This step has not been passed down to us through the generation, so what is performed here is only an interpretation of the step that Iztueta described. We have not restricted ourselves to follow Iztueta’s instructions to the letter, but we have also taken into consideration other steps from other dance traditions, both folk and academic dances, which coincide with the explanation provided by Iztueta.
The right foot is moved forward and lift into the air with the tip stretched out. The dancer does a demi-plié with his left leg and jumps: In the jump, the left foot goes over the top of the right foot and then lands again on the floor. The right foot continues to be in the air during this pause. After placing the left foot on the floor, the right foot then lands. The same movement that was performed extending the right foot can be repeated extending the left foot and leaping over with the right.
According to Juan Antonio Urbeltz, the lost turn that Iztueta described probably coincided with the step called Buelta al descuydo described by Juan de Esquivel y Navarro in his 1624 book entitled Discursos sobre el arte del danzado and in Antonio Cairón’s Salto volcado or Ribaltado.
Lost turn to the left
Lost turn to the right
The lost turn is performed as follows:
Lifting the right foot from the floor up to approximately mid calf height, stretch it forward as far as possible and, holding it in the air with the tip pointing towards the floor, [the dantzari] has to pass the left foot over the right and has to tap the floor only with the left foot, while keeping the right foot in the air, which he will lower immediately afterwards. This is what is called the lost turn to the right.
In order to perform [the lost turn to the left, the dantzari] has to place the left foot in the same way as he had previously placed the right foot. He has to pass over the right foot and tap the floor with it while the left foot is kept in the air.
This step has not been passed down to us through the generation, so what is performed here is only an interpretation of the step that Iztueta described. We have not restricted ourselves to follow Iztueta’s instructions to the letter, but we have also taken into consideration other steps from other dance traditions, both folk and academic dances, which coincide with the explanation provided by Iztueta. 
