My interest is in helping you learn to dance. Hopefully, you have already acquired an
interest, or at least a curiosity, about what delights await you. Of course your initial
effort may have been less than perfection, but you probably have warm recollection of
watching stars (or ordinary people) happily moving across the floor, inspired by a band
or an inner tempo. Most people can learn to dance, whether for pleasure or for health;
a combination of instruction, study and practice offers your best hope for dancing
confidently and gracefully in a short time. This web page, which leads you through
actual footwork and handwork for four dances, is for the study portion; it will
get you started. Although instruction will get you going quicker (by studio tradition,
not accompanied by study), practice (which may be with or without a partner) is
absolutely necessary.
To ease your introduction into ballroom dancing, a syllabus is provided and may be used
to program your study and practice. If it is used,
links are provided at each appropriate point to allow a sequence of instructions to speed
you on your way; however, use of the syllabus is optional. You should, of course, read
the Introduction first; for that click here.
OVERVIEW: Dancing is bodily movement synchronized
to a rhythm, with or without a partner. In ballroom dancing the lead is traditionally
provided by the man because somebody must decide and you wish talk to be of more
personal things. Confidence and trust in your partner (as well as yourself) are important
-- the man in providing signals without words and the lady in recognizing those
signals and responding to them -- although these are learned skills and will become
automatic. Confidence and trust build through exercising your skill.
Should you have an urgent need to learn something quickly, go directly
to the Syllabus, Session Two, and look for the bold faced words "One Step".
Hopefully, when you are less pressured, you will return and pursue the entire course.
Recognizing rhythms can be learned as easily as the cadence in marching.
For more, click here.
SYLLABUS
This syllabus is organized in four sessions. Should you decide to use it, my suggestion
is that you use the links provided, commencing with Session One.
To commence Session One, click here.
To read Preparation for Session Two, click here.
To commence Session Two, click here.
To commence Session Three, click here.
To commence Session Four, click here.
Your choices in using this syllabus are 1) working directly from your computer
while on line; 2) print it out; for information click here;
3) download and work from your computer; click here
for instructions; or 4) purchase a print out organized so you need not skip around;
for details click here.
So much for the very fundamentals. Enjoy! And, after you have mastered this much, if you have an opportunity, take additional instruction or continue with Book 2. Aside from its therapeutic or health benefits, ballroom dancing is perhaps the height of social activity. Everyone should have at least a modest repertoire.
| CONTENTS | ||
|---|---|---|
| ...................................... | .............................................................. | |
| Introduction click here | Initial Figures click here | |
| Fundamentals click here | Rhythm Fox Trot, Rumba, Waltz click here | |
| Rhythm click here | Single Step Swing click here | |
| Stance click here | Syllabus click here | |
| Lead click here |
As in any art form some pursue their art to heights that bring them acclaim or
wealth, or the envy of their peers. But for each such devotee there are many who
simply wish to enjoy the pleasures of casual pursuit. Perhaps the simplest rudiments
of synchronized movement. Perhaps preparing to rise to any social situation
suggesting dancing, or perhaps even challenging themselves to learn a great variety of
patterns so that repetitions may be minimized. Whatever level of skill you aspire to,
there can be great pleasure (and health benefit) in exercising your skill.
There are, of course, several other forms of dance, such as Square, Round,
Clogging, Contra, Country Western, . . ., as well as emphases on certain forms of
ballroom dancing, such as Rock, Shag, Western Swing, . . . Ballroom Dancing
emphasizes music from the Big Band Era (1930s & 40s, and similar music) because
of the immense popularity of Ballroom Dancing at that time (and there were fewer dance
forms widely practiced then.) although much contemporary music is also suited to
Ballroom Dancing. Each dance form has its peculiarities and each has its devotees.
Some of these dance forms might be termed ‘Folk’ dances although Folk Dancing
embraces an exceedingly wide range of ethnic backgrounds and rhythms and their
accompanying patterns of movement, while Ballroom Dancing is international.
I have been involved with dancing for more than three decades and, before that,
with teaching. My experience tells me that the most rapid
learning occurs with a combination of study, demonstration and practice.
In dancing this takes the form of 1) demonstrations of a sequence of footfalls in
keeping with a written description, 2) attempts to act out the same sequence of
footfalls under the watchful eye of an instructor, 3) reading or studying the written
description, 4) listening to music appropriate to the dance so you can visualize and
coordinate the timing of your footfalls, 5) practice the same sequence of footfalls,
moving to the music as you listen, and 6) review under the watchful eye of an
accomplished dancer during the next session with your instructor. Some practice
time each day will be helpful, even if only a quarter hour. And, if music is not
available or is of uncertain value to your practice, count and move in keeping with
the count.
Videos can be helpful, but the subtleties of lead and footwork are not described;
if accompanied by written descriptions that you can read, the video will be much
more helpful. Printed diagrams of foot placement as found in books on learning
to dance lack coordination with tempo and seldom discuss the techniques of leading.
Neither provides music with which to coordinate your movements. The form of
presentation in this work has evolved for my own benefit in recalling demonstrations
and in practicing; while it lacks the demonstrations an instructor provides it has
proved useful to me in recalling so I can practice -- or even remind me of a
sequence of footfalls that has been long neglected.
Dancing without a partner may seem the ultimate in futility. But, men, you can,
all by yourself, pace yourself through the footfalls of a sequence, with or without
music, and move your hands to provide the lead to your lady. And, ladies, you can,
all by yourself, simulate the lead provided by a partner while you pace yourself through
your footfalls. Granted, a partner would provide greater reality, but practice by
yourself is far better than no practice at all.
This work presently consists of three sections:
True, the Introduction is limited to the four dances. But these will embrace
perhaps 70% or more of all rhythms presented in a typical ballroom dance experience.
In your practice between lessons, you are encouraged to emphasize first Rhythm Fox
Trot (some third of rhythms presented will be danceable as Fox Trots), then Swing
(closely akin to Fox Trot in rhythm and the second most popular rhythm), then
Rumba (since it is remarkably similar to the Rhythm Fox Trot), and Waltz (which is
not enough played but seems to get more people on their feet than any other dance).
In starting your Basics, of course there are details to be mastered. Many of them
you are, knowingly or unknowingly, already familiar with. Reviews are presented
under the topics Fundamentals, Rhythm, Stance and Lead. A
Syllabus is provided to help pace you through your early efforts.
Learning requires repetition, and learning to dance is no exception.
Quite apart from the health benefits of Ballroom Dancing (which are considerable)
and the social opportunities it affords, you will likely find the movement to a rhythm
is emotionally soothing, affords the pleasant physical sensations of athleticism, and
confers a sense of accomplishment.
An apology up front: Naming of various figures may differ
from studio to studio as each seeks competitive advantage. I have named as I have
learned, or coined names, or renamed, all without regard for tradition. Where this
causes confusion, please accept my apology; I don’t know how to do otherwise.
To studios and teachers: This web page should be placed
in the hands of new (and recently acquired) students as an assist in their early efforts.
Its presence on the World Wide Web will, hopefully, interest others in acquiring skills
in ballroom dancing. You are welcome to copy it and distribute it freely so long as
you respect my copyright restrictions.
To return to the Syllabus, click here.
Or go to the Contents, click here.
Or continue to Fundamentals. Or use your
BACK button.
Dancing may be broken into forward, backward and side steps. If you can execute a
forward step of from 6 to 15 inches, or a backward step of 3 to 12 inches, or a step
(either to the right or to the left) of 3 to 9 inches, this in keeping with a fixed tempo, you
can successfully do Ballroom Dancing. Yes, advanced figures will require more intricate
foot work and perhaps variations in timing, but these should be deferred until you have
acquired a ‘feel’ for dancing. For now, it is good practice to put music on and
practice stepping in synchronization (time) with the beat of the music.
(We will also use diagonal steps, which are a combination of side steps with forward or
backward steps. That is, as you step forward (or backward) you also increase the
sidewise separation of your feet.)
If you are just beginning and following the syllabus in Session One,
click here. If you are doing
your homework, read on.
The lead always falls to the man; his partner should NEVER anticipate a lead and
commence to move into a figure until her partner gives a cue of some kind. Verbal lead
should not be necessary, but, of course, in early instruction and practice sessions
discussions between partners may prove necessary and even wise. But, when dancing
spills over onto the dance floor in a social setting, it is expected that he will communicate
the lead through his torso, hands and arms, and not his mouth.
In general, a dance is commenced with the Basic figure, and during the dance the
dancers automatically revert to the Basic figure. He should assume she will execute the
Basic figure unless he gives a positive lead to the contrary, and she should assume
his lead is to the Basic figure unless and until she senses a lead to some other figure.
In commencing dance practice, at the first session or two (or three or more), it should
be remembered that either or both may be self-conscious and painfully aware of lack
of experience, which may cause tenseness (or even stiffness). This will be overcome
as confidence builds; it is normal; there is nothing unusual about it. She is not sure
she can follow and is not even sure he can lead; and he is undertaking something that
presents several simultaneous requirements that must all be learned and then put
together. In fact, it may be better to be initially somewhat tense than to be
devil-may-care and flit about with abandon; at least the tenseness is consistent with
desire to do well. But please be assured that confidence builds and, with confidence,
tension lessens.
And, please, please, please: We all share the need for positive experiences. Mistakes
there will be, some oft repeated. Dancing should be pleasurable. Skill will come with
practice. Be resolute to overcome your own shortcomings but light hearted when
viewing your own or your partner’s miscues. And take note of your own as well as
your partner’s improvements.
In using this book it is anticipated that you will repeatedly refer to the articles included
in this introduction. Learning requires repetition, and learning to dance is no exception.
It should not be necessary to address decorum on the public dance
floor. It is an intrusion on the art of Ballroom Dancing to use it for petting, for displays
of affection or intimacy, or for sexual arousal. No one decries the value or appeal of
these, but the public dance floor is, after all, public; behavior that should be private does
not belong there.
We don't wish to exclude from ballroom dancing men who cannot,
for whatever reason, discern the tempo or otherwise cannot provide the lead. I know
couples where the woman consistently provides the lead. But both we and they must
recognize there will be some awkwardness in dancing with others. In the social setting
it is preferable to adapt as best we can; habits can be powerful and it may be
uncomfortable for her to try to follow her partner's lead; conversely, he will still be
handicapped in providing a lead. I won't offer comment on the social nicety of conveying
the suggestion that she should undertake to lead or for this reason refusing an invitation
to dance; it happens; if you want to dance you'll find a way.
If you are following the syllabus and doing your homework in
preparation for Session Two, use your BACK button.
Explanatory note:
If you linked here from Session Two, use your BACK button to return.
Whatever the music, dancing successfully requires synchronizing your body movements
with the rhythm. Like a march, the idea is for your foot to make contact with the floor
just as the beat of the music is struck. As in walking, if weight is to be shifted from
one foot to the other, the shift is commenced upon foot-floor contact even though
completion of the shift may require a fraction of a beat. Motion of the foot that is
travelling should commence early enough in the interval between beats that the foot
arrives at its next position in time to make contact with the floor as the beat is struck.
The first need in learning to dance is to successfully move your hands and feet -- especially
the feet -- in keeping with the rhythm.
(I know some people have difficulty recognizing rhythm; it is an ability that can be much
improved with practice. Take music without a vocalist, just the instruments, and listen
for the regularity in time between striking the notes. Even if you are 'tone deaf' you should be able
to discern the continuity in sound and a regularity in loudness that coincides with the
tempo. Your ability can be greatly improved with practicre.)
If you are following the syllabus in Session One,
click here.
Obviously, you and your partner must sense the beat of the music so you
can discern whatever pattern it follows. With experience you will learn to
recognize rhythm patterns and speed that make for relaxed, comfortable,
graceful dancing that looks and feels good and satisfies that urge.
A gracious lady, however, will follow whatever lead is presented by her
partner and will find it preferable to synchronize her movements with
whatever rhythm, either internal or external, he appears to sense. Social
requirements and personal motive will dictate her response to a perceived
ineptness in his following the rhythm presented by the musicians, and her
acceptance or rejection of an invitation to dance may be her best response
if she prefers to dance correctly synchronized with the music.
For dancing, the whole content of the music is the rhythm. In music styled for dancing
you could strip away the melody and lyrics and dance just as well with the rhythm only.
And the rhythm is generally sounded by percussion or base instruments, which
the rest of the band as well as the vocalist take as their lead in synchronizing
their contribution to the whole. Lyrics are usually written with an accented
syllable to coincide with the first note of a measure, so the explosive ingredient
in singing coincides with the beat produced by the percussion or base instruments
(or piano base). (I must concede that some vocalists stylize their songs by selectively
stretching or compressing the tempo, and instrumentalists are trained to accompany
the vocalist -- with a resultant variation in tempo throughout the vocalist's performance.
And that may make it difficult to follow the tempo with your feet.)
Rhythm. The beat. Rhythm. In starting to learn to dance, practice listening for the
beat of the music. If the music is styled for dancing, the beat should be pronounced
-- very obvious. And there will be a pattern. Listen to music you know to be a waltz
and hear the emphasis on every third beat. Listen to rumba and hear the pair of
quick beats following the single slow beat (which takes the same time interval as two
quick beats). Listen to fox trot and hear the regular 1 - 2 - 3 - 4. If you don't have
music readily available to you, you may wish to attend a dance (possibly a studio
party, where they likely will announce the dance that is upcoming) as an observer to
listen to their offerings.
If you are following the syllabus in Session One,
click here.
Unless you have been given advance notice of what rhythm is to be played,
or you recognize the tune or rhythm, it is probably wise to take a few moments
to listen to the music and try to feel the beat, both the kind and the tempo. You may,
of course, observe other dancers to see what tempo they are apparently following,
but occasionally there will be confusion on the dance floor and different couples
may decide to perform other dances. A Waltz is very popular among dancers, but
waltzing to 4-4 tempo just doesn't feel right on the dance floor, and a fast pace is
better suited to the Viennese Waltz.
(Initially, to gain a sense of the speed of the music, start counting "one-two-three-. . ." at
about two counts per second; do this before you turn on the music and then alter your
speed of counting -- slightly -- to coincide with the beat of the music. If this exercise
requires drastic change in your speed of counting, say doubling or halving, you are
hearing the wrong rhythm; try again. We walk at some 1/2 to 1 second per step, one
second being leisurely or just ambling along; slower makes demands on the sense of
balance; faster than some 3 steps per second can be tiring. Not surprisingly, dancing
seems centered around two seps in one second to three steps in two seconds --
actually a comfortable but somewhat brisk walking pace.)
If you are doing your homework in preparation for Session Two,
click here.
Most dancing is done in the CLOSED position.
CLOSED Position: (Best hand height, arm angle, space between torsos,
varies somewhat from dance to dance and is influenced by styling.) But, in general,
FOOTNOTE: In an ideal dance world, all men would be
of similar height and all women of similar height, some 1”-3” (with heels) shorter than
men; both would be moderately slender, well- muscled, with supple muscles and joints
and free of bodily limitations. However, real bodies come in a variety of heights and
weights and with physical peculiarities that may require adaptation on the part of the
dancers. And some dancers have preferences that should be honored.
If you are following the Syllabus in preparation for Session Two,
use your BACK button.
It should not be necessary to lead with the body although, when the torsos
are in contact, the body lead is dominant. Even so, the lead as provided by
hands and arms should be consistent with a lead given without body contact.
The lady should remember that you can't push a limp string. If she does
not offer a slight resistance to keep their torsos apart, the only choice left to him
is to lead with body contact. If she maintains a slight pressure to push him away
and he restrains her, then she will feel his lead in her arms and torso-to-torso
contact will not be necessary (however desirable or undesirable it may be for other
purposes).
His right hand is his primary instrument for leading. In moving her forward
there will be pressure from his hand toward him since his body is moving away.
In moving to his left there will be pressure of his right hand or wrist in that
direction as well as movement of his shoulder. In moving to his right
there will be motion of his right hand to his right as his body moves right, as well
as movement of his shoulder; if her back is essentially flat under his hand there will
nonetheless be relaxation of pressure as he moves to his right; if he can feel the
roundness of her back so his fingers are somewhat cupped,then his lead will be
felt more prominently. In moving her backward his right hand is of little
value unless she is pushing lightly against him with her left so relaxation of pressure
by his right allows her to move backward. Rotating his hand slightly at the wrist to
apply pressure with the finger tips encourages her to turn CCW; pressure from the
heel of the hand encourages her to turn CW. Upward pressure
encourages her to rise on her toes and stop her backward movement, and
downward pressure encourages her to flex her knees to lower her torso in
response.
His right arm may be moved up or down slightly to suggest a forthcoming
sideways movement, down to suggest his left and up to suggest his right
Her left hand on his right shoulder allows her to sense movement of his torso.
Especially if she is to move backward, she will feel pressure on her left hand.
His left arm is of lesser importance in providing a lead, but it is at the same time
crucial for some figures. For instance, slight movement either backward (to him)
or down encourages her to turn CCW. And raising his arm is necessary to under
arm (arch or CW) turns, while raising and moving it CCW over her head is
necessary to a reverse (loop or CCW) turn.
The feet cannot be used to give a lead since it is considered bad form to look at
the feet and even worse to kick or step on the other. Moving the feet is, of course,
crucial since it is the essence of dancing; but looking at them is to be avoided.
Length of step is not crucial in the social dance setting (although it is crucial in
competition dancing), though it varies from dance to dance. It should be
comforable and, if the dance floor is crowded, consistent with available floor space .
As a carry-over from round dancing, the author may occasionally slip and refer to
If you are following the Syllabus, use the BACK button.
Note that you always wish to have your foot contact the floor as the beat is struck;
shifting your weight to that foot will follow immediately without attention on your part.
Walk forward, one 12- to 15-inch step for each beat of music, or each count; time your
movement so your foot makes contact with the floor as the beat is struck. Walk
backward, again one 9- to 12-inch step for each beat of music or count. Move left by
advancing your left foot 6- to 9-inches, bringing your right foot alongside, advancing your
left again ... Then move right by advancing your right ... Do it! Walk forward. Walk
backward. Move several steps to the right. Move several steps to the left.
(If you are following the syllabus in Session One,
click here.)
You should also practice moving diagonally. Step forward on your left foot and place
your weight on it, and then advance your right foot forward and to the right so that, as
your foot moves forward, the sidewise separation of your feet increases. 12 inches
forward and 9 inches to the side -- no need to measure, just guess -- is a reasonable
diagonal step. Shift weight to your right foot and then bring your left foot alongside
and shift your weight to your left foot. Or step backward on your right, then move
your left foot diagonally backward and to the left, and then bring your right foot
alongside
You can combine these movements while moving to the count (1 - 2 - 3 - 4): (No music)
If you are following the syllabus in Session One,
click here.
INTRODUCTION
Ballroom dancing is an art form. It is bodily movement synchronized with a rhythm
provided by some form of musical instrument(s). While the music is itself an art
form, in dancing we take advantage of the rhythm. And through tradition we have
adopted certain rhythms that we synchronize with selected patterns of bodily and
foot movement. And we give these patterns of movement names, such as Fox Trot
or Waltz or Rumba or Polka. So we have for each pattern of movement (or dance)
rhythms that most comfortably encourage that particular pattern.
1) This web page, Inroduction and
beginning handwork and footwork, will get you started with as little detail as possible;
dances are limited to Fox Trot (Rhythm only), Waltz, Rumba and Swing (Single Step). If
this proves helpful to you, then you consider the second section.
2) Your Initial Repertoire continues from Basics by introducing a modest variety of
figures for the above dances and adding Progressive Fox Trot, Triple Step Swing,
Cha Cha, Samba and Tango with a modest variety of figures for each. (For information on
availability, e-mail the author by clicking here.
3) Completing your Basic Repertoire rounds out a reasonable repertoire for all nine
of the above and introduces other dances (with a small set of figures for each) for which
appropriate music is commonly played only by request. In preparation.
A fourth section, Synchronized Figures extends the repertoire to more elaborate
figures and perhaps may assist in devising interesting figures beyond those described; it is
a work in progress and, at my present rate of effort, will never be completed.
There is no thought for presenting an exhaustive collection of figures; that is a task for the
professionals.
For his own convenience the author refers to a ‘dance’ as a set of figures that are
consistent with a particular rhythm and/or tempo. Such as Fox Trot, Waltz, . . . He
refers to a ‘figure’ as a combination of footfalls that lead the couple through a pattern.
Such as Arch Turn, Twinkle, . . . (You will encounter these terms later.) He refers to a
‘step’ as an individual footfall as the foot makes contact with the floor.
CW and CCW: Many figures involve circular movements. For convenience the author
uses the engineering concepts of clockwise (CW) and counter-clockwise (CCW).
You are familiar with the hands of a clock moving in a circle on the center pins,
turning from 12 (straight up) to the right and down to 3, continuing down and left to 6,
continuing left and up to 9 and returning up and right to 12. You have doubtless looked
down on a clock and recognized the same circular movement. It is circular movement
like the hands of the clock that we call clockwise (CW); movement in the other direction
must then be counter-clockwise (CCW). If you stand, using the inner edge of a foot
as a pivot, and move your right shoulder forward while moving your left shoulder
backward, you are turning CCW.
Have you noticed that motion that is rhythmic requires less energy, is less tiring? So it is
with dancing: The same energy required by a fast swing, if spent in some non-rhythmic
activity, would be much more tiring. By the same token, dancing against the rhythm
of the music is tiring.
STANCE
In general, stand erect, chest and shoulders up with full lungs, head held with pride
(though not haughty).
Stand facing each other (amount of space between depends on dance --
almost grazing to a small air gap is fine for the Fox Trot and Waltz), body shifted
slightly left so his right foot points between her feet.
Feet close together but spaced comfortably apart
Knees bent slightly forward (not stiffly straight and certainly not locked)
His arms form a frame around his lady to support and assist her as well
as to convey his lead
Read the footnote.
His left arm bent at elbow to form 90-135 degree angle & extended to place his left
hand at or about her chin level, palm up and forward, her right arm extended to place her
hand in his, palm to palm, his hand tilted slightly for comfort & fingers wrapped lightly
around her hand. (Her right hand should be at a height comfortable for her, usually above
her elbow, preferably above her shoulder and below her ear, certainly not over her head
unless there is appreciable difference in height.)
Her left hand on the outer edge & forward slope of his shoulder, left arm
resting on his right arm.
His right arm forming a straight line when viewed from the side
If you haven't read the footnote, do so now.
His right hand placed as comfortable for both dancers following the comments
above about his right arm; if she expresses a preference, it should most assuredly be
honored. Yes, there may be a bra strap there and it may initially be obvious to his fingers
but, since it has been there most of her life, she is not likely to be aware of it;
it will fade into non-recognition by him.
It is difficult to state exactly how his right hand should be placed because of
disparities in height and weight between potential partners. But, lacking other guidance,
consider this: His hand should be no higher than centered on her shoulder blade nor
(unless required otherwise) lower than with little finger at her waist; preferably it will be
somewhat above half-way between her belt line and the center line of her breasts.
If she is small enough that it is comfortable to place his finger tips in the groove
to his left of the bony ridge of her spine, that makes for her sensitivity to his lead.
(Some ladies will expect the man’s arm to be extended on across her back so
his palm rests over her spine or even with his forearm pressed against her side. It is
better form and makes for easier practice sessions to avoid wrapping her so completely.)
Gaze of each over the partner’s right shoulder.
LEAD
Not enough is commonly said about the techniques by which a man conveys
his lead to his partner. It must vary somewhat from fox trot or waltz to
tango to swing because of the variations in contact between the partners.
Lead foot: always his left, her right foot
Odd foot: always his right, her left foot
Sometimes reference may be to lead foot, arm or shoulder, or to odd hand, arm or
shoulder. Lead is always his left and her right; odd is always his right and her left.
To prepare for the figures to come, you should get some practice in moving with the
tempo of dance music. If you have it available, play some Fox Trot (4-4) music; if not,
then count 1-2-3-4 ... during this exercise.
All to the beat of the music.
For each Step#, move your foot as indicated, shifting weight to the active foot with
each step.
1. Left foot forward about 12 inches and take weight on it
2. Right foot diagonally (forward & to the right) so it is level with the Left
but 6 to 9 inches away; take weight on the R foot
3. Left foot alongside, taking weight on the L foot
4. Right foot forward about 12 inches and take weight on R
5. Left foot diagonally (forward & to the left), level w/R but 6-9" away;
take weight on L
6. Right foot alongside, taking weight on R
Your Left foot is now free to repeat the figure. Repeat it several times.
| Count | Voice as | Foot movement |
|---|---|---|
| 1 - 2 | Slow | Left foot forward and take weight on it |
| 3 | Quick | Right foot diagonally (forward & to right) so it is level with Left but 6 to 9 inches away; take weight on the R foot |
| 4 | Quick | Left foot alongside, taking weight on L foot |
| 5-6 | Slow | Right foot forward and take weight on R |
| 7 | Quick | Left foot diagonally (forward & left), level w/R but 6-9" away; take weight on L |
| 8 | Quick | Right foot alongside, taking weight on R |
In dancing we must also move backward. Continue the above with this slight variation:
| Count | Voice as | Foot movement |
|---|---|---|
| 1 - 2 | Slow | Left foot backward and take weight on it |
| 3 | Quick | Right foot diagonally to the right so it is level with Left but 6 to 9 inches away; take weight on the R foot |
| 4 | Quick | Left foot alongside, taking weight on the L foot |
| 5 - 6 | Slow | Right foot backward and take weight on R |
| 7 | Quick | Left foot diagonally to the left, level w/R but 6-9" away; take weight on L |
| 8 | Quick | Right foot alongside, taking weight on R |
Note that, with each step, you shifted your weight, i.e., when you stepped forward with the left foot, you shifted your body weight so your weight was supported by the left foot.
In dancing the Waltz, each step takes the same time interval as every other step; in dancing the Fox Trot (or Rumba), sidewards (or diagonal) movement is generally accomplished with both steps in the same time interval of one step forward or backward, that is, with Slow and Quick steps. So you have now done half the basic movements of the Waltz and all for the Rumba (and Rhythm Fox Trot, with a minor variation).
I assume both ladies and men have done these exercises together, everyone facing the same direction. What you have done is the steps necessary to the "Basic Box," That is, if you assumed dance positions with the lady facing the man, she will back while he goes forward, and vice versa. In Session Two you will assume dance positions and commence.
If you are following the Syllabus in Session One, click here.
Assuming you read Stance (to read it, click here), assume the Closed Position and let us commence.
Basic Box (Slow-Quick-Quick or S-Q-Q timing)
Lead: Closed position. Throughout Basic Box the lead is natural pressure
(of his left hand on her right hand, his right shoulder on her left hand, and his right
hand on her back) as his body moves forward, backward or sideways. He need give
no special hand or body movements until he is ready to lead another figure.
| Step | Voice | He | .. | She | |
|---|---|---|---|---|---|
| # | Count | as | |||
| First Half | |||||
| 1. | 1-2 | S | L fwd | R back to match | |
| 2. | 3 | Q | R fwd & to side level w/L | L back & to side level w/R | |
| 3. | 4 | Q | L close | R close | |
| Second Half | |||||
| 4. | 5-6 | S | R back | L fwd to match | |
| 5. | 7 | Q | L back & to side level w/R | R fwd & to side level w/L | |
| 6. | 8 | Q | R close | L close | |
This same Basic Box is used, with slight variations, in the Rhythm Fox Trot, in the Waltz, and in the Rumba.
In all dances, the First Half of the Basic Box is often used to commence another figure, and the Second Half may be used to complete a figure.
It is sound practice, until you gain considerable experience, to return, after each figure, to the Basic Box to provide a starting point for the ensuing figure.
You may have recognized that it is increasingly awkward to use the two columns, "Count" and "Voice As." "Voice As" will be discontinued since, in Fox Trot and Rumba, S takes two counts and Q takes one.
If you are following the Syllabus in Session Two, use your BACK button.
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | First Half | ||
| 1. | S | L fwd 12-15"; R fwd to brush L | R back; L back to brush R | |
| 2. | Q | R rt 8-12" | L lft | |
| 3. | Q | L close | R close | |
| Second Half | ||||
| 4. | S | R back 12-15"; L back to brush R | L fwd; R fwd to brush L | |
| 5. | Q | L lft to start | R rt to start | |
| 6. | Q | R close | L close | |
If you are following the Syllabus in Session Two, use your BACK button.
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | First Half | ||
| 1. | S | L fwd 8-12" | R back | |
| 2. | Q | R diagonal level w/L & side 3-8" | L diagonal level w/R & side | |
| 3. | Q | L close | R close | |
| Second Half | ||||
| 4. | S | R back 8-12" | L fwd | |
| 5. | Q | L diagonal level w/R & side to start | R diagonal level w/L & side | |
| 6. | Q | R close | L close | |
If you are following the Syllabus in Session Three, use your BACK button.
| Step | First Half | ||
|---|---|---|---|
| # | He | .. | She |
| 1. | L fwd 8-18" | R back | |
| 2. | R diagonal level w/L & side 6-15" | L diagonal level w/R & side | |
| 3. | L close | R close | |
| Second Half | |||
| 4. | R back 8-18" | L fwd | |
| 5. | L diagonal level w/R & side to start | R fwd diagonal level w/L | |
| 6. | R close | L close | |
If you are following the Syllabus in Session Three, use your BACK button.
Simple variations on the Basic Box for both Rhythm Fox Trot and Waltz are the
Travelling Basic and the Running Basic. In the
Travelling Basic he goes forward on the first footfall of each half of the Basic
Box (Steps 1 and 4); less commonly (because of his visual sweep of the dance
hall and nearby dancers) he goes backward. In the
Running Basic he goes forward on each footfall so that
all footfalls result in forward progress.
But in both figures, retain the 3 steps per half basic.
If you are following the Syllabus in Session Three,
use your BACK button.
RHYTHM FOX TROT, RUMBA, WALTZ
Left Turning Box (for Rhythm Fox Trot)
Lead: Shoulders turn as feet describe arc of a circle; relative positions of
torsos unchanged; each half box moves through 1/4 circle.
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | First Half (Quarter turn) | ||
| 1. | S | L fwd CCW 1/4 turn; R brush L | R back to match; L brush R | |
| 2. | Q | R to side | L to side | |
| 3. | Q | L close | R close | |
| Second Half (Quarter turn) | ||||
| 4. | S | R back CCW 1/4 turn; L brush R | L fwd to match; R brush L | |
| 5. | Q | L to side | R to side | |
| 6. | Q | R close | L close | |
It contributes to 'feel' to lean very slightly in the direction of turn, i.e., lean slightly to the left in a CCW turn or (in the next-described Right Turning Box) to the right in a CW turn.
Right Turning Box (for Rhythm Fox Trot)
Lead: Shoulders turn as feet describe arc of a circe; relative positions of torsos unchanged
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | |||
| 1-3 | First Half Basic Box | |||
| 4. | S | R fwd CW 1/4 turn; L brush R | L back to match; R brush L | |
| 5. | Q | L to side | R to side | |
| 6. | Q | R close | L close | |
| 7. | S | L back CW 1/4 turn; R brush L | R fwd to match; L brush R | |
| 8. | Q | R to side | L to side | |
| 9. | Q | L close | R close |
Weave (for Rhythm Fox Trot)
Lead: Shoulders turn as feet describe arc of a circle
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | |||
| 1. | S | L fwd CCW 1/4 turn; R brush L | R back to match; L brush R | |
| 2. | Q | R to side | L to side | |
| 3. | Q | L close | R close | |
| 4. | S | R fwd CW 1/4 turn; L brush R | L back to match; R brush L | |
| 5. | Q | L to side | R to side | |
| 6. | Q | R close | L close | |
Left Turning Box (for Waltz; all steps same time interval)
I'm sure you have enough imagination to substitute "S" for each "Q" in the description
of this box for Fox Trot, since the only difference is that all footfalls in Waltz have the
same time value.
Right Turning Box (for Waltz; all steps same time interval) As Left Turning Box for Waltz, you may substitute "S" for each "Q" in the desciption of the comparable Box for Fox Trot.
Weave (for Waltz; all steps same time interval) As you did with Turning Boxes for Waltz, you may substitute "S" for each "Q" in the description of Weave for Fox Trot.
Side-to-Side Basic (for Rumba)
Lead: Closed position
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | First Half | ||
| 1. | S | L lft 8-12" | R rt | |
| 2. | Q | Rock onto R | Rock onto L | |
| 3. | Q | L close; take weight | R close; take weight | |
| Second Half | ||||
| 4. | S | R rt 8-12" | L lft | |
| 5. | Q | Rock onto L | Rock onto R | |
| 6. | Q | R close; take weight | L close; take weight | |
NOTE: Travelling Basic and Running Basic are not commonly done in Rumba unless necessary to reach a more favorable spot on the dance floor. And Side-by-Side Basic is not commonly done in Rhythm Fox Trot or Waltz even though it may serve a useful purpose on a crowded dance floor.
There are several underarm turns (where she goes under his upraised left arm). In this one (called, simply, the Arch Turn), She walks forward in a tight circle to return to Closed position while He does two complete Basic Boxes.
Arch Turn (for Fox Trot; adjust for Waltz and Rumba)
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | |||
| 1-3 | as Basic Box | as Basic Box | ||
| Lead: During Step 4 He raises his lft straight up above the height of her head and rotates his hand to palm down so her fingers now rest on his thumb; his rt urges her to his left and in a CW turn and follows through, allowing her to maintain contact with his lft once her rotational move is obviously commenced. | ||||
| 4 | S | R back | L forward | |
| Lead: In Steps 5-10 move lft in a circle over her head; her hand must rotate as she turns although a loose hand hold should be continuous; keep rt in position to receive her after her turn is completed. | ||||
| 5 | Q | L: continue Basic Box | R forward commencing to turn CW | |
| 6 | Q | R: ditto | L forward continuing to turn CW | |
| 7 | S | L: ditto | R: ditto | |
| 8 | Q | R: ditto | L: ditto | |
| 9 | Q | L: ditto | R: ditto | |
| 10 | S | R: ditto | L: ditto, completing CW full turn | |
| Lead: Return hands to Closed position | ||||
| 11 | Q | L: continue Basic Box | R to side as in Basic Box | |
| 12 | Q | R to complete Basic Box | L to complete Basic Box | |
If you are following the Syllabus in Session Four, use your BACK button.
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | |||
| 1. | S | L to lft & take weight | R to rt & take weight | |
| 2. | S | R to rt & take weight | L to lft & take weight | |
| 3. | Q | L back 3-6" rotating body CCW about 1/8 turn so L crosses over behind R to take weight momentarily | R back 3-6", rotating body CW about 1/8 turn so R crosses over behind L to take weight momentarily | |
| 4. | Q | Rock onto R, returning to face | Rock onto L, returning to face | |
Arch & Loop Turns (for Single Step Swing)
This is best done starting with the modified hand holds described above under Single Step Swing Basic.)
| Step | He | .. | She | |
|---|---|---|---|---|
| # | Count | |||
| Arch and Loop Turns comprise a single figure; it should be preceded by a Basic | ||||
| Lead: He raising his lft high enough she can comfortably go under & gently tugging CW with his rt enough she understands his invitation to turn; he may follow thru part way | ||||
| 1. | S | As #1 in Basic; commence turn CCW | R fwd; on ball of foot turn CW while crossing to her right | |
| Lead: Maintain loose hand hold but lower lft to allow her more freedom of motion | ||||
| 2. | S | As #2 in Basic; complete aprx 1/4 turn | L complete 3/4 turn to face him | |
| 3. | Q | Back on L | Back on R | |
| 4. | Q | Rock back onto R | Rock back onto L | |
| Lead: Raise lft and pull her with CCW motion over her head | ||||
| 5. | S | As #1 in Basic; commence turn CW | R fwd; on ball of foot turn CCW while crossing back to her left | |
| Lead: Restore hand holds | ||||
| 6. | S | As #2 in Basic; complete CW to face her | L complete CCW turn to face him | |
| 7. | Q | Back on L | Back on R | |
| 8. | Q | Rock back onto R | Rock back onto L | |
You may note that the Arch Turn in Single Step Swing differs from that used in Rhythm Fox Trot, Rumba and Waltz in that she turns approximately 3/4 of a full circle while he turns about 1/4 of a full circle. (You will encounter other Arch and Loop Turns in Rhythm Fox Trot, Rumba and Waltz later.)
If you are working from the Syllabus in Session Four, use your BACK button.
WORKING FROM THE SYLLABUS:
Session One
You have begun. At the end of the suggested portion of each discussion, a link is
provided to move you forward or return you here so you can link to the next segment
of the session.
To commence, click here.
You have returned here from comments on rhythm.
Listen to music to sense the accented beats or rhythm. Waltz, Rumba, Fox Trot. (If
an electronic keyboard is available, play one of the sample numbers that is a Waltz, first with full
accompaniment and then switch out the melody to hear rhythm only; switch back and
forth until you are comfortable picking the rhythm from the whole. Repeat with the
Fox Trot.)
You are now ready to get your whole body into the action.
To commence, click here.
You have returned from instructions on foot movement.
If you are in a group or with a partner, face the same direction and practice foot
movements in silence. Move forward. Move backward. Move to the right. Move to
the left. Repeat. Repeat again and until you feel comfortable moving in all four directions.
Then practice with audible counting (in a cadence, rhythmically) 1-2-3-4, 1-2-3-4,
1-2-3-4, . . . Don't be bashful about repeating several times.
Then practice with Fox Trot rhythm, preferably with music you know to be compatible
with the Fox Trot. Now you can begin to feel the pleasure of rhythmic movement.
To continue, click here.
You have commenced moving your body. Good. But don't
be impatient; remember we start at different levels of experience and my task is to bring
all of us together. We will presently (if you have a partner) commence the first steps of
actual dancing.
But first, we must convert the count in numbers to counts in "Quick" and "Slow."
So, to continue,click here.
You have moved forward, sideways and backward using as your count combinations of "Slow" and "Quick". You are now ready for Session Two. Of course, you have a homework assignment; to proceed, click here.
In preparation for Session Two, you should:
I know I risk losing my audience, but I should point out that the simplest dance
of all is the One Step, where you alternate feet and keep time to the music
with your feet, moving forward, backward, in circles or remaining in one spot. I am
forever amazed at how much ingenuity men have put into the One Step in preference
to accepting the discipline of learning the proper dances. In your early dance career,
while you are learning the nuances of various dances, you may find yourself at a
public dance and wish to participate; the One Step is wholly acceptable for the
beginning novice and many ladies would prefer the One Step to sitting.
In preparation for Session Three, review and practice.
Click here for an explanatory note.
To return to the Syllabus,click here.
To follow the Syllabus from a print-out,
first number the paragraphs (including the links) in the Introduction
(15 paragraphs), Fundamentals (13), Rhythm (13), Stance (5),
Lead (11), Initial Figures (34), and (near the end) SessionOne (7).
Preparation for Session Two
Somewhere along the way you will wish to read the Introduction in its entirety.
Read Fundamentals in its entirety; note especially comment about returning to
the Basic figure. To go there, click here
Read Rhythm in its entirety; if you have music available, practice counting
with the rhythm. Click here.
Read Stance; to do so click here.
Review Initial Figures to remind you of what you have accomplished already.
To do so, click here.
And PRACTICE.
To return to the Syllabus, click here.
Session Two
I threw a lot of stuff at you in Session One. You may benefit from reviewing it,
or even repeating part of it. Don't be hard on yourself if you aren't an instant expert; I
spent years training my feet to hear the rhythm and follow what my head told them to do.
You may need to play music styled for dancing -- it's available on CDs and cassettes --
and for the Waltz, Fox Trot and Rumba practice counting with the rhythm. Although
hearing the rhythm is a skill that can be enhanced, without it you will remain handicapped
in your dance program. I cannot sell but can lend you a cassette prepared for that
purpose -- Be in touch.
Start with the Basic Box; click here.
With only a slight variation in footwork, you may now perform the
Rhythm Fox Trot Basic Box. Click here.
Read Lead; to do so click here.
Session Three
You are well on your way. You should review the Basic Box and double check
any points in the discussions on fundamentals, rhythm and stance. Review
Lead; click here.
Again, with only a slight variation in bodily motion, you are prepared for the
Rumba Basic Box. Click here.
And with a change from 4-4 time to 3-4 time you may practice the Waltz Basic
Box. Click here.
Then you may proceed to Travelling Basics and Running Basics.
Click here.
Isn't it amazing how much ground you can cover in just
three sessions!
To return to the Syllabus, click here.
Session Four
You need practice. As much as you can find opportunity to do.
Now we will do some variations on what you have already learned:
Click here.
And, since it can be danced to many 4-4 rhythms that also lend to the
Fox Trot, let us commence the Single Step Swing.
Click here.
To return to the Syllabus, click here.
Somewhere along the way you will wish to read the Introduction in full; as a
minimum read paragraphs 1-2 now.
| Session One | |||||||||
| Order | Section | - | Paragraphs | -------- | Order | Section | - | Paragraphs | |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Session One | 1 | 6 | Session One | 3 | ||||
| 2 | Fundamenals | 1-4 | 7 | Initial Figures | 5-7 | ||||
| 3 | Rhythm | 1-5, 9-10 | 8 | Session One | 4 | ||||
| 4 | Session One | 2 | 9 | Initial Figures | 8-14 | ||||
| 5 | Initial Figures | 1-4 | |||||||
| In preparation for Session Two read all of Fundamentals, Rhythm, Stance | |||||||||
| and review Initial Figures 1-14 | |||||||||
| - | |||||||||
| Session Two | |||||||||
| 1 | Session Two | 1 | 4 | Initial Figures | 21-23 | ||||
| 2 | Initial Figures | 14-20 | 5 | Lead | read all | ||||
| 3 | Session Two | All | |||||||
| - | |||||||||
| Session Three: Reread section Lead | |||||||||
| 1 | Initial Figures | 24-26 | 3 | Initial Figures | 30-34 | ||||
| 2 | Initial Figures | 27-29 | |||||||
| - | |||||||||
| Session Four | |||||||||
| Practice, Practice, Practice | |||||||||
| 1 | Rhythm Fox Trot, Rumba, Waltz | ||||||||
| 2 | Single Step Swing | ||||||||
Print out: In a simple print-out of this web page the
links in the sessions won't work. If you wish to use a print-out from your
computer, the sequence followed in this Syllabus is described immediately above.
This may serve your purpose or you may follow the information in
the next paragraph.
Download: Your computer downloads the HTML file so your
browser can display it. If you simply print the file the links won't work despite
being shown on the print-out. That may serve your purpose, but if you
wish to use the links you must SAVEAS (perhaps c:\dancelesson.htm -- htm
extension is important). Then the links should work OK when you open that file
with your browser.
Hard Copy: I offer a copy of this Syllabus so
you can work straight through page by page at your local dance club or senior center
ballroom or wherever at home you have at least 4x6 ft. Pages lie flat. For details,
click here.
You may use your BACK button to return to the web page
You may use your BACK button to return to the web page
You may use your BACK button to return to the web page
You may use your BACK button to return to the web page
DISCLAIMER: Safety of yourself and others is always a
prime consideration; you must at all times exercise judgment in this regard no matter
what you do. Since I have no control over what you do, I must be freed of any and
all responsibility for what results, good or bad, from your possession or use of this
document and the information contained in it.
COPYRIGHT RESTRICTION:
Feel free to use this material to support your efforts to encourage ballroom dancing so
long as you (1) respect my copyright and prominently display my copyright notice (in
readily readable type size and style) in any printed or electronic form and
(2) include the Introduction and this restriction without change (except that other notes
in the color blue may be deleted). The self-help poster may be freely printed and
distributed exactly as is, without change and including the reference to my web site. I
trust you will exercise good will in your use of materials I offer in good will, without
royalty or other charge.
Use your BACK button to return to the top.
For a printed copy from me, see "Hard Copy", above, or
slick here.