Quickstep Variation - Practice Night Notes
21/07/22 21:48
Notes from our July Practice Nights 2022
Man Starts Facing Diagonal to Wall into a Corner
Natural Hesitation Turn into the Corner (SQQSSS)
Progressive Chasse to Right moving Diagonal to Centre (SQQSS)
Six Quick Run (QQQQQQ) (Lock on Step 5)
1-3 Natural Turn (SQQ)
Open Impetus (SSS)
Wing (SQQ) (Moving Diagonal To Centre)
Closed Telemark (SSS) (Lady does Heel Turn)
Fishtail (SQQQQS)
1-3 Natural Turn (SQQ)
Man Starts Facing Diagonal to Wall into a Corner
Natural Hesitation Turn into the Corner (SQQSSS)
Progressive Chasse to Right moving Diagonal to Centre (SQQSS)
Six Quick Run (QQQQQQ) (Lock on Step 5)
1-3 Natural Turn (SQQ)
Open Impetus (SSS)
Wing (SQQ) (Moving Diagonal To Centre)
Closed Telemark (SSS) (Lady does Heel Turn)
Fishtail (SQQQQS)
1-3 Natural Turn (SQQ)
Waltz Variation - Practice Class Notes (18th Aug)
23/08/19 15:25
Notes for our Practice Night on the 18th Aug
Commence Facing Diagonal to Wall (Long Side)
1-3 Natural Turn (Timing: 1,2,3)
4-6 Natural Spin Turn (without foot rise on steps 5 and 6) (Timing: 1,2,3)
Hold Position (Lady Shaping to the Left) (Timing: 1,2)
Reverse / Slip Pivot on RF (Man) LF (Lady) Turning Half Left to Face Diagonal to Centre (Timing: 3)
Progressive Chasse to Right (moving Diagonal to Centre Turning 1/2) (Timing: 1,2&3)
Outside Change (Lady Outside Partner) Finish Facing Diagonal to Wall (Timing: 1,2,3)
1-3 Natural Turn (Timing: 1,2,3)
4-5 Natural Spin Turn (Finish Facing the Line of Dance) (Timing: 1,2)
Turn Lady to Promenade Position and Run Through in Promenade Position 2 Steps (Curve Right to the Wall) Stay on Toes (Timing: &3)
Step to Side LF (Man) RF (Lady) Turning and Sway to Left Relaxing into the Knee and Lower (Timing: 1)
Chasse to Right (moving Diagonal to Centre) (Timing: 2&3)
1-3 Outside Change (Lady Outside Partner) Finish Facing Diagonal to Wall (Timing: 1,2,3)
1-3 Natural Turn (Timing: 1,2,3)
Commence Facing Diagonal to Wall (Long Side)
1-3 Natural Turn (Timing: 1,2,3)
4-6 Natural Spin Turn (without foot rise on steps 5 and 6) (Timing: 1,2,3)
Hold Position (Lady Shaping to the Left) (Timing: 1,2)
Reverse / Slip Pivot on RF (Man) LF (Lady) Turning Half Left to Face Diagonal to Centre (Timing: 3)
Progressive Chasse to Right (moving Diagonal to Centre Turning 1/2) (Timing: 1,2&3)
Outside Change (Lady Outside Partner) Finish Facing Diagonal to Wall (Timing: 1,2,3)
1-3 Natural Turn (Timing: 1,2,3)
4-5 Natural Spin Turn (Finish Facing the Line of Dance) (Timing: 1,2)
Turn Lady to Promenade Position and Run Through in Promenade Position 2 Steps (Curve Right to the Wall) Stay on Toes (Timing: &3)
Step to Side LF (Man) RF (Lady) Turning and Sway to Left Relaxing into the Knee and Lower (Timing: 1)
Chasse to Right (moving Diagonal to Centre) (Timing: 2&3)
1-3 Outside Change (Lady Outside Partner) Finish Facing Diagonal to Wall (Timing: 1,2,3)
1-3 Natural Turn (Timing: 1,2,3)
Radbourne Rumba - Summary Script
09/10/18 20:26
Radbourne Rumba
Arranged by Stuart Perry & Beverly Howard (Sept 2018)
Script Summary for those who attended our Sequence Class on Sunday 7th October.
Commence in Shadow Hold, Lady Slightly to Mans Right Side and Facing the Line of Dance. Mans Right Hand on Lady's Back, Left Hand Holding the Lady's Left Wrist.
Man and Lady Dance on the same foot for Bars 1 - 4 and 13 - 16.
Bar 1 - LF Fwd Check, Replace and Side (Check Diagonal to Wall)
Bar 2 - Spot Turn to Left (Releasing Hold)
Bar 3 - 3 Rumba Walks Fwd (In Shadow Hold)
Bar 4 - Cucaracha to Right (Closing RF to LF without weight (Man), with weight on RF (Lady))
Bar 5 - Back Basic finishing Fwd on Right Foot Facing Line of Dance (Man), 4-6 Hip Twist Lady (2 steps fwd LF & RF then 1/2 turn Left to face Man finish back on LF), Take Left to Right Hand Open Hold
Bar 6 - Open Basic
Bar 7 - Alemana Turn from Open Position
Bar 8 - Rope Spin (Lady finishes on Mans Left Side both facing the Line of Dance)
Bar 9 - Travelling Solo Turns (Man Turns Right, Lady Left to both finish backing the Line of Dance with Lady on Mans Right Side)
Bar 10 - 1 -3 Open Box to Change Places (Man moves rightwards in front of Lady, Lady moves Leftwards behind Man to finish on Mans Left Side, both facing against the Line of Dance)
Bar 11 - Back Zig Zag turning 1/2 a turn inwards to finish in Right Side Position facing the Line of Dance
Bar 12 - Cucaracha (Lady Closes RF to LF without Weight)
Bar 13 - Zig Zag Forwards and Leftwards with Ronde Ending on LF
Bar 14 - Back LF, Close RF to LF, Side LF
Bar 15 - Cuban Rock
Bar 16 - Spot Turn to Right (Point LF to Side without Weight)
Arranged by Stuart Perry & Beverly Howard (Sept 2018)
Script Summary for those who attended our Sequence Class on Sunday 7th October.
Commence in Shadow Hold, Lady Slightly to Mans Right Side and Facing the Line of Dance. Mans Right Hand on Lady's Back, Left Hand Holding the Lady's Left Wrist.
Man and Lady Dance on the same foot for Bars 1 - 4 and 13 - 16.
Bar 1 - LF Fwd Check, Replace and Side (Check Diagonal to Wall)
Bar 2 - Spot Turn to Left (Releasing Hold)
Bar 3 - 3 Rumba Walks Fwd (In Shadow Hold)
Bar 4 - Cucaracha to Right (Closing RF to LF without weight (Man), with weight on RF (Lady))
Bar 5 - Back Basic finishing Fwd on Right Foot Facing Line of Dance (Man), 4-6 Hip Twist Lady (2 steps fwd LF & RF then 1/2 turn Left to face Man finish back on LF), Take Left to Right Hand Open Hold
Bar 6 - Open Basic
Bar 7 - Alemana Turn from Open Position
Bar 8 - Rope Spin (Lady finishes on Mans Left Side both facing the Line of Dance)
Bar 9 - Travelling Solo Turns (Man Turns Right, Lady Left to both finish backing the Line of Dance with Lady on Mans Right Side)
Bar 10 - 1 -3 Open Box to Change Places (Man moves rightwards in front of Lady, Lady moves Leftwards behind Man to finish on Mans Left Side, both facing against the Line of Dance)
Bar 11 - Back Zig Zag turning 1/2 a turn inwards to finish in Right Side Position facing the Line of Dance
Bar 12 - Cucaracha (Lady Closes RF to LF without Weight)
Bar 13 - Zig Zag Forwards and Leftwards with Ronde Ending on LF
Bar 14 - Back LF, Close RF to LF, Side LF
Bar 15 - Cuban Rock
Bar 16 - Spot Turn to Right (Point LF to Side without Weight)
The Tango Walk
24/04/18 21:08
The following guidance was provided by Alex Moore in 1947:
Walking movements in the Tango are not taken with the man facing the Line of Dance (LOD). In practically all forward movements the man should stand rather obliquely, with his right hip and shoulder in advance of the left. In backward movements the reverse will apply.
The positioning of the body at the commencement of the dance will affect the Walk in the following ways:
1. Each step taken forward with the left Foot will give the effect of moving across the body (called "Contrary Body Movement Position" CBMP) and the legs will be locked together above the knees. The left toe will tend to turn out.
2. As a step is taken on the Right Foot the legs will unlock. The right toe will end to turn inwards.
3. This action will result in the Walk taking the line of a wide curve to the man's Left.
Although the balance and distribution of weight are similar to those in other dances, there are important characteristics in the Tango that should be noted.
1. Knees: The knees are kept slightly relaxed throughout the dance.
2. Placing of Feet: All Walking steps in the Tango are picked up from the floor slightly and placed into position. This is in direct opposition to the sliding movement of other dances. Care must be taken not to exaggerate this action. It is preferable to keep the ball of the foot of the moving leg skimming over the floor until it nearly reaches the supporting foot, then lifting it slightly from the floor and placing it sharply in position. The curving of the Walks to the left will result in the weight being taken on the left edge of both feet in all forward movements and right edge in backward movements.
3. Sharpness; The crisp action of the Walk is obtained by delaying the movement of the foot that is not supporting the weight of the body.
Walking movements in the Tango are not taken with the man facing the Line of Dance (LOD). In practically all forward movements the man should stand rather obliquely, with his right hip and shoulder in advance of the left. In backward movements the reverse will apply.
The positioning of the body at the commencement of the dance will affect the Walk in the following ways:
1. Each step taken forward with the left Foot will give the effect of moving across the body (called "Contrary Body Movement Position" CBMP) and the legs will be locked together above the knees. The left toe will tend to turn out.
2. As a step is taken on the Right Foot the legs will unlock. The right toe will end to turn inwards.
3. This action will result in the Walk taking the line of a wide curve to the man's Left.
Although the balance and distribution of weight are similar to those in other dances, there are important characteristics in the Tango that should be noted.
1. Knees: The knees are kept slightly relaxed throughout the dance.
2. Placing of Feet: All Walking steps in the Tango are picked up from the floor slightly and placed into position. This is in direct opposition to the sliding movement of other dances. Care must be taken not to exaggerate this action. It is preferable to keep the ball of the foot of the moving leg skimming over the floor until it nearly reaches the supporting foot, then lifting it slightly from the floor and placing it sharply in position. The curving of the Walks to the left will result in the weight being taken on the left edge of both feet in all forward movements and right edge in backward movements.
3. Sharpness; The crisp action of the Walk is obtained by delaying the movement of the foot that is not supporting the weight of the body.
Tips from Alex Moore
19/04/18 20:47
The internet is awash with videos and websites with lots of information on Ballroom & Latin American Dancing. However, for my teaching, I still use a book published in 1947 by Alex Moore as a useful guide.
The tips below are taken from Alex's book and are still valid to this day:
Closing the Feet in Tango
The feet are closed frequently in the Tango, and much more character can be given to this action by attention to the following details.
1. The feet are usually closed after a step to the side. The closing foot should be delayed, and then closed quite sharply.
2. As soon as the closing foot is in position, the other foot should commence to move by raising the heel from the floor resulting in the knee becoming more relaxed.
3. In side movements, as in forward movements, the knees are kept slightly relaxed, and they should tend to veer towards each other.
I shall be adding more useful tips from Alex so pop back again soon.
The tips below are taken from Alex's book and are still valid to this day:
Closing the Feet in Tango
The feet are closed frequently in the Tango, and much more character can be given to this action by attention to the following details.
1. The feet are usually closed after a step to the side. The closing foot should be delayed, and then closed quite sharply.
2. As soon as the closing foot is in position, the other foot should commence to move by raising the heel from the floor resulting in the knee becoming more relaxed.
3. In side movements, as in forward movements, the knees are kept slightly relaxed, and they should tend to veer towards each other.
I shall be adding more useful tips from Alex so pop back again soon.