After a man invites his female partner to dance, the male partner advances on the left foot, the female partner retreats on the right foot, then in the slow three, for the man, the accent in the first bar is on the left foot, the accent in the second bar is switched to the right foot, and later the accent is rotated on the left and right feet. For the women, the accent is on the right foot in the first measure, then on the left foot in the second measure, and so on. This is a very distinct difference from the slow four. The simplest step in the slow triple step is the straight step.
Beginners often think it's a dance, so they don't know where to put their feet, but it's actually similar to walking, with the addition of a musical understanding. For the slow three steps, we say that the first beat is the heavy beat and the steps should be bigger, the second and third beats are the weak beats, and the steps are adjusted. The man's foot should be straight forward, some beginners are afraid of stepping on their partner's foot, and their foot steps to the side, which is not in line with the slow triple step, and also looks unattractive. In fact, as long as men and women and the rhythm of the music, at the same time forward or backward, is not stepping on each other's feet. Slow three steps in the inner rotation is also one of the basic steps, male dance steps are the same, but the male partner first out of the left foot, the female partner first back to the right foot. First, the female partner retires her right foot, the male partner puts out his left foot between the female partner's two feet, at this time, the male partner takes his left foot as the axis, the female partner takes her right foot as the axis, after 180 degrees of rotation, the male partner retires his right foot, the female partner advances her left foot, this is the second beat. On the last beat, the male partner steps back with his left foot to the left of his right foot, the female partner advances with her right foot to the right of her left foot, and the two dance in a closed position. Note that after 180 degrees of rotation, in order to maintain the direction of the line of travel, the male partner should step back on subsequent dances, and if he wishes to return to the original position, he should rotate 180 degrees again. At this point, the male partner should step back with his right foot and the female partner should step forward with her left foot. ...... Same as before.
The basic step structure of the slow three steps is to form a basic rotation by moving forward (or backward), moving sideways, and merging the feet. In this way, the first and second rotations are subject to the inevitable change of feet. This is the first obstacle that the beginner must solve. In practice, we should gradually develop the concept that the center of gravity is exchanged sequentially between the two feet, even in the parallel foot step, the center of gravity falls on both feet for a very short period of time, which is only a special form of exchanging the center of gravity, and that this special form is designed to create an "unobtrusive exchange of the center of gravity form". However, the subjective intention to change the feet remains unchanged. As long as you keep this intention in continuous development, you can easily overcome this obstacle.
The second problem is the question of the program of movement of the heel, foot, and toe and its method. The basic methods of carrying the steps have been described earlier, and the problem now encountered is how to deal with the relationship between them in lifting and lowering. Whether moving forward or backward, after the first step of weight transfer is completed, the point of gravity should be moved to the forefoot. Although the knee is not yet straightened at this point, the heel should be slightly off the ground. The momentum toward the second step is triggered by the thrust of the foot from the ground. The second step of the traverse is a special form of the dribbling step, which is neither heel-first nor toe-first, but rather approximates the landing of the forefoot of the whole foot and is accompanied by a reverse tilt (i.e., right tilt in the case of the left traverse, and left tilt in the case of the right traverse). It should also be noted that the parallel foot movement well does not begin on the third beat, but is accompanied by an upward jerking and tilting of the body on the second half of the second beat. The progression to the parallel foot begins (together). At this point the center of gravity is entirely on the forefoot of the traversing foot. The parallel feet of the third beat are in place with no center of gravity at all, and the center of gravity is still rising on the forefoot of the traversing foot until the first half of the third beat, until the limit state, when the palms of the parallel feet begin to support the center of gravity unobtrusively. This state of the center of gravity in both feet is but a momentary manifestation. From the second half of the third beat, the heel begins to fall, and the falling center of gravity is supported mainly by the palm of the foot that is joined together. In other words, the sole of the traversing foot performs the task of supporting the center of gravity that drives the heel up, while the center of gravity of the descending foot falls on the sole of the foot that is brought together. The turning point between ascent and descent is the time when the center of gravity is exchanged unobtrusively. These requirements are too difficult for a beginner. But if you want to dance beautifully, this second hurdle must also be crossed.
The third obstacle is the side and tilt. The tilt is achieved through an extension of the sideways movement, the shoulder lead. To go further and deeper, this series of upper body movements arises from the strength of the lumbar region, rather than from one localized movement alone. While this is a requirement at the highest level, it is one that must be attended to from the very beginning. Otherwise, once the formation of localized exertion of the fault to change it will not be easy.
The above three obstacles, you can be flexible according to their own specific circumstances.
Basic beginners, you can practice the basic steps, one by one to solve; have a certain foundation of ballroom dancing enthusiasts, you can use these norms to improve their technical ability; if you are an eager self-indulgent ballroom dancing timid enthusiasts, lazy in this regard to spend time and energy, you can ignore the last two problems, without affecting you down the road! Learning. But when your dancing skills have progressed to a considerable degree, you will certainly be interested in these things, and then come back to practice from the beginning is not a hindrance.