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Rhythm—
4 beats/measure; 20 - 60 meas/min
Every now and then, our cuer will announce that the next dance
will be a "rhythm" dance. What rhythm is a "rhythm" dance? Is it
foxtrot, or cha, or jive, or … ? A "rhythm" dance can be all that and
more; the term is short for "mixed rhythm," so such a dance is
something of a patchwork quilt, and the tempo can vary a great deal.
If you would like to listen to some samples of classic,
rhythm, round dances, here are clips from Autumn Leaves by Moss, cued
by Chris Cantrell; and Hawaiian
Wedding Song by Lovelace, uncued, and Hawaiian Wedding Song,
cued by John Grooms.
| Some Mixed Rhythm Dances —
(Remember, in the abbreviated descriptions, a comma
separates two beats, a semi-colon marks the end of a measure, and a
slash (/) indicates a split beat, two things occuring in a single beat
of music.)
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In Freestyle, You Could Try —
Full cue sheets for these dances are readily available
(see links page), but
I'll describe some of the nicest sequences here.
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Sometimes the patches in these quilts are large and
clearly defined. In 1988, a dance came out called Pop Goes the
Movies by Jack and Muriel Raye. The music is not a single song but
a medley of three songs: a two-step, a foxtrot, and a rumba. The
introduction, with its slow twirl vine 4, and the ending, with its walk
two and slow twist vine 4, might best be thought of as one-step
segments, but still, the pieces of this mixed patchwork are clear and
discrete. As you dance, you know very well what rhythm you are dancing.
The problem is making that transition from one rhythm to the next. Just
a little extra practice will do it. Here, we are dancing the "slow, -,
quick, quick; of foxtrot, and now we have to launch into the quick,
quick, slow, -; of rumba. As our cuer so often says, "The music tells
you what to do." 
(34 meas/min)
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The two-step sequence is unusual: two
forward two-steps;; in butterfly slowly lunge down line on lead, -,
recover, -; turn toward reverse and lunge through to reverse on lead,
-, recover onto trail and butterfly wall, -; two forward two-steps down
line;; lunge down line on lead, -, twist hips down line, -; cross trail
foot behind, side, step through, -; two forward two-steps;; slow twist
vine 4 to banjo;; whaletail;; |
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A little different is Woodchoppers' Ball by
Richard and Jo Anne Lawson (1986). The music is a single piece, not a
medley, but the Lawsons wrote part A as a quickstep, part B as a
two-step, and part C as a single-swing jive. The whole dance flows
beautifully, both within and between parts. I love this dance.
(48 meas/min)
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The quickstep part is a nice, self
contained sequence: quarter turns and progressive chasse;;;; fwd, lock,
fwd, -; maneuver, -, side, cl; pivot two; dip back, -, recover, -;
walk, -, check, -; cross behind, -, side, -; fwd, lock, fwd, lock;
walk, -, face wall, -; In the dance, this part A is followed by either
the two-step or the single-swing section, but if you wanted to simply
repeat this quickstep sequence, you could end it with a walk two to
face line instead of wall, and you're ready for the quarter turns
again.
The single-swing section (part C) is wonderful, too
(remember that single-swing is danced quick, quick, slow, -; slow, -,
over 1 1/2 measures for most figures): Single Lindy Basic which is just
a side, touch, side, -; Change Places Right to Left, and Left to
Right;;; Change Hands Behind the Back, and Change Places Left to Right
to face wall;;; rock apt recover to the Basic, Fallaway Throwaway;;;
rock apt, -, rec, -; and repeat sequence;;;;;;;;;;;;
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| Many of the "rhythm" dances came out of
the "old days," before there were defined figures or even cuers in
round dancing. The writers choreographed their dances, step by step,
and indeed, the music told them exactly what to write: a two-step
sequence here and a foxtrot sequence there. In 1962, Paul and Laura
Merola wrote Dance to a popular song from the singer, Helen
Reddy. Part B is pretty much one-step, and part C is jive, but part A
is a quick flow of one-step, two-step, foxtrot, and even tango.
(34 measures/min)
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Walk 2; two-step progressive box;; two
left face foxtrot turns to wall;; half box; weave six to semi;; thru,
-, lunge down line checking, -; reverse twirl 2 to wall,, side, -; draw
lead to trail, -, gaucho turn 4 LF to face center slow step back;; bk,
-, sd, cl; sd, -, maneuver to face line, -; slow spot pivot 4 to line;; |
| Apres L'Entreinte or After the
Lovin', by Hank and Mary Dahl is pretty much step cued, with few
standard figures, but it is mostly one-step, two-step, and five-count.
It flows and feels so good.
(20 measures/minute)
Notice that this piece is so slow that each cued
two-step is only half a measure: fwd/cl, fwd. In a "real" two-step, a
two-step figure takes a full measure: fwd, cl, fwd, -;
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It's all good, but let's start part way
through C the second time, slow and easy, in open position: step apart,
swing (an easy kick), roll across in 2 to left open; step, swing, roll
back in 2 to open position; two-step down line and fwd/fan, and touch
to butterfly; again; sd, cl, side two-step; reverse twirl and a
two-step to closed position line; dip back, -, recover, -; dip, rec,
walk 2;
Strolling vine 1/2 to face center; twist 2 to banjo
reverse and a back two-step to closed reverse; strolling vine 1/2 to
face wall; twist 2 to banjo line and back two-step to closed line;
repeat;;;;
Walk 3 and touch; reverse twirl to face wall and step
side and draw; step apart, point, together, touch; with no hands
touching step side and sway left, -, step side and sway right, -;
scissors thru to left open checking; recover, side, thru to butterfly
wall, -; lunge down line on lead and slowly twist RF to face reverse;
or as Bill Buck cues it: "Lunge and slowly roll it over to reverse and
sugar time."
Oh my.
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| Hooked On Swing was by Rod &
Kathy Windhorst. Parts A & D are single swing & one-step; B
& E are one-step; C is two-step & quickstep; F is five-count
& one-step.
(44 measures/minute)
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I think I like part C the best: two
turning two-steps to face line;; two forward two-steps;; step, hop,
step, hop; fwd, lock, fwd, -; maneuver, -, side, close; pivot two; and
repeat;;;;;;;; |
| That Happy Feeling is a samba,
one-step, two-step, by Charlie & Gertrude Tennent.
(52 meas/min)
YouTube Video
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The introduction consists of LF samba
turns: samba fwd; samba back and turn 1/4; and repeat for a full turn
over 8 measures.
Part A is really the unusual one-step/two-step sequence:
In butterfly wall, you step side with a big step, lowering, and then
reach through with trail feet with good body sway to reverse; two-step
down line; reach through, two-step, reach through;; four turning
two-steps;;;; lace across and back;;;; open vine four;; two turning
two-steps;; and repeat;;;;;;;;;;;;;;;;
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| My Love is a one-step, two-step,
quickstep classic by Charlie & Bettye Procter.
(42 meas/min)
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Part A is a slow, smooth, romantic walk:
fwd, -, fwd, -; turn LF 1/4, -, close and turn Lf 1/4 to face reverse;
back, -, back, -; pivot two RF; twisty vine four;; pivot two RF again
to face line; dip, -, recover, -; repeat;;;;;;;; |
| Till (1976), by Gordon & Betty
Moss, contains a tango draw, some Viennese turns, and some
two-step-like chasses and lock steps, but the overall rhythm of the
dance is simply unique. The music is 4/4, and one can recognize two
distinctive patterns that are repeated in the dance.
In part 1, we begin with a sequence that is danced slow,
-, slow, -; quick, quick/and, quick, hold/and; That is, we take two
steps in the first measure and five steps in the second, the fourth
step being held in a hovering action and the fifth step being taken
quickly on the last "and" in the measure. This unusual sequence is
repeated in part 1, once curving to the right and again curving to the
left, and we end part 1 with a pivoting and weaving slow, -, slow, -;
and 12 quicks;;; What can you call such timing, other than "rhythm?"
In part 2, we find the second distinctive pattern that
is used repeatedly in the dance: slow, -, quick, quick; quick,
quick/and, quick, hold/and; Notice that the second measure of this
sequence is the same quirky syncopation as that seen in part 1.
Memorizing these two timing patterns is the key to dancing parts 1
& 2 successfully, because every cuer cues the dance differently,
and you just can't process non-standard step cues fast enough to dance
this to cues. And while you're at it, memorize the whole dance and
simply dance this one to the music. It feels wonderful.
(24 meas/min)
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I'm not sure that anyone would want to
dance any of this to any music other than Till, but part 3
(there are 4 parts total) contains the most straightforward
choreography. You start in sidecar, facing line of dance, lead feet
free. Step forward down line, fwd, cross pivot one to sidecar facing
reverse, step back; turn to face and draw the lead foot in, and do a
twisty vine 5 to banjo facing line; There are five piano notes here,
telling you when to step out the vine. With other music, you might time
this second measure as turn, draw/side L, XIF/side, XIB/side to banjo;
Now, repeat this sequence beginning in banjo facing line
of dance, trail feet free: 1, 2, 3, 4; hold, -/&, 3/&, 4/&;
to sidecar.
And repeat again from sidecar to banjo;; The steady pace
of the first measure in each of these pairs and the brief hovering draw
at the beginning of the second makes the quick vine five quite a
contrast. You feel floating and twinkly.
At this point, if I were dancing freestyle, I would
probably get back to some standard figures with a maneuver; spin turn;
and so on.
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| Nadia's Theme (1977), by Bill
& Carol Goss, has a slow steady rhythm, but they use quick chasses
and locks to speed up the footwork. The music marches, but the dance
floats.
(20 meas/min)
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In part A, we step forward, face the wall,
chasse to semi; step thru, chasse maneuver; pivot 4 to semi; lunge
forward and recover draw to closed wall; twist two chasse to bjo; rock
recover chasse sidecar reverse; rock recover chasse four to semi; fwd,
maneuver, pivot two to closed line; repeat;;;;;;;; |
| The Homecoming was also released in
1977 by Charlie & Nina Ward. It is one-step and two-step, but not
really. Like many of the old "rhythm" dances, it is step-cued to fit
the music wonderfully.
(24 meas/min)
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Part B flows well and feels good. In
closed position facing wall, step side, draw touch, rock back, recover;
step side, draw touch, rock fwd, rec; walk, maneuver, pivot two to face
the wall; step side, draw touch, rock back, recover; step side, draw
touch, rock fwd, rec; walk, maneuver, pivot two to closed position
facing line; progressive scissors twice;; This section is all one-step
except the two-step scissors, but each "draw-touch" gives a wonderful
floating or hovering feeling. |
| Hawaiian Wedding Song was released
in 1979 by Charlie & Madeline Lovelace. The music has 6/8 timing
(and thanks to Marty Hapeman for pointing that out to me). I can hear
the timing quite clearly in the introduction, but once the vocalist
gets going, I really can't hear it. He doesn't seem to be singing on
the measure or even on the beat. However, many of the steps are danced
as slows (3 beats each) and so feel like one-step: walk, walk, walk . .
. Some figures are danced slow, -, -, quick, -, &; and feel like
foxtrot. And some measures are danced quick, -, &, slow, -, -; and
feel like two-step. The hover cross endings are danced &, quick, -,
&, slow, -, -; (1 & 1/6 measures) and so have a very syncopated
feel. The whole thing is wonderfully diverse.
(32 meas/min)
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Part B begins in closed position, diagonal
line and wall with a scissors to scar (qqs or slow a-slow); scissors
she hitch he hook in front to a sort of semi line and center; woman
unwind man in a slow four to bjo reverse and center;; outside spin;
back lock back; impetus to semi line; thru face close to closed wall;
slow vine 3 to a slow natural hover cross with sync ending to face
line;;;; slow left twisty vine 3 to a slow natural hover cross with
sync ending to line and wall;;;; and repeat;;;;;;;;;;;;;;;; |
| Lisbon Antiqua is from 1980 and was
written by Charlie & Dorothy DeMaine. It's a slow one-step, with
some two-step and quickstep, I suppose.
(42 meas/min)
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The introduction is a quick step side R
and a slow draw in three and touch in closed position line; then part A
begins with a walk 2; run 3 (qqs); walk 2; run 3; twist vine 4;; pivot
2 RF to face wall; slow hover and step thru;; side two-step; slow back
hover and cross behind;; side two-step to reverse; fwd and pick up;
repeat;;;;;;;;;;;;;; walk 2; |
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Only Time by Nana & Tim Eum is a rhythm dance
that was choreographed "just yesterday" (2002). Many of the figures
seem to be standard five-count, fox-trot, and even samba, but the music
is so slow and haunting, that it feels maybe more non-standard than it
is. I love it, and I want to do it better than I do. So, we should go
practice some more, right?
(24 measures/minute)
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You need the music for this. I don't think
just any old slow music will do, but here is part A: strolling vine
with inside roll to face center; strolling vine with outside roll to
face wall; strolling vine 3 and a quick side/close to face center; very
slow right lunge; hover corte in 3 to face reverse and wall, left
turning lock in a syncopated 3 (q&qq) to face line and wall, quick
open reverse in a syncopated 3 (qq&q) to reverse and center, box
finish in 3 to reverse and wall;;; and a contra check switch and step
forward (sq&q) to line and wall; |
| We learned Puttin' On the Ritz 4 U
from choreographers Jerry and Barbara Pierce at the 2004 spring Accent
On Rounds in Fontana, NC. Wow! What a mixture. We started with samba,
then quickstep, some softshoe, two-step, charleston, and even cha.
(48 measures/minute)
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Part B contains some softshoe and some
quickstep. In escort position, each with left foot free, we balance
left and right with a side left, cross right in front of left, and
recover left, -; then repeat to the right, again crossing in front; For
the third and fourth measures, step side left, -, brush right forward,
-; brush right across in front of left, -, and brush right forward and
side, -; Then repeat with the right feet: bal R; bal L; step brush
three times lady transition to get lead feet free;; quarter turns and
progressive chassee;;;; checking to a fishtail; walk two; lock four;
walk two;
If you'd like to repeat this sequence around the
ballroom, she simply needs to walk three (sqq) in the last measure to
escort position again.
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| Jim and Bonnie Bahr released These
Foolish Things in Cue Sheet Magazine in August, 2004, and I
can recognize two-step, one-step, five-count, quickstep, and jive. |
We do a twirl vine two and side two-step;
reverse twirl vine two and side two-step; vine two walk and pickup;
forward to quarter turn and progressive chasse checking;; fishtail walk
and face; two turning two-steps; strolling vine;; basketball turns;
twirl vine two walk pickup; |
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