Highland Grade 5 Examination Syllabus

Vocabulary study set detailing foot, arm, and head positions, basic movements, sword layouts, and formal dance introductions from the Highland Grade 5 Examination Syllabus (updated to 2026).

First Position (Feet)

The heels are together with the weight of the body equal on both feet. Each foot is turned out to the corner at $45^\circ$ from the line of direction. The dancer may stand with feet flat or on the balls.

Second Position (Feet)

The Working leg is pointed directly to the side. The toe and heel of the working foot are in line with the heel of the supporting foot. 90o from the line of direction

Second Aerial Position

The working leg is extended to the side as in second position, but raised at the required level: low (toe in line with ankle), normal (toe in line with middle of calf), or high (toe in line with knee).

Third Position (Feet)

The working foot touches the arch of the supporting foot and is turned to the side.

Third Rear Position

When placed on the toe, the hollow of the working foot touches the heel of the supporting foot, turned out $90^\circ$ from the line of direction.

Third Aerial Position

With the knee of the working leg pressed well back, the outside edge (baby toe and heel) of the working foot is placed in contact with the front of the supporting leg below the knee. Danced at three levels: normal (heel just below knee), low (toe in line with ankle), and very low (slightly above third position).

Third Rear Aerial Position

The working foot is placed on the back of the supporting leg just below the knee, with the inside edge (big toe and heel) contacting the calf, the knee pressed well back, and the foot not visible from the front.

Third Crossed Position

The working leg is crossed in front of the supporting leg with the half point or ball of the working foot placed near the outside edge of the instep of the supporting foot.

Fourth Position (Feet)

From first position, the working leg is extended to the front in a straight line with both heels in line with the line of direction. The foot may be placed on the point.

Fourth Aerial Position

The working leg is extended to the front as in fourth position, but raised to normal level.

Fourth Rear Position

The working foot is taken to the rear as in fourth position and placed on the ball or flat.

Mid-Fourth Position

The working leg is extended to the front halfway between fourth and fourth intermediate position, placed on the toe only.

Mid-Fourth Aerial Position

The working leg is extended to the front as in mid-fourth position, but raised to low aerial level.

Fourth Intermediate Position

The working leg is extended diagonally forward at an angle of $45^\circ$ from the line of direction.

Fourth Intermediate Aerial Position

The working leg is extended diagonally forward as in fourth intermediate position, but raised to the required level: low or normal.

Fourth Intermediate Rear Position

The working leg is extended diagonally to the rear as in fourth intermediate position and placed only on the ball.

Fourth Intermediate Rear Aerial Position

The working leg is extended diagonally to the rear as in fourth intermediate rear position, but raised to normal level.

Fourth Opposite Fifth Position

The working leg is extended to the front with the toe of the working foot in line with the heel of the supporting foot and the heel of the working foot in line with the toe of the supporting foot.

Fifth Position (Feet)

The working foot is in contact with the big toe joint of the supporting foot and is turned out to the side.

Fifth Rear Position

The position of the rear foot when placed on the ball while the front foot is in fifth position (never placed on the toe or half point).

Hop

A movement of elevation begun on the ball of one foot and finished by landing on the ball of the same foot.

Spring

A movement of elevation begun on the ball of one foot and finished by landing on the ball of the other foot.

Shedding

A basic movement consisting of: disassemble, hop or spring pointing the working leg to second position, hop taking the leg to third rear aerial position, hop executing a round-the-leg movement to third aerial position, and hop executing a round-the-leg movement to third rear aerial position (danced with arms in second position to counts $1, 2, 3, 4$).

Toe-and-Heel

Hop or spring taking the working foot to third or fifth position, followed by a hop placing the heel of the working foot in the same position. Danced in third, second, fourth opposite fifth, and fifth positions.

Spring Points

A series of springs pointing the working leg to the required position, during which both feet touch the ground simultaneously.

Backstep

Begins with one foot in third aerial or third rear aerial; spring and during elevation execute a round-the-leg movement to third rear aerial, sliding down the back of the supporting leg to bring the other foot to third aerial position in a smooth, continuous, flowing motion.

Rocks

A series of springs beginning with the working foot in third rear position, then springing to place the new working foot in third position.

High Cut

Spring, hop or disassemble, and on landing take the working foot to third rear aerial; then, working from the knee-joint only, extend the working foot towards second aerial and return it to third rear aerial without travel.

Shake for Fling

Begins with a hop to place the working foot in third or fifth position, followed by two shake actions extending the foot to fourth intermediate aerial: ending first at low level, then arriving at normal level upon landing from the accompanied hop (counted $1\text{ and [and] a }2$ or $1\text{ [and] and a }2$).

Pas de Basque

Preparing with an extension to second aerial low, spring onto that foot taking the working foot to third position on the half-point, then lightly beat the rear foot in third rear, extending the front foot if required.

Open Pas de Basque in All Positions

Executed as for pas de basque except the front foot is placed in an open position (fourth opposite fifth, fourth intermediate, fourth, or second) with no extension at the end; used exclusively in the Sword Dance.

Outward Brush

The half-point of the working foot lightly touches the ground in its progress from third aerial position very low to an open aerial position, or from a rear position through first position to fourth aerial position.

Inward Brush

The half-point of the working foot lightly touches the ground in its progress from an open aerial position to an accepted position (such as a closed position in shuffles or third aerial position low in hop brush beat beat).

Shuffle

Starting with one foot in mid-fourth aerial low, spring or hop while extending the supporting foot to mid-fourth aerial low; then, almost simultaneously on landing, brush the new working foot inwards on the half-point in third or fifth position and immediately brush it outwards to mid-fourth aerial low.

Disassemble

A movement of elevation begun on the balls of two feet and finished by landing on the ball of one foot, without travel or leg extension unless specified.

Assemble

A movement of elevation begun on the ball of one foot and finished by landing on the balls of two feet at the same time.

Hop Brush Beat Beat

Hop extending the working foot to fourth intermediate aerial, execute a quick inward brush to third aerial low, place the working foot on the half point in third or fifth position, and lightly beat the rear foot in third or fifth rear position.

Shake for Seann Triubhas

The working foot is progressively extended from third or fifth position to second aerial position high using two or more shake actions from the knee controlled by the thigh, initiated while flexing the supporting knee before the hop.

Balance

Beginning with the right foot in fourth intermediate aerial, hips to front, right shoulder slightly forward, arms in third, and head in second: spring onto that foot displacing the supporting foot to fourth intermediate rear aerial position, then repeat opposite.

Entrechat

A movement of elevation beginning on the balls of both feet in third or fifth position, executing two change actions in the air before landing with the same foot in front (counted $\text{and a }1$).

Travelling Balance

Beginning with right foot in fourth intermediate aerial, bring the foot inwards to take two steps and a soft spring (RF, LF, RF) traveling diagonally backwards through third, fourth intermediate rear, and third positions while extending left foot to fourth intermediate rear aerial; then repeat traveling forward.

Round the Leg (Single)

The working foot is passed from third rear aerial position to third aerial position or vice versa, kept tight to the supporting leg with the knee pressed well back.

Round the Leg (Double)

Spring onto the left foot taking the right foot to third rear aerial position, quickly execute a round-the-leg movement to third aerial position, and return it to third rear aerial position.

Shake Shake Down

Hop executing a shake in fourth intermediate aerial, hop carrying the foot backwards with another shake to second aerial, then spring displacing the supporting foot sharply into an open aerial position or finishing with an assemble.

Step

A transfer of weight from one foot to the ball or flat of the other foot, executed with or without travel.

Change

A movement of elevation beginning on the balls of both feet in third position and finished by landing on the balls of both feet in third position with the other foot in front.

Heel & Toe

Hop placing the heel of the working foot in second position, then hop pointing the working foot in third or fifth position, occupying two beats of music.

Leap

A movement of elevation begun on the balls of both feet in third or fifth position, extending and straightening both legs towards second aerial position, and landing on the balls of both feet in third or fifth position with or without a change of feet.

Pivot Turn

Beginning with the right foot on the half point in third crossed position, pivot to the left on the balls of both feet without displacing them, finishing in third position with the left foot in front.

Low Cutting for Fling

Extend the right foot to second aerial low, strike the heel against the supporting heel, re-extend to second aerial low, strike the heel again, and spring onto the right foot while sharply extending the left foot to second aerial low.

Grouping of the Fingers

In all positions of the arms except first position, the fingers are lightly grouped and the thumb is placed in contact with the first joint of the middle finger.

Correct Stance

The body should be held up straight without stiffness, strain, or exaggeration.

Bow

Standing in first position with arms by the sides or in first position, incline the body forward slowly from the hip and return to an upright position.

Line of Direction

An imaginary line on the ground passing front to back between the heels of the dancer when standing in first position, used as the baseline from which all foot angles are measured.

Spots and Spaces of Swords

The standard layout of crossed swords comprising spaces A, B, C, D and numbered spots 1, 2, 3, 4 at the hilts and points, complemented by auxiliary spots 1A, 2A, 2B, 3B, 3C, 4C, 4D, and 1D.

Placing the Foot on the Toe

In closed positions, the working foot is vertical with no weight, knee flexed and turned out; in open positions, the instep is arched with no weight and the knee is kept straight (except in fourth opposite fifth).

Placing the Foot on the Half Point

The underneath pads of the first two or three toes contact the ground with the ball raised; partial weight may be placed on the foot.

Placing the Foot on the Ball

The toe pads and ball of the foot contact the ground with an arched instep and un-locked knee; body weight transfers onto the foot, making it a step when traveling.

Placing the Foot on the Heel

The heel contacts the ground with the sole straight and inclined upwards, placed without pressure (except in the eleventh Seann Triubhas step); the knee is stretched in open positions (except fourth opposite fifth) and slightly flexed in closed positions.

Supporting Foot

The foot bearing body weight on its ball, aligned with the knee over the middle toe and turned out at an angle of $45^\circ$ to the line of direction.

Closed Position

A position in which the feet are either in direct contact with each other or the working foot touches the supporting leg (with third crossed position being an exception).

Open Position

A position where the working foot is not in contact with the supporting foot or supporting leg.

Aerial Position

Any position where the working foot is raised entirely off the ground.

Ground Position

A position in which both feet are in contact with the ground.

Rear Position

A position in which the working foot is placed behind the supporting foot.

First Position (Arms)

Both hands rest on the hips with the backs of the hands forward, formed in fists with knuckles facing the body, wrists straight, and elbows pointed directly to the sides.

Second Position (Arms)

One arm rests on the hip as in first position; the other is raised to the side with arm and wrist slightly curved, hand positioned slightly above and forward of the head-line, palm facing inward.

Third Position (Arms)

Both arms are raised at the sides as in second position, with palms facing toward each other.

Fourth Position (Arms)

A closer and higher variation of third position where the hands are held almost touching.

Fifth Position (Arms)

The arms curve downward in front of the body with hands close together and the little fingers positioned almost touching the kilt.

Circling of Arms

A movement taking the arms to fifth position on count $1$, then upwards to fourth position, and downwards through third position to finish in fifth position on counts $2, 3, 4$.

Raising and Lowering of the Arms

The arms are raised or lowered with minimal movement of the elbows, ensuring no part of the hand or arm passes in front of the dancer's face (except in Seann Triubhas).

First Position (Head)

The head faces directly front with eyes level; maintained when arms are in first, third, fourth, or fifth position unless otherwise specified.

Second Position (Head)

The head is directed diagonally to the right or left with the chin slightly raised; when arms are in second position, the head turns away from the raised arm.

Introduction to the Highland Fling

Stand as for bow for $8$ counts; bow for $6$ counts; optionally rise on the balls of the feet taking arms to first position on count $7$; hold on count $8$.

Introduction for the Sword

Stand at Spot 1 as for bow for $8$ counts; bow for $4$ counts; step to 1D with the left foot and point the right foot in third position on counts $5, 6, 7$; pause on count $8$ (optionally rising on the ball of the left foot).

Introduction for Seann Triubhas

Stand as for bow for $8$ counts; bow for $4$ counts; step LF towards second (count $5$); turn $\frac{1}{8}$ right, step RF to fourth rear flat, and point LF in fourth (count $6$); take arms to fifth then raise to fourth (count $7$); open to third and rise (count $8$).

Introduction for Strathspey

Stand as for bow for $8$ counts; bow for $4$ counts; pivot $\frac{1}{8}$ turn left on ball of LF releasing right heel (count $5$); point RF in fourth (count $6$); pause (count $7$); rise on ball of LF taking RF to third aerial and raising arms to third (count $8$).