A basic side step will work with most kinds of dance music, from foxtrot and rumba, to salsa and swing, to unfamiliar music (this video goes with the book so it’s also posted on the Freebie Video page):

Here are two reasons why, if you need a crash course in ballroom dancing, you should learn to do a basic side step:

1. It uses the versatile double—single—double—single rhythm pattern (that’s eight beats of music: STEP STEP—STEP HOLD—STEP STEP—STEP HOLD), which is easy and fits a vast range of tempos and musical genres. This simple footwork creates a rhythm for the feet that anybody can groove on.
2. If you don’t have a good dance connection with your partner—two newbies will not have a good dance connection—it will be easier to move your partner side-to-side than to move her forward-and-back.

Even if you know some dances, the plight of many beginners is that they can’t identify the music and what dance to do. If you get stuck on the dance floor not knowing what dance to do, start with a basic side step; then, see what develops and transition into something else if it’s appropriate. Watch other dancers on the floor for clues.

If you’re looking for minimal choreography, the basic side step is a good foundation step pattern for a wedding dance and a slow dance. Learn it well.

Note: The basic side step will not work for a waltz because waltz music is counted in sets of 6 (all other ballroom music is counted in sets of 8).

Single rhythm, one weight change in two beats of music (e.g., a STEP HOLD or a SIDE TOUCH, no weight change on the HOLD or the TOUCH), can be a lifesaver when you’re ballroom dancing (this video goes with the book so it’s also posted on the Freebie Video page):

Doing all single rhythm is the rhythm pattern to use for a sway (single–single is the rhythm pattern, SIDE TOUCH—SIDE TOUCH is the verbal call, keep repeating), which is what to fall back on if you get stuck, lost or confused–or if you flat-out don’t know what you’re doing. If you neglected to take lessons before your wedding, use this to survive your wedding dance—but choose a wedding song with a beat you can hear. You still have to connect to the music or you’ll just get an awkward rocking back and forth. If you can’t hear the beat, I urge you to learn how to count sets of 8.

Phrasing in ballroom dancing is an intermediate-level concept but I beg you, O Humble Beginner, to begin actively listening for the major phrases in all music (this video goes with the book so it’s also posted on the Freebie Video page):

This will help you to hear the sets of 8, hence, how to hear the beat in music. It’ll also make listening to all music more fun—even your rap and metal stuff—because it helps you predict where the music is going.

A major phrase is a “paragraph” of music (sets of 8 are the “sentences”). While sets of 8 will be consistent throughout a song (Geek Alert: that’s by virtue of the 4/4 time signature), major phrases vary so a song can have phrases of different lengths. Like other structural elements of music, sometimes hearing the major phrases is subtle and sometimes it’s in your face. The basic 32-beat phrase is common and they’re easy to hear in this music.

Is there music (name the title) where you can’t hear the major phrases?

I’ve posted some new instructional video clips in recent weeks. (They’re the videos that go with the book so they’re also posted on the Freebie Video page.) The two below help with how to hear the beat in music.

First, there’s counting sets of 8:

I’d guess that over 80% (probably over 90%–I don’t want to be too definitive in case some folks have an off-beat taste in music) of the popular music that you hear today is structured in sets of 8. If you do ballroom dancing, all music except waltz will be in sets of 8 (waltz is in sets of 6). In some music the sets of 8 are easy to hear, and in some music they’re bloody hard to hear. The music in this video is easy.

Second, downbeat and upbeat:

Again, the vast majority of all music you hear today will have the “downbeat upbeat” structure. Even if you can’t hear it, it’s there (waltz is “downbeat upbeat upbeat”). The music in this video has very pronounced upbeats. You have to hear the structure in the easy tunes before you can hear it in the harder stuff.

Is there music (name the title) where you can’t hear the sets of 8 or the downbeat/upbeat?

I relaunched my website/blog—the thing you’re reading—this week on a new platform. I know, it looks a little dreary at the moment. It’ll be under construction for a few months so I’ll try to spruce it up. Hang tight.

My book is finally finished …[pop champagne corks]… Every Man’s Survival Guide to Ballroom Dancing: Ace Your Wedding Dance and Keep Cool on a Cruise, at a Formal, and in Dance Classes. It’ll be for sale on Amazon by the end of January 2010.

Clik here for the Table of Contents to see what’s in the book. And check out four free chapters here: “Counting Music: Finding the Sets of 8,” “Downbeat and Upbeat,” “Slow Dancing,” and “Surviving the Wedding Dance.” Then click over to the Freebie Video page to see the video clips that go with the book. I’m still working on a couple of the vids. Hang tight.

It’s not been easy putting music, rhythm and dance into words, but I think I did it. I’m going to take the rest of the afternoon off.

I have an issue with tempo.

I went through a long period where I could dance okay in class but I was terrible at a dance. Some of that had to do with a lack of familiar partners (read: my leading sucked and partners at a dance were not familiar with the step patterns I learned in class) and some of it had to do with my poor memory (read: the half-life of a new pattern from class for me is as little as 10 minutes). But a lot of it had to do with tempo.

The tempo of a song is the number of beats per minute, e.g., 120 BPM. Every dance has a range of tempos that work for that dance. Teachers tend to teach at the slower range because it’s easier to learn a dance at a slower tempo. When you’re at a dance you’ll hear a range of tempos but my unscientific-Murphy’s-Law opinion is that very little will be at the slower tempos, the one you learned in class. I seemed to always get deejays and bands that played mostly uptempo (fast) music.

Other stuff being equal—same partner, same dance moves—I began to notice a pattern: what worked for me at, say, 120 BPM would be awkward at 130 BPM and might completely disintegrate at 140 BPM. This erosion of my dancing prowess was not necessarily a lack of physical ability and coordination. It was more the inability of my brain to keep up with the action at faster tempos. Mental confusion. Because my dancing was not yet automatic, at faster tempos my brain was not quick enough to remember everything I had to do: my foot goes here, my hand goes there, the lead is like this, stay on the beat, flirt with a clever line. Plus, I had to think about what move to try to impress her with next. Plus, I was always distracted with trying to look cool, not easy for a beginner.

It took me a while to realize that uptempo music was a problem because, when you can’t hear the beat, which was my problem for many years, you can’t hear the tempo. Being stuck at the beginner level for more than seven years gave me plenty of time to formulate and test this theory. Noble-Laureate I’m not, over-analytical dancer I am.

I’m still a bit picky with songs and, unless I have a partner of equal or better ability, I tend to avoid uptempo. Although it doesn’t always work nor is it always appropriate to even try, I attempt to manage the process with conversation. For example, if the song hasn’t yet started, I might use a line like this: “Let’s dance but we have to make sure it’s a good song.” If I’m already on the floor and dancing and it’s not going well, I might go with this line: “This is not a good dance song, way too uptempo—gosh, it’s probably over 160 BPM—let’s dance the next one.”

I asked Skippy Blair about tempo and she said, “People do have tempos. There are those who dance everything. There are those who cannot dance slow. Many people ‘own’ a tempo.” And she suggested this line: “I’d sure love to dance with you the next time they play my tempo.”

ADVANCED INFO ALERT: You dudes who count tempo in measures per minute (MPM), puh-lease, have mercy. In 4/4 time, you would say 120 BPM is equal to 30 MPM, but in ¾ time you would say 120 BPM is equal to 40 MPM. Are you telling me that even if my ear hears the same number of beats in the span of a minute I need to know time signatures (4/4-time, ¾-time) to identify tempo? Can you make tempo any more difficult for the beginner?

Not all music is dance music, although most popular music is danceable. Dance music varies in difficulty so some music is better for dancing than other music, which is, in part, a personal preference. But some music is just not danceable. The jazz music of Count Basie, known as swing, is usually good dance music but the jazz of Miles Davis, known as bee bop, is not dance music at all.

I don’t typically dance every song in an evening of dance so, strategically, I sit out the music that’s not dance music or is music that’ll be difficult for me. This makes me appear to be a better dancer. If you struggle with dance, choose your music wisely.

For me, if I can count sets of 8 and if it makes me feel like dancing and if I can visualize myself doing some steps (that’s when I evaluate if the tempo is too fast), then it’s dance music. If I can’t count sets of 8 I try counting sets of 6 to see if it’s a waltz, although my guess is that less than 2% of popular music is a waltz. If that doesn’t work it probably isn’t dance music or, at least, it’s not good dance music for me.

If I can’t count sets of 8 and it still feels danceable—it’s usually something with a slow tempo–I might try an improvisational slow dance. If that doesn’t work and the song isn’t over, I sometimes let it evolve into a Steve-Martin-esque parody of a slow dance. There’s a classic parody of a “slow fox trot”—not sure what you call it—by Steve Martin and Gilda Ratner from Saturday Night Live. I was going to give the youtube link but the video “is no longer available.” If I ever find it, I’ll post the link.

In this video Skippy Blair shows how the leader and follower can create a dance “connection” in the “closed position” by “matching resistance.” This is a very important video for followers!

In the closed position—the most common position used in partner dancing—the leader places his right hand over the lower portion of the follower’s left shoulder blade. To create the connection the follower must match the leader’s resistance by pulling her left shoulder back and down, pressing into the leader’s hand. If the follower does not match the resistance, the leader finds it much more difficult to lead.

It’s common for teachers to describe the process of matching resistance as meeting a push with a push and a meeting a pull with a pull. Beginners find that a difficult process as it’s counterintuitive; beginners tend to yield to a push or a pull, not resist them. Skippy says, “The resistance is not actually pushing or pulling. It is a matching reaction to the action of the lead. The natural tendency to yield to a lead rather than to match the natural resistance is a real problem for many dancers.”

I wish every follower would watch this video again and again. If you don’t press back into your leader’s right hand, you give us nothing to work with.

Video courtesy of Skippy Blair (swingworld.com).

In this video Skippy Blair talks about the importance of keeping your elbows down. A lot of stuff in dance is wicked hard to do, this one’s a cinch. Well, it’s easy to do but developing the habit to always do it is a little tougher.

Keeping your elbows down affects your posture and frame. Posture and frame are important because they not only make you look good, they improve the dance connection with your partner. Pressing your elbows down will push your shoulders back and down, which helps to straighten your spine. It will make you feel light to your partner arms. There’s more in Chapter 10, Posture and Frame.

Video courtesy of Skippy Blair (swingworld.com).

In this video Skippy Blair talks about how to move on the dance floor by moving your center first. Your “center,” short for “center point of balance,” is located in your solar plexus. All dance movement should start and project from your center. If you move your center first you will not only look better–like a dancer!–but it will feel better to your partner and make lead and follow much easier.

There’s an old saying in dance, “foot follows frame.” Move your center first—not shoulders, hip or foot. Especially don’t move the foot first, which is the mark of a beginner. There’s more in Chapter 12, Movement and Timing.

Video courtesy of Skippy Blair (swingworld.com).