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RHYTHM LIST & TIMING
by Harold & Meredith Sears
One of the conspicous features of round dancing, and ballroom dancing
in general, is the great variety of rhythms and the variety of step
patterns that are characteristic of those rhythms.
RHYTHM
Rhythm
is the regular pattern of sounds in a piece. The beat is the basic unit
that measures off the time, the regular pulse of the music. Some beats
will be louder or stronger than others and are said to be accented.
Music is organized into measures that are recognizable by a more or
less prominently accented downbeat: 123; 123; or 1234;
1234. There can be secondary accents in a measure.
At
first glance, the rhythm of the various kinds of dance music may seem
similar from piece to piece. Waltz is conspicuous with its relatively
strong downbeat and its three beats per measure - 3/4 time - but almost
all the other rhythms have four beats per measure - 4/4 time. Even
Samba and Paso Doble (2/4 time) are usually choreographed in round
dancing as though the timing were 4/4.
So, does that mean there are only two kinds of music: 3/4
Waltz and 4/4 everything else? Not at all.
TEMPO
The next feature of the music that we might look at is the speed or
tempo. This one feature significantly increases the variety in our
dancing exerience. We can go from Slow Two-Step and Bolero at 20 - 25
measures/minute, to Foxtrot, Waltz, Rumba, and West-Coast Swing at
about 30, to Cha Cha and Tango, a little faster, to Two-Step at 40,
Quickstep, Mambo, and Salsa at 50, and finally, to Viennese Waltz, and
Polka at 60. That first "slow" count in a Bolero might be almost 2
seconds long. A "quick" in Polka might only be a quarter of a second.
So, each type of dance has its characteristic rhythm, in
terms of beats per measure, and its characteristic tempo or speed,
measures per minute. Actually, the tempo of a single rhythm can vary
over quite a range, further increasing the variety available to us.
There are probably Foxtrots out there that move quickly at 35 or 40
measures/minute and Quicksteps that float at that same 40. Cuers will
even take a single dance and slow it down a bit this time, "for ease of
dancing," and speed it up for a little excitement the next time.
TIMING
Another level of variety that we can enjoy is the way in which the
beats of music are used to form dance figures. Rumba maintains a
regular quick, quick, slow timing (qqs) in most dances, Paso Doble
marches along with a 1234; and Waltz figures are usually the regular
123; 123; but even here, a choreographer can throw in a chasse
(12&3) or two.
As you look at the way figures are described on a cue sheet
or in these pages, notice that some shorthand conventions are commonly
used. A slow count (s) represents two beats of music, a quick (q)
represents one beat. A comma separates one beat from the next, and a
semicolon marks the end of a measure. An "and" (&) represents half
a beat, so you are doing two things during one beat of music, and a
slash will be used to separate two counts that occur within one beat.
In Samba, Jive, and sometimes elsewhere, an "ah" (a) represents less
than half a beat. Again, you are doing two things in the one beat of
music, but you devote more time to the first step or action than to the
second: 1/a, 2.
A brief table for reference:
| Term |
Abbrev. |
Definition |
| beat, count |
bt, ct |
One
unit or accent in the recurring rhythm of a piece of music. In most
dance music, you can count four instances of emphasis per measure.
Waltz beats recur in groups of three. |
| measure |
meas |
A
short section of music in the regularly recurring rhythm, usually
marked by an initial stronger accent and then one, two, three, or more
lesser accents. For instance, a waltz measure consists of one strong
downbeat and two lesser beats: 1, 2, 3; 1,
2, 3; |
| comma |
, |
In
abbreviated descriptions of dance steps (as opposed to complete
sentences), a comma indicates the end of one beat of music. For
instance, "fwd, fwd, cl;" represents three dance steps on three beats
of music, perhaps a waltz measure: step forward on the left foot,
forward right, and then close left to right — a Forward Waltz. |
| semi-colon |
; |
A
semi-colon represents the end of a measure of music. In abbreviated
descriptions, one often finds two or more semi-colons together. This is
a concise way of saying that the previous figure took two or more
measures to execute. For instance, in the sequence: "waltz away;
pickup; left turning box;;;;" the first two figures took one measure
apiece, and the third figure took four measures to complete. |
| dash |
- |
A
dash usually represents a pause, nothing happening during a beat of
music, at least no step. For instance, a rumba half basic is "fwd, rec,
sd, -;" There are four beats in this measure (3 commas and 1
semi-colon) but only three steps. The third step (the side step) occurs
over beats 3 and 4. |
| slash |
/ |
A
slash is used to indicate a split beat of music, two steps or actions
occuring in a single beat, a kind of syncopation. For instance a cha
half basic is "fwd, rec, sd/cl, sd;" In this 4-beat measure, two things
are happening on beat 3 (the "side/close"). The "count" is 1, 2,
3/&, 4;
The 3/&, 4; is your "cha-cha-cha."
|
| and |
& |
In timing notation, an
"&" represents half a beat, as in the cha example above. A step on
an "&" count is very quick. |
| ah |
a |
An "a" represents only 1/4
beat. In a fast jive, a basic rock is danced "1, 2, 3/a, 4; 1/a, 2,
The
third step (count 3) is quick, only 3/4 of a beat, but the fourth step
(the "a") really allows you to take only partial weight before you have
to bounce off and into the fifth step (count 4). If an "&" is very
quick, I guess an "a" is very very quick.
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| ee |
e |
The
"e" also represents 1/4 beat and is not much used in round dancing, but
I'll include it here just for completeness. Where the "a" represents
the fourth quarter of a beat, the "e" represents the second quarter.
The last two beats of a measure might then be segmented into: 3 e &
a, 4 e & a; and then we could talk about stepping on or holding any
of these little quarter-beat moments. The timing of one Cha measure is
commonly thought of as 123&4. With added precision, we might
explain that we dance the cha-cha-cha by stepping on the 3, holding the
e, stepping on the &, holding the a, stepping on the 4, and then
holding the e, &, and the a of that last beat. (Whew!) |
Here
is a Foxtrot measure: s, -, q/&, q; Standard Foxtrot timing is
slow, quick, quick, but here we have a syncopated measure. Our first
step is a "slow" which takes two beats. Notice the first comma that
denotes one beat, a dash meaning no step is taken, and then a second
comma symbolizing the second beat of the measure. Again, the first step
of this figure is a slow that takes two beats of music. The third comma
encloses a "q/&." That shorthand means that we take two steps, on
the "quick" and next on the "and," in only one beat of music.
Syncopation, here, is doing something on the "&" count. Finally,
the figure ends with a step on the fourth and last beat of music, and
the measure ends with a semi-colon.
Cha Cha figures usually consist
of one or more "rock, recover, cha-cha-cha" measures (1,2,3/&,4;)
but we can leave off the "rock, recover" and just do a chasse or two
(1/&, 2, 3/&, 4;). Triple chas are widely used, too. Hustle
offers an unusual example of variety in its figures. The music is 4/4,
but many figures are only three beats long. The count of a figure
sequence then goes like this: (&/1,2,3,) (&/4;1,2,)
(&/3,4;1,) (&/2,3,4;) -- four figures over three measures of
music. I think this works because Hustle has a very regular disco beat
with no very prominent downbeat on count 1. You feel pretty comfortable
starting a figure on beat 2, 3, or 4. Hustle also makes use of even
4-count figures.
Now, look at some of the rest of the 4/4 rhythms in the table
below and marvel at the variety of even and syncopated steps, the
different arrangements of quicks and slows. Quickstep and Tango are
maybe the richest in their variety of figures.
There is
just no way one could ever be finished, no way one could get to the
point where he has done it all and must say, "Well, I guess I have to
go learn something else now -- get another hobby." It won't happen.
Smooth or Modern Rhythms
Beats/ Measure
Measures/ Minute
Official
Tempi of Rhythms per NDCA
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Characteristic Figure Patterns
Each
listing represents one kind of timing pattern common in that rhythm
(s=slow, 2 beats; q=quick, 1 beat; &=half a beat; a=one quarter
beat). In the abbreviated descriptions, a comma separates two beats, a
semi-colon marks the end of a measure, and a slash (/) indicates a
split beat, two things occuring in a single beat of music.
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Example of a Basic Figure
For more figures, click on the rhythm name in the
sidebar to the upper left.
For a description of dance steps (e.g., fwd, sd, close)
see the glossary.)
Here also are some music samples: mp3 files, most
150 - 300 MB. |
| Waltz-3b/m
Official International Tempo: 28-30m/m; American Tempo:
28-30m/m
(Belsize Waltz is 33; Carolina Moon is 30;
Cavatina is 30; Papillon is 32)
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123;
12&3;
Lower
at the end of each measure, stay down through beat 1 of next measure,
and then rise during beats 2 & 3--smooth rise and fall.
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Forward Waltz: In closed position
man steps fwd, fwd, close;
Listen to a segment of Andante or The Old House, cued by John
Grooms, Chardonnay, cued by
Chris Cantrell, Red River
Waltz, cued by Jim Bahr, or Could I Have This Dance,
uncued.
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| Foxtrot-4b/m
Official International Tempo: 28-30m/m; American Tempo:
30-32m/m
(Where or When is 30; From My Guy is 32; Am I Blue is 28; Sweet Ida is 29)
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sqq;
sq&q;
ss;
qqqq;
Lower slightly at the end of each measure, but rise soon
and stay up--long gliding steps.
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Box: In closed position man steps
forward, -, side, close; back, -, side, close;
Listen to a bit of Ain't Misbehavin', Marie, Memories Of You, and Penny For Your Thoughts,
cued by John Grooms; Ain't
That A Kick, Nearness of
You, This Is the Life,
and When You're Smiling,
cued by Chris Cantrell; or Broken
Hearts, cued by Jim Bahr.
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| Quickstep-4b/m
Official International Tempo: 50-52m/m; American Tempo:
60-62
(Fortuocity is 50; St Michael's is 48)
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qqs;
sqq;
ss;s
sqq;s
qqqq;
ss;qqs;sqq;ss;
Light and skipping, stay up and "in flight."
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Quarter Turns and Progressive Chasse
is a long figure, but it is found in almost every quickstep: In closed
position line of dance step fwd, -, fwd turn right face (rf), -; side,
close, sd & bk, -; bk trn lf, -, sd, cl; sd & fwd, -, fwd, -;
end in banjo line of dance.
To get a better idea of what quickstep music sounds
like, listen to a part of the classic and often danced Fortuocity, uncued, or Fortuocity, cued by Chris
Cantrell.
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| Two-Step-4b/m
30-40m/m
(Roses For Elizabeth is 32; Hold Me
is 30; Spaghetti Rag is 40; Baby
O' Mine is 32; Frenchy Brown
is 39)
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qqs;
Smooth flow; no rise and fall.
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Forward Two-Step: In semi-closed
position fwd, close, fwd, -;
Turning Two-Step: In closed position sd, cl, fwd and
sd turning 1/2, -;
To hear how two-step differs from other rhythms, you can
listen to some of Games
Lovers Play, cued by John Grooms, or Patricia, cued by Chris Cantrell.
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| Five-Count-4b/m
30-40m/m
(Unchained 5-Step is 40; Stayin' Alive
is 52)
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ss; qqs;
qqs; ss;
Smooth flow; no rise and fall.
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Forward Two and a Two-Step: In semi
fwd, -, fwd, -; fwd, cl, fwd, -;
My audio example here is Stayin' Alive, cued by John
Grooms.
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| One-Step-4b/m
30-40m/m
Official American Tempo for Peabody: 60-62m/m
(My Love is 42)
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ss;
qqqq;
Steady walking; no rise and fall.
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Walk Two: In closed position, step
forward, -, forward, -;
Run Four: fwd, fwd, fwd, fwd;
My audio example here is My Love, cued by John Grooms.
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| Polka-4b/m
Official American Tempo: 60-62m/m
(Street Fair is 60; Fiddlestepper Polka is 62)
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qqs;
Fast and bouncy; think of Tigger in Winnie the Pooh.
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Basic or Forward Two-Step: In semi
fwd, close, fwd, -/hop; fwd, close, fwd, -/hop;
Two Forward Two-Steps
Two Turning Two-Steps (from Street Fair)
As an example, you may listen to a part of Fiddlestepper Polka, uncued.
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| International Tango-4b/m
Official International Tempo: 32m/m; American Tempo:
30-32m/m
(Tango Capriccioso is 32; Gold Tango is 30; Just A Tango is 33; Sombras is 31)
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qqs;
sqq;
ss;
sqq;s
qqqq;
&s&s;
qq&qq&;
Firm frame, soft knees, deliberate steps, sharp steps
and head movements, no rise and fall.
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Walk: In closed position fwd, -,
fwd to bjo, -;
Promenade:
In semi closed position fwd on lead foot, -, fwd trail foot, side and
fwd lead; close trail foot slightly back of lead still in semi closed
position, -,
Audio examples of tango are from Gardenia Tango, uncued, and Gold Tango IV, cued by Chris
Cantrell.
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| Viennese Waltz-3b/m
Official International Tempo: 56-60m/m; American Tempo:
54-58m/m
(Bamboozled By You is 52; Look At Me I'm Sandra Dee is 54)
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123;
Waltz rise and fall but not as much because of speed.
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Viennese Turns: fwd trn left face,
sd trn, cross in front; bk trn, sd trn, cl (woman xif); (full turn)
Audio examples of Look At Me I'm Sandra
Dee, cued by Harold Sears, and a bit of Strauss' The Beautiful Blue Danube (uncued).
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Hesitation Canter Waltz-6
b/m (6/8 timing)
28-30m/m
(Baby Mine is 32; She's Got You is 31)
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1--4-6; (the "hesitation"
and then the "canter")
1-3--6; (the "canter" and then the "hesitation")
1--4--; (two "hesitation" steps)
1-34-6; (two "canters," four steps)
Waltz rise and fall and a wonderful lilting feel arising from the
syncopated step patterns.
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Two Left Turns: in CP fwd L trng, -,
-, sd & bk R, -, cl L ending CP RLOD; bk R trng, -, -, sd & fwd
R trng, -, cl R ending CP DLW;
Audio example of Baby Mine,
cued by Harold Sears.
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Latin Rhythms
Beats/ Measure
Measures/ Minute
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Characteristic Figure Patterns
Each
listing represents one kind of timing pattern common in that rhythm
(s=slow, 2 beats; q=quick, 1 beat; &=half a beat; a=one quarter
beat). In the abbreviated descriptions, a comma separates two beats, a
semi-colon marks the end of a measure, and a slash (/) indicates a
split beat, two things occuring in a single beat of music.
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BACK TO TOP
Example of a Basic Figure
For more figures, click on the rhythm in the sidebar to
the upper left.
Here are also some music samples: mp3 files, most 150 -
300 MB.
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| Cha Cha-4b/m
Official International Tempo: 32m/m; American Tempo:
28-30m/m
(Dolittle Cha is 32; Gazpacho Cha is 32; Last Night Cha is 30)
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123&4;
-&23&4;
Looser
hold in latin, bodies 6" apart. On balls of feet, knees flexed;
somewhat bouncy feel: one, two, cha-cha-cha; The second option above is
called guapacha (waa-paa-cha) timing, or more often, simply "guapa"
timing. You wait through most of the first beat, slowly drawing the
free foot toward the supporting foot, and then step quickly, &2.
It's a syncopated 1,2. The cha is normal timing. The "time step" in cha
is a figure where guapa timing fits well.
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Full Basic: In closed wall fwd,
rec, sd/cl, sd; bk, rec, sd/cl, sd;
Here is a bit of Cha
Cha Frenesi, uncued, Doolittle
Cha, cued by John Grooms, and You're the Top, cued by Chris
Cantrell.
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| Rumba-4b/m
Official International Tempo: 26-27m/m; American Tempo:
32-36m/m
(both Amapola and Perfidia are 28; Esta Rumba is 27)
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qqs;
More regular tempo than cha, on balls of feet, knees
flexed. Latin hip follows the step.
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Full Basic: In closed wall fwd,
rec, sd, -; bk, rec, sd, -;
Listen to parts of And
I Love You So, uncued; and And
I Love You So and Mia Tres,
cued by Chris Cantrell.
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| Mambo-4b/m
Official American Tempo: 48-51m/m
(Jambo Mambo, and Tequilla are 40; Sing
A Long Mambo is 42)
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qqs;
ss;
Sharp initial step, small steps; a fast, staccato rumba.
Latin hip follows the step.
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Basic: In closed wall step forward,
recover, side, -; back, recover, side, -;
Audio examples here are from Jack Is Back, uncued, and Who's Got the Mambo, cued
by Chris Cantrell.
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| Samba
2b/m
Official International Tempo: 48-50m/m; American Tempo:
52m/m
(Eso Beso is 52m/m)
Round dancers think in terms of 4 beats per measure,
yielding an effect of ~26 measures per minute — samba isn't fast.
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2; 3a4;
1a2a; 3a4;
With a soft "samba bounce."
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Basic Forward and Back: In closed
position fwd/cl, step, bk/cl, step;
You may listen to some of Iko
Iko, uncued, or Iko Iko or Bring It All Back, cued by
Chris Cantrell.
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| Swing or Jive-4b/m
Official International Tempo for Jive: 44-46m/m;
American Tempo for Swing: 34-36m/m
Kansas City is 28; Calendar Girl is 31; Pink Caddilac is 32; Tampa Jive is 34)
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123&4; 1&2
123&4; 123&4;
1234;
Soft
knees; quite a bouncy feel. More free than cha; think jitterbug. This
is "triple swing." At faster tempos, you can dance "double swing"
(1234;12) or more commonly, "single swing" (qqs;s)
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Basic Rock: In facing position rk
apt, rec, sd/cl, sd; sd/cl, sd,
Here, I have Choo
Choo Ch'Boogie, a fast jive, uncued, Pink Cadillac, uncued, Tampa Jive, cued by Chris
Cantrell, and Zat You, a
jive/foxtrot, cued by Jim Bahr.
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| West-Coast Swing-4b/m
Official American Tempo: 28-32m/m
(Java Jive is 26)
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1234; 1&2
123&4; 1&2
123&4; 123&4;
1234;
Slow and smooth; a "slot" dance where woman dances as on
a diving board; the man moves to the side to let her pass.
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Sugar Push: In facing position line
back, bk, tch, fwd; XIB/sd, sd, (woman bk/cl fwd),
You can listen to samples of Java Jive, uncued, or to Java Jive or Love Potion West, both cued
by Chris Cantrell.
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| Lindy
4b/m
30-36m/m
(Sugar Blues is 27; In the Mood is 36)
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123&4;
1234;
A slow swing style.
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Swing Out: In
left open facing position, lead feet free, rock back and recover; the
woman steps forward, forward. On the triple, turn right face 1/2 with a
side/close, side to closed position. In second measure, hook right
behind left, continuing right face 1/2, step side; woman steps fwd,
fwd, turning 1/2. Then man does a back triple, and woman does a little
side triple to left open facing again.
To get a feel for this rhythm, you can listen to clips
from In the Mood, uncued, or In the Mood, cued by Chris
Cantrell.
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| Salsa-4b/m
40-55m/m
(Good Lovin' is 48)
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qqs;
qqqq;
ss;
Fast like mambo but more open, loose, and free
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Side Basic: Facing partner step
side, rec, cl, -; sd, rec, cl, -;
Double Step: Facing sd, cl, sd, -; sd, cl, sd, -;
Listen to a clip from Bailamos,
uncued, Salsa Cafe, cued by
John Grooms, or She Knows
That She Wants To, cued by Chris Cantrell.
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| Hustle-4b/m
Official American Tempo: 28-30m/m
(Be My Lover is 28)
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&123
123&
1234;
Smooth and flat disco/swing; another slot dance.
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Basic: In closed position (all
quicks) point lead foot to side, small side step, point to trail side,
small side step; close, step,
Push Break: In low butterfly position (bfly) step
back on left/recover, check fwd on left, bk,
This rhythm has not been used much in round dancing, but
here is a clip from Be My Lover,
uncued.
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| Bolero-4b/m
Official American Tempo: 24-26m/m
(Abrazame is 23)
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sqq;
sqq;s
qqqq;
Very slow first step with rise, then lower on beats 2
& 3. Smooth, regular tempo; a slow, sensual rumba.
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Basic: In closed wall sd, -, slip
bk, fwd; sd, -, slip fwd, bk;
Listen to a bit from Sleeping Beauty, uncued, or Sleeping Beauty, cued by
Chris Cantrell.
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| Slow Two-Step-4 or 6b/m
25-32m/m
(Adeline is 32; In This Life is 32; Rachel's Song is 26)
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sqq;
ss&;
Slow and flat; no rise and fall.
|
Basic: In closed wall side, -, xib,
rec; sd, -, xib, rec;
In 6/4 timing, a half basic would be sd, -, -, xib, -, rec;
Here is a part of Adeline,
uncued, and an old favorite, Rachel's
Song, cued by Chris Cantrell.
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| Argentine Tango-4b/m
Official American Tempo: 26-33m/m
(Fenestra is 28; Peligro is 25; Otra Noche is 24; Verano is 32)
|
ss;
qqs;
qqqq;
ss;qqs;
sqq;s
Slower and smoother than International Tango; flowing
steps on balls of feet, knees flexed, slight rise and fall.
|
Basic:
In closed position (all slows) point left foot to side, -, draw l to r,
-; step sd left, -, fwd r to banjo, -; fwd l, -, close r, -;
Tango Draw: fwd, fwd & sd, draw l to r,
-;
I have some of Ole Guapa
(uncued) and Fenestra, cued by
Chris Cantrell.
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| Merengue-4b/m
Official American Tempo: 29-32m/m
(Gravity Storm is 29)
|
1234;
123&4;
1&2&34;
A
flat, marching feel but with lots of Cuban hip: place the foot early,
take weight late, which moves the hip. Some conscious hip thrusts.
|
Forward Basic: In closed fwd, fwd,
fwd, fwd;
Side Basic: In closed sd, cl, sd, cl;
Here is Dancez
Merengue, uncued, and Dancez
Merengue, cued by John Grooms.
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| Paso Doble
2b/m
Official International Tempo: 60-62m/m; American Tempo:
58-60m/m
(El Pico is 60; Spanish Banderillero is 31)
As
in samba, round dancers think in terms of 4 beats per measure, yielding
an effect of ~30 measures per minute — paso isn't fast either.
|
1234;
A flat, marching dance with proud, upright carriage.
|
Appel: Right foot (woman left) is
lowered firmly to the floor, This is the first step of many paso
figures.
Basic : In closed position appel, fwd, fwd, fwd;
Ecart : In loose closed position appel, fwd, sd,
cross in back (XIB) to semi;
You may listen to a clip from Paso Cadiz, uncued, or Trumpet Fiesta, cued by
Chris Cantrell.
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Exerpt
published as “Rhythms and Timing,” in Dallas Harvest Holiday 2007,
47-10, p. 2, 10/2007; reprinted Texas Round Dance Teachers Association
Newsletter, November 2011.
If you would like to read other articles on dance
position, technique, styling, and specific dance rhythms, you may visit
the article TOC.
Past DRDC Educational Articles archived
here.
Go beyond this site. Find other references on our Sources and Links
pages.
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