Jazz 1

Basic Vocabulary and Terminology

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Adage (adagio): Slow and sustained. Common term for a combination of slow
controlled movements designed to increase ones balance, flexibility and fluidity of
motion.
Allegro: Quick and lively. As an adjective, this term refers to musical tempo. As a noun,
it is most often used in reference to phrases that involve jumping, either petit (small) or
grand (large).
Arabesque: Ornamented. Used to describe a position in which the gesture leg is
extended fully to the back while keeping the hips and shoulders as square as possible.
The standing leg is generally rotated, and the standing knee may be either flexed or
extended. May also be done on releve, eleve, and while jumping or turning.
Attitude: A position similar to arabesque (when articulated to the back), though in this
case, the gesture leg is flexed at the knee. Also, unlike arabesque, an attitude position
may be taken in any direction: forward, side, or back. Attitude may also, under certain
circumstances, be done in a parallel or inwardly rotated articulation from the hip.
Battement: Beating. This is a generic term for any beating action of an extended or
flexed gesture leg. There are two primary types of battements: petits battements and
grands battements. The four basic petits battements are: battements tendus, degages,
frappes, and tendus-releves (stretched, disengaged, struck, and stretched-and-lifted).
Body Roll (dolphin): In this class, this refers to a sequenced movement through the spine,
articulating as many individual vertebrae as possible. Body rolls may be ascending (from
tailbone to head), or descending (from head to tail).
Catch Step: Two steps taken in any direction using one and one-half of music. Often
used as a preparation for larger elements.
Chaine(s): Chains, links. This is an abbreviation of the term tours chaines deboules,
and refers to a series of small, rapid turns on releve in either a parallel or rotated first
position. Unless otherwise specified, both knees should remain fully extended, and the
releve should be as high as possible. It takes two steps to complete one full turn.
Compass Turn: A turn on one leg with the gesture leg extended to tendu a la seconde.
The supporting leg may be either flexed or extended, but the gesture knee is generally
straight with a pointed foot. The turn is executed with the extended leg making a full
circle on the floor. Arms are often placed in a diagonally extended long jazz arm
articulation with the low arm gesturing toward the gesture leg.
Contraction: To reduce or become reduced in size by drawing together. This term
generally describes an action of the torso in which the navel is drawn into the spine with
the chest and pelvis curving forward creating a C-like articulation.
Degage: Disengaged. An extension of tendu in which the gesture foot is disengaged
from the floor creating a 45-degree angle from the hip socket while keeping the hips
square and level. May be done in parallel or rotation, and to all directions.

Developpe: Develop. An extension of the leg in any direction, articulating through a

flexed knee and hip, and most often passing through a clear pass or retire position.
Eleve: Rise. This is a weight-bearing extension of the joints of the ankles and feet that
causes the heels to rise from the floor. This may be done in any position, either parallel or
rotated, and on either one leg or two. However, the standing leg(s) must remain straight
at all times.
En Crois (en croix): In the shape or pattern of a cross. Exercises or movements done
consecutively to the front, side, back, and side. May also begin to the back.
En Dedans: Toward the inside. Used to describe a turn or circular movement (such as
rond de jambe) that rotates toward the center of the body.
En Dehors: Toward the outside. Used to describe a turn or circular movement (such as
rond de jambe) that rotates away from the center of the body.
En lair: In the air.
Flat Back (Tabletop Position): A forward flexion of the hip joints that causes the torso to
reach forward until the pelvis, torso, upper back, and head form one continuous straight
line parallel to the floor. Legs may be in any position, either rotated or parallel.
Fondu (fondue): Melting, sinking down. A term used to describe a lowering of the body
accomplished by flexing the ankles, knees and hips of the standing leg. Fondu is on one
leg what plie is on two.
Forced Arch (plie-releve): A weight-bearing position in which the ankles and feet are
extended in a releve or eleve articulation while the hips and knees are flexed in plie. The
heels are lifted high from the floor in this position, and stability will come primarily from the
thighs, abdominals, and gluteal muscles.
Glissade: Gliding. Most often used to denote a small, traveling, preparatory jump in
petit or grand allegro combinations. In a standard glissade, the leading leg brushes
through degage and the following leg pushes off the floor to create a small second or
fourth position in the air. This may be done in any direction, with the following leg closing
into or over the leading leg upon landing.
Grand Battement: Large beat. A movement in which the gesture leg is isolated from the
hip, brushed into the air and brought down again, keeping both the standing and
gesture knees straight unless otherwise specified. This should be done with apparent
ease, with the rest of the body remaining quiet and properly placed. The function of
grands battements is to loosen the hip joints, turn the legs out from the hips, and stretch
the hamstrings. May be done in any direction.

Grand Jete: Large throw. In this step, the legs are each thrown to 90 degrees (ideally)
with a corresponding high leap. In the most common version of grand jete, the leading
leg articulates through a grand battement front while the following leg pushes from a
functional, grounded plie, sending the body up and forward and then completing the
picture in the air with a strong grand battement to the back. Grand jete may also be
done in attitude, backward with the leg raised either croise or efface devant, or to a la
seconde. Grand jete is almost always preceded by a preparatory step such as a
glissade or a coupe.
Hip Circle (Pelvis Roll): A smooth, continuous, circular movement of the pelvis, which
clearly articulates all four basic directions as well as all connecting diagonals. Legs and
feet should be in parallel with the knees gently flexed and tracking directly over the toes.
Hip Lift: A sharp, specific lift of the hip. Most commonly done to the side.
Inverted Long Jazz Arm: Palms up, fingers extended, arms stretched in second position,
elbows parallel to the floor and slightly flexed.
Isolation: A movement (most commonly of the head, shoulders, ribs, or hips) that occurs
independently of the rest of the body, i.e. taking a part of the body and placing it out of
its neutral position without reverberation in the rest of the body.
Jazz Split: A slide to the floor ending with the front leg extended and the back leg flexed
and rotated. During this slide, the pelvis hinges forward slightly, and the hand of the
leading leg touches the floor in order to break the fall.
Jazz Square: Four steps making a square on the floor. Most often: cross over front, step
back, step to second, and step front.
Jazz Walk: In this class, walks done rotated and on forced arch (unless otherwise
specified), The rib cage is slightly released with the head held high. The feeling should
be that of a lifted head and torso pulling in opposition to strong grounded legs. May be
stylized in more ways than I can count.
Jete: Thrown. Generally speaking, this refers to any jump that takes off from one leg and
lands on the other. May be done in any direction and in a wide variety of leg positions.
Long Jazz Arm: Arms stretched to second position, fingers extended, palms down. Slight
flexion in elbows aligned to the back wall with the muscular part of the arm facing the
ceiling.
Parallel: A slight inward rotation of the legs from the hip sockets, causing the feet to face
directly forward with the knees tracking over the toes. May be done in any position.
Pas de Bourree: Refers to any of a wide range of specific series of three steps taken in a
variety of directions, either on releve, in demi-plie, or a combination of the two. In this
class, pas de bourree is most often done in demi-plie and the steps (in order) cross back,
open side, step forward.
Pique: Pricked, pricking. This is executed by pushing from a flexed supporting leg to an
extended standing leg, generally on releve. This may be done in any desired direction or
position with the initial standing leg raised.

Pique tour (pique entournant): Pique, turning. This is a form of traveling turn in which the
dancer steps directly on to the demi-pointe with the gesture (initially standing) leg raised
in any given position, turning either en dehors or en dedans. Though there are many
variations of pique entournant, it is most commonly done en dedans with the gesture leg
placed in retire derriere.
Pirouette: A stationary turn done on one leg, either en dehors or en dedans. The
supporting leg is generally extended, though in certain circumstances, the turn may be
done on forced arch. Though this may be accomplished in almost any position,
pirouette is most commonly done in a parallel or rotated retire position.
Plie: Fold. A weight-bearing articulation of the legs in which flexion of all three joint
systems (hips, knees and ankles) causes the knees to bend while tracking directly over
the toes. May be a demi (half) plie or a grand (full or large) plie, and may be done in all
positions, both rotated and parallel. In demi-plie, the heels remain firmly on the floor,
regardless of the position of the legs. In grand plie, the heels rise slightly, gently stretching
the Achilles tendon and calf muscles, except in second position, when the heels remain
on the floor.
Plie-Releve: See Forced Arch.
Port de Bras: The carriage, placement and movement of the arms.
Release: To disengage or become elongated in size by stretching parts of the body to
an extension greater than normal. In this class, this term is most often used to describe a
concurrent arch in the upper, middle, and lower spine.
Releve: Lifted. See eleve. The primary difference is that releve initiates from a plie rather
than from straight legs.
Retire: Withdrawn. A common position in which the thigh of the gesture leg is raised to
second position en lair with the knee flexed so that the pointed gesture foot rests in
front of (devant), behind (derriere), or to the side of (de cote) the supporting knee. May
be done in parallel or rotated.
Saut de chat: Jump of the cat. This is a large, traveling jump in which the leading leg
extends through a developpe articulation, ideally reaching hip height. The following leg
pushes from a large plie and completes the split in the air with a grand battement
derriere.
Soutenu: Sustained.
Soutenu entournant: Sustained in turning. In ballet, this particular turn is accomplished
through a pique on to the leading leg, with the following leg pulling in to a tight 5th
position releve. The momentum of this action allows the body to turn, changing the
position of the legs in 5th (the back leg will become the front leg). In jazz, the only
difference is that the turn is generally executed in an open 4th position and on forced
arch.

Tendu: Stretched. An articulation of the leg to the front, side, or back that massages the
gesture foot against the floor, ending with fully extended ankles, arches, and toes. The
heel and instep should be lifted as high as possible without allowing the toes to lose
contact with the floor.
Tombe: Fall. Often initiating from a tendu or degage, tombe is a fall forward, back, or
side, on to a working leg in plie. This should not be a small, stingy action. Rather, it should
come from the extreme lengthening of the original gesture leg, and the tombe itself
should be as large and deep as possible without losing balance, control, or proper
placement.