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The basic step structure of the waltz consists of three steps, forward (or backward), sideways, and side-by-side, which form a basic rotation. In this way, the first and second rotations are subject to the inevitable change of feet. The center of gravity is exchanged sequentially between the two feet, and even in the parallel foot step, the center of gravity falls on both feet for a very short period of time, which is nothing more than a special form of exchanging the center of gravity.
The second problem is that of the program of movement of the heel, the ball of the foot, and the toe, and its method. Whether forward or backward, the point of gravity should be shifted to the forefoot after the first step of weight transfer is completed. 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 does not begin on the third beat, but is accompanied by an uplift and tilt of the body on the second half of the second beat. The development (leaning) towards the parallel foot begins. 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 limiting state, when the palms of the parallel feet begin to support the center of gravity unobtrusively. This state of the center of gravity of 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.
Third Side Stance and Tilt. Tilting is accomplished through an extension of the side body 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.
1. Forward square step and backward square step
The square step is composed of a forward basic step and a backward basic step in motion. Due to the convention of men starting on the left and women starting on the right, going in on the left and going back on the right will result in a completely different direction of trajectory development than going in on the left and going back on the right. In order to make a distinction, we call the form of advancing left and retreating right, the forward square step, and the way of retreating left and advancing right, the backward square step, which is now explained as an example of the forward square step. *** Counting six steps, in two bars of polyphony.
1 Male into the left, female back right. There are sideways movements.
2 Male right foot brushes past the left foot and moves one step across, leaning to the left. Be careful not to cross out diagonally and directly. Woman's left foot brushes next to her right foot, moves one step sideways, and leans to the right. Be careful not to step back diagonally.
3 Men and women close their feet together at the same time. Pay attention to the holding of tilting and rising movements to alternate the transformation of the center of gravity and descending.
4 The man steps back to the right, the woman to the left. There are sideways movements.
5 Man brushes his left foot next to his right foot, moves one step sideways and leans to the right. Do not go straight back diagonally. Woman's right foot brushes next to her left foot, moves one step across, and leans to the left. Do not step straight out diagonally.
6 Men and women close their feet together at the same time. Note the holding of the tilting and rising movements, above the alternating center of gravity and falling transformations.
At this point, we are back to the original starting point. It can be practiced again in an infinite loop.
However, practicing forward square steps can only accommodate changes in the dance steps to the left and to the right, and will not be able to accommodate the opposite changes when they are encountered. So you also need to learn and practice the backward square step. The requirements of the backward square step and the forward square step are the same, but the direction is slightly different, no longer illustrated, please practice your own cycle. Only on the basis of practicing the Forward Square Step and the Backward Square Step can you learn the Turning Step. If you remember the general rules of the turnaround step, you will realize that the forward square step is the basis of the left turn, and the right turnaround step is just a development of the backward square step.
2. Forward left turn 90 degrees and backward left turn 90 degrees
According to the mathematical principle that four 90-degree turns equal a 360-degree turn, the practice of the turn step is based on the structural principle of the square step. This method enables beginners to establish the concept of rotation relatively quickly. When practicing the turning step, two issues should be noted: one is that the moving foot of the first step must be kept straight; the other is that the traverse of the second step must be in a straight line with the direction of movement of the first step.
The problem that tends to occur when practicing the turning step is that the left toe is flicked to the left side as soon as the foot comes out, forming a habit of coming out horizontally. On the surface it seems harmless, but it will become an insurmountable obstacle to the improvement of future skills. Therefore, the first step must be the same as the square step, no matter how far in or out, to keep the foot shape straight, and in the center of gravity after the completion of the transfer, must
must be slightly raised heel, so that the center of gravity falls on the palm of the foot. In this way, not only can you easily roll the foot when brushing past the center of gravity foot in the second step to complete the 90-degree turn, but the development of the red line of the transverse foot is also reliably guaranteed, and at this point, you'll appreciate that the demanding requirements of the square step exercise aren't unjustified.
7 Men enter left, women exit right. There is a sideways movement.
8 Start rolling the male partner's left foot and the female partner's right foot to begin a left turn on the second half of the first beat; at the beginning of the second beat, the male right foot and the female left foot move outward across the body from the brushing position and are accompanied by (male right, female left) shoulder-guided male-left tilts and female-right tilts.
9 Both sides close their feet together, keeping the tilt and rise. Note the alternating center of gravity and descending transformation in the second half of the beat.
10 Male retreats right and female enters left. There is a sideways turn.
11 The rolling of the feet (male right and female left) begins in the second half of the previous beat, starting the left turn; at the beginning of the second beat, the male left and female right feet move outward and across the body from the brushing position, accompanied by a shoulder-directed male right tilt and female left tilt.
12 Both partners close their feet together, keeping the tilt and rise, noting the alternation of weight and the transformation of the fall in the second half of the beat.
Repeat again from 7 to 12, return to the original starting point and start from the beginning, practicing in a circle.
3. Backward right turn 90 degrees and forward right turn 90 degrees
Some people may wonder why the right turn does not start from forward but backward first. This is a good question. In fact, the first forward or backward is not a certain rule, especially in the self-entertainment occasions, it is arbitrary. Here is mainly to adapt to the male left and female right starting habits and arrangements. If you like the first right foot for forward right turn step, not only is it possible, but also marks you have broken through the constraints of habit, began to enter the free movement of the progress of the state.
Because the right turn and the left turn are the same, so I won't give you a diagram, please refer to the left turn to practice.
In order not to make it difficult for beginners, the following is the trajectory of a continuous 90-degree right turn and the step program:
The first beat is the male retreating to the left, and the female advancing to the right.
Second beat: male cross right, female cross left.
Third beat: Both feet together.
Fourth beat: man to the right, woman to the left.
Fifth beat: man crosses left, woman crosses right.
Sixth beat, both feet together.
Repeat from the first to the sixth beat and return to the original starting point. Repeat from the beginning again.
So far, we have completed the study of the basic waltz steps, as long as you skillfully mastered these basic rotations, then, no matter which foot first, either forward or backward, left or right, will be able to use freely. Even continuous left turn forward or right turn forward can be accomplished, because it is just a variation of increasing the degree of rotation. But at that point you will feel dissatisfied again. You will be envious of other people's beautiful and varied dances. In order to help you realize your desire to improve your skills. We have arranged two different directions of teaching below, one with self-indulgent function and the other with standardized competitive performance function. Let you choose. Waltz recreational dance practice
The recreational dance of improvisation on the spot is based on the ability to improvise. In order to have the basic ability to "lead" and "follow" the waltz by changing the position at will, let's start with the simplest hesitation step and practice changing the position in all directions.
1. Hesitation Step (13-16)
The Hesitation Step is also called Hesitatlon or Balance Step. It can be used as a special step for conversation, a transitional change of movement or orientation, and a special step for looking for a suitable position while hesitating in a crowded place. There are many variations of this dance step, including one-step hesitation, two-step hesitation and three-step hesitation. Now take the three-step hesitation as an example to explain.
13 The first beat; men go left, women go right.
14 On the second and third beats, both sides tiptoe in place twice in the position reached. Men go right then left, women go left then right.
15 On the first beat of the next measure, the man steps back right and the woman enters left.
16 On the second and third beats, both sides return to their original positions, tiptoeing in place twice Here is the hesitation of going into the left and back into the right. Please practice the hesitation of going back to the left and bursting into the right again,
and think about the changes in the different positions.
2. Hesitation step all-round positional changes
First of all, the male partner determines a fixed direction to the coordinates - if you face the L.O.D. direction, then from the slanting wall position, follow the counterclockwise direction, every 45 degrees as a point of orientation to the face of the wall position to the end of the **** there are eight points, and now the eight points are identified as a kind of asanas. Each of the eight points is identified as a kind of body position relationship on the forward or backward coordinates. Starting from the starting point, each change with a hesitation step between the two points back and forth movement, so
constitutes a "meter" shaped movement trajectory, in order to carry out postural changes in the forward and backward (or back into) hesitation. Note that the change of position should be carried out on the last two weak beats of the return to the starting point. Each hesitation (no matter in or out) follows the cycle of male left and female right starting habit.
1) in and out of the left lateral position (17);
2) in and out of the closed position;
3) in and out of the right lateral position (18);
4) in and out of the open position (19);
5) back and forth in the left lateral position (17);
6) back and forth in the closed position;
7) back and forth in the right lateral position (18)
8) back and forth in the right lateral position (18);
9) back and forth in the right lateral position (18)
10). 18)
8) regression in the open position (19).
When you become proficient in the above exercises, you will naturally move to a new level of adaptability to positional changes.
This exercise can also be used as a gimmick in its own right, and to enhance its interest, the 8th Hesitation can be slightly morphed into a single-pull turn forward with a non-standard grip.
20 The man releases his right hand and uses his left hand to guide his female partner to turn forward in the direction of the reverse open position. The man advances left, the woman advances right, and in the last two weak beats of the step the man turns left and the woman turns right.
21 The male releases his left hand and switches to a single pull with his right hand, guiding his female partner to turn forward in the male left, female right turn rhythm that follows the previous measure. The male advances to the right and the female to the left. The last two weak beats change body position in the step to form a left lateral position. Repeat from the beginning of the connection.
3. Changes in the first chain step (22-23)
The all-round practice takes us to a new level. The changes and development of the Chain Steps are the inevitable result of this progress. Chain step, as the name suggests, is the structure of the dance step is like a chain, each link is a serial copy of the previous link, interlocking, continuous development. Generally, chains have the same principle but different forms, and so do the variations of the chain step form. Presented here are just three common and simple variations. But with the ability to make these three foundational changes, further development is easy.
The first chain step is a combination of the left and right lateral positions, also known as the cross step (Cross Step) commonly known as: "through the flowers". It is the originator of the chain change dance step. As long as you master the law of this change, other changes will be solved. The core of this change is Hesitation step, the first step should be big, and the last two steps should be light and floating. The positional transitions must be gliding and hovering into place in the last two steps. A common mistake is to ignore this hovering sense of gliding, the formation of mechanical "for the sake of position change" lateral movement, in the practice should pay special attention to avoid or overcome.
22 In the first measure, the man advances to the left, the woman retreats to the right, and carries the step on the left lateral position. The figure shows a circling gliding movement in the last two beats. The change of position should be almost complete by the end of the music.
23 In the second measure, the man advances to the right and the woman retreats to the left, dribbling on the right lateral position. The figure is a circling glissando on the last two beats. At the end of the music, the change of position should be almost complete. Cycle forward in this manner.
The first chain step can also be run in a backward-developing form with male retiring and female advancing. However, it must be noted that the male late left, female into the first step, should start from the right lateral position, and not in the left lateral position, for male back left female into the right transport step, the mouth for this will be contrary to the laws of human movement, give people the following coordination and not beautiful view. Please keep this in mind and practice on your own.
4. The second chain step (24-25)
The second chain step consists of the lateral and open positions. Forward movement is a combination of left lateral and open positions; backward development is a combination of right lateral and open positions. This is a law that cannot be broken, and cannot be varied.
The second chain step of the forward movement can easily form a kind of in-place in and out of the male partner alone busy mistake. This is because the male partner "lead dance" sense is not strong or ability to cause, in practice should be prevented. The correct form of step development should be a circular curve movement along the direction of the dance program line.
24 In the left lateral position, the man advances to the left and the woman retreats to the right, and the last two beats in the circle will be the body position to the open position development change.
25 Toward the center of the circular movement make an open position with the man advancing right and the woman advancing left. The last two beats convert to left lateral position in a circular exercise.
5. Changes in the Third Chain Step (26-27)
The Third Chain Step is identical to the First Chain Step in terms of positional relationships, except that it is made more difficult by the fact that each measure undergoes a 180-degree turn in its own direction. The movement program is the first small section of the male into the female retreat; the second small section of the male retreat into the female. But the total direction of forward motion is all but unaffected in the slightest.
26 In the left lateral position the man advances to the left and the woman retreats to the right. The last two beats each turn sideways (180 degrees to the left) to transition to the right lateral position. The diagram shows the form of the first beat.
27 In right lateral position, man backs right, woman enters left. Each of the last two beats turns sideways (180 degrees from the right) and transitions to the left lateral position. The diagram shows the form on the second beat.
6. Left and Right Axis Turning Steps (28-30)
The Axis Turning is a rotating step, the aesthetic interest of which lies in the large-scale rotation. The degree of rotation can be determined by the ability of both sides of the **** dance, but it is best not to be less than 180 degrees. Because the rotation will cause insufficient "wrestling" tilt, not only to lose the aesthetic interest of this provision of the rotation, and the form is very elegant, beginners can start from 180 degrees, the strength of the stronger dancers, should be practiced in excess of the rotation. If you can exceed 360 degrees, it is better.
The basic form of the axis of rotation is characterized by backward movement, back to the left is to the right, back to the right is to the left. The right turn is easier to master than the left turn, so it is best for beginners to learn from the right turn first. This rotation in the waltz can not be used continuously, you must be in two axial rotation, plus a backward basic step to change over the foot.
28 Male retreating left, female into the right. The inside right legs of both partners rest against each other to form the axis of rotation. Note that the male partner's left foot in the direction of slightly to the left, and do not rush to shift the center of gravity, resulting in blocking the female partner forward pattern, the second half of the beat to shift the center of gravity, the male partner's right foot in the state of the heel does not leave the ground, the toes of the foot to the right side of the swing, this action can be either in situ, or can be a mobile state, at this time, the rotation has begun.
29 In the case of the completion of the 135-degree right rotation, the male falls to the right, the female falls to the left. Note that the female partner must not think of "crossing" the right leg of the male partner, but rather turn and land naturally in an open form with a front and back spread.
30 Both partners keep their feet together as they continue to rotate, and continue to keep their center of gravity up (man's left foot to the right, woman's right foot to the left).
The left axis rotation is a symmetrical tautological repetition of the right axis rotation, and the main points of the method remain the same. Only according to the male left and female right starting habits, you must first make a basic step, and then you can proceed.
7. Open position synchronized to guide the female partner alone right rotation
In the state of open position synchronized forward, whenever encountered male into the left, female into the right time, you can guide the female partner to jump out of such changes.
31 The man steps out with his left foot, while raising his left hand and pushing his right hand to create the momentum of the lead. The partner is guided into a natural 360-degree rotation to the right and back. Note that the footwork should be on beat and the rotation should be light and fluid. The male partner's left hand must lead upwards, not like pushing the mill like around the neck and turn. After the female partner has finished rotating, return to the open position synchronization of male into right and female into left.
The above changes in the articulation of dance steps can be completely arbitrary. As long as we figure out the structure of each change and its laws, even if it is to carry out innovative movements, but also under will find it difficult, but there are two principles can not be violated: one is the alternation of footsteps of the law can not be undermined; the second is that we must take into account the articulation of the fluent and smooth. As long as you can follow these requirements to do, I believe you will be the best of the best, appear in the ballroom.
Waltz standard jumping practice
Standard jumping refers to the jumping method practiced for waltz competitive competitions and performances,
Must strictly follow the norms. These norms are: the flow must be strictly in accordance with the orientation of the dance line; the start of the waltz should be from the diagonal wall position: the three rotations should be not less than 270 degrees; the design and choreography of the movement should take into account the feasibility of the orientation; the degree and form of the foot movement
(meaning that it should be heel-first in the forward motion and toe-first in the backward motion, as well as the accuracy and straightness of the juxtaposition, openness, locking, brushing, and sliding, etc.); the standardized grip; and the norms of the standardized dance. These requirements, of course, we can not be achieved in one morning, but as long as we persist in practicing, it will be accomplished.
1. Kondra Exchange (32-37. One small section to complete)
32 Male into the left, female back there. There are side and C, B, M, P. Note that the male partner may not land first with the front palm. Slight left rotation of upper body. Both sides of the point of view in the same direction.
33 The second foot to the first foot and disturb, and rise to the forefoot, at the same time both points of view through the upper arc movement to the P.P transfer, upper body slightly right rotation. The body is held upward.
34 Form the P. P position, male into left, female into right. Take a forward dribbling step in the rising movement in an open form. Drop the heel at the last moment and move downward.
32--34 Kandra Exchange Figure 38--Figure 40 O.P. Position Turn 90 Degrees
35--37 Sidewalk and Slide Figure 41 --Fig. 43 Backward locking glide
2. Sidewalk and glide (35 to 37. Four steps in one bar run)
Rhythmic expression of one, two ta-da, and three, where the second beat is a single parallel glide.
35 The first beat is on the P.P., position male into right, female into left.
36 On the second beat the first half of the beat male left and female right move one step sideways into C.P, and on the second half of the beat male right and female left slide their feet together. Note that these two steps should maintain both an ascending stance and a smooth glide, without jumping or breaking upside down.
37 The third beat changes from C.P to P.P., while the male enters left and the female enters right. In the ascending movement the front palm carries the step in an open form, dropping the heel at the last moment and going downwards.
3. O.P. style right turn 90 degrees (38~40. A small section is completed.)
This is a variation of the basic right 90-degree spin. There is a crossover movement of the feet due to the change in body position. The rest of the requirements remain unchanged.
38 On the outside right (O.P.) Men enter right, women exit left. There is sideways and C.B.M.P.
39 Right turn 90 degrees male cross left, female cross right, forming C.L with tilt.
40 Both sides and feet together. (Laws of rising and dribbling remain the same).
4. Backward staccato slip step (41 to 43. Four steps run in one measure)
The rhythm is shown as one ta, two, three. The lock-slip pattern begins on the first beat.
41 On the first half of the first beat the man retreats to the right and the woman advances to the left, with a tilt guided by the shoulder and moving to O.P: the second half of the beat creates a 0.P position, with the man's left foot locking in front of the right foot and the woman's right foot locking behind the left foot.
42 On the second beat the male retreats to the right and the female advances to the left, changing to C.P position.
43 Man backs left, woman enters right. Return to C.P position.
44--47 48--53 Open natural turn 54--56
Male bends down and female stalks neck in wrong form (44, 46) and Footed Natural Turn
Heavy Tilt (45,47)
5. Heavy Tilt (45,47. Finish in 2-3 bars)
Heavy Tilt can also be translated as Over Tilt, which is the dance position called "Downward Bend". In fact, the partner is not "down", but rather, the longitudinal axis of the body is over-exposed from the vertical. It is important to understand this correctly, because the concept of "lower back" can easily lead to "out of shape" or distortion of the dance posture, resulting in the incorrect shape of the male partner leaning over and the female partner's cervical vertebrae, as seen in Figures 44 and 46.
The correct approach is shown in 45 and 47.
45 On the first or second beat of the first measure (depending on the form of the previous articulated step), form an open position with the male retreating to the left and the female advancing to the right, and then immediately afterward begin a left rotation while shifting the center of gravity. Note that it is important to maintain both the open foot position and the C.P. body position as the rotation proceeds. The center of the rotation is between the two people, and the male partner should not be the axis, but rather the female partner should be "thrown" through the form.
47 Throughout the second stanza, there should be a soothing and uniform transitional movement, which is appropriate to form the shape. And make this movement continuous with the third stanza, without interruptive intervals. The third bar is actually a kondra exchange, with the difference that neither the male left foot nor the female right foot moves out of position, but instead connects down the line with a sideways movement that creates a right-handed rotational rhythm of the body, in time with the heavy beat of the music.
It should be emphasized that the heavy tilt must be in the male partner's face-wall position no matter where it is used, never in the face-center position, and it must be kept in the C.P
6. Open Natural Turn (48-53. Two bars to complete)
This is a kind of retrograde standard rotation, starting from the reverse L.0.D. position, and ending in the tilted-wall position.
48 Male retreats to the left, female advances to the right, and when the center of gravity shifts to the forepalm, a 90-degree turn to the right begins.
49 Men cross right, women cross left. Begin a substantial right rotation in the face center position, with the left foot and the woman's right foot in an open shape that stays horizontally open during the rotation. The rotation is 180 degrees or more.
50 The man drops left, the woman drops right, and continues to hold the right rotation.
51 On the outside left (P.O.) male drops back right, female enters left. There is a C.B.M.P. and a tilt that begins the progression to a left pirouette.
52 Male in left, female out right, completed in a left turn movement, change to C.P position.
53 Both parties rise in a side-by-side foot position.
7. The natural turn (54-56. A subsection)
This is a special variation of the "male partner's rotation with the eye of the foot". It can also be used only in the male partner's reverse orientation.
54 The man goes back to the left and the woman goes in to the right.
55 The man brings his right foot together to the left and rotates to the right with his heel; the woman crosses to the left and brings her feet together in the rotation, but rotates with the ball of her foot. In the second half of the beat the male partner also shifts his weight to the ball of his foot, his body is up and his weight rises toward the P.P.
56 In the P.P position the male advances to the left and the female to the right.
57--62 Spinning step 63--65 Electric pattern left turn open (<--)
8. Spinning step (57 to 62. III) (Finished in three bars)
The textile step is a structural way of interweaving and changing positions, also translated as a meandering step, many kinds of jumping methods, and the one introduced here is one of them.
57 From the P.P position, male into right, female into left, rotating to the left as the center of gravity shifts to the ball of the foot.
58 Male into left, female across right, forming the 0.P position.
59 Male retreats right, female advances left. Continue the forward (backward) movement in the 0.P position and maintain the rotational rhythm.
60 Male retreating left, female advancing right, in a C.B.M.P state in the left rotation rhythm.
61 Male retreats right, female advances left, passing through C.P to P.P.
62 In P.P position, male advances left and female advances right.
The last bar picks up a 0.P right turn. Pay attention to the roundness and smoothness of the bit changes, do not make them mechanical.
9. Electric left turn (63-65. One bar)
63 Men enter left, women retreat right. Male in the center of gravity shifted to the palm of the foot, began to left turn car the other foot in front and rear open.
64 Male falls right, female falls left. The center of gravity rises and the other foot comes together in the air towards the heavy foot.
65 In P.P. position male into left. Female into right. Maintain rising stance and form an open (degree of rotation is up to you), female rotates with her heel.