Lesson Notes - Draft
General Technique Notes
Posture:
Stretch and lift the middle part from lower center to top of ribcage, keep it very long, stretched, in lifted position all the time. The lifting created the flat space that connects with partner. Project the ribs to Man, but not the hips.
Hips "hanging down", natural arch in lower back (try sitting in a chair). Especially when shaping head (Weave etc.) do not lift the hip to Man to try to extend head, lift ribcage/chest to Man.
Volume is created with both depth and width
Depth: lift and frontal curve
Width: Right hip slightly forward to Man. Diagonal. Right hip slightly higher.
If trying to create volume from wrong place (e.g. from hip), hips are locked and impossible to move.
Shoulder blade open, do not squeeze together.
Giving Man hips by moving whole body toward front of foot. Do not just put hips forward and lock hips.
Do not "hold" the position which will appear to be stiff. When keeping the posture, the whole body can still move, apply softness. Body can sway "smiley face" but side doesn't drop. When one side is up, the other is also up(!)
Hip has to under/released in order to freely rotate the body (e.g. Tango Chasse)
Extend, stretch, but not with tension which feels stuck.
Two parts of the body - upper center (rib, chest), and lower center (hip) - they go different direction.
When trying to release hips back, make sure not to pitch forward. All front muscle in middle must elongate.
Do not mix posture/position vs over-balance.
lady "moving away" - this is balance/over-balance, regardless of position.
Lady's RH - Man needs to feel it without grabbing tension.
Lady's LH - provide structure, do not slide around Man's arm. Fixed solid position.
Man: imagine there is a cup on a big round tray. Man has to keep the tray in place with cup on it.
Body breathe, don't hold (body rise is gradual, not jerky), allow the movements/shaping Man suggests. "Allow" and do not "force" movement, which will appear stiff.
Arm: too stiff, need to allow arm to go down (while the other side stretch), do not resist. think about chest back (but shoulder blade is still stretch open), "Holding" shoulder blade makes arm stiff. and movement limited. When stretching (left side, for example), the relative position of arm to shoulder/body doesn't change, but body follows, so R arm goes down.
Hand: Left hand needs to be a stable structure point for both swing dances and Tango. It does NOT move.
Going to PP: needs to do body work and NOT let LH slide. When torso is rigid, the hand moves.
Tango: L forearm and LH - connected, but not tension. Keep stable.
Structural points don't have to be strong, it could be light, but has to be solidly there.
When moving forward, use joint absorption, cushion, before doing the next step so one can glide. (e.g. Weave)
Use Knee, hip, ankle. Looseness in hip joint (don't lock hip joint which limits movement).
Not bending down, but release, sending knee forward.
When Man is moving back, he is inviting, if not using joints, will gap with Man.
There is always something happening in body, joint moving, no stopping (even when foot is not moving).
When joint is loose/absorbing, Lady can sense how big Man will step and what timing he will use. When locked, movement is fixed
When moving backward:
more projection of top center to Man. Move lower center (hip) and head back, but keeping upper center very projected to Man (so Man doesn't feel being pulled off his foot, or Lady "leaving" Man, or loosing connection.)
inviting Man with lower center (hips), not moving upper body away too fast. Hip needs to release earlier. Not lower for too long, too much, make sure to release hips as lowering.
when taking hips and head weight back, do not take chest away from Man.
Using standing leg - lowering body weight and moving center back about same time.
"Prepping the leg" - means releasing hip and foot, but do not stick leg straight back.
"Moving all the time, non stop" - it's the hips that never stop releasing. Hips bent, flexible. Hips are constantly traveling across the feet.
If bottom/hips are locked, it usually affects the top, making top locked/rigid.
Body needs to be in the right space as well to make it not locked. Do not rely on upper body doing all the movement. Bottom has to do the work.
When body parts are moving well in coordinated fashion, it uses the least energy to produce big movement and topline.
Movement: 3D + 1 (rise and fall or up and down)
when over-balancing, up/down should be clear, smooth and not abrupt
Changing height (up/down) should not interrupt the over-balancing movement. (e.g. not up/down first and then over balance forward and back, should be smooth together)
Up and down is circling. There is "heavier" part and "lighter" part as body is doing over balancing. Over balancing is always continuous.
Feather step/Feather finish
Think about L side stretch even more forward.
Feather finish: don't over turn. Stretch L side. Upper body stays with Man, 2 step (Q), RF after stepping, turn the foot, footwork is TH. When placing down the foot, it's time to release/relax/bend R hip, R hip moving back. moving to back heel. Foot has to turn and be straight with movement direction, not turned out. Body turns less. Release the hip, not the leg, Do not move leg too fast.
"rubber band" pulling opposite direction to stay in balance - R hip pulling back, L side stretch fwd. Create hovering slowing down effect.
Body decides how much to bend the legs, it's not legs deciding. If body is exploring upper space, legs stretch; if body is exploring lower space,, legs/hips bend.
When body is more balanced, body is more relaxed and can move more freely. Relax upper body and "let weight hang/fall".
[3.16]
Gap
Flexibility:
Flexibility - much of it is about coordination. Not a "brick" kind of coordination. Different center of the body exploring different space.
Foxtrot
Everything is extremely gliding, smooth movement, full, range is bigger, foot does not leave floor, glide.
Routine:
Entry: Sit by edge, L leg over R, when invited, connect with L hand. Swivel deep/flat starting with LF till Man accelerate to connect.
Preparation: Lady RF back on "rhythm"
Feather Step (SQQ) "Start to play..." Take the whole phrase to get into hold, not all on one S
Reverse Turn (SQQ)
Basic Weave (S QQ QQ QQ)
Three Step (SQQ)
Curved Feather to Back Feather (SQQSQQ)
Natural Weave (S QQ QQ QQ)
Hover Telemark (SQQ)
Feather Step (SQQ)
Bounce Fallaway with Weave Ending (QQQQQQQQ)
Step 3 (Lady RF fallaway), a lot of shape/sway to R, head to R, R arm very down, feels LF harder to pull off floor, almost like a spiral.
Step 4 (Lady LF back/side), change shape as stepping, head to L.
Feather ending: do not over turn, LF CBMP, stretch L side forward.
Reverse Wave (SQQ SQQ)
SQQ: do not overturn. Under turn, L side forward, do not square up. Shape to R, head to R.
Let body roll head, head does not turn on its own.
Newer style: have head staying to L and roll head to R. (Older style: keep head and it ends to R.)
SQQ: S - drive, Q - RF fwd, keep knees bent, R heel up, swing, R side fwd, (L side is still active, not drop down), move center, but leave LF behind longer, create shape,
Slow down legs movement, but speeding up releasing hips.
Open Impetus (SQQ)
Body shape is straighter. compared to Reverse Wave.
Natural Weave (S QQ QQ QQ QQ QQ) Extended
S: driving step
QQ&:
Q: swing action, bring hips/bottom more forward (not bringing upper body forward), make bottom more flexible. Leaving upper body behind to create shape.
weave: think about head toward Man's RH entire time, outside Lady's left arm. When stretching the head, do not lift the hips. lift ribcage to Man. Hips hanging loose.
All toe footwork, flex the hips, like a crawling action.
keep head, which ends up head in closed position, L side fwd. Stealing beat. &: accent, RF fwd, strong CBM, heat keep left.
&: accent, RF fwd point
(Q)QQQ: (1st Q lower RF with weight), keep flat when doing extended Weave, don't rise, CBM. while keeping head to L. Knees are soft, looseness, cushion.
Q: last Weave before finish, head to R (RF fwd)
Q: keep head to R (LF fwd)
QQ: feather finish, close head
Three Step (SQQ)
Natural Twist Turn (SQ&QSQQ)
After shape change on last S, QQ: keep the direction , stretch L side. Do not drift and square up body.
Hover Telemark (SQQ) S: "Magic" QQ: "Technique"
Feather Step (SQQ)
A little acceleration before Change of Direction for contrast, dynamic
Change of Direction (&S)
Stay down, slide very deep. Lady: weight on LF, R leg point, shape to R
Tango
Sometimes body is stronger toned, sometimes it's looser (Outside change, Slow Spanish Drag)
Avoid: too much tension in upper body. When body too active, neck is trying stabilize the body, neck is stuck. When body is stabilized, neck/head can flick on the top. Isolate head from body.
Routine:
Change Weight to RF, change to Tango Hand, Slip Pivot with LF
Basic Reverse Turn (QQ&QQ&) Normal shape
Basic Reverse Turn (QQ&QQS) shape to R
Contra Check (SQQ)
Natural Promenade Turn (S QQS)
Keep head to R to R in PP till las S (lunge)
Rock Turn (QQS S QQS QQS) Extended rock.
1st S: head to R, Open
2nd S: head to L
3rd S: double action ending to L.
Progressive Link (QQ)
Chase (SQQQQ Q&Q QQ) Chasse and link finish in PP
Open Promenade (SQQS)
Oversway (QQSS Q&Q S &S)
Four Step (QQQQ), change feet on last Q
Promenade Link (SQQ)
Close the body, don't close head. Keep head to R.
Back Corte (S &) with Slip Pivot
Head to L
Reverse Outside Swivel (QQSQQ)
QQ&: Viennese Cross
Q: LF fwd pivot 1/2 to L
Q: RF back, turning L
SS: Change of direction LF back/side
A bit like Foxtrot, allow to explore space, keep body soft, not sharp. Follow Man's lead on shaping. If too rigid, it won't allow Man to do his thing.
S&: Outside Spin, RF fwd, OP spin, around Man, LF closes to RF with weight, head L
Slow Spanish Drag
Use L leg, bend L knee, extend R leg to side. Body still extended/stretched to L.
Change weight to RF, body work to shape L, do not flatten hip joint, keep hip bent at joint, keep low. When shaping, R hip is more fwd/flatter (but don't stick R hip to Man), L hip is still released.
Head R and back L, shoulder has slight movement L and then R. Do not rotate body too much at all. Shoulder is not the focus. Head flick is the accent. Do not hold head stiff. Keep body/shoulder relatively still, grounded, head is more active, so in order to make head flick more accented
After head flick, body is like "melted cheese" more extension during rise. Upper body can't be rigid in one block. Keep head, chest more forward when rising, creating more extension.
Rise after body land onto the RF, drag LF close to RF, keep head L.
Prioritize the shift (not the turn) and head flick.
The weight shift needs to be all the way to RF. (Spine/center to RF.) Weight can not be in middle. Mistake: lower center/hip moves to RF, but upper center stays (in attempt to create shape).
Accent the head when it turns L (not R)
Quick Spanish Drag, ending in PP
After drag, slight rise, feet together when doing link. Do not anticipate open to PP, wait for lead, then down to PP, change head last.
Body more toned cuz it's the fast one.
Remember not to flatten hip joint, "sit back", L hip released.
S: Walk in PP
QQQQQQ: pivots
The person that moves backward: use belly, sit belly on back leg/foot and turn.
Q&Q: chasse to Lady's L
move a lot (outside of the turn)
&QQ: syncopated Chase, Lady's RF back, LF crosses behind RF
&: RF back (not rotate hip, but bend the hip joint, put butt a little bit back, so there is more room to move, ). Now R leg is the axis, next step is not moving step.
Q: LF place right cross behind RF, do not do big step (otherwise Man can't pass), not big moving step.
Rotate body from the hip to R (send middle of body, not R leg) to allow Man to pass.
Keep R leg wrapped, almost spiral, do not stick R leg out, which will block Man.
Last Q: After Man passes, RF fwd, bigger step.
Q&Q: chasse, move.
&QQSS: syncopated Chase, into PP
Finish in PP: head is a split second behind, don't do head and body together (then it appears head to fast), but head is not too late either.
Stay behind Man, "sit" release hip joint.
SQQ&QQ&: Fan Swivel
Hip in (almost to closed position), hip out (open)
QQ&S: Finish from PP
Q: LF fwd, close to Man,
Q: RF step, bent knee, RH push with Man (pressure in hand)
&S: step LF, RF to side, open R arm
LH do not grab Man, leave L arm behind, slight curve in left arm, allow Man to slide on Lady's arm and take L wrist for pose. (keep arm bent for Man to have something to hook)
3 step turn to L, R arm hook Man's neck, (strong hook, rounded wrist arm line), throwaway lunge, L arm extend natural line to L
Hold final pose for 3-4 sec, do not move imediately.
Recover, L arm connected with Man, spin (L turn), end on Man's left side
Bow:
Cross RF behind LF (RH connected with Man)
do not bend upper body forward, slight chin down while keeping upper body straight
Wrist up with hand down; Wrist down with hand up
Acknowledge partner.
Walk out with hooked arm, Lady's L arm from under Man's R arm and hook over.
Waltz
Start Man DW at corner of long wall, dance into corner.
Entry Walk both on LF-hold (123) 1st bar of music
Feel some air/tennis ball in armpit. Lady: keep R arm to side
Look at each other
Walk on RF - hold (123)
Lady: R arm in
LF Change Step (123)
Move enough to R, extend L arm, reach to R, arm out, stretch
RF Change Step (123)
Lady R arm in, to L shoulder.
Turning Box Step (123) LF fwd, Lady ends facing Man, double hand hold.
Whisk (123) Lady RF to side, LF crosses behind (2, push, create volume), RF replace.
Lady's L triple turn (1&2&3&a) - Preparation Step
Lady: do not go into Man, go to left, to corner, further away. Doesn't need to be in close contact at the end. Get into closed Position during next Natural Turn.
Natural Spin Turn (123 123) Overturned . Long Wall
Natural Turn: more extension - curving more (front of C stays with Man) vs. leaning (not good, part of front of C leaving Man, leaning back)
Natural Spin Turn: 1st drive step, head toward L elbow (not staying behind)
Turning Lock to R (1&23)
Weave From Promenade Position (123 123) Keep Head to R, finish in Closed Position
Left Whisk (123) Finish head to R
Contra Check (123) Finish in PP
Chasse From Promenade Position (1 2& 3)
Natural Spin Turn (123 123) Corner
Turning Lock (1&23) finish in PP. Short Wall
Weave From Promenade Position (123 123) Finish in PP.
Head turn twice, From 1" into "2" close when swinging R leg. last "3" open to PP.
Chasse From Promenade Position (1 2& 3)
Natural Turn (123)
Fallaway Whisk (123) Keep posture
Wing (123)
Double Reverse Spin (1 2& 3) Long Wall
Double Reverse Spin (1 2& 3)
Stay up after LF crosses RF
OverSpin (&)
Keep turning L, RF back, pivot, and really release R hip, sit on R hip. Can't just bend ankle and knee without bending at hips.
L leg kept fwd, ready to drive
Shape to R
Don't clunk, absorb.
Throwaway Oversway (123 456 123 456)
Start from shaping to R, weight on RF. Then, LF drive fwd, HT, Don't slide, remain in contact with Man.
RF fwd (T Flat), toward center, ribcage to Man, then swivel RF more (otherwise it will hurt knee), release the R hip, RF flat, keep head to R at this time,
Pay attention to the keep the center to Man, do not roll L side away. Relate to Man.
L leg collect and point back, there is a moment head is trying to look back at LF. Weight is on front of RF (do not move to middle or back, won't be able to shape and Man will feel Lady's cell is gone, no connection)
then slowly turn head to L, keep body to Man.
Recover (Lady's LF does do a small side step, stay behind Man), turn to PP. Do not come up too fast. Go bigger circle.
Need to constantly changing so it's not feeling "stuck/stop", something is happening under the foot. Movement never ends. Movement is continuous.
Turning Lock from PP (1 2& 3)
Locking fwd, Maintain Promenade Position. Prepare LF to extend to L
Right Lunge (123 456)
Weight onto LF. Body loose, allow Man to shape
Lady's RF Check &
&: LF slip pivot
Bounce Fallaway (1& 2 3)
Close Proximity (no body contact)
Run-Run-Run (1& 2& 3) Develope (123)
RF back, LF develope, allow back to go back. Man will support.
[Transition to Quickstep]
Recover straight look at each other (very vertical) - ok to not have body contact, just frontal curve.
then into PP (land on RF)- connect to QuickStep Rocket.
Get into closed position during rocket run.
Quickstep
Has swing, rise and fall range is smaller, has to recover from swing faster. SQQ Natural Turn: at end of Q, sway is gone and ready to take off again.
Body light, flight. feet do the work. Higher center. Feels like arms are floating.
Routine:
Rocket: start in PP (8 beats, phrase well)
S&: Step Hop
Skip, do not focus on jumping up high, focus on moving fwd, skip. it saves time.
Q&QQQ: Pepper Pot
QQ: Runs
Repeat Rocket (Total 4x), 3 sides
Step Hop (head to L), Step Hop (head to R), turning to R (S& S& 4 beats)
Head changes on the hop (same in scatter chases)
Fast and Slow Scatter Chasse's: (8 beats)
Fast Scatter Chasse Q&Q&S&(Hop) + Slow Scatter Chasse S&S&
Scatter chasses goes side ways, not turning. Step Hop is where turn happens (hop).
Hop: changes shape (shape opposite side of scatter direction)
Fast Scatter Chasse Q&Q&S&(Hop) + Slow Scatter Chasse S&S&
Fast Scatter Chasse Q&Q&S&(Hop)
Pepper Pot into the floor (Q&Q QQ)
Running Reverse Turn to Left (QQQQ QQQQ QQQQ)
Last QQ is more diagonal to corner
Step Hop, slide (4 beats) + hold 4 beats
LF (H)S & (hop) in PP
RF fwd side (slide) into diagonal corner, weight on RF
Pendulum Points with Woodpecker (Standing sequence) Total 8 beats (3 sets one direction, 1 bounce kick in closed Position)
(Can do Flick with LF instead of LF Woodpecker)
Pendulum Points in PP, all forward kicks (LF/RF/LF) and woodpecker (RF, LF floor kick/bounce)
Change to closed position and kick the other opposite direction
Pendulum kick (bounce), peck, kick and hop, all on RF. (1234)
last is slower bounce. hovering the weight, coming back up is slower
Remember to keep body light
Pepper Pot (Lady going fwd) (4 beats)
Running Finish (SQQ)
Open Natural (SQQ)
Running Finish (SQQ)
Finish: LF back, RF collect/closes next to LF with weight
Spin and finish pose (hat), LH on waist, LF lunge.