MIDNIGHT BLUES

The Midnight Blues should be skated with strong edges and deep knee action to achieve the desired slow, rhythmic, relaxed and easygoing expression. Individual interpretation by the couple to add blues character is permitted, provided that the steps, free leg positions and positions/holds are maintained. The dance must be skated with the full pattern and deep lobes as described in the diagram.

“The Beginning Section” — Steps 1 to 4

The dance begins with the couple in an unusual open position (reverse Foxtrot hold) skating progressive Steps 1 and 2 (which mirror each other) and should be skated on an even lobe that starts toward the center of the rink. On Step 3, the lady skates two fast “behind cross foot” three-turns (Steps 3a and 3b), turning on the last half count of beat three and the last half count of beat four while the man joins her as he skates his RFO “behind cross foot” three-turn, turning on the last half count of beat four. On Step 4a, the man passes the lady (to track behind her) while they assume a brief “Kilian” hold (with both of his hands on her hips). On this step (Step 4 for the lady), they commence with the free foot remaining crossed behind and then skate with “fan” leg kicks, ending with back coupées (on count three), after which the lady skates a slight change of edge on count four while the man steps forward on a RFI (Step 4b) on count four of the same measure.

“The Swing Change to the Tuck” — Steps 5 to 9

The couple skates two one-beat progressive/run steps (Steps 5 and 6) in closed hold before assuming outside hold during the swing before the change of edge for the beginning of Step 7. On Step 7, the man skates a LFO while swinging the free leg forward on count four of the measure, changes edge to LFI and swings his free leg back on count one of the next measure, turns his three on count two of the next measure (while resuming closed hold), concluding with a leg lift. The lady matches this step with a RBO with back free leg swing, changing to RBI with forward free leg swing before her back three-turn and leg lift. On count one of the next measure, the man skates a cross in front RBI (Step 8) while the lady performs a LFI progressive/run. He skates a wide LBI (Step 9a), then a RBO (Step 9b) concluding with a leg tuck on count four, while the lady steps wide onto her Step 9, turns her RFI three-turn on count two, and moves into a brief Kilian hold and concludes with a matching leg tuck.

“The Swoop” — Steps 10 to 12

This section of the dance begins on count one with Step 10, a cross in front LBI for the man and a LFO for the lady in closed hold. The man commences his long nine-beat Step 11 on count two, turns a RBO three-turn on count three, executes a front coupée-RFI bracket on count four, a coupée behind on count one of the next measure; he then holds the RBO edge with his free foot extended back for three more counts whereupon he skates a change of edge (after which outside hold is assumed), extends his free leg forward (placing his left ankle under the lady’s left ankle while she is in “attitude” position) for two beats, and concludes with a RBI rocker on the “and” at the end of count two of the next measure. The lady, during the man’s Step 11, skates a right progressive (Step 11a), then a LFO front coupée three-turn (Step 11b) while he turns his bracket. For Step 11c, after a RBO three-turn turned under his left arm (turned on count two of the next measure), they resume closed hold. She extends her left leg backward, and as she changes edge to an outside, they assume outside “hand-to-hand” hold (so the lady is now facing the man with both hands extended) and places her extended bent left leg behind her (across her tracing) in her “attitude” position (where his left ankle touches hers) for two beats (counts one and two of the next measure). They conclude this step with her RFO rocker and his RBI rocker on the “and” between counts two and three. On count three, the man then thrusts strongly (in reverse outside hold) on to a LFO (Step 12) for his LFO three on count four, while she skates a cross in front LBI and then turns her counterclockwise twizzle of one revolution, on count four as well, followed by a very short RBO on “and.”

“The Edge Section” — Steps 13 to 16

On Step 13, the lady skates a four-beat LFO. The man skates a two-beat RBO (Step 13a) in closed hold and a LFO (Step 13b) for two beats in open hold. The couple skates a RFO cross roll (Step 14) as the man turns his three-turn on count two and extends his free leg to match the lady’s four-beat swing roll. This is followed by a LFO three-turn for the lady turned on count two of the next measure (her Step 15), while he skates a LFO (Step 15a), cross behind RFI (Step 15b); concluding with a two-beat outside edge for both (Step 16 — a LFO for the man and a RBO for the lady).

“The Ina Bauer” — Steps 17 to 21

The man commences with a cross roll onto a RFO (Step 17a) and on count two skates a cross behind LFI into an “Ina Bauer” for two counts. The lady skates a back cross roll LBO turning a three-turn on count two, joining the man in Kilian hold to match the “Ina Bauer” (both with body weight on the LFI and the right foot in reverse position on a RBI) followed by a fast three-turn on the count of “and” (without lifting the right foot off the ice). On count one, both skate a two-beat cross in front RBI (Step 18), followed by a very fast LBI (stepped wide by both) on the “and” between counts two and three. The section concludes (on Step 19) when the man skates a RBO for four counts while the lady steps onto a RBO and immediately turns a back twizzle of one revolution on count four, then holds the edge for two beats, extending her leg to match the man. Both conclude with a progressive/ run, on beats three and four (Step 20 — LFO, and Step 21 — RFI).

“The Layover /Layback” — Steps 22 and 23

This section begins in Kilian hold with a LFO (Step 22) for both skaters on count one. Step 23 commences on count two, then the lady skates a RFI rocker on count three and briefly tucks her leg, holding the back edge for count four and assuming a “layback” position on count one of the next measure. The man skates his RFI change of edge at the same time as the lady skates her rocker on count three, changing to outside hold.

Continuing on his right foot, on count one the man assumes a “layover” position, skating on his RFO with his free leg extended backwards while supporting the lady in her “layback” position (on her RBI) with her left leg extended to parallel the line of the man’s free leg. Their body positions should also be parallel and they should be as horizontal to the ice as possible. These positions are held for two beats and are completed when they rise up to execute matching double three-turns on counts three and four. During the three-turns, the man moves his partner from his right side to his left side in preparation for the next step.

“The Concluding Section” — Steps 24 to 26 The dance is concluded by the man skating Step 24 as cross roll LFO three-turn (outside hold) on count two, while the lady skates her LBI (Step 24) followed by the couple skating a RBO in Kilian position (Step 25) on count three. On count four, the lady skates a cross cut LBI (Step 26a) while the man commences his Step 26 with a cross cut. The lady then skates her Step 26b with a RBO swing roll as they mirror each other in reverse Foxtrot hold in preparation for the restart of the dance while the man matches her leg swing.

Defnitions:

• Attitude: The free leg is bent at a 90-degree angle and brought up, out and behind.

• Behind Cross-Foot Three: A three-turn skated with the free foot crossed in behind the skating foot instead of at the heel.

• Coupée: The free foot is held up in contact with the skating leg from an open hip position so that the free foot is at right angles to the skating foot.

• Cross Cuts: Similar to cross roll as free leg crosses skating leg above the knee but skated wide onto same (not contrasting) curve.

• Fan Leg Kick: The free leg swings in an arc (45-degree angle) to the skating leg at hip height or higher. Ina

• Bauer: A movement on two feet in which the weight is on the front foot with the back foot extended in the opposite direction but behind the tracing of the leading (front) foot.

• Tuck: The free foot is held up in contact with the skating leg from a closed hip position (just below the knee).

MUSIC RHYTHM: Blues 4/4
TEMPO: 22 four-beat measures per minute; 88 beats per minute
ISU MUSIC INTRODUCTION: 32 beats, 21.8 seconds
PATTERN-TIMING: 1 = :49; 2 = 1:38; 3 = 2:27; 4 = 3:16
DURATION: Test 2 = 1:38 Competition 2 = 1:38 Adult Competition 2 = 1:38
SKATER’S CHOICE TIMING: See Skater’s Choice Pattern Dance Timing Chart on usfgureskating.org under the “Technical Info” link
PATTERN: Set
TEST: International

INVENTOR: Roy Bradshaw, Sue Bradshaw, Mark Bradshaw, and Julie MacDonald FIRST PERFORMED: Vancouver, Canada, March 2001

MIDNIGHT BLUES-MAN — SET PATTERN DANCE

MIDNIGHT BLUES-LADY — SET PATTERN DANCE