Slave to the rhythm? Musical interpretation

[Gus]

Originally posted by DavidB

When I do manage to avoid dancing to it, I've noticed that a lot of people dance off-time to it. Or is this just a London thing?

David
Sorry to say Dave but if you watch the dancefloors a lot you'll see a lot of 'off-time' dancing, especially on the tracks with no driving beat... thats why as an instructor I love to get my mob dancing to club tracks from the start as they have an easy (if sometimes boring) beat.

I think someone earlier in this thread commented that tracks with a slighly more challenging beat are more fun to dance to (NO ... I'd never include any of Bexter's trax in this category) ... true but it also increases the opportuntiy to get it wrong. If thebeat is very clear and definite then both partners tend to be in unison. If the beat is open to interpretation then each partnner may start follwing a slightly different beat and the need for either a stronger lead or a more relaxed dance style becomes neccesary.

Interstingly enough, young Roger Chin emphasises "not being a slave to the beat". This was originaly commented about records with mutlituinoud breaks where everybody does a frozen statue every 30 seconds, but it can also be applied to standrad tracks ... makes dancing a bit more interesting!

[DavidB]

Originally posted by Gus
Interstingly enough, young Roger Chin emphasises "not being a slave to the beat". This was originaly commented about records with mutlituinoud breaks where everybody does a frozen statue every 30 seconds, but it can also be applied to standrad tracks ... makes dancing a bit more interesting! I couldn't agree more. I love to hear people talking about musical interpretation, and then only talking about hitting the breaks. 'Hitting the breaks' is 'non-musical interpretation'. It is not dancing to the absence of music.

I'm not saying it is bad to hit the breaks. It is definitely a start at making your dancing more interesting. And easily leads onto something else - how you start dancing after the break. But it is not the be-all and end-all of musical interpretation. Breaks typically account for 5% of a song - it is the other 95% that you need to dance to.

David

[Gus]

Originally posted by DavidB
I couldn't agree more. I love to hear people talking about musical interpretation, and then only talking about hitting the breaks. 'Hitting the breaks' is 'non-musical interpretation'. It is not dancing to the absence of music.

David

Speaking about musical interpreatation (OK maybe this should be another thread, but what the heck ..) has anyone got an original way of finishing a track rather than doing a standard 1st move drop or backbreaker. Was watching the video of the Blackpool champs (some great dancing but also some real 'urrgghh') and in nearly every round for nearly every record all competitors finishes with a bog-standard drop, myslef included. In one round I was daring enough to put in a lean .... exciting or what?:what:

Please help ... any (legal) suggestions? [not sure if Sheena or Jayne should be allowed to respond ... I KNOW they will come up with something wicked ... and possibly illegal!]:yum:

[Jayne]

originally posted by Gus

Speaking about musical interpreatation (OK maybe this should be another thread, but what the heck ..) has anyone got an original way of finishing a track rather than doing a standard 1st move drop or backbreaker. Was watching the video of the Blackpool champs (some great dancing but also some real 'urrgghh') and in nearly every round for nearly every record all competitors finishes with a bog-standard drop, myslef included. In one round I was daring enough to put in a lean .... exciting or what?

Please help ... any (legal) suggestions? [not sure if Sheena or Jayne should be allowed to respond ... I KNOW they will come up with something wicked ... and possibly illegal!

Simultaneous quadruple spins?

Embrace and fall to the floor as if you're dying swans?

What did Torvil & Dean do at the end of their routine? (you know which one I mean)

The thing that they do at the end of the routine in dirty dancing?

Roy's got a quirky wee thing that he does at the end of the demo in the wednesday glasgow class. Can't describe it though...

So many options... :wink:

Jayne :nice:

[Gus]

Originally posted by Jayne


Embrace and fall to the floor as if you're dying swans?

The thing that they do at the end of the routine in dirty dancing?

Roy's got a quirky wee thing that he does at the end of the demo in the wednesday glasgow class. Can't describe it though...

So many options... :wink:

Jayne :nice:

Nice to know Jayne wouldn't let me down .... all well above my capabilties. Have you tried the swan lift (aka Dirty Dancing). Don't know many guys who can lift a 10st woman over their head (OK ... Dave B but bthen thats his speciality). Also, major air steps like that not really allowed.

Jayne ... SOMETHING PRACTICAL!!! What's good for you? NOT THAT!:sorry Something legal!

[Stuart M]

Think this thread shouldn't really be in the DJ booth, there's not enough room for finishing flourishes in here :rolleyes: No doubt Franck will tidy things up when he gets back.

I agree the sight of everyone finishing in a seducer makes me cringe - it's a tiresome cliche, as I've said elsewhere. That said, I did do it once last night...:sorry

Usually I'd just do something simple, like add a couple of extra returns. That way, the gal can either wind down, or if she wants to show off some style, has ample opportunity to do so.

Mind you (adding this cos we're in the DJ Booth just now), sometimes it doesn't matter what you're planning - the DJ cuts off the end of the record. :mad:

[Jayne]

Originally posted by Stuart M
Think this thread shouldn't really be in the DJ booth, there's not enough room for finishing flourishes in here :rolleyes: No doubt Franck will tidy things up when he gets back.

I agree the sight of everyone finishing in a seducer makes me cringe - it's a tiresome cliche, as I've said elsewhere. That said, I did do it once last night...:sorry

Usually I'd just do something simple, like add a couple of extra returns. That way, the gal can either wind down, or if she wants to show off some style, has ample opportunity to do so.

Mind you (adding this cos we're in the DJ Booth just now), sometimes it doesn't matter what you're planning - the DJ cuts off the end of the record. :mad:

Ooops! Sorry!:sorry I just clicked the "start new thread" icon...

I take it you're making reference to a track played last night stuart?

Jayne :nice:

[Stuart M]

Originally posted by Jayne


Ooops! Sorry!:sorry I just clicked the "start new thread" icon...

I take it you're making reference to a track played last night stuart?

Jayne :nice:
Well, it happened with Love Shack last night (I know Jayne, I went in a huff after it :sorry ) , but that's not really what I was talking about (a lot of forward planning to get from the tin roof to the end of that song anyway :grin: ). There was another track which got cut a little bit early. I know because I was all set up for a big finish (can't remember what it was - think it was some catapult variant)!

Not having a go at our man with the platters, he plays good stuff, this is just a dig at DJs in general. I know they live in permanent fear of "dead air", and sometimes the seguing of one track into another is done really well. But if a track has a definite end, rather than a fade-out, we should get to hear it...otherwise we never get to practice these final flourishes, eh? :wink:

[DavidB]

Originally posted by Gus
has anyone got an original way of finishing a track rather than doing a standard 1st move drop or backbreaker. For a competition I wouldn't worry about it. Hopefully the judges would have made up their mind long before the end of the track. All you can do to influence them with your finish is to do something wrong or dangerous, and get marked down.

For a show it's different, but you don't have to worry about what anyone else does if your are the only couple on the floor.

I've got nothing original - other than not doing a drop. What I do depends on the music...
- Smooth romantic music > finish in a smooch
- Fades out > walk off the floor
- Sudden stop > hold a line or pose, usually from a comb.

David

[Gus]

Originally posted by Stuart M


Not having a go at our man with the platters, he plays good stuff, this is just a dig at DJs in general. I know they live in permanent fear of "dead air", and sometimes the seguing of one track into another is done really well. But if a track has a definite end, rather than a fade-out, we should get to hear it...otherwise we never get to practice these final flourishes, eh? :wink:

Pretending I don't DJ for a bit ... have to agree. Some DJs seem to think that they should 'mix' traxs .... a BIG no no for Ceroc. A few seconds break gives dancers time to make their excuses and get their bearings back. Funily enough, our DJ did exactly the same twice on Tuesday leaving me in mid 'grand finish' ... methinks the termination of DJs who do that is well within the definition of 'justifiable homicide' ... agree?:reallymad

[CJ]

Firstly, apologies to everyone who was in Glasgow last night. (Ceroc that is, not disappointed Celtic fans:D ).

Anyway, yes I cut a couple of tracks really badly and my segueing was far from smooth. (I must be due on or something:rolleyes: ) I always cut Love Shack, because the last bit can be a bit tuff for some. I think I made a pig's ear of "Moondance" as well. Do try to allow flourishes: after all, it's about dancing and not the music.

Generally, dead air is still bad, but dancers do need space to say their thankyous and get new partners. Do try to provide that by making my fades long slow ones but I will try to make change overs smooth within those guidelines. Without beat mixing, sometimes I segue 2 songs in such a way that dancers can dance on without missing a beat. That is the dancers' choice and not mine. It feels good to afford someone that opportunity, though.

Thoughts?

[Gus]

Originally posted by Ceroc Jock

Generally, dead air is still bad, but dancers do need space to say their thankyous and get new partners. Do try to provide that by making my fades long slow ones but I will try to make change overs smooth within those guidelines. Without beat mixing, sometimes I segue 2 songs in such a way that dancers can dance on without missing a beat. That is the dancers' choice and not mine. It feels good to afford someone that opportunity, though.

Thoughts?

Fair comment ... probably down to personal taste. One main reason that I don't mix records is that I can't! I make no excuses .. I don't regard myslef as a 'Club DJ' ... thats for too technical ... just put one track on and take the other off ... for the most part seems to work. My main concern with mixed tracks is how do you politely disengage yourself from your partner if you REALLY don't want to continue dancing with them!

Brings to me a second question on regional differnces. apparently, on the South Coast (Brighton etc) its customary to have two dances with a partner .. in my neck of the woods its just one. Whats the status quo with you guys?

[DavidB]

Originally posted by Ceroc Jock
That aside, David how about an end of dance move similar to that of Torville&Dean 1984: the matador sequence when he TASTEFULLY throws his partner on to the floor to do a couple of spins on her hips/side/bum?:yum: That I would love to see: if only for the reaction!!I take it you never saw our last routine (It's Raining Men) It had a simple move where I spin my wife on the floor a couple of times on her side - we call it the 'floor sweeper'. (The slightly harder version was in our old routine, when I spin her in the air. Obviously the easy version is spinning her round my neck, but anyone can do that!!) If you want to challenge me, make it a bit more interesting...

David

[LilyB]

Originally posted by Gus
Have you tried the swan lift (aka Dirty Dancing). Don't know many guys who can lift a 10st woman over their head (OK ... Dave B but bthen thats his speciality). I know I'm not as light as I used to be, but 10st???!!!!!:reallymad You really know how to insult a lady, Gus. :tears: And to think, David was even planning on another trip up the M40 to your Saturday dance. Not sure if I'll go now ............ (better start the crash diet, huh :sick: )

On second thoughts, maybe we ought to find a 10st woman for David to lift over his head - he might appreciate me a bit more then! :wink:

LilyB

[Gus]

Originally posted by LilyB
I know I'm not as light as I used to be, but 10st???!!!!!:reallymad You really know how to insult a lady, Gus. :tears: And to think, David was even planning on another trip up the M40 to your Saturday dance. Not sure if I'll go now ............ (better start the crash diet, huh :sick: )
LilyB

Arrghhhhh ... Lily, major apologies but I honestly wasn't referring to you ... merely commenting than your man-mountain of a hubby is one of the few blokes I've seen who could possibly pull such a stunt off.

Must admit I don't know any 10st. women. Whenever I ask a lady's weight they all appear to be 8st 4lb!!!:confused:

[Emma]

Originally posted by DavidB
If you want to challenge me, make it a bit more interesting...Show off! :wink: :wink:

[apples]

Originally posted by Gus


Fair comment ... probably down to personal taste. One main reason that I don't mix records is that I can't! I make no excuses .. I don't regard myslef as a 'Club DJ' ... thats for too technical ... just put one track on and take the other off ... for the most part seems to work. My main concern with mixed tracks is how do you politely disengage yourself from your partner if you REALLY don't want to continue dancing with them!

Brings to me a second question on regional differnces. apparently, on the South Coast (Brighton etc) its customary to have two dances with a partner .. in my neck of the woods its just one. Whats the status quo with you guys?
[My main concern with mixed tracks is how do you politely disengage yourself from your partner if you REALLY don't want to contine dancing with them] I discovered this unintentionally at the last glasgow party night...I REPEAT UNINTENTIONALLY...can't remember track but frequent long silences in the track and during one of these ...thanked my partner and escorted her off the floor...only to hear the same track continue imagine my dilemma...any guesses to what happened next?.... Other options are you could start to cry gus....or say that you're playtime is over and you have to go home or you will be in trouble with your mummy...then again you could try to drop kick her off the dancefloor...no sorry thats a rugby ball...but seriously having never competed if you did drop kick your partner how many points would that get you????not liking to be known as a sexist the option is also open to the fairer sex....I think I better go as its time for my medication....

[Stuart M]

Originally posted by Ceroc Jock
I always cut Love Shack, because the last bit can be a bit tuff for some.

Fairy Nuff...I love trying to keep the beat through that bit, but I can appreciate how tricky it is for some.


Generally, dead air is still bad, but dancers do need space to say their thankyous and get new partners. Do try to provide that by making my fades long slow ones but I will try to make change overs smooth within those guidelines. Without beat mixing, sometimes I segue 2 songs in such a way that dancers can dance on without missing a beat. That is the dancers' choice and not mine. It feels good to afford someone that opportunity, though.

Think my problem is that I'm permanently locked into the habit of one dance per partner, so seguing puts me in the dilemma of continuing though another dance I don't really want (or I'm just too knackered for :tears: ), or being rude and finishing as another track begins.

My argument for one dance per partner is simply that variety is the spice of life...
:cheers:

[Emma]

Originally posted by Gus


Don't know many guys who can lift a 10st woman over their head

Man, that is so depressing... couldn't you just leave me with the fantasy that one day I might be able to do an aerial..I know I probably never will, but a girl needs dreams!

[Gus]

Originally posted by Emma


Man, that is so depressing... couldn't you just leave me with the fantasy that one day I might be able to do an aerial..I know I probably never will, but a girl needs dreams!

Take heart ....

a) not all aerials require lifts over head height (many are simple pivots)

b) I said not MANY .. but there are a few that can lift well over that (my original aerials partner was 11st)

c) who the h*ll wants to do aerials anyway? There's a lot more fun that can be had a ground level !!!!!

[David Franklin]

Originally posted by Emma


Man, that is so depressing... couldn't you just leave me with the fantasy that one day I might be able to do an aerial..I know I probably never will, but a girl needs dreams!

Note that Andy and Rena have been national airsteps champions, and AFAIK Rena is over 10 stone. Andy's not a huge guy either.

Also I was at a workshop last year where a couple turned up in their 50's, never having done aerials before. The woman weighed about 15-16 stone (so did the guy - but it wasn't muscle...). Anyhow, they managed to do the superwoman aerial. Shows what you can do if you try!

Dave

[DavidB]

As David F and Gus have said, the man doesn't need to be that big to do aerials. They are all about technique, and practice.

But, if something goes wrong, the lady appreciates every ounce of man that is between her and the floor...

David

[LilyB]

Originally posted by David Franklin
Also I was at a workshop last year where a couple turned up in their 50's, never having done aerials before. The woman weighed about 15-16 stone (so did the guy - but it wasn't muscle...). Anyhow, they managed to do the superwoman aerial. Shows what you can do if you try! Dave F is absolutely right (subject to what my dear hubby said in his post re if something goes wrong - I do appreciate lots of flab to land on! :wink: ). As I have often said to Dave, executing overhead aerials is all down to technique and timing (and lots of guts on the part of the partner being lifted! Blindfaith/foolhardiness also qualifies :what: ) I have often, however, observed that the lack of technique & timing has not prevented some people from executing overhead aerials - it just makes them DANGEROUS, not only to themselves but also to others near them. That is why you will NEVER see David and myself doing any aerials in social dancing.

LilyB

PS Apologies accepted, Gus. Of course I'm not 10 st, just a trifling 9st 12. I might now be persuaded to go with David to your do on 10 Aug, but only if you promise to play us some luvverly smoochy smooth WCS tracks.

[Gus]

Originally posted by LilyB
That is why you will NEVER see David and myself doing any aerials in social dancing.


Can someone take this phrase and plaster it across every Modern Jive venue in the land!

My all time biggest bug-bear is morons doing full scale aerials on crowded social dance floors. There are only a handfull of couples who are rated in aerials, i.e. Andy and Rena, Dave and Lily, Simon and Marialane and Graham Pucket and partner. ALL the above consistently say DON'T DO AERIALS ON SOCIAL DANCE FLOORS.

So who are the wonderkids who think they know better than the experts. On the North West circuit there are hordes of the wonderkids trying to put their partner and surrounding dancers into trouble. Even at the Stockport event last Saturday I had to endure a few heros doing major airsteps (badly) with partners they had just met.:tears: :tears: :tears:

Ceroc guidelines actively discourage airsteps at their venues. The only person I've ever banned was for repeatedly doing airsteps after I'd told him they weren't allowed twice.:reallymad

What really bites is that I actualy realy like aerials .... but only for performance work. I've done over a dozen workshops and can understand the frustration of not being able to throw one or two into the routine ... but you have to be consiedrate of other people. Threr is a true story that the time that Rena (of Jump'n'Jive) fame broke her ams doing an aerial, she landed on the only other couple on the dancefloor at the time (during a practice session)

So ... should franchises take actions, should teachers get involved and pull people off the dance floor for doing aerials?

[John S]

Originally posted by Gus


So ... should franchises take actions, should teachers get involved and pull people off the dance floor for doing aerials?

I do think there should be a public reminder before the freestyle session, particularly at crowded party nights.

Whether it would deter the totally thoughtless individuals who do these moves without regard for the safety of their partner or other dancers is open to doubt, but it would certainly serve two other important purposes:

1 It would provide a basis for other dancers who are annoyed at the practice, to approach the individuals concerned - or to draw the attention of the organisers to what was happening. At present, it could just be brushed aside and dismissed as personal prejudice/dislike or even jealousy. (See comments - not mine - on this same subject under the "I Saw You" thread.)

2 It would provide a legal defence for the party organisers in the event of someone getting injured, in that they would be able to say they always specifically warn against the practice (otherwise I believe they could be open to a lawsuit for permitting dangerous practices in an event for which they are responsible.) Similarly, it would provide legal grounds for someone who is injured by an aerial move to sue the individual concerned.

Obviously no-one wants to have to resort to legal action, but believe me - if there is a serious injury as a result of reckless behaviour it is a possibility. The precedents exist in other sports, eg football. (And don't rely on the insurance policy, without reading the small print and exclusions!!!)

(What a miserable thing to have to write about for my 100th posting - we all want to enjoy ourselves and I know accidents can happen in even the tamest of dance moves, but we really don't want to have to wear protective headgear to avoid flying feet!!!!)

[Franck]

Originally posted by Gus
Interestingly enough, young Roger Chin emphasises "not being a slave to the beat". I reckon this makes a lot of sense, but it does not mean you can ignore the beat in a song... :really:
My understanding of the rhythm is that you can stretch one beat so that it goes over the next one, and then accelerate for dramatic effect.
This sort of musical interpretation works really well when trying to match the mood of the music (and the lyrics) rather than just the beat...
You can, say for example in the First move, keep your partner for an extra half (three-quarter?) beat in the third beat because the mood of the record is slow, and then dramatically bring her round on beat four for contrast... I am not sure this is very clear written down, but time stretching is really good fun and gives your partner the impression that you are actually choreographing the dance to fit the music :nice:

Any other tips?

Franck.

[Rachel]

Originally posted by Franck
My understanding of the rhythm is that you can stretch one beat so that it goes over the next one, and then accelerate for dramatic effect.

... trying to match the mood of the music

You can, say for example in the First move, keep your partner for an extra half (three-quarter?) beat in the third beat because the mood of the record is slow, and then dramatically bring her round on beat four for contrast

Any other tips? Great message, Franck - you explain it so clearly and I couldn't agree more! I love dancing with men who appear to be listening to the music and adjust their style according to the mood ... And they're not always the experienced dancers, either, some beginners can do it really well, too.

I love breaks, or things like a slow or double spin which stretches over into the next beat, followed by a fast step to catch up with the music. Or, as you suggest, a lazy first move followed by a quick double turn and freeze. Change of pace always makes a dance more interesting. And musical interpretation is the whole point of dancing, isn't it? Otherwise we might just as well dance to a metronome ...

Having said all this, I'm still trying to get the hang of this rhythm change thing myself - I admire it in so many other dancers, but still have a steep learning curve to go myself!! And I certainly sympathise with the men, or anyone who has to lead.

I'm a bit clueless as to best ways to end a dance, if not for seducers, etc. (And to pick up on a previous thread, I really only like seducers/drops when they fit with the music and not when they're thrown in all over the place as a matter of course.) But I'd echo what, I think, David B said about sudden endings - I do like freezes at the end of a dance, especially after a comb. Gives you a nice chance to look into each other's eyes, (if you so wish!), and say thank you for a lovely dance...

[Gus]

Originally posted by Franck

You can, say for example in the First move, keep your partner for an extra half (three-quarter?) beat in the third beat because the mood of the record is slow, and then dramatically bring her round on beat four for contrast
Franck.

Good example. I managed to get some private coaching after the Balckpool champs ... it was well worth it though I think I've only managed to absorb about 20% of what was said. The coaching was by Roger C and Ann and one othe key points he tried to drum into my thick skull was about the 'flexibility' of the beat. Taking your above example, when you turn the lady out on beat THREE .... are you executing the turn on the "T" on the "E" or just before the "F" of FOUR .... try experimenting with it, the effect of a late turn out can be quite impresive, and thats such a small change to using the beat.

The other contrast trick commonly taught in general ceroc is a lock move at the end of a travelling return...... as the lady steps back at the end of it, lock her palm towards the floor and either just freeze or wiggle on the spot .... probably more common in Lindy.

[Franck]

Originally posted by Gus
The other contrast trick commonly taught in general ceroc is a lock move at the end of a travelling return...... as the lady steps back at the end of it, lock her palm towards the floor and either just freeze or wiggle on the spot .... probably more common in Lindy. Yeah, I like that variation, in fact, I really like freezes or brief pauses in the dancing (wiggling optional).
Similar to the one you describe is the move where you do that at the end of the lassoo Sway (very fast) followed by a brief pause with your partner in front of you, before swaying from side to side (if the music lends itself to that)...

So many moves, so little time!

Franck.

[Gus]

Originally posted by Franck


So many moves, so little time!

Franck.

Of course Franck, it alwys depends whether your partner likes it to happen quickly or for the man to take his time.

[Franck]

Originally posted by Gus
Of course Franck, it alwys depends whether your partner likes it to happen quickly or for the man to take his time. and there I was hoping we could get back on track to some "serious" discussions... I should have known better :nice:
From my experience, my partners like a bit of both! Slow and fast, basically anything but repetitive or predictable! :wink:

Franck.

[Gus]

Originally posted by Franck

From my experience, my partners like a bit of both! Slow and fast, basically anything but repetitive or predictable! :wink:

Franck. Ahh ... and here starts the debate ..... not neccesarily. There's a Blitz teacher called Jatinder who is from a mambo background as is commonly known as only having two speeds, slow and very, very slow (and I think theses may be too fast). He's the only dancer I've seen blues through Zoot Suit Riot. And the point of this digression ... well if a woman fancies a bit of 'slow', she avails herself of Jatinder ... if she fancies a bit of 'fast', she'll go with Matt, anoither instructor.

I'm not sure that the majority of women actualy apprecaite a mixture during a track ... maybe they go more for a genral pace, in line with how they want to dance to a track. In competitions, I think there is a greater demand for rhythm interpretation, but I'm not sure how many intermediates could follow a non-standard beat lead ... I may be doing the ladies a vast injustice but its an honest question ... what do the women like (...that age old question again!)

[filthycute]

Originally posted by Franck

From my experience, my partners like a bit of both! Slow and fast, basically anything but repetitive or predictable! :wink:

Franck. Seems like you've got it all sussed Franck. :wink:I reckon you've just described the majority of women.
Personally i am in that majority. I'll dance to absolutely anything! the more variation the better. It's also great to have co-ordinated men who compliment the tracks. Sleaze to swing, blues to boogie woogie..... one for every occassion :D Is it just me who knows guys not by their name but what song/type of music they dance best to? :yum:
Originally posted by Gus what do women like....Poor dear. If you don't know now i fear you will never know :yum:

filthycute x x

[Lou]

Originally posted by Gus
In competitions, I think there is a greater demand for rhythm interpretation, but I'm not sure how many intermediates could follow a non-standard beat lead ... I may be doing the ladies a vast injustice but its an honest question ... what do the women like (...that age old question again!)

It depends on the man, of course! After all, unless we dance with him regularly, then how do we know if hes doing it deliberately, or if he's got a bad sense of rhythm?! :what:

[Gus]

Originally posted by Lou


It depends on the man, of course! After all, unless we dance with him regularly, then how do we know if hes doing it deliberately, or if he's got a bad sense of rhythm?! :what:

Think I chose my original words badly ... when I said non-standard beat, I mean that the moves will still be broadly within the beat structure of the music, just that there may be small pauses and changes of pace. If you are dancing with someone who is interpreting the music well in this way ... it should FEEL right. :nice: If, however, you are the victim of a dancer with no sense of rhythm and who's moves are merely on a random basis ... I think you will also know.:sad:

[DavidB]

Originally posted by Gus
... but I'm not sure how many intermediates could follow a non-standard beat lead ... About 1 in 3 (which probably means the other 2 think I can't keep time!)

David

[Emma]

Originally posted by Gus


the moves will still be broadly within the beat structure of the music, just that there may be small pauses and changes of pace.

Ooh yeah... I love the occasional dance like that - not all tracks are right for it - but with the right track, a good lead and a man with a strong sense of timing..bring it on! :nice: