The difference between an intermediate tapper and an advanced one isn't speed—it's control. At the advanced level, your feet become percussion instruments capable of polyrhythms, melodic phrasing, and conversational improvisation. Whether you're transitioning from intermediate study or refining decades of practice, this guide examines the technical nuances that separate competent dancers from compelling ones.
We'll explore techniques across tap's two major traditions—hoofing (rhythm tap, rooted in jazz and African American vernacular dance) and Broadway (show tap, emphasizing visual presentation and theatricality)—with the precision and sensory detail that advanced study demands.
Understanding Tap's Dual Traditions
Before attempting advanced techniques, clarify which tradition you're training in. The physical execution and artistic priorities differ substantially:
| Element | Hoofing/Rhythm Tap | Broadway/Show Tap |
|---|---|---|
| Weight center | Deeply grounded, knees bent | Lifted, elongated posture |
| Sound priority | Complex rhythmic texture, improvisation | Clean, audible patterns matching orchestration |
| Upper body | Relaxed, conversational | Structured, choreographed |
| Key figures | Savion Glover, Jason Samuels Smith, Michelle Dorrance | Gene Kelly, Ann Miller, current Broadway performers |
Many advanced dancers train in both, but each technique below notes stylistic variations where relevant.
Advanced Techniques: Execution and Nuance
Wings
Wings represent a true advanced milestone—simultaneous strikes with both feet while airborne, creating a rapid-fire triplet or quadruplet sound.
Execution breakdown:
- Begin in a shallow plié with weight on the balls of both feet
- Brush both feet outward simultaneously, striking the floor with the outer edges
- Immediately rebound inward, striking with the inner edges or balls
- Land with controlled absorption through the knees
Hoofing variation: Add a heel drop on landing for a fifth sound, creating rhythmic density that supports improvisation.
Common failure point: If your wings sound like two single strikes rather than a continuous rattle, you're jumping then striking. The brush and strike must initiate from the floor—think "scoop and rebound" rather than "jump and hit."
Troubleshooting muddy wings: Check ankle alignment. Collapsed arches dissipate sound into the floor. Practice single-foot wings against a wall to isolate the scraping motion without worrying about height.
Pullbacks with Turns
Standard pullbacks (also called pickups) propel you backward using backward brush-strikes of both feet. Advanced execution adds rotation while maintaining rhythmic clarity.
The 180-degree pullback turn:
- Face downstage, prepare with weight forward
- Execute the pullback's initial brush-strike
- During the airborne moment, rotate the upper body to initiate turn
- Spot sharply to complete the 180-degree rotation before landing
- Land with the same foot relationship (right foot back, left foot front, or vice versa) to continue the phrase
Rhythmic integrity check: Record yourself. The pullback sound should remain crisp and evenly spaced despite the rotational momentum. If sounds compress or stretch, you're sacrificing rhythm for rotation—common and correctable through slower practice with metronome.
Broadway application: Use in traveling combinations across the stage, maintaining open chest and presented arms throughout the rotation.
Syncopated Buffalo Variations
The buffalo (step-shuffle-jump) becomes advanced through rhythmic displacement and directional complexity.
Basic buffalo: Step right, shuffle left, jump onto left foot while brushing right foot in back, land on right foot.
Advanced modification—The Delayed Buffalo:
- Execute the step and shuffle with standard timing
- Hold the jump position briefly (half-beat) before completing the brush and landing
- This creates anticipation and "ghost" rhythm against the underlying pulse
Polyrhythmic buffalo (hoofing): Layer a 3-against-4 pattern by tripletizing the shuffle while maintaining straight eighth-note step and jump. This requires independent foot control developed through seated rhythm exercises.
Physical sensation to seek: The delayed buffalo should create a "hanging" feeling in the suspended leg, with core engagement preventing the hip from collapsing. The landing should feel like catching a weight rather than stopping momentum.
Rhythmic Cross-Phrasing
Advanced tappers manipulate how their footwork relates to musical structure—playing "across the bar line" or superimposing contrasting meters.
Exercise: 5-count phrase over 4/4 music
- Create a 5-strike pattern (heel-ball-ball-heel-toe, for example)
- Repeat continuously without adjusting to the 4-beat measure
- The pattern will shift its relationship to the downbeat each cycle
- After five repetitions, it realigns with the music
Development: Once comfortable, improvise variations within
