Tag: ballroom music

Posted on

Are you in denial about being rhythmically challenged?

rhythmically challenged: A phrase frequently used to describe someone who consistently dances off time. A better definition would be a person who lacks the education required to be able to rhythmically count beats of music. (reference: Skippy Blair’s Dance Terminology Notebook)

Photo by Konstantinos Koukopoulos

I used to be rhythmically challenged. Even after seven years of ballroom dance classes, I still had trouble with the beat–yet I didn’t know it! You see, they don’t teach this stuff in grade school or in dance classes. Then I found an enlightened teacher: Swing Dance Hall of Famer Skippy Blair. I got educated and trained on my own. Now I’m very connected to the beat.

It took a long time to realize that I had a problem with the beat. There’s no test to take with a score. Your friends don’t pull you aside and do an intervention. Sure, dance partners will be less anxious to dance with you, but that’s hard to detect because they’ll still dance with you. The most disconcerting? You can give the appearance that you’re connected to the music by learning choreography. I believe that’s the state of many celebrities on Dancing with the Stars.

The difficulty in hearing the beat can vary a lot from song to song. You often get songs with beats that are easy to hear, for example, the teaching music used in ballroom dance classes. You can get partners who have a good sense of rhythm and they will help you stay on the beat, yet you won’t know that they’re helping. And very often you step on the beat by guessing or by accident (think: even a broken clock is right twice a day). So it’s easy to be in denial about a lack of rhythm. Besides, you know dozens of intermediate level step patterns so you must be an intermediate level dancer, right?

Shameless Plug: Check out my book, Hear the Beat, Feel the Music. Or just go to the FREE youtube instructional video page for the book.

Amazon $11.95

Amazon $12.95

When I was a beginner, whether I was dancing at a social dance with other beginners or at a venue where nobody knew how to dance (like a wedding reception), I think many of my partners liked my dancing because I smiled and didn’t yank on their arms. Funny thing, my arrhythmia didn’t stand out because most of the other leaders were rhythmically challenged too. Besides, many of my followers were beginners and challenged too, so they were not judging my musicality. To them, being charming and gentle and being halfway competent at doing cool step patterns—albeit, off time—is better than: 1) being a dweeb or a creep; 2) dancing rough; 3) executing choreography poorly; 4) rocking back-and-forth like a dork. So even if you’re rhythmically challenged, you can have partners who will tell you, sincerely, you’re a good dancer, which further buries the truth.

In my experience this is not just a guy thing. Many women are rhythmically challenged. I suspect that most people can’t hear the beat—that is, to always be sure of the beat, not just occasionally (guessing doesn’t count). That’s the average condition.

An intellectual (read: superficial) grasp of the beat can be easy to fake because it often works — by guessing, by accident, by using choreography and by dancing to music with beats that are easy to hear. But having rhythm in your flesh and bones (read: natural and intuitive) is where you want to be. It’s a thrill to be viscerally moved by music as it’ll not only make you a dancer but it’ll make listening just for pleasure, anytime and anywhere, more enjoyable. Most people can train themselves to be sure of the beat, but first you need to be educated. I just wish they taught it in grade school and in dance classes.

What’s your story: Do you suspect you’re rhythmically challenged? Were you once rhythmically challenged and did you overcome it? How did you overcome it?

Posted on

7 ways to practice ballroom dancing using an iPod, etc.

Photo by David Goehring
Photo by David Goehring

I propose: you can learn to ballroom dance lying poolside, with a cold drink in hand, listening to an iPod. Seriously, you can learn a lot by actively listening to music—alone, by yourself. You can also do this standing on line at the post office, working out at the gym, commuting to work, listening to background music on a TV show, drifting off to sleep at night—any place and any time you hear music. Here are some things to play around with:

  1. Practice counting sets of 8. Sets of 8 define the beat of the music and learning to count sets of 8 is the primary way to train your ear to hear the beat (ahem, some people naturally hear the beat, counting sets of 8 is for the rest of us). Listen for a count 1 in the music (not to be confused with a count 5, the first beat of the second measure), count to 8, start over.
  2. Practice music identification. That is, practice identifying musical genres. Learn to distinguish between, say, blues and swing. If you’re taking salsa lessons, listen to salsa music and learn how to identify it. While you can learn some easy salsa step patterns in an evening, it could take you a while—I don’t know how long, but it’ll take more than a day—to distinguish between salsa, samba and merengue music. A website to check out is pandora.com—just search for a genre (last.fm is a good site too, search for a genre and then click on “tags”). Swing, big band, blues, rhythm and blues, foxtrot, Latin, mambo, salsa, samba, cha-cha, rumba, merengue, reggae, tango, waltz, soul, folk, pop, house, techno, hustle, rock and roll, country and western.
  3. Practice dance identification. Try to determine which dance fits a particular piece of music. Visualize, in your head, doing the basic step pattern for each dance you know that you think might fit the music. If something doesn’t work, try something else. If more than one dance seems to fit, decide which one feels best. I like to tap my feet–I tap the rhythm pattern (think of a rhythm pattern as the pattern of weight changes) of the basic step pattern for each dance I know. I use both feet as if I were dancing (a tap is equal to a weight change). I can do this standing, sitting or lying down (if I’m lying down, I tap the air). Dance identification is an important skill for the social dancer, often overlooked and not taught in dance classes.
  4. Practice footwork that you already know. Visualize yourself doing footwork. Go through, in your head, the step patterns and syncopations that you learned in class. Try using both feet to tap rhythms, as if you were dancing (a tap is equal to a weight change).
  5. Practice choreography. String step patterns together to create a routine. Pick moves that flow one into the next and that match the mood of the music. You can both improvise stuff on the fly as well go over planned routines like, say, wedding dance choreography. If you practice this all in your head now, it’ll make it easier to do on the floor.
  6. Practice improvising footwork. This will help your “spontaneous social dancing,” which is good for both survival dancing and sweeping a lady off her feet–especially, slow dancing. Visualize yourself mixing single rhythm (STEP HOLD – one weight change for every two beats of music), double rhythm (STEP STEP – two weight changes for every two beats of music) and blank rhythm (HOLD HOLD – no weight changes for every two beats of music). Listen to what’s going on in the music and let that suggest a rhythm for your feet. Let go and get lost in the music. Again, try using both feet to tap rhythms, as if you were dancing (a tap is equal to a weight change).
  7. Practice phrasing. Once you can identify sets of 8, listen how the sets of 8 are grouped together into major phrases. The most common major phrase (but certainly not the only) is four sets of 8, which is 32 beats (4×8=32 beats). If you want to do a dip, it often fits best during the last set of 8 of a major phrase, which is typically where some thematic element of the song momentarily winds down or resolves. Visualize yourself leading a dip and note, especially, the timing for coming out of the dip (time it so you’re upright and ready to start a new pattern on the count 1 of the first set of 8 of the next major phrase).

Most beginners ignore the music because they’re focused on remembering step patterns. But dance is a threesome: you, your partner and the music. One of the big differences between beginner and intermediate level dancing is that the intermediate dancer listens and dances to the music.

Posted on

What everybody needs to know about which beat of music to start a dance

Photo by Branden Lally
Photo by Brendan Lally

I used to struggle with when to start a dance. I would stand stiff and motionless, like a statue, with my partner in hand, stressing over when to take the first step. I didn’t know when to break into the music. I didn’t know if it mattered. I could hear spots in the music that would have been good places to start, but I couldn’t predict when they were coming. Something was missing, but it’s hard to know what you don’t know.

I now know that those spots occur on a regular basis: every eight beats of music. It’s best to start dancing on the first beat of a set of 8, called the count 1 or “the 1 of the music.” You can also start on a count 5, the beginning of the second four-beat measure. Women expect you to start on a 1 or 5 or it’ll be an awkward start.

This brings up one of the more difficult subjects in ballroom dancing: phrasing. Technically, you can be on the beat but, if you start dancing on the wrong beat, you will be “off phrase.” In a dance with an eight count basic step pattern, like salsa or cha-cha or Lindy Hop, it’s more important to start on a count 1. A dance with a six count basic, like West Coast swing or East Coast swing or foxtrot, it’s less important (that is, it’s easier to get away with starting on a count 5).

What’s your experience when trying to start a dance?

Posted on

Fake a ballroom dance with a “basic side step” (video: 2 min., 15 sec.)

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).

Posted on

Counting 32-beat major phrases (video: 6 min, 40 sec.)

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?

Posted on

New videos – how to count music and hear the beat

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 count music and hear the beat.

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?

Posted on

Beware of tempo

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 social 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?

Posted on

Sets of 8: test yourself on how to count music and hear the beat

Here’s a good test to see if you can count music and hear the beat by counting sets of 8. Flip the radio dial, stop on random songs and accurately count the sets of 8 and know you’re right. It took me about a year of dedicated practice before I could do that 90% of the time, but it was closer to two years before I could do it 100% of the time and have the confidence to know I was right. Part of the test is to know if a particular song is dance music, which I’ll go into in my next post.

Posted on

Count music: sets of 8, heavy measure, light measure (video: 1 min. 15 sec.)

In this video Skippy Blair counts the sets of 8 in a piece of music. The hand motion she uses is a good exercise when you count music to work on timing and training your body to hear the sets of 8.

Listen for the heavy measure, beats 1 to 4, and the light measure, beats 5 to 8. The light measure is the thematic “conclusion” to a set of 8. Listening for the thematic conclusion is a good way to identify a set of 8. All dance music, except the waltz, is structured in sets of 8. The waltz is counted in sets of 6.

From Skippy Blair’s 2006 Summer Intensive, video courtesy of Skippy Blair