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Author Topic: Waltz  (Read 10899 times)
millitiz
Intermediate Bronze

Posts: 220


« Reply #135 on: February 12, 2011, 05:27:25 PM »

Not sure if anyone said this, but I think that the difference of stressing on "one" or on "two" is, in a sense, an interpretation of the music. For instance, some music has a strong stress on one, which sounds like ONE two three, ONE two three... This kind of waltz yells for a bit more compression, a bit more stress on one. Some other waltz music has a longer two. So we should dance accordingly.

This kind of musicality make the dancing more entertaining to watch, and to dance with. I mean, seriously, who would want to watch the exact same routine from round 1 to final? Even the judges would get bored =D.

Also, I realize that, people have different interpretation of the same music (ok, I confess, I sometimes have quite different interpretations from others), which in a sense, indicate the artistic side of dancing.
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QPO
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Adelaide South Australia


« Reply #136 on: February 12, 2011, 06:48:55 PM »

What you say is true and this is the skill of the dancer to be able to interpret the music and place the emphasis where it is required in the piece of the music. then there is the next level to that, where by you create artistic  difference again with the timing. I have heard some strange pieces of Waltz music where I struggle to find the tempo/beat and that is the skill between the beginner and the Advance dancers and when executed properly a joy to watch!

I think this is also appreciated more by dancers than non dancers watching as they would just focus on the beauty of the dance rather than the complexity of the music and the dance.
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Dance is a delicate balance between perfection and beauty.  ~Author Unknown
Dance Forum
elisedance
Administrator
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Posts: 35013


ee


« Reply #137 on: February 13, 2011, 06:09:08 PM »

Not sure if anyone said this, but I think that the difference of stressing on "one" or on "two" is, in a sense, an interpretation of the music. For instance, some music has a strong stress on one, which sounds like ONE two three, ONE two three... This kind of waltz yells for a bit more compression, a bit more stress on one. Some other waltz music has a longer two. So we should dance accordingly.

This kind of musicality make the dancing more entertaining to watch, and to dance with. I mean, seriously, who would want to watch the exact same routine from round 1 to final? Even the judges would get bored =D.

Also, I realize that, people have different interpretation of the same music (ok, I confess, I sometimes have quite different interpretations from others), which in a sense, indicate the artistic side of dancing.

Well I think it has to be said that there is dancing and then there is dancesport - and the two are very different beasts.  In dancing its about many more things - expression, individuality, creativity and ilk are major factors.  In DS (like it or not) the form is much more contrained and, at least here, its ONE (twoooo) three (Power, glide, pose).  Sure you can do one TWO three - but don't expect to get marked, at least here. 

Look up some of the topics on energy in waltz - its a dance of switches from potential to kinetic energy (if you did physics) and integral to that is swing (which in this case is very much like a real swing - or riding a bicycle up and down small hills.
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
millitiz
Intermediate Bronze

Posts: 220


« Reply #138 on: February 14, 2011, 09:19:57 PM »

Not sure if anyone said this, but I think that the difference of stressing on "one" or on "two" is, in a sense, an interpretation of the music. For instance, some music has a strong stress on one, which sounds like ONE two three, ONE two three... This kind of waltz yells for a bit more compression, a bit more stress on one. Some other waltz music has a longer two. So we should dance accordingly.

This kind of musicality make the dancing more entertaining to watch, and to dance with. I mean, seriously, who would want to watch the exact same routine from round 1 to final? Even the judges would get bored =D.

Also, I realize that, people have different interpretation of the same music (ok, I confess, I sometimes have quite different interpretations from others), which in a sense, indicate the artistic side of dancing.

Well I think it has to be said that there is dancing and then there is dancesport - and the two are very different beasts.  In dancing its about many more things - expression, individuality, creativity and ilk are major factors.  In DS (like it or not) the form is much more contrained and, at least here, its ONE (twoooo) three (Power, glide, pose).  Sure you can do one TWO three - but don't expect to get marked, at least here.  

Look up some of the topics on energy in waltz - its a dance of switches from potential to kinetic energy (if you did physics) and integral to that is swing (which in this case is very much like a real swing - or riding a bicycle up and down small hills.

Sorry, what I meant was the difference between ONE twoo three v.s. One twwwoooooo three - that is what I meant by "stress." Instead of One two three v.s. one TWO three. Forgive my lack of imagination of words. In both case, one would still compress on 1, elongate the 2. It is rather a matter of degree. I agree with you that ONE twooo three is what Waltz is. What I was talked about is a minor adjustment only according to the music.
« Last Edit: February 14, 2011, 09:27:23 PM by millitiz » Logged
elisedance
Administrator
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ee


« Reply #139 on: February 14, 2011, 10:09:56 PM »

OK I see.  I think.  Actuallly, I have to feel to understand really - kinda a handycap Smiley
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
Some guy
Intermediate Silver
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Posts: 1464


« Reply #140 on: June 16, 2011, 05:31:30 PM »

Here's a nice lecture (I thought) on Waltz.  There are several parts, so I've arranged them chronologically for your viewing convenience:

1:
http://www.youtube.com/watch?v=WswVsSrpj_8&feature=related
2:
http://www.youtube.com/watch?v=FNs-sYiYs8Q
3:
http://www.youtube.com/watch?v=MTD3OTkmBGY&feature=related
4:
http://www.youtube.com/watch?v=yKhntQBveuU&feature=related
5:
http://www.youtube.com/watch?v=sGiWeDOLiYs&feature=related
6:
http://www.youtube.com/watch?v=KZr6mS6B2Hw&feature=related
7:
http://www.youtube.com/watch?v=njwFdLlBm7Q&feature=related
8:
http://www.youtube.com/watch?v=LxojebPklpg&feature=related
9:
http://www.youtube.com/watch?v=Z-0J1tlOMkI&feature=related
10:
http://www.youtube.com/watch?v=E5ubjkHrHrI&feature=related
11:
http://www.youtube.com/watch?v=RK8USAUTE1w&feature=related
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elisedance
Administrator
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Posts: 35013


ee


« Reply #141 on: June 16, 2011, 06:06:31 PM »

Thanks SG Smiley  I'll, bookmark this for later viewing pleasure!
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
QPO
Moderator
Continental Champion
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Posts: 20824


Adelaide South Australia


« Reply #142 on: June 16, 2011, 10:16:18 PM »

Thanks I will look forward to reviewing the clips......I love the waltz...... Grin

I have seen some of this person lecutres before...his balance is in pecable...something I aspire to and work on daily!
« Last Edit: June 20, 2011, 12:52:19 AM by QPO » Logged

Dance is a delicate balance between perfection and beauty.  ~Author Unknown
Dance Forum
Some guy
Intermediate Silver
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Posts: 1464


« Reply #143 on: June 21, 2011, 01:07:41 PM »

Well, to tell you quite honestly, parts of that lecture made me cringe, one of them being the one about balance.  Do we not have balance on each foot when we walk?  So what's this new balance we have to acquire for ballroom dancing?  I can imagine if dancing was something totally alien to walking, but we're people that can run, and even better, ride bicycles.  What more balance do we need?
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elisedance
Administrator
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Posts: 35013


ee


« Reply #144 on: June 21, 2011, 04:33:20 PM »

Well, to tell you quite honestly, parts of that lecture made me cringe, one of them being the one about balance.  Do we not have balance on each foot when we walk?  So what's this new balance we have to acquire for ballroom dancing?  I can imagine if dancing was something totally alien to walking, but we're people that can run, and even better, ride bicycles.  What more balance do we need?

The only one I can think of is a partner who is not pushing us off ballance Roll Eyes  Now that is an art in itself...
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
QPO
Moderator
Continental Champion
****
Posts: 20824


Adelaide South Australia


« Reply #145 on: June 22, 2011, 07:44:29 AM »

Well, to tell you quite honestly, parts of that lecture made me cringe, one of them being the one about balance.  Do we not have balance on each foot when we walk?  So what's this new balance we have to acquire for ballroom dancing?  I can imagine if dancing was something totally alien to walking, but we're people that can run, and even better, ride bicycles.  What more balance do we need?

as individuals No. but I think it is about making sure you are centred enough that you don't rely on your partner for balance. I am sure he has exaggerated it a bit. I have not watched all his videos but I am sure I have seen him do something similar in a foxtrot demonstration
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pruthe
Bronze
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Posts: 274



« Reply #146 on: June 22, 2011, 04:58:12 PM »

Well, to tell you quite honestly, parts of that lecture made me cringe, one of them being the one about balance.  Do we not have balance on each foot when we walk?  So what's this new balance we have to acquire for ballroom dancing?  I can imagine if dancing was something totally alien to walking, but we're people that can run, and even better, ride bicycles.  What more balance do we need?

If both partners in balance at end of a measure, both are probably in optimal position to begin figure of next measure. I think stopping between measures is a very good exercise to practice balance between partners. For ballroom dance, maybe some of natural walking techniques can be improved by using techniques he mentioned, such as balance check between measures and applying power in standing leg during & counts of Waltz. Worth a try to see if Andrew's experience and suggestions leads to an improvement between partners. He's been around for quite a while and it's great that he's sharing these suggestions here. Btw, thanks for posting these links. :-)
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"It's not what you do, but how you do it."

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samina
Silver
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Posts: 1584



« Reply #147 on: June 23, 2011, 02:15:43 PM »

Well, to tell you quite honestly, parts of that lecture made me cringe, one of them being the one about balance.  Do we not have balance on each foot when we walk?  So what's this new balance we have to acquire for ballroom dancing?  I can imagine if dancing was something totally alien to walking, but we're people that can run, and even better, ride bicycles.  What more balance do we need?
i missed that comment somehow...and i was listening out for it, too. strange. watched all vids -- thank you for that!

i love listening to sinkinson speak. what lovely movement he has. reminded me of some solo drills i can do... and gave me some new ones. thanks!
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elisedance
Administrator
Blackpool Finalist
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Posts: 35013


ee


« Reply #148 on: June 24, 2011, 03:36:59 PM »

After another inspiring lesson from A&A we were fooling around with W 3 beat timing.  It seems the version that worked the best was 'rush, rush, whats the hurry?'

Comments? Cheesy
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If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
Some guy
Intermediate Silver
*
Posts: 1464


« Reply #149 on: June 27, 2011, 03:14:53 PM »

i love listening to sinkinson speak. what lovely movement he has. reminded me of some solo drills i can do... and gave me some new ones. thanks!
Careful about using his stuff directly 'though.  Almost everything he said related to the man... in the Body School way of thinking.  Recall that the man and woman have completely opposite and non intersecting jobs. 
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