POSITIONS USED IN ROCK?REAR 5TH AND 5TH POINT POSITIONS
  144. 144ROCK HOW MANY TIME COUNTS ARE USED FOR ROCK?FOUR TIME COUNTS
  145. 145ROCK NAME ARM POSITION USED IN ROCK?ARMS 4TH OR AKIMBO
  146. 146HALF CUTTING NAME IN ORDER THE POSITION USED FOR HALF CUTTING TO TWO TIME COUNTS?3RD AND 5TH AERIAL OR IN REVERSE ORDER
  147. 147HALF CUTTING WHEN USING THREE TIME COUNTS FROM WHICH POSITION DO YOU COMMENCE?3RD AERIAL
  148. 148HALF CUTTING HOW MANY TIME COUNTS CAN HALF CUTTING TAKE?TWO OR THREE TIME COUNTS
  149. 149FRONT CUTTING NAME THE POSITIONS USED FOR FRONT CUTTING?4TH INTERMEDIATE AERIAL CUTTING INTO 3RD AERIAL
  150. 150FRONT CUTTING NAME THE POSITION TAKEN ON THE TIME COUNT?3RD AERIAL
  151. 151FRONT CUTTING HOW IS FRONT CUTTING COUNTED?&1
  152. 152FRONT CUTTING WHAT TYPE OF ACTION IS USED AS FOOT COMES INTO 3RD AERIAL?CUTTING ACTION
  153. 153FRONT CUTTING WHICH POSITION MAY PRECEDE FRONT CUTTING?5TH OR 3RD AERIAL
  154. 154SPURN WHAT TYPE OF MOVEMENT IS A SPURN?AN OUTWARD MOVEMENT
  155. 155SPURN FROM WHICH POSITIONS MAY A SPURN COMMENCE?3RD OR 5TH AERIAL
  156. 156SPURN HOW MANY TIME COUNTS FOR A SPURN?ONE TIME COUNT
  157. 157SPURN WHAT TAKES PLACE FOLLOWING SPURN ACTION?THE EXTENDED FOOT RETURNS TO A AROUND POSITION
  158. 158KICK OUT AND SHAK A FIT NAME POSITION USED IN KICK OUT?5TH POINT TO 4TH AERIAL
  159. 159KICK OUT AND SHAK A FIT HOW MANY TIME COUNTS USED FOR A KICK OUT?TWO TIME COUNTS
  160. 160KICK OUT AND SHAK A FIT HOW IS A SHAK A FIT COUNTED?1&A2
  161. 161KICK OUT AND SHAK A FIT HOW IS A SHAK A FIT WITH BEAT COUNTED?&1&A2
  162. 162KICK OUT AND SHAK A FIT NAME POSITION USED IN SHAK A FIT WITH BEAT?5TH POINT, REAR 5TH BALL AND 4TH AERIAL
  163. 163KICK OUT AND SHAK A FIT WHAT FOLLOWS THE 5TH POINT ON COUNT ONE?A BEAT IN REAR 5TH BALL
  164. 164KICK OUT AND SHAK A FIT WHAT FOLLOWS THE BEATI N REAR 5TH BALL?AN EXTENSION TO 4TH AERIAL BROUGHT TO VERTICAL AND RE EXTENDED
  165. 165KICK OUT AND SHAK A FIT WHAT FOLLOWS THE FIRST EXTENSION TO 4TH AERIAL?BROUGHT TO VERTICAL THEN RE EXTENDED
  166. 166KICK OUT IN SHAK A FIT ON WHICH COUNTS ARE 5TH POINT AND REAR 5TH BALL TAKEN?&1
  167. 167INTERPRETATION WHAT DOES THE HIGHLAND FLING SHOW?NATURAL ENERGY OF THE YOUTHFUL HIGHLANDER AND IS A SPIRITED TEST OF PHYSICAL SKILL
  168. 168INTERPRETATION WHAT TYPE OF DANCE IS THE HIGHLAND FLING?THE HIGHLAND FLING IS AN EXCEPTIONALLY LIVELY AND VIRILE DANCE
  169. 169INTERPRETATION WHAT TYPE OF DANCE IS PORTRAYED?THE HIGHLAND FLING IS AN EXCEPTIONALLY LIVELY AND VIRILE DANCE
  170. 170EXECUTION HWO ARE ALL MOVEMENTS EXECUTED?ALL MOVEMENTS MUST BE CLEAN CUT AND CONTROLLED WITH FLINGING AT THE SAME HEIGHT AROUND THE LEG
  171. 171EXECUTION HOW IS FLINGING KEPT?AT THE SAME HEIGHT AROUND THE LEG
  172. 172EXECUTION WHEN IS THERE A SLIGHT SUGGESTION OF A PAUSE?ON OPEN POINT POSITIONS
  173. 173EXECUTION GIVE TWO FACTS REGARDING THE SUPPORTING FOOT?MUST BE MAINTAINED AT IT'S CORRECT TURNOUT AND BE USED IN A HIGH BALL POSITION
  174. 174EXECUTION WHERE IS THE BALANCE IN THE HIGHLAND FLING?THE BALANCE IS CENTRED OVER THE SUPPORTING FOOT
  175. 175EXECUTION HOW IS THE WORKING KNEE HELD FOR 2ND AND 4TH POSITION?STRAIGHT
  176. 176EXECUTION WHAT TWO WORDS BEST DESCRIBE THE STANCE?DIGNIFIED AND UPRIGHT
  177. 177TIMING AND RHYTHM WHAT TIME SIGNATURE IS THE MUSIC WRITTEN IN?TIME SIGNATURE 4/4
  178. 178TIMING AND RYTHM WHAT TIME IS THE HIGHLAND FLING DANCED IN?STRATHSPEY TIME
  179. 179TIMING AND RYTHM HOW IS THE MELODY RYTHM INTERPRETED?ATTENTION TO THE & COUNT
  180. 180TIMING AND RYTHM MAKE TWO SUITABLE TUNES?MONYMUSK AND DUNCAN DAVIDSON
  181. 181STEPS HOW ARE STEPS RECOGNISED?BY THE MAIN FOUNDATION MOVEMENT WITH THE STEP
  182. 182STEPS WHAT GIVES THE STEPS THE CHARACTERISTICS OF THE HIGHLAND FLING?MAIN FOUNDATION MOVEMENT IN THE STEP OFTEN COMBINED WITH FLINGING
  183. 183STEPS WHAT IS THE BASIC MOVEMENT?FLINGING
  184. 184STEPS HOW MAY THE LAST COUNT OF THE FINAL STEP BE TAKEN?ON BALL OR FLAT POSITION
  185. 185HEAD AND ARMS WHICH MOVEMENTS MUST CO ORDINATE?HEAD, ARM AND FEET MOVEMENTS
  186. 186HEAD AND ARMS HWO IS THE HEAD HELD?ERECT AND WELL POISED ON THE SHOULDERS
  187. 187HEAD AND ARMS WHEN IS A DIAGONAL TURN OF THE HEAD MADE?WHEN USING SINGLE ARM
  188. 188HEAD AND ARMS WHEN IS THE HEAD HELD DIRECTLY TO THE FRONT?WHEN BOTH ARMS ARE AT AKIMBO OR IN 4TH POSITION
  189. 189HEAD AND ARMS IN WHICH DIAGONAL DIRECTION IS THE HEAD TURNED?IN THE DIRECTION OF THE WORKING FOOT
  190. 190HEAD AND ARMS FOR WHICH FOUNDATION MOVEMENTS MUST THE AMS BE AT AKIMBO?CONTINUOUS TOE AND HEEL AND TURN
  191. 191HEAD AND ARMS WHICH FOUNDATION MOVEMENTS MAY USE 4TH OR AKIMBO?ROCK AND SHEDDING
  192. 192HEAD AND ARMS WHAT ARM POSITIONS ARE REQUIRED FOR SINGLE TOE AND HEEL?OPPOSITE ARM TO WORKING FOOT IN 4TH OTHER AM IN AKIMBO
  193. 193HEAD AND ARMS HOW MAY THE ARMS BE USED FOR SINGLE BACK STEP?OPPOSITE ARM TO WORKING FOOT IN 4TH OR BOTH 4TH
  194. 194HEAD AND ARMS WHEN MUST BOTH ARMS BE IN 4TH POSITION?BACKSTEPPING
  195. 195HEAD AND ARMS NAME ARM POSITIONS USED FOR SHEDDING?BOTH 4TH OR AKIMBO
  196. 196HISTORY WHAT INSPIRED THE HIGHLAND FLING?THE SIGHT OF THE STAG CURVETTING IN THE DISTANCE
  197. 197HISTORY WHAT DO THE RAISED ARMS AND FINGER GROUPING REPRESENT?THE ANTLERS OF THE STAG
  198. 198HISTORY WHEN DANCING ON THE SHIELD OR TARGE WHAT WOULD THIS HAVE ACCOUNTED FOR?THE PRECIS STEPPING ON THE SPOT
  199. 199HISTORY FROM HISTORY ON WHAT WAS THE HIGHLAND FLING SAID TO HAVE BEEN DANCED?A SHIELD OR TARGE
  200. 200INTRODUCTION AND BOW WHY IS THE BOW PERFORMED?AS MARK OF RESPECT

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Flashcards on Theory for Elementary Exam, created by Amy Scott-rogers on 23/03/2016.
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