Now for laughs, copied a statement posted in one of the dance Forums I used
to contribute to. The question. The Student, Lynn asked was,
“I was trying out triple swing yesterday (i think it's ECS) and I found
myself with a really big problem. I'm essentially "hopping" or jumping
from one step to the next because the music is quite fast. Is there any way
to keep me more "grounded" between step transitions?? I saw some instructors
dance and it looks like they're just taking their time and no one is doing the
"hopping" step I’m doing. Any suggestions? “
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I will give the solution to the problem expressed in the above POST, after you
read some of the confusing explanations being given by two swing ‘teachers’.
The disagreement between these dancers is over how to express the 1...&2,
and the 3...&4 counts.
Check it out. Uncle Joe
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from; D.T…
Triple stepping is actually pretty natural. Think about walking and what happens
if you catch your toe on the sidewalk. You end up taking a step that is to short,
your body weight keeps moving past the stalled foot. To keep from falling you
need to regain your balance, that is to say rapidly place your free leg down
under where your body currently is and lift the
stalled foot and place it in a position to halt your movement. So it is a step
followed by to two slightly quicker steps. This is also the key to getting the
rhythm right, swinging that triple.
1...&.2.....3...&.4.....5.....6
You'll notice the & and 2 are closer together than the 1 and &.
Another suggestion is to make sure you are bouncing in a more downward manner
(thinking sinking into your step, flexing that knee, and then pushing directionally
into your next step) rather than bouncing up (a hopping or skipping motion that
is frequently seen in newer dancers).
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Posted: Wed Jul 27, 2005 9:05 pm Post subject:
FROM: E.T…
Lynn wrote:
Yay, thanks for the pointer, I remember my teacher said for the &2 and &4,
we take smaller steps because the rhythm is quicker....that's one thing I need
to write down.
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ET’s…Response:
wait... you're taking the &2 and the &4 smaller than the 1 and 3 from
my experience that's backwards than the actually "swing" motion. the
1& and the 3& should be closer together and light with more emphasis
on the 2 and the 4.
1&...2, 3&...4, 5 (light), 6 trying to come down heavy on the 2, 4,
6. you can also think of it as coming down heavy whenever you say the work "step".tri-ple-STEP,
tri-ple-STEP, rock, STEP!
_________________ ______________________________
D.T’s Final solution
In the tripping example, your first two steps are smaller and the last step,
the one that catches your weight and controls your direction is necessarily
larger.
Yes while the two last steps are faster than the first step they are not both
shorter. It is counter-intuitive and at the same time, completely natural. If
you don't believe me, shove a co-worker.
Dear Friends,
If this above dialogue, three years after I posted my ‘Magic Pill’,
doesn’t convince you of the confusion going on among Swing teachers and
students in the dance world, no other examples will.
Here is a succinct synopsis of the “Lanza ‘Magic Pill’ Six
Count Lindy:
1) The first Triple Steps (1…&.2) is taken on One Quarter beat plus
Two eighth beats (Notes); with the #1… using a full Quarter note or beat
duration, while the &.2, take an eighth beat each duration.
2) The same timing is used for the #3…&.4 , a Quarter beat plus two
eighth beats.
3) There is NO smaller or larger steps, only a ‘Slow and Two Quick steps.
It is the DURATION of the steps that are crucial, not the SIZE.
4) As a matter of good technique that will allow you to dance fast, and ‘WITHOUT’
the hopping and bouncing suggested above, all 1…&.2, 3…&.4
steps should either be taken in place or if traveling, executed with three equal
sized ‘running’ steps’ adequate in length to get you in place;
there is no smaller or larger steps, but three smooth running steps with out
the ‘Hopping or Bouncing suggested above.
5) Syncopation is the secret of enjoying the rhythmic pulses (Beats) of the
Swing music. The even numbers ‘&2, &3, &6 take a subtle lilt
to emphasize the even beats. Although the music emphasizes the odd numbered
(Down) beats, the dancers emphasize subtly the even (Up Beats) numbered beats.
6) As for the position of the legs for all dancing whether it be ballet or the
Swing, the legs should not be locked straight or bent at the knees, but slightly
flexed to absorb the body weight’s movements without bobbing up and down…a
definite sign of a novice ‘Dancer.
More on the Lanza ‘Six Count Lindy’ teaching method on my next commentary.
Uncle Joe
COPYRIGHT @ 2005 BY JOE LANZA