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A Quick Crash Course COUNTRY-WESTERN DANCE BASICS by Dave Agold But Just Remember: . . . " REALTEXANS |
DON'T LINE-DANCE "TABLE OF CONTENTS:
I. Introduction: The best way to learn Country-Western Dancing is to down a few longnecks and go for it. Not really, but it's not as confusing as it may seem. We'll first make a very basic assumption, that is, this is a One Man-One Lady dance. At least one lady at a time for now, and YES you get to hold each other for most of this and get in some real down home belly rubbin', unlike rock-n-roll "apart" dancing. Thus, coordination is important for "couple dancing". Briefly, there are only three basic elements of dancing, namely
EVERYTHING else is icing on the cake, e.g., style, body language, swinging hips, dirty dancin', you know, all that fancy stuff, etc. You can base your dancing on any ONE of the three elements, or any combination of the three. Obviously, the better you merge ALL three, the better dancer you become. Many people dance using only the footwork (No fancy stuff and perhaps not even in time to the music) and they have a good time. Similarly, I have seen many people doing fancy turns, twirls, and spins but lose the footwork coordination. Sometimes they are in tune to the music, sometimes not, but they also have a good time. And lastly, I have seen people dancing with consistent footwork AND fancy twirls, spins etc. but unfortunately NOT to the music being played. These people obviously are "...dancing to a different drummer." But again, they are having fun and that is what counts. The main goal here is NOT to be a total klutz (unless your partner is too and both of you are at least in sync, then you may look great). In order to improve your dancing skills, we'll tackle the basics upon which EVERYTHING else is built on. There are some common guidelines that both partners need to learn that are based on the three basic elements. We'll cover these first, then cover the lady's and the man's parts. The most important element, and unfortunately, the hardest to learn, is "BEAT RECOGNITION" of the music. Reference to "Beat Recognition" will be made throughout this paper but will be covered later in more detail and hopefully simply enough for even ME to understand. Terms to look out for is "beat", "measure', "set", "pattern", among others. More on these later. First the easy parts. |
II. BASIC ELEMENTS COMMON to BOTH PARTNERS: Again the three BASIC ELEMENTS of dancing: A. First the MUSIC, with comments on "BEAT RECOGNITION": Recognizing the beat and which type of dance is one of the hardest for a novice to get started. Simply put, listen to the music and try to isolate on the BEAT (the heavy down-beat of the base drum) and try to block out EVERYTHING else (vocals, lead guitar, strings, keyboards, horns, percussion). This "DRUM BEAT" sets the "tempo". The speed of the drum beats is referred to as "beats-per-minute". This magical number lets you know how fast you have get your little footsies going to help you determine which dance step you want (or can) do. The base drum is usually a very constant beat, much like a metronome (in a live band, watch the drummer's footwork). Once you recognize the beat you may find you can adjust more than one type of dance footwork to that particular beat. Practice listening to the "beat" of the music while driving in your car, while at work or whereever you are and music is being played - ANY music, even oldies (they generally have a very recognizable beat). Don't just listen to the words but train yourself to distinguish the musical instruments that make up the "beat". Listen to the beat and let your body sway to the beat and tempo of the music. This will get your body used to the tempo. Ingrain this to memory, then it will just begin to come naturally to you after that - like walking or driving a car, you don't think about it, you just do it, but to a "beat". There are only "THREE" basic beat tempos of dance music – “Single Time”, “Double Time” or “Triple Time”. Most ALL dance tempos are based on a variation of these "3" basic tempos. Each timing step has a range of speed, i.e., slower or faster speeds, but you really only have to learn these three basic tempos. Marching bands and even troops of soldiers march to a beat, so–to-speak. All troops have to do is add music and a little body style, and presto, they’re dancing. Did you know that you can 2-Step to John Philip Sousa's music? Even a Yankee can do it. If you can walk, you can dance. – I guarantee it. Return to Top, Back to MenuB. The FOOTWORK: As you gain experience, you will be
able to mix different dance steps during the same song; however, for the most part you
need to stick Dance footwork is VERY simply put like "walking - but with style". Try to maintain your body weight and balance on the "BALLS" of each foot. Do NOT dance stiff legged or with locked kness. This gives you the gliding and flowing appearance and evens out the bouncing. The heel is used only to maintain balance, so you don't fall down or wear your calves out. When you step out, spin or turn, you will be on the balls of your feet - try it. It's like gliding across the floor as in ice skating. Now we're looking good too. Another tip is to slide your feet rather than picking them up and stepping. If your shoes never lose contact with the floor it is very hard for the lady to get her foot caught under yours. You can't step on the lady's foot if yours never leave the floor, right? The man always starts with the LEFT Foot (Ladies with their RIGHT). For most of us who have two feet (one left, one right) this obviously means that men will end their "pattern" on their RIGHT (Ladies end on their LEFT). This sets up the next "pattern" which repeats starting "Men with their LEFT" ("Ladies with their RIGHT"). The speed and rhythm of the footwork depends on the type dance which dictate the footwork pattern. What ever happens, KEEP THE STEP IN TIME TO THE BEAT. (IMPORTANT NOTE: Keep in mind "The FASTER the music, the
SMALLER the steps and the slower the music, the longer teh step.")
Footwork patterns, however complicated, all have a rhythm and are repetitive. Each pattern consists of a "series of steps". Once you learn the pattern, just repeat it over and over until it is as natural as walking - but to a beat and with "style". Most fancy turns, twirls, spins, etc., need to be set up, usually with what's called a "prep" step at the end of a pattern. These moves then begin with the next pattern or set of steps. ------------------------------------------------------------------------------------- Lets look at the Texas 2-Step as an example: |
Typical Footwork Patterns are as follows, w/ timing diagrams on these shown later.
(* - Each "Quick" is ONE Beat, each "Slow" has two Beats, totalling 6 beats to a Measure.) |
| C. THE HANDS AND ARMS POSITIONS: Since the hand and arm
positions are different for the ladies and for the man, they will be covered under their
respective sections.
|
III. Tips for the LADIES: The Ladies have the easy part. They only need to concern themselves with 3 additional things (based on the 3 basic elements) the men do everything else. 1. Keep Correct Footwork in step to the "Beat of the MUSIC" (Most important) The Lady always starts sequences with her RIGHT Foot and ends on her LEFT. Try to maintain balance concentrated on the "BALL" of each foot. This gives the bounce, glide, flow, spin, etc. The heel is used only to maintain balance, so you don't fall down or wear your calves out. 2. Hand positions, (to maintain hand contact). Left hand on man's right SHOULDER JOINT, right hand out to side in man's left hand but with fingers slightly bent or curled (like a railroad car coupling). By maintaining the finger curl, you have a pivot point that allows you to spin, turn, be "thrown-out" and not lose contact with the man's control. Try it. With your left hand on the man's SHOULDER JOINT and ELBOW slightly BENT, you not only maintain your "dance space", but also keep the man at a safe distance from you. You control your choice to let him in as close as you choose. This position also lends itself easily for outside spins without punching the guy out as your left hand comes free. 3. Maintain Arm Resistance in order to "feel" the man's lead and to form and maintain a frame which gives you your "Dance Space". Resistance is concentrated in the elbows and shoulders. Either think of yourself as a living mannequin or of trying to keep a wall from falling on you. The point is - DON'T collapse your elbows. When you do, this is referred to as having "speghetti arms". During throw outs, NEVER, NEVER let your arms extend straight out. It should ALWAYS have at least a slight bend at the elbow. This is your "Shock Absorber" so you can adjust to ANY man's arm length and to the tempo of any music. It also prevents him from jerking your arms out of your sockets when he pulls you back to keep in time with the music. 4. While in your "frame", SUPPORT YOUR OWN WEIGHT. This gives YOU control of your balance and does not put the added weight on the man's frame. That will only tire him out and he may not ask you to dance again if he has to struggle with you around the dance floor. You are supposed to be light, beautiful and graceful on your feet, not a sack of feed being carried around the dance floor. Sorry 'bout the analogy. Optional: 5. You can create your own style w/ Body Language, e.g., swinging hips, head movements, arm swaying, body rolls, and adding your own style of sensual moves. 6. Surrender your body to the man's control or lead - he'll do everything else. _ (TRUST ME !!). _ That's it ladies. Wasn't that easy? |
IV. Now for the MAN's Part: Once again, the THREE BASIC ELEMENTS: 1. The Music: The beat and tempo of the music dictate your possible choices of dance steps. We won't discuss "upbeat" or "downbeat" patterns yet so you can relax. Refer to the Footwork section below to see your choices. Waltzes are very distinctive in their tempo and beat; however, 2-Step and Polkas can often times be danced to the same selection. This sometimes depends on the coordination ability of you, your lady and your ability to keep a strong lead. 2. The Footwork: If you can walk or drive a standard vehicle without thinking, you can learn to dance - put one foot in front (or behind or to the side) of the other, preferably one at a time. To help you guys lead the steps, refer to the timing diagrams at the end of this paper. Hopefully these will help. 3. The Hand and Arm Positions: - Left Hand, palm UP, out to side, eye level of lady w/ elbow slightly bent. Try and NOT close your left thumb down on the lady's hand. You need this looseness for quick release. Keep fingers curled as in a railroad car coupling. Your hand will fit into the lady's very firmly. She can spin about a single finger in this fashion without twisting your finger off. - Right arm under Lady's left arm with hand on lady's left shoulder blade. - Hold the frame to support the lady and give her a lead. If she is light on her feet and can follow a lead, you have no problem. If she isn't and can't, then you can basically move her like a mannequin. Just be GENTLY firm. She isn't a rag doll. - Keep your distance and dance space by holding your frame. Until she gets to know you, I'm sure she doesn't want to rub bellies with you, - then again she might. - Most turns, spins, sequences start with the first beat of each measure, there are exceptions though. The end of some moves occur towards the end of a pattern measure usually to set up for the start of the next movement (which begins with the first beat of the next measure, e.g., as in a "prep' step). - By proper "leaning", shoulder movement, and gentle nudging on her back, you can send signals to the lady what your next move will be. Let the music dictate what your next move will be and you'll find things just start to feel "natural". Are you confused yet? Most instructors dive into it from this point. If you're prepared for them, instructors are a piece of cake. With the basics discussed in this paper, anyone should be able to catch on quickly to any instructor's lessons. Optional Tips: 1. On your way to the dancefloor, get a feel for the timing and rhythm of the music. That way you’ll be ready to go as soon as you get on the dance floor. 2. Start off going backward in the line of dance. You know what step you’re trying to do and by going backwards yourself, this will make it a WHOLE lot easier for the Lady to get in step with you since she will be going FORWARD like walking which she will find more natural than by her going backwards AND trying to figure what the heck you’re doing. 3. Now stand up straight and tall. You only slouch during jitter-bug. Hope this helps, - GOOD LUCK |
TIMING DIAGRAMS For the really technically inclined who still "just don't get it", here is a timing diagram of the footwork put to the beat. The 2-Step, Polka and East Coast Swing are shown for illustration purposes to "see" the timing of footwork to the Beat of the Music. If you're STILL not "getting it", it may be due the the "science" of the music. For the mathematically inclined, please keep in mind the sometimes you notice that you always seem to be OFF the beat. Well, foCountry WEstern music like a LOT of others are like 12 hotdogs to a packegs when there are 8 buns in a package. We'll take the 2-Step as an example: One "set" or "sequence" refers to one (1) cycle, that is a single series of "Quick, Quick, Slow, Slow" Each Quick takes ONE beat while each SLOW takes TWO beats. This adds up to SIX (6) beats. But most country music is written and sung in EIGHT (8) beats per measure. What this means is that it will take FOUR (4) series or sets of setps dances d to THREE (3) measures until you get back ON BEAT. It's the old common denominator of 6x4=24, and 3x8=24. Now notice how the triple time patterns Ahave that silent little 4th step to round out the Triple beat patterns to eight in just ONE set or series? This means you can keep ON BEAT every time with the Triple time patterns. That little silent 4th step is usually a "pause" or "hold". It REALLY should count out to 1234, 1234. Now check it out on the Tiiming Diagrams below. Trust me, it's TRUE!!! |
| ========================================================================================== The
Beat:
========================================================================================= Texas 2-Step:
======================================================================== Polka or Triple Time Step:
========================================================================= East Coast Swing:
=========================================================================================== West Coast, Whip, and Push "Slot":
Man’s |
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