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Wonderful. You have referred to the legendary Richard and Anne Gleave - and I acquired their videos. Richard Gleave stresses repeatedly the importance of the forward drive and how all good dancers, without exception, execute this. Your wonderful videos show this perfectly - but you do not stress this. Jack in Japan.
BOOM! You’ll learn more h here than anywhere else! Actually I also have 1000 other videos in my membership area that will melt your face off 😂😂Email us if you want a special code!
Thanks good video for me since I keep trying to improve my basics and i needed this reminder since sometimes i use a muscular action instead of the swing action. to close my feet The swing action makes a big difference especially in the Waltz
May I ask advice - my teacher is backleading - steering me in the right direction - thinking this helpful but completely destroying my enjoyment. what can I say to her? Jack in Japan.
The description in the video not correct. Please do not use head weight to initiate any forward movement during a syllabus step. Doing this will make it more difficult to maintain connection with your partner as well as causing you to be behind the beat. From a standing foot with your heel on the ground, always initiate forward motion by compressing your knees. The compression is both down and forward. Then roll your weight through your foot from back to front. Once your weight is on the front foot, use toe pressure to move your entire body. The swing/drive is felt in your virtual center with a tucked tailbone. Finally, allow your head weight to remain in frame (neither forward or backward in relation to your center weight) and allow the back of your head to feel connected to the heel of your back foot for a long, complete top-line.
Hi Sean, No. Unless you want a very heavy, slow, tense, forceful movement do what you suggested. Metronymic or pendulum swing isn't produced through how you described it, in fact, it will produce heavy dancing or at the least, more muscular tension and here is why and I will explain what I mean so you can see it's not personal: 1. Dancing is MOTION and it is one you are consistently counterbalancing the motion, you have described a variance of how to STEP but that is not Ballroom dancing. Taking steps is not Ballroom dancing. Compression is an overused word for the wrong action a dancer produces. You don't compress you counterbalance. 2. To dance, swing, is to FALL, rise, and LOWER. But this lowering is to assist a foot change, weight change and to prepare for the next FALL. You cannot step and fall. You fall and step. Or put another important way "Fall, Step, Swing, Sway"...Knees play a BIG roll in counterbalance but not by compression with flexion. 3. Foot speed must come into play as your foot will move twice the speed to your body fall to catch the movement and allow for the body in motion to travel in space and time to create a consistent movement. What you've described will produce a bigger step but has little to do with counterbalancing fall. 4. Waltz Rise, Fall and Lowering: Fall at the beginning of count 1, commence to rise end of 1, continue on 2, up on 3, lower at the end of 1. It's not Compress knees at beginning of count 1 and use pressure out of your toe to step, artificially rise on 2 due to stepping and only through feet, lower on 3. 5. We use GRAVITY TO PRODUCE SWING and counterbalance movement through flexing of the knees, ankles and of course - the swing/turn plane...Compression is a downward force and when you use propulsion to push out of a toe to move from compressing knees you're violating the entire swing principle. We only push out of toes which is called propulsion [created from a downward force] to create speed in Quickstep and the swing is not the same as described here. 6. KNEES COUNTERBALANCE by flexing due to the fall created in the body's movement, they do not compress downward and you can't compress forward that doesn't exist unless you have changed the laws of physics. 6. Swing is free movement around a fixed point. The 2 primary fixed point's in Ballroom are the centre of your hip for forward and backward movement [frontal plane] and your vertical axis [turn or swing plane] is a line passing through the top of your head down and the focus points are either the sacrum/tail bone OR the head. [Sway plane is a horizontal plane through your hips] You use the SWING planes to counterbalance the frontal plane of movement. This front plane of movement - I refer to your Head weight initiating frontal movement NOTE: YOU CAN USE YOUR sacrum to create the fall which I think is what you meant to say... 7. You cannot fall if you compress your knees and then step - this is not dancing this is stepping. The knees AND ankles actually work as a very powerful counterbalance. You ONLY need to counterbalance if your body has created the all-important fall - fall from where...the top half of your body see point 5. 8. Your weight isn't held "neither forward or backward in relation to your frame..." Both Man and Lady weight is held SLIGHTLY forward towards your toes, sometimes toward the mid-section of your foot. The man's upper body a little to right [if you have a tie, the point would hang over the right knee] 9. You are right in head and heel relationship creating a long top line with the body's weight being held slightly toward the toes. 10. I'm just student of dance passing on information from the world's leading coaches on this matter who drilled this into my soul. I didn't make that up and I understand that teachers have multiple ways to approach something but how the human body moves aren't up for debate and principles don't change just the approach. Some of these teachers who taught me this...Geoffrey Hearn, Anthony Hurley, Richard or Anne Gleave. 11. If you are to comment on this channel please do not instruct my students on what to "not" do or at least open it up with a question to get a healthy discussion going to which I am happy to oblige. I'm not guessing at what I share it's well researched, documented and painstakingly experimented with for 20 years of dancing, virtually every day I am always open to ideas but do not subscribe to that methodology due to my last comment below. 12. If you still aren't convinced go and buy The Ballroom Technique by Alex Moore but Modern dancing developments are in Advanced Standard of Technique by Geoffrey Hearn and read page 10 and 11 or Rudi Trautz The Art and Technique of Ballroom Dancing Page 14, 19, 20. Important: Body mechanics like Walking is what Ballroom swing dances are based off. Look at your walk. You don't walk from compression and pressure out of a toe [propulsion]...you actually fall it's very, very slight but it happens from your head weight to move your foot. Test it: Lift your foot and then place it ahead of your body - it will feel wrong because you didn't use your body the right way to create a simple walk forward. Now, create a SLIGHT movement from your upper body first and your foot naturally catches you. When you go to create a "maximum" walk, or stride with FLIGHT in high-level dancing you use the aforementioned Swing principle with the fall, knee flexion to counterbalance the rate of fall and then foot speed to create a powerful movement that USES gravity and very little muscular force with ZERO tension in the bodies dancing [due to good posture principles]. PS. I used to dance the way you mentioned as a low-grade amateur, it was drilled out of me because top dancers just don't do this to create a beautiful, high-quality movement that is tension free. Note: This is for Waltz and general Swing dances not Tango. Thank you for being here! Vaughan.
Your “stove pipe pants” make it easier to see your foot work and knee flexion. Some instructors wear the baggy ballroom practice pants make it difficult to see.
![Master TANGO Walks With Music [BONUS 80/20 Rule] | Ballroom Mastery TV](http://i.ytimg.com/vi/i9o8Hk9EjpI/mqdefault.jpg)
![Master TANGO Walks With Music [BONUS 80/20 Rule] | Ballroom Mastery TV](/img/tr.png)
![SLOW FOXTROT: Master Your Feather Step [Step, Swing, Sway Principle] | Ballroom Mastery TV](http://i.ytimg.com/vi/HuEvaPKj3nY/mqdefault.jpg)
Support the show and join the YT channel & get priority responses to comments and members only perks:
ruclips.net/channel/UC1jAXxS4591ozZZAHiZDR-wjoin
Join Ballroom Mastery Access & Get Over 500 Lessons PLUS Monthly Workshops with Vaughan Online: www.ballroommastery.tv/access
Wonderful. You have referred to the legendary Richard and Anne Gleave - and I acquired their videos. Richard Gleave stresses repeatedly the importance of the forward drive and how all good dancers, without exception, execute this. Your wonderful videos show this perfectly - but you do not stress this. Jack in Japan.
This is a good video to learn slow waltz technique for beginners. Thanks very much.
So helpful! Thank you!!!
Thank you for letting me know I am learning sliver in waltz quickstep and tango Divinity
Really great info but wish you did more from the followers point of view. 😊
Excellent. I am learning so much! I love your videos
BOOM! You’ll learn more h here than anywhere else! Actually I also have 1000 other videos in my membership area that will melt your face off 😂😂Email us if you want a special code!
What country is the teacher in?
Wonderful video-
these steps are so fundamental. Thank you. Jack in Japan.
It is so much fun learning how to improve dancing through your videos, love the way you coach !!
Thanks good video for me since I keep trying to improve my basics and i needed this reminder since sometimes i use a muscular action instead of the swing action. to close my feet The swing action makes a big difference especially in the Waltz
Very good at explaining
Fantastic lesson this is, priceless basic stuff.
May I ask advice - my teacher is backleading - steering me in the right direction - thinking this helpful but completely destroying my enjoyment. what can I say to her? Jack in Japan.
Great performance 👍🕺
Thank you
It's very interesting
Great instructions! Thanks!
Thank you for watching! Let me know what else you’re in to learning
Thank you! Re female partner in position with the line arched back how does the head lead regards Nanette
Waltz , tango , foxtrot, salsa all the ballroom dances please but them in order for beginners to get learned
Good stuff. Keep it up. How do u create momentum in the change step?
Thanks! Apply the same principle to all swing dances.
My advice is to skip the beginning until 4:41 especially when you watch the video the second time around and more.
Thank you for the time code 💥😀
The description in the video not correct. Please do not use head weight to initiate any forward movement during a syllabus step. Doing this will make it more difficult to maintain connection with your partner as well as causing you to be behind the beat.
From a standing foot with your heel on the ground, always initiate forward motion by compressing your knees. The compression is both down and forward. Then roll your weight through your foot from back to front. Once your weight is on the front foot, use toe pressure to move your entire body. The swing/drive is felt in your virtual center with a tucked tailbone. Finally, allow your head weight to remain in frame (neither forward or backward in relation to your center weight) and allow the back of your head to feel connected to the heel of your back foot for a long, complete top-line.
Hi Sean,
No. Unless you want a very heavy, slow, tense, forceful movement do what you suggested. Metronymic or pendulum swing isn't produced through how you described it, in fact, it will produce heavy dancing or at the least, more muscular tension and here is why and I will explain what I mean so you can see it's not personal:
1. Dancing is MOTION and it is one you are consistently counterbalancing the motion, you have described a variance of how to STEP but that is not Ballroom dancing. Taking steps is not Ballroom dancing. Compression is an overused word for the wrong action a dancer produces. You don't compress you counterbalance.
2. To dance, swing, is to FALL, rise, and LOWER. But this lowering is to assist a foot change, weight change and to prepare for the next FALL.
You cannot step and fall. You fall and step.
Or put another important way "Fall, Step, Swing, Sway"...Knees play a BIG roll in counterbalance but not by compression with flexion.
3. Foot speed must come into play as your foot will move twice the speed to your body fall to catch the movement and allow for the body in motion to travel in space and time to create a consistent movement. What you've described will produce a bigger step but has little to do with counterbalancing fall.
4. Waltz Rise, Fall and Lowering: Fall at the beginning of count 1, commence to rise end of 1, continue on 2, up on 3, lower at the end of 1. It's not Compress knees at beginning of count 1 and use pressure out of your toe to step, artificially rise on 2 due to stepping and only through feet, lower on 3.
5. We use GRAVITY TO PRODUCE SWING and counterbalance movement through flexing of the knees, ankles and of course - the swing/turn plane...Compression is a downward force and when you use propulsion to push out of a toe to move from compressing knees you're violating the entire swing principle. We only push out of toes which is called propulsion [created from a downward force] to create speed in Quickstep and the swing is not the same as described here.
6. KNEES COUNTERBALANCE by flexing due to the fall created in the body's movement, they do not compress downward and you can't compress forward that doesn't exist unless you have changed the laws of physics.
6. Swing is free movement around a fixed point. The 2 primary fixed point's in Ballroom are the centre of your hip for forward and backward movement [frontal plane] and your vertical axis [turn or swing plane] is a line passing through the top of your head down and the focus points are either the sacrum/tail bone OR the head. [Sway plane is a horizontal plane through your hips] You use the SWING planes to counterbalance the frontal plane of movement. This front plane of movement - I refer to your Head weight initiating frontal movement NOTE: YOU CAN USE YOUR sacrum to create the fall which I think is what you meant to say...
7. You cannot fall if you compress your knees and then step - this is not dancing this is stepping. The knees AND ankles actually work as a very powerful counterbalance. You ONLY need to counterbalance if your body has created the all-important fall - fall from where...the top half of your body see point 5.
8. Your weight isn't held "neither forward or backward in relation to your frame..." Both Man and Lady weight is held SLIGHTLY forward towards your toes, sometimes toward the mid-section of your foot. The man's upper body a little to right [if you have a tie, the point would hang over the right knee]
9. You are right in head and heel relationship creating a long top line with the body's weight being held slightly toward the toes.
10. I'm just student of dance passing on information from the world's leading coaches on this matter who drilled this into my soul. I didn't make that up and I understand that teachers have multiple ways to approach something but how the human body moves aren't up for debate and principles don't change just the approach. Some of these teachers who taught me this...Geoffrey Hearn, Anthony Hurley, Richard or Anne Gleave.
11. If you are to comment on this channel please do not instruct my students on what to "not" do or at least open it up with a question to get a healthy discussion going to which I am happy to oblige. I'm not guessing at what I share it's well researched, documented and painstakingly experimented with for 20 years of dancing, virtually every day I am always open to ideas but do not subscribe to that methodology due to my last comment below.
12. If you still aren't convinced go and buy The Ballroom Technique by Alex Moore but Modern dancing developments are in Advanced Standard of Technique by Geoffrey Hearn and read page 10 and 11 or Rudi Trautz The Art and Technique of Ballroom Dancing Page 14, 19, 20.
Important: Body mechanics like Walking is what Ballroom swing dances are based off. Look at your walk.
You don't walk from compression and pressure out of a toe [propulsion]...you actually fall it's very, very slight but it happens from your head weight to move your foot.
Test it: Lift your foot and then place it ahead of your body - it will feel wrong because you didn't use your body the right way to create a simple walk forward. Now, create a SLIGHT movement from your upper body first and your foot naturally catches you.
When you go to create a "maximum" walk, or stride with FLIGHT in high-level dancing you use the aforementioned Swing principle with the fall, knee flexion to counterbalance the rate of fall and then foot speed to create a powerful movement that USES gravity and very little muscular force with ZERO tension in the bodies dancing [due to good posture principles].
PS. I used to dance the way you mentioned as a low-grade amateur, it was drilled out of me because top dancers just don't do this to create a beautiful, high-quality movement that is tension free. Note: This is for Waltz and general Swing dances not Tango.
Thank you for being here!
Vaughan.
Your “stove pipe pants” make it easier to see your foot work and knee flexion. Some instructors wear the baggy ballroom practice pants make it difficult to see.
Stove pipe pants. This. This is the top level comments so far. 🙏💥 I’m glad you got something from it!