Tip Tap 1 PDF

TAP DANCE MADE EASY:
INSTRUCTIONAL DVD SERIES
USER GUIDE / GLOSSARY

VOL 1 - BASIC
ELI NEWSOM, INSTRUCTOR
www.tapdancemadeeasy.com © 2007 1/29

USER GUIDE / GLOSSARY - VOL 1 - BASIC
INTRODUCTION:
I’ve received many emails from students over the past year who requested that I offer written
materials to supplement the “Tap Dance Made Easy” DVD. So, here it is!
ABOUT THIS GUIDE:

This user guide, as the name states, will guide you, the student, through each of the steps contained
in the DVD. The purpose of the guide is to present the steps/exercises in the DVD in a written form.
For all of you ‘visual learners’ out there, this guide will come in very handy, as you’ll get to see the
steps written out on paper.
ABOUT MY TECHNIQUE:
While there is no standardized notation for tap dance steps and technique, I definitely have my own
opinions and thoughts on these subjects. My opinions about tap technique have been developed
through my own experience as a tap student as well as a tap instructor. I learned from some of the
best teachers in the U.S., and started at the age of 19 with no previous dance experience. I think
that is why some people say I have such a knack for teaching beginners...because I know what
issues beginners deal with. My experience, combined with my degree in music, my experience as a
teacher and theater director, and my love for technology, has culminated in this DVD series that I
hope you are finding easy-to-use, challenging, and most of all, fun.
A NOTE ON VARIOUS TEACHING STYLES:

In the world of tap dance, there are many different teaching styles and several different names for
various steps. Other teachers may name steps differently than I do in my videos. In my opinion, that
is totally fine....no one is right, and no one is wrong. The important thing is for you to know the
difference between various steps, and to know HOW to do what the teacher is showing you, no
matter what the step is being called. At the end of the day, tap dance should SOUND and FEEL
correct. That’s what I love about it...you can hear when it is correct, and it also feels good and feels,
well, ‘right’---when you are executing a step correctly.
Lastly, I encourage you to take classes from a live teacher if you have access to one in your area.
On-the-spot feedback is probably the best way to improve. Again, thanks for purchasing my video
and I hope they act as a great supplement to your tap experience!
Eli Newsom
Instructor / Owner

USER GUIDE & TAP GLOSSARY

TDME VOL 1 - BASIC:
About your tap shoe: there are two pieces of metal on each shoe---the heel tap, and the ball
tap. As the names imply, the heel tap is on the back part of the shoe, the ball tap on the front. There
are some tap steps that use the heel, some that use the ball, and some that use both. It is important
to distinguish what part of the foot is striking the floor, as that will greatly affect the sound, both in
quality and volume. So, as an example, if I state that a step places weight on the ball of the foot, I
am referring to ONLY the ball of the foot, and therefore the heel should not be touching the floor
(meaning, it should be slightly lifted up).
A. STEP
Definition: Step: placing all of your weight on the ball of one of your feet. One sound. Heel
does not touch the floor (sneaking it down with no sound is ok).

Notes: I like to start teaching students a step as their first tap step, because it is something
that most of us do daily----that is, walk.

Something you’ll hear me repeat often if you take classes with me, is that the two keys
to tap dance are weight and rhythm. Learning a step teaches you the ultimate basics in both
of these concepts. Only the ball of the foot comes down on a step (the heel should not
touch....that is a different move.)
Another important concept on this one is to make sure that you fully commit your
weight 100% instantly when you do a step. People think doing a step is super easy....and,
well, I guess it it is--but, what gets people in trouble is establishing bad habits on tap basics,
such as gradually shifting your weight to the other foot, rather than shifting it over instantly.
I guess my point is---use steps like a step and other ‘easier’ tap moves to build GOOD
habits, such as quickly changing your weight. It will come in handy as the moves get trickier!

B. TOUCH
Definition: Touch: touching the ball of your foot to the floor and making a sound. One
sound. No weight is placed on the foot. Heel does not touch the floor.
Notes: A touch is basically step’s cousin. Same technique as a step, except you
don’t put any weight onto your foot. So, a touch stays on the same side....meaning---
if you did 8 touches in a row, they would all be with your right foot.
To execute a touch, pick one foot up and touch the ball of the foot to the floor. Sound
simple? It is!

The only tricky part might be keeping your balance while picking your foot up.
Keeping your balance is a separate issue, but affects many different tap steps, this
one included. A basic hint I can offer here is that if you are having balance issues
when you pick a foot up, the first thing to try is to bring your weight forward more. If
you are standing too far back onto your heels, you can’t balance as well as if you bring
your weight forward into the balls of your feet. This goes for most everything you do
in tap---keep your weight forward.
OK, back to touch----try alternating between touch and step as a basic exercise.
Again, the two most important things in tap, weight and rhythm, are isolated when
you focus on tap moves that are related, but different, such as a touch and a step.

C. BALL CHANGE
Definition: Ball Change: two steps squished together into one count. 2 sounds. Heel does
not touch the floor on either sound. Rhythm can be straight or swung: ‘a1’ or ‘&1’.
Notes: A ball change is used quite often in tap dance. To execute a ball change, you step
twice, either R-L (right foot, then left) or L-R (left foot, then right), and you do this very
quickly. The rhythm is usually ‘& 1’ or ‘a 1’, depending on whether the music is
‘straight’ or ‘swung’. I talk a little bit about this in the video, and could write a whole
term paper on the difference. The important thing to know is that in music, the rhythm
either ‘straight’ or ‘swung’.
The more you learn tap, the easier it will be to distinguish between the two rhythmic styles.
For now, before we get too far ahead of ourselves, just know that your ball change is to be
two steps executed close together rhythmically.
If your ball changes are clunky, it’s probably because you haven’t solidified your technique on
step. Also, it could mean that your heels are hitting the floor. Don’t let them. :)
Another important aspect of ball change is that of the two sounds, the second sound
gets the accent. In other words, it is louder than the first sound. And usually the
second sound of a ball change falls on the beat. That means it usually occurs on a number.
So, if you are doing a bunch of ball changes:
‘a1, a2, a3, a4, a5, a6, etc’, the second step of the ball change will occur on the number.
Both sounds are steps, and this is an instance where it is necessary to shift your weight
between feet very quickly....otherwise, you’ll be LATE, and your audience will begin booing
and throwing produce hahahaha!

D. HOP / LEAP
Hop and Leap are two different steps, but since they are taught in the same chapter
on the DVD, I will keep them under one heading and subdivide the definitions and notes.
D1. HOP
Definition: Hop: Standing on one foot, a hop is executed by jumping into the air and landing
on the same foot you were standing on. One sound (the sound occurs when you land).
Heel does not touch the floor.
Notes: Hops are deceptively tricky, especially when you begin alternating between
hops and leaps. Let’s start with a hop. Most of us have done a hop at some point in
our lives. Many of us perhaps did them in grade school. There are a couple of very
specific rules about hops that I will discuss here.

(1): you must take off and land on one foot--the same foot you took off from returns
down to the floor. So---as an example, if you are standing, pick up your right foot. (That
means you will be standing on your left foot). To do a hop, jump into the air (doesn’t have to
be a big jump, should stay close to the floor---but make sure your foot leaves the floor), and
when you return to the floor, land on the same foot---the left foot.
You might be wondering why I am fussing over this, as hops seem easy, right? When I began
teaching, I was amazed to see how many students executed their hops incorrectly. If you
land on the opposite foot that you jumped off of, it’s called a leap, not a hop.
We’ll discuss that in a moment.
(2) Hops should land with only the ball of your foot touching the floor. This gives a
cleaner sound. Cleaner sounds = better tapping.
(3) Hops should stay low to the ground (while still leaving the ground). This allows you to
stay in control of the step, rather than having the step control you.
(Happy hopping!---continue on for Leap)

D. HOP / LEAP (CONT.)

D2. LEAP
Definition: Leap: Standing on one foot, a leap is executed by jumping into the air and
landing on the opposite foot you were standing on. One sound (when you land). Heel does
not touch the floor.
Notes: Like hops, leaps are also deceptively tricky. Most of the technique is the same as
a hop, so I won’t repeat that here. Let’s discuss the differences between hop and leap.
The main, and really only difference, between hops and leaps is, with a leap, you land on the
opposite foot that you jumped off of. I think leaps are trickier than hops in some ways,
simply because most people have done more hops than leaps in their childhood. In some
ways, however, they are easier. For example, I think leaps are easier to keep your balance on
for some reason.
So--the same rules apply for leaps as hops: stand on one foot, launch, but land on the
opposite foot to make it a leap.
Sometimes I’ll do an exercise and say do 3 leaps, 2 hops, then 4 leaps, 2 hops, then 1 leap
and then 3 hops, etc. It’s kind of a brain teaser, again, another exercise that isolates the
fundamentals of tap---weight and rhythm.
When you start getting into more advanced combinations, like time steps and buffaloes, you’ll
need to have hops and leaps built in to your body because you simply won’t have time to
think about it....you just have to know it and do it.


E. HOP STEP

Definition: Hop Step: As the name implies, you do a hop, then a step, in quick succession.
For specific definitions of each, see hop and step earlier in this document. Standing on one
foot, you jump into the air and land on the same foot as you jumped off of, then quickly step
onto the other foot. Two sounds. Rhythm = a1 (a2, a3, a4, etc). Heels do not touch the floor.
Notes: OK, hopefully you are getting very comfortable with hops and steps by now--so now
let’s add them together!
Thoughts on hop step: I would say the main goal is to make sure that you are very close to
the ground on this one. Meaning, when you hop, don’t launch into the stratosphere hahaha.
You’ll need to hop a little early, so that you are landing on the correct beat, not leaving the
floor on the correct beat. Does that make sense? The point is to make the sound on the
beat, not to start moving on the beat. And since the sound from a hop happens at the END of
the hop (meaning, when you return to the floor), you’ll need to make sure that you time it
appropriately. It’s just like most sports. In tennis, for example, you begin your swing BEFORE
the ball gets there, so that you can execute the hit AS the ball gets there. In this example,
you want to leave the floor BEFORE the beat so that you can execute the sound AS you land.
The second note on hop step is to accent the second sound---the step. In all or most tap
steps that have more than one sound to them, one sound of the two will be louder, aka more
important, aka accented. This keeps things musical, and audiences like this (and so do tap
teachers hahahaha). If a drummer at a rock concert hit the same drum at exactly the same
tempo, volume, and accent, you’d run back to the box office and demand a refund! The
excitement is in the variety of the rhythm, and changing volume and accent creates this
variety.
Hop steps are used often in tap dance and are a foundation step for beginning tap. They are
a great example of a basic step that can be very musical and impressive when executed
properly.

F. SHUFFLE

Definition: Shuffle: Two sounds, made with the ball of the foot with a dropping and lifting
motion of the leg. One sound occurs on the way down, and one on the way up. Rhythm =
‘a1’ or ‘&1’ depending on the music or preferred style. Heel does not touch the floor.
Notes: A shuffle is probably the most famous, and widely-used tap step out there. It is
essential for dancers to have good shuffles in order to be a good tap dancer.
When first learning shuffles, your motion will probably be too big. Meaning, your leg and foot
will probably be doing a lot of work, that, later on, will ideally turn into less and less work.
When first learning shuffles, many teachers teach a ‘front to back’ brushing motion with the
foot. I do not like doing this, as it establishes a foundation where your foot and ankle are
having to do a lot of the work. I think of it more as a ‘down up’ motion. When you watch
professional tap dancers, you might notice that it doesn’t look like they are working very
hard, and that it is tough to see exactly what they are doing. This is because they’ve learned
to minimize their movement and effort. It’s comparable to a baseball player with a compact
swing. It is efficient. We also want our shuffles to be efficient, as tap dancers.
I urge my students to execute their shuffles from their knees, and let their ankles and feet
relax. My ankles and feet don’t do any work when I’m doing shuffles. I’m simply dropping
and lifting my leg. And because my ankle is so relaxed, after hitting the floor on the way
down, it snaps back up and strikes the floor again on the way up for the second sound.
Let me break it down sound by sound. A shuffle has two sounds:

Sound #1 is due to gravity. You lift your foot in the air and drop it to the floor, letting the ball
of your foot touch.
Sound #2 is the tricky one, and really where you want to focus on improving. Sound #2
occurs as a reaction to the dropping motion, because your ankles are (or should be) relaxed.
Shuffles can either be swing rhythm or straight rhythm. The most commonly used version is
the swing version (triplet rhythm: a1, a2, a3, a4, etc).

G. SHUFFLE BALL CHANGE

Definition: Shuffle Ball Change: as the name implies, it is made up of two things:
shuffle and ball change. 4 sounds total. Rhythm: a1 a2, etc. Heels do not touch the floor.
Notes: At this point of the video, it is the first time where we start to combine different steps.
If what we have been learning so far is considered ‘the alphabet’, let’s consider shuffle ball
change your first word. I like this step for beginners. It has a musical rhythm, and usually it is
swung (a1, a2, a3, a4, etc), and is commonly used in the world of tap dance.
We basically have two things happening here: a shuffle, then a ball change. The trick is to
make the rhythm of the shuffle match the rhythm of the ball change. It’s this steadiness of the
rhythm that makes it appealing to the ears. This step also looks very much like tap dance. If
you were practicing shuffle ball changes, and someone walked by, they (hopefully) would
think you were tap dancing!
Another important aspect of this step is the space in between the shuffle and the ball change.
In a triplet rhythm, the musical counts of the MUSIC (the music only, not the step) are:
a1& a2& a3& a4& a5& a6& a7& a8& etc. This is a standard triplet rhythm, aka ‘swing rhythm’
or ‘swung rhythm’.
Shuffle ball change matches this musical rhythm:
a1(&) a2(&) a3(&) a4(&) etc. The (&) inside the parentheses is a REST, aka silence. Meaning,
you don’t make noise on that count. See how it matches up to the music? So if I did just
ONE shuffle ball change, my rhythm would be: a1 a2. Another way to look at that is a1 (&) a2
where the (&) is a rest. The (&) count always HAPPENS, it’s just that we don’t always do
something on it.

Going back to my original comment, when I said observe the break/rest/silence in between
the shuffle and the ball change, it is this (&) count that I am referring to. I could write on and
on about proper musical notation for tap dance, but I’d probably put you to sleep
hahahaha. The most important thing to remember is to put a break in between the
shuffle and the ball change, and to match the rhythm of the music that you are dancing to.

H. FLAP

Definition: Flap: Two sounds, both made with the ball of the foot. You place your weight on
the second sound of the flap. A basic way to think of this step, (though not the way I like to
think of it), is as a brush forward with the ball of the foot, and then you step onto it. Rhythm =
‘a1’ or ‘&1’ depending on the music. Heel does not touch the floor.
Notes: A flap, along with a shuffle, is the most important thing you can learn in tap dance.
I don’t subscribe to the common teaching method of flaps (brush forward, then step on it), as
it implies a lot of work is happening. And I don’t like doing work when tap dancing. I like
being lazy and minimizing my effort hahaha.
When I do flaps, I am focusing most of my thoughts and energy to my knees, and I think
about straightening my leg. When my leg fully straightens, I step onto it. So, in my mind, it’s
more of a dropping motion, very much like shuffles. In fact, I think the only difference
between flaps and shuffles is that flaps stick to the floor on the second sound while shuffles
are picked up off the floor on the 2nd sound.
When first learning flaps, you will travel forward. That is correct. As you improve more and
more, you want to get to the point where you can do them (1) in place, and then (2) eventually
backwards. Then, that is followed by flaps (3) in any direction.
As you do your flaps, think about focusing not on your ankle or foot, but on your knees, and
really try to straighten your leg all the way. A straight leg is a relaxed leg, and we want to stay
relaxed in tap. Relaxation = less effort = faster sounds. Tension = effort = slower sounds.
You will also get to the point where you are doing flaps with both a swing rhythm, as well as
an even rhythm. So you will do them ‘a1 a2 a3 a4, etc’ at first, and then ‘&1 &2 &3 &4’
when doing some things. For example, shuffle time steps use an even rhythm variation of
flaps. Even rhythm flaps have more space between the sounds than swing rhythm flaps.
Swing rhythm flaps are very tight and ‘snappy’. Even rhythm flaps are more ‘open’. It’s
difficult to write about this particular subject, and at a point, it is best to use the video
portions and listen to various musical styles to improve on the difference.

I. FLAP BALL CHANGE!

Definition: Flap Ball Change: As the name implies, it is a flap followed by a ball change.
4 sounds. Rhythm: a1 a2 etc. Heels do not touch the floor.
Notes: Flap ball change, like shuffle ball change, is a tap essential comprised of two basic
building blocks. The building blocks in this step: flap and ball change, have two sounds
each, for a total of 4 sounds. The rhythm on flap ball change should be identical: meaning,
the flap should sound exactly, or close to exactly, like the ball change.
Flap ball changes travel. Meaning, if you do a bunch of them, you will most likely
travel across the floor. The step can be done in place, but we do not see this often. A flap
ball change exercise is a great ‘across the floor’ exercise for dancers. It is used commonly in
combinations.
The ‘shape’ of the step is commonly ‘up’ for the flap, and ‘down’ for the ball change.
Meaning, you go up a little higher when you do the flap, and kind of drop down onto the flap,
by bending your knees a little bit. This ‘up down’ note is a style choice. You may do these in
various shapes and sizes. You can use the step to travel a lot, or hardly at all. You can also
do them around in a circle.
Flap ball change is also commonly done by using arms. A general note about arms is that
the arm that is opposite the forward leg comes forward, while the other arm goes out to the
side, in second position. I recommend studying ballet for additional comments on arms. A
more relaxed version of ballet arms are used in tap often. So, if you do a flap with your right
foot, that means your right foot is the forward foot. You bring the opposite arm forward...in
this case, it would be the left. The right arm would go out to the side to second position. As
you flap right, think about bringing your left arm forward, and vice versa. You then bring your
arms down on the ball change and get them ready for the other side.

J. STAMP / STOMP
Stamp and Stomp are two different steps, but since they are taught in the same chapter
on the DVD, I will keep them under one heading and subdivide the definitions and notes.
J1. STAMP
Definition: Stamp: Full foot is brought to the floor, weight is placed on your foot. One
sound, but both the heel and ball tap hit the floor at roughly the same time to create one
sound.
Notes: Stamps, another tap essential, are like several other steps, deceptively tricky to get
right. Placing your foot down with a full foot (meaning, the entire foot hits at once) sounds
easy, right? Well, the #1 error that I’ve seen when students are learning stamps is that many
people end up bringing their foot down flat, creating a THUD kind of sound, rather than a nice
ring. There are only two things really to think about when you are doing stamps to get them
sounding nice:
(1) Let the heel tap arrive to the floor just slightly before the ball tap. So if you did it in slow
motion, you would actually see the heel tap touch the floor RIGHT BEFORE the ball tap.
Since you are executing the move quickly, it blends into one step. Which brings me to
(2) RELAX your ankle. This allows those two sounds that I mention above in tip (1) to blend
together. So, rather than hearing the heel hit, then the ball hit, the sounds blend together
into one sound. This is that ‘ring’ that I mention above.
If you come down (1) flat footed, (2) with a tense ankle, or both (yikes!), your stamps will not
sound or feel right. Stamps (and stomps) are steps that FEEL right when you do them right.
Stamps (and stomps) are accent steps. Meaning, they are generally louder than other steps,
and so they ‘stick out’, which can be a good thing or a bad thing. Sometimes they stick out
too much.
Another common error is that sometimes people think they need to give the stamp some
extra effort, weight, or general extra ‘oomph’. This is what causes stamps to become
unnecessarily loud and can be off-putting to an audience. Stamps will naturally be louder, so
we don’t need to give them any extra effort....we should focus on letting them happen.

J. STAMP / STOMP (CONT.)

J2. STOMP
Definition: Stomp: Full foot is brought to the floor, no weight is placed on your foot. One
sound.
Notes: Stomps, like stamps, are another tap essential, and for many people are a bit trickier
to master than stamps.
All of the rules and tips for stamps apply to stomps. The only big difference between the two
is that stomps do not take your weight. Meaning, when you bring your foot to the floor, don’t
put your weight on it. Stamps take your weight, stomps do not.
The same rules apply to stomps regarding (1) coming down heel first and (2) having a relaxed
ankle as do to stamps.
A subtle difference between the two (stamps and stomps) worth mentioning, is that I have
found from experience that stomps were easier for me to master if I sat back a little bit on my
supporting leg, and bent that knee ever so slightly. Think of it as softening your supporting
leg. It helped me get into the floor. This tip has helped many of my students, and it may or
may not help you. Everyone’s body is different when it comes to the topic of balance, and the
most important thing is to use your ear and adjust your body until you can find a place for
different steps to ‘live’ that you are consistently getting good sounds. And more important
than any of this, everything in tap should feel good when you do it, and if anything causes you
discomfort, refrain from whatever is causing that.
Stomps are used often in time steps and I recommend that you spend ample time getting
consistent with them. Since a step like a time step is a repetitive step, we want to get
to the point where we develop consistency in the quality of each sound.


K. PADDLE

Definition: Paddle: A speed step made up of 4 sounds. All 4 sounds are made with the
same foot. (1) Heel dig (heel touches floor with no weight), (2) brush back, (3) step, (4) heel.
Notes: A paddle is maybe my favorite step. A paddle is a speed step. Meaning, we want to
do this step very fast. That is when it is most impressive. More important than going fast,
however, is learning paddles correctly, and then building up speed after that.
A paddle should have 4 even sounds. Meaning, the sounds should be evenly spaced.
Paddles can be counted ‘1 & 2 &’ (eighth notes) or ‘1 e & a’ (sixteenth notes). For more info
on eighth notes and/or sixteenth notes, I recommend that you research basic music theory /
basic rhythm.
Sound #1 (the heel dig) is the most important sound. Meaning, it should be the loudest. It
shouldn’t stick out drastically, but enough to act as a landmark. Sound #1 helps you keep
track of where you are in the rhythm. That comes in handy when you start going faster.
Sound #1 is where the number goes, if you are counting (1 e & a 2 e & a 3 e & a 4 e & a).
Sound #3 is where the weight shifts over, and is the real key to building up your speed. If you
have learned paddles and have been practicing going faster, but haven’t been able to improve
your speed as much as you’d like, my guess would be, without being able to see each and
every one of you out there, that there is something funky going on with Sound #3, the step.
As defined, a step takes all of your weight immediately. When students get ‘stuck’ on the
tempo of their paddles and can’t seem to go faster, that’s usually where the problem is--- they
usually aren’t switching their weight IMMEDIATELY on the step. When I suggest that you should
switch the weight immediately, I mean it. I see a lot of people kinda-sorta shift their weight over
eventually, and it will hold you back.
Other notes on paddles: when increasing the speed, keep everything smaller, lighter, and
more underneath you. Decrease the size of the step and you’ll use less effort to go faster!

L. STEP HEEL EXERCISE

Breakdown: Counts:
7 Step Heels
Stamp } then repeat
1& 2& 3& 4& 5& 6& 7& 8
1& 2& 3& 4& 5& 6& 7& 8

3 Step Heels
Stamp } then repeat 1& 2& 3& 4, 5& 6& 7& 8

Step Heel
Stamp
} x4 (meaning, do
it 4 times total)
1& 2, 3& 4, 5& 6, 7& 8

M. STEP BALL CHANGE EXERCISE

Breakdown: Counts:
7 Steps 1 2 3 4 5 6 7
Ball Change } then reverse &8
1 2 3 4 5 6 7
&8

3 Steps
Ball Change } then reverse 1 2 3 &4, 5 6 7 &8

Step
Ball Change } x4 (R,L,R,L) 1& 2, 3& 4, 5& 6, 7& 8

N. SHUFFLE HOP STEP EXERCISE

Breakdown: Counts:
a1 a2 a3 a4 a5 a6 a7

7 Shuffles
Hop Step } then reverse a8
a1 a2 a3 a4 a5 a6 a7
a8

3 Shuffles
Hop Step } then reverse a1 a2 a3 a4, a5 a6 a7 a8

Shuffle
Hop Step } x4 (R,L,R,L) a1 a2, a3 a4, a5 a6, a7 a8

O. SHUFFLE BALL CHANGE EXERCISE

Breakdown: Counts:
a1 a2 a3 a4 a5 a6 a7

7 Shuffles
Ball Change } then reverse a8
a1 a2 a3 a4 a5 a6 a7
a8

3 Shuffles
Ball Change } then reverse a1 a2 a3 a4, a5 a6 a7 a8

Shuffle
Ball Change } x4 (R,L,R,L) a1 a2, a3 a4, a5 a6, a7 a8

P. FLAP BALL CHANGE EXERCISE

Breakdown: Counts:
a1 a2 a3 a4 a5 a6 a7 (flaps)

7 Flaps
Ball Change } then reverse a8 (ball change)
a1 a2 a3 a4 a5 a6 a7
a8

3 Flaps
Ball Change } then reverse a1 a2 a3 a4, a5 a6 a7 a8

Flap
Ball Change } x4 (R,L,R,L) a1 a2, a3 a4, a5 a6, a7 a8

S. FLAP SHUFFLE HOP EXERCISE

Definition: Flap Shuffle Hop: As the name implies, it is a basic grouping of 3 steps to make one
unit: flap, shuffle, and hop. 5 sounds. Rhythm = a8&a1 etc, or a1&a2 etc. Heels do not touch
the floor.
Exercise: 8 flap shuffle hops Rhythm: a1&a2 a3&a4 a5&a6 a7&a8 etc
Notes: A flap shuffle hop is a basic ‘word’ used often in beginning combinations. Although it is
made up of 3 basic units: flap, shuffle, and hop, it’s best to think of it as one thing, rather than 3.
After you learn it correctly, it will/should feel like one step, rather than 3 separate steps.
The rhythm on this step, like a buffalo, is the trickiest part to master. In fact, it has the same
exact rhythm as a buffalo. 5 sounds, with an emphasis on the last sound, that is, the hop. The
entire step ‘goes toward’ the hop. You’ll want to use your momentum to guide the step towards
this final sound. By allowing these 5 sounds to meld, you create the illusion that you are doing
one tap step. When you store it in your brain as a grouping, it makes it easier to remember, as
well, as you only have to remember one thing, rather than 3.

The desired rhythm is a nice, lilting triplet rhythm. One hint I can offer is the same hint I offer with
buffaloes. Have your shuffle prepared and ready to go AS you are doing the flap. Don’t do the
flap and then think, “Uh oh, there’s a shuffle next.”---too late! You’ve missed your chance at a
nice rhythm. You must pull your leg up and get it in the position AS you are executing the flap.
Another hint is to leap onto the flap slightly. That will release your opposite leg, allowing you to
prepare for the shuffle.
The last hint refers to the hop. I recommend hopping low. You don’t need to leave the floor very
much to execute a proper hop. In fact, you can do a hop while making yourself LOWER to the
floor. You don’t need to rise up at all. You simply need to lift your foot up off the floor and land.
If you can do this while bending your knee at the same time as doing the hop, you’ll be in much
better control of the step, rather than the step controlling you. So---keep those hops low.

L. WALTZ CLOG

Definition: Waltz Clog: A basic grouping of three basic steps: flap shuffle and ball change,
in that order. Rhythm = a1 a2 a3. Three matching pairs. Heels do not touch.
Notes: OK, now we are getting into basic ‘words’ of tap. We have learned a lot of the
alphabet thus far, and ideally you are getting solid on the difference between a shuffle and a
flap. If not, this step will trip you up. A waltz clog is a tap essential that has been in use for a
long time. There are variations on the step. The one I teach is just one way to do it, and I
don’t claim for it to be the ultimate correct way to do it, either. It’s just one way that I learned
to do and it felt right to me.
A waltz clog, like a waltz dance, is based on 3 counts. We have 3 basic building blocks in this
step: a flap, a shuffle, and a ball change. See the sections on those steps if you need a
refresher course.
A waltz clog is an alternating step. Meaning, if you start on the right foot, and do 1 waltz clog,
you’ll have the left foot free at the end. This is a great basic step to do across the floor. The
step travels, it has variety, and is recognizable. A waltz clog is a great step to throw into
combinations.
Basic rules for waltz clogs:

(1) Make your rhythm for each of the 3 pairs of sounds identical. Meaning, the flap should
sound like the shuffle, the shuffle like the ball change. If I closed my eyes, I wouldn’t want to
know if you were doing a waltz clog, or 3 flaps, or 2 shuffles and 1 ball change, or 2 ball
changes and 1 flap, etc.
(2) For the most part, waltz clogs will have a swing rhythm. a1 a2 a3 a4 a5 a6 etc.
(3) Stay off your heels! I have said this quite a bit in this guide, and I do when I teach live, as
well. Why do I repeat this note? Because heels make noise, and noise should only happen
when you want it to. Otherwise, your tapping will sound clunky. We want our tap sounds,
and waltz clogs in particular to have a nice, snappy, swing rhythm to them.

T. BUFFALO

Definition: Buffalo: 5 sounds. A basic grouping of three basic steps: flap shuffle and leap,
Can also be done step shuffle leap, or leap shuffle leap. Rhythm = a8&a1 etc, or a1&a2 etc.
Heels do not make sounds.

Exercise: 8 buffaloes = Flap shuffle leap x8 Rhythm = a8&a1 a2&a3 a4&a5 a6&a7 etc.
Notes: A buffalo is another tap essential. It is a grouping of 3 basic steps put together to
form one rhythmic unit. The 3 components are: flap, shuffle, leap. There are also style and
rhythm issues to acknowledge.
Let’s start with the rhythm. The main trick to doing a proper buffalo is to get the three
separate components to sound like one unit. This is done by making sure you are ready for to
execute the next part as your are doing the previous part. Let me clarify this. To get a proper
a1&a2 rhythm, you must make sure to be ready to do the second part, the shuffle,
IMMEDIATELY following the first part, the flap. Most students make the error of doing the
flap, then take a little break, then do the shuffle. This is incorrect. There should be no break in
between the flap and the shuffle.
Another important aspect of the rhythm is that the 5 sounds head towards the final sound of
the group, that is, the leap. Meaning, the other steps are a lead up to that final sound. The
first 4 sounds should be quieter than the 5th sound. That 5th sound is accented
A note on the style. When you do the leap, you should cross your leg behind you. Meaning,
the leg that does the shuffle swings behind you and you leap onto it. The knee of the
forward leg turns out and you freeze slightly at the end of each buffalo to make a ‘picture’.
Meaning, the entire step pauses for just a moment. You can see this in the DVD.
Arms should be in second position. Once students have learned some of the basics, it’s time
to start focusing more on arms. At the beginning, adding arms can get quite overwhelming. In
TDME Vol2: Intermediate, there are more exercises that include the use of your arms in a stylized
way. For additional work on arms, I recommend beginning ballet classes.

T. FINAL COMBINATION

Step # Breakdown: Counts:
INTRO

Step Heel

} x4 (R,L,R,L) 12 3 4 5 6 7 8
Touch Step x3
I
rest
Ball Change } x4 (R,L,R,L)
1 2 3 4 5 6
(7) (parentheses = rest = no sound)
a8
II
Heel (with weight)
Toe Drop } x4 (R,L,R,L) 1 2 3 4 5 6 7 8
Step Heel
(moving upstage) } x4 (R,L,R,L) 12 3 4 5 6 7 8
Shuffle Clap x3
III
Step Clap
} x4 (R,L,R,L) a1 2 a3 4 a5 6
7 8
Shuffle x5 a1 a2 a3 a4 a5
IV
Ball Change
Stamp
} x4 (R,L,R,L)
a6
7
Clap 8
cont.

T. FINAL COMBINATION (CONT.)

V
Shuffle x 7
Hop Step
} then reverse a1 a2 a3 a4 a5 a6 a7 a8
a1 a2 a3 a4 a5 a6 a7 a8
Shuffle x 3
Hop Step } then reverse a1 a2 a3 a4, a5 a6 a7 a8
Shuffle
Hop Step } x4 a1 a2, a3 a4, a5 a6, a7 a8
VI Flap x 8
(turning in
circle, R)
} x4 a1 a2,
a1 a2,
a3
a3
a4,
a4,
a5
a5
a6,
a6,
a7
a7
a8
a8
a1 a2, a3 a4, a5 a6, a7 a8
a1 a2, a3 a4, a5 a6, a7 a8
VII Flap Heel

(turning in
circle)
} x2 a1 2, a3 4, a5 6, a7 8
a1 2, a3 4, a5 6, a7 8
Flap Step x3
Flap Ball Change
(turning R in
} x4 (R,L,R,L) a1 2, a3 4, a5 6,
a7 a8
etc.
circle, then L,
then R, then L)
cont.

T. FINAL COMBINATION (CONT.)

a1 a2 a3
VIII Waltz Clog (Flap
Shuffle Ball Change)
Clap
} x4 4
a5 a6 a7
8
etc.
IX Waltz Clog x 2
Stamp
Clap
} x4 a1 a2 a3, a4 a5 a6
7
8
etc.
Toe Tap
Ending (x in back) 1
Questions?
Email me @
eli@tapdancemadeeasy.com

TAP GLOSSARY
BASIC TAP TERMINOLOGY FROM TDME DVD VOL 1
BALL CHANGE
Definition: Ball Change: two steps squished together into one count. 2 sounds. Heel does
not touch the floor on either sound. Rhythm can be straight or swung.
BUFFALO
Definition: Buffalo: 5 sounds. A basic grouping of three basic steps: flap shuffle and leap,
Can also be done step shuffle leap, or leap shuffle leap. Rhythm = a8&a1 etc, or a1&a2 etc.
Heels do not make sounds.
FLAP
Definition: Flap: Two sounds, both made with the ball of the foot. You place your weight on
the second sound of the flap. A basic way to think of this step, (though not the way I like to
think of it), is as a brush forward with the ball of the foot, and then you step onto it. Rhythm =
‘a1’ or ‘&1’ depending on the music. Heel does not touch the floor.
FLAP BALL CHANGE!

Definition: Flap Ball Change: As the name implies, it is a flap followed by a ball change.
4 sounds. Rhythm: a1 a2 etc. Heels do not touch the floor.
FLAP SHUFFLE HOP EXERCISE

Definition: Flap Shuffle Hop: As the name implies, it is a basic grouping of 3 steps to make
one unit: flap, shuffle, and hop. 5 sounds. Rhythm = a8&a1 etc, or a1&a2 etc. Heels do not
touch the floor.
HOP
Definition: Hop: Standing on one foot, you jump into the air and land on the same
foot you were standing on. One sound (you get the sound when you land). Heel does not
touch the floor.

TAP GLOSSARY (CONT.)

HOP STEP
Definition: Hop Step: As the name implies, you do a hop, then a step, in quick succession.
For specific definitions of each, see hop and step earlier in this document. Standing on one
foot, you jump into the air and land on the same foot as you jumped off of, then quickly step
onto the other foot. Two sounds. Rhythm = a1 (a2, a3, a4, etc). Heels do not touch the floor.
LEAP
Definition: Leap: Standing on one foot, a leap is executed by jumping into the air and
landing on the opposite foot you were standing on. One sound (when you land). Heel does
not touch the floor.
PADDLE
Definition: Paddle: A speed step made up of 4 sounds. All 4 sounds are made with the
same foot. (1) Heel dig (heel touches floor with no weight), (2) brush back, (3) step, (4) heel.
SHUFFLE
Definition: Shuffle: Two sounds, made with the ball of the foot with a dropping and lifting
motion of the leg. One sound occurs on the way down, and one on the way up. Rhythm =
‘a1’ or ‘&1’ depending on the music or preferred style. Heel does not touch the floor.

TAP GLOSSARY (CONT.)
SHUFFLE BALL CHANGE

Definition: Shuffle Ball Change: as the name implies, it is made up of two things:
shuffle and ball change. 4 sounds total. Rhythm: a1 a2, etc. Heels do not touch the floor.
STAMP
Definition: Stamp: Full foot is brought to the floor, weight is placed on your foot. One
sound.
STEP
Definition: Step: placing all of your weight on the ball of one of your feet. One sound. Heel
does not touch the floor (sneaking it down with no sound is ok).
STOMP
Definition: Stomp: Full foot is brought to the floor, no weight is placed on your foot. One
sound.
TOUCH
Definition: Touch: touching the ball of your foot to the floor and making a sound. One
sound. No weight is placed on the foot. Heel does not touch the floor.
WALTZ CLOG
Definition: Waltz Clog: A basic grouping of three basic steps: flap shuffle and ball change,
in that order. Rhythm = a1 a2 a3. Three matching pairs. Heels do not touch.

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TAP DANCE MADE EASY:

INSTRUCTIONAL DVD SERIES

USER GUIDE / GLOSSARY

ELI NEWSOM, INSTRUCTOR

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ABOUT THIS GUIDE:

A NOTE ON VARIOUS TEACHING STYLES:

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USER GUIDE & TAP GLOSSARY

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(Happy hopping!---continue on for Leap)

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D. HOP / LEAP (CONT.)

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Let me break it down sound by sound. A shuffle has two sounds:

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G. SHUFFLE BALL CHANGE

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I. FLAP BALL CHANGE!

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J. STAMP / STOMP (CONT.)

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L. STEP HEEL EXERCISE

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M. STEP BALL CHANGE EXERCISE

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N. SHUFFLE HOP STEP EXERCISE

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O. SHUFFLE BALL CHANGE EXERCISE

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P. FLAP BALL CHANGE EXERCISE

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S. FLAP SHUFFLE HOP EXERCISE

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Basic rules for waltz clogs:

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T. FINAL COMBINATION (CONT.)

VII Flap Heel

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T. FINAL COMBINATION (CONT.)

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FLAP BALL CHANGE!

FLAP SHUFFLE HOP EXERCISE

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TAP GLOSSARY (CONT.)

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TAP GLOSSARY (CONT.)

SHUFFLE BALL CHANGE

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