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Introduction to International Waltz

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Introduction to International Waltz International Waltz Introduction to International Waltz General - The waltz is a dance for couples in 3/4time. The dance was developed from the Weller, a German peasant dance and the Laendler , an Austrian dance. The two most danced forms of the waltz are the Viennese Waltz and the Slow Waltz. The International waltz is a structured form of the Slow waltz and is in the smooth category of ballroom dances. The character of International Waltz is that it has a late rise over the basic three steps which can be described as “step,” “balance” and “elevation.” This is also further described as “down,” “down,” “up,” to contrast it with “down,” “up,” “up” as used in American style. Timing - The timing for International Waltz is 3/4, or three beats to each standard measure (bar) of music. The BPM, or bars per minute, used can vary from 29 to 31. Although there is an accent on the first beat, the most important consideration is the long 2 count (2 & 5 on standard weaves) which allows for a momentary suspension of the body flight where most adjustments in direction are made. Rhythm - The normal rhythm of the waltz is 1, 2, 3. Each number represents a beat in a bar (measure) of music. Frequently, however, there will be figures with more than three steps taken over one measure. Where there are more than three steps taken, there will be syncopation. This syncopation can be on any beat of the measure. In describing the figures, in this manual, each beat in the measure will have an equal amount of time associated with it. These beats will be numbered 1, 2 and 3. If there is syncopation, some steps win share a single beat of the measure. In the manual this is shown by using the symbol &. For example, if the timing of a figure is 1&, 2, 3, then steps 1 and 2 would share beat I in a measure of music, etc. Body Mechanics - The use of correct body mechanics makes the International Waltz much easier to dance. We have listed a few key points. The dancers must keep their body weight over the supporting leg. If the partners' feet are slightly apart, this is easier to accomplish. A good top line (head to rib cage area) is a necessity, with the head and spine aligned and maintained over the feet. Keep the knees relaxed - never locked. Hold the arms up with the muscles of the back of the upper arm (triceps) instead of the front muscles (biceps), while keeping the shoulders down. Movement - Movement in the Waltz generally involves steps with turning action and a lot of sway. The second step is usually longer than the others because of the turning action and the sway necessary to accomplish this action. On most left turning actions there is no true CBM, due largely to the position of the man to the lady’s right side and with both orienting the upper bodies slightly to the left. On all turns the sways are somewhat downward with floor pressure on the supporting foot, giving the appearance of a longer step. Forward Movement Forward movement begins by lowering into the knee of the supporting foot. To describe this, let's assume that we are standing on the right foot. We swing the free foot (left) forward from the hip, after lowering to the heel on the previous step. The heel of the supporting foot (right) releases as the heel of the free foot (left) is about to strike the floor. There is a slight push off the right toe before the left heel contacts the floor. This WZ Intro - 1 S#6 2002 Introduction (continued) International Waltz push off would be the same as the push off in a normal walking step. As weight transfers onto the new supporting foot (left), the other (right) gathers under the body. The second and third steps, most often, are on the toe or ball of the foot. Step three may be taken in Contrary Body Movement Position (CBMP). For example, every step taken outside partner, in banjo, is in CBMP- Occasionally CBM accompanies CBMP. Backward Movement The knee of the supporting foot (left, for purposes of explanation) bends, lowering into the supporting leg. The free foot (right), leg and hip move back with the toe leading. As the weight transfers to the free foot, the heel of the supporting foot drags back until it collects under the body with no foot rise. Rise and Fall - "Rise" is the increased elevation created by the bracing of the muscles of the legs, the straightening of the knees and the stretching upwards of the body. A rising of the heel or heels from the floor usually accompanies this action. "Fall" is the lowering of the supporting foot from the toe to heel and the subsequent flexing of the knees while preparing for the next step. Instructions referring to no foot rise (NFR), mean that there is a body rise while the heel of the supporting foot does not leave the floor. No foot rise generally occurs on backing steps, for the lady, when the man uses a normal rising action. The man's forward poise and swing, in all forward movements (e.g., the closed change), will result in the lady having a body rise, with no foot rise. The man will have no foot rise on all heel pulls. Ladies' have no foot rise during a heel turn until they begin a forward step. The rise and fall in Waltz is generally achieved by beginning to rise at the end of step one, continuing the rise on steps two and three, and lowering at the end of step three. There are several types of rise and fall in the Waltz. Five types are described below. Type 1 Start to rise EO1, continue to rise on 2 and 3, lower E03. This is used when closing the feet on step 3 and changing weight, and as the man in the Cross Hesitation. Type 2 Start to rise EO1, continue to rise on 2, up on 3 and lower E03. This is used when the feet finish apart on step 3, e.g., an Outside Change, Wing as the lady, etc. This type rise and fall also applies to a Whisk or Back Whisk. Type 3 Start to rise EO1, continue to rise on 2 and 3, up on 4 and lower E04. This type is use when rising over 4 steps, e.g., a chassé, a turning lock, etc. Type 4 Rise slightly EO1 with No Foot Rise, continue to rise on 2, up on 3 and lower E03. This is the lady's rise and fall for a Heel Turn. Type 5 Rise EO1, up on 2 and 3, lower E03. WZ Intro - 2 S#6 2002 Introduction (continued) International Waltz This is the man's rise and fall when the lady dances a Heel Turn. Heel Turn - The term heel turn is almost a misnomer. The turn happens on the ball or whole foot of the supporting foot, keeping the moving or closing foot parallel to it. Trying to accomplish a heel turn on the heel of the foot will cause the toes to come off the floor. This will not allow for any body rise or natural forward progression at the end of the turning action. Transfer the weight to the closing foot at the end of the turn. The lady does a heel turn on the second step of such figures as the Open Telemark and the Double Reverse Turn. The Pull Step is a type of heel turn, used by the man, in some backward Natural Turns (e.g., the Open Impetus Turn for the man). The feet may be kept apart instead of closed, and the weight is more forward than in a heel turn. The second step of an Impetus Turn is a heel turn for the man that is almost like the lady's heel turn. Brush - A brush occurs when the moving foot (generally for the woman) moves from one open position to another. The word "Brush" means that the moving foot must first close toward the foot supporting the weight of the body, but without the weight changing. During the Brush step it is advisable to keep the knees relaxed and brush with the moving foot's toe about level with the supporting foot's instep. It is not necessary for the-toes of both feet to touch when brushing. Side Leads – A right or left side lead occurs when the body is moved in the direction of foot placement. It is basically a lead from the entire side, but not to be confused with CBM. Side leads are nearly always accompanied with some rise, but no foot rise. Contra (Contrary) Body Movement - Contra (contrary) Body Movement (CBM) is the action of turning the opposite hip and shoulder toward the direction of the moving leg. If the left leg moves forward the right side of the body would move forward. Most turning movements begin with CBM. When stepping forward, using CBM, the leg must move on a straight line. If the foot and leg turn with the body, you will be moving into the space of the partner moving backward. While backing, using CBM, a slight turn of the foot and leg is allowed as you are vacating the partner's space. Contra (Contrary) Body Movement Position - Contra (contrary) Body Movement Position (CBMP) is the position attained by placing the moving foot in the same track as the supporting foot.
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