RHYTHM LIST & TIMING

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Rhythm

Tempo

Timing

Smooth Rhythms

Latin Rhythms

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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 (column 1 in the table below). 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.

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TEMPO

The next feature of the music that we might look at is the speed or tempo (again, see column 1 in the table below). 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 fox trot, 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" 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 fox trots 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.

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TIMING

Another level of variety that we can enjoy is the way in which the beats of music are used to form dance figures (column 2 below). 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 used. A slow (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 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.

Here is a fox trot measure: s, -, q/&, q; Standard fox trot 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 is doing something on an "&" 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 (although I must admit that the only hustle round dance I have seen is Shibata's Be My Lover). The music is 4/4, but many of his figures are only three beats long. The count of a 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. Shibata does let us relax a little in part C with even, 4-count figures.

Now look at some of the rest of the 4/4 rhythms 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.

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Smooth or Modern Rhythms Beats/ Measure Measures/ Minute	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.	Example of a Basic Figure For more figures, click on the rhythm in the list to the upper left. (Paragraphs 5 and 6 above talk a little about the abbreviations used here. See also the article on basic steps.) Here are also some music samples: mp3 files, most 150 - 300 MB.
Waltz 3b/m 28-32m/m (Belsize Waltz is 33; Cavatina is 30; Papillon is 32)	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.	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.
Fox Trot 4b/m 30 - 32m/m (Where or When is 30; From My Guy is 32)	sqq; sq&q; ss; qqqq; Lower slightly at the end of each measure, but rise soon and stay up--long gliding steps.	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.
Quickstep 4b/m 40-50m/m (Fortuocity is 48)	qqs; sqq; ss;s sqq;s qqqq; ss;qqs;sqq;ss; Light and skipping, stay up and "in flight."	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.
Two-Step 4b/m 40m/m	qqs; Smooth flow; no rise and fall.	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.
Five-Count 4b/m 40m/m	ss; qqs; qqs; ss; Smooth flow; no rise and fall.	Forward Two and a Two-Step: In semi fwd, -, fwd, -; fwd, cl, fwd, -; My audio example here is Stayin' Alive, cued by John Grooms.
One-Step 4b/m 40m/m (My Love is 42)	ss; qqqq; Steady walking; no rise and fall.	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.
Polka 4b/m 60- 62m/m (Street Fair is 60)	qqs; Fast and bouncy; think of Tigger in Winnie the Pooh.	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.
International Tango 4b/m 33m/m	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.	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.
Viennese Waltz 3b/m 60m/m	123; Waltz rise and fall but not as much because of speed.	Viennese Turns: fwd trn left face, sd trn, cross in front; bk trn, sd trn, cl (woman xif); (full turn) I haven't prepared a viennese waltz round dance, but here is a bit of Strauss' The Beautiful Blue Danube (uncued).
Latin Rhythms Beats/ Measure Measures/ Minute	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.	BACK TO TOP Example of a Basic Figure For more figures, click on the rhythm in the list to the upper left. (Paragraphs 5 and 6 above talk a little about the abbreviations used here. See also the "lesson" on basic steps.) Here are also some music samples: mp3 files, most 150 - 300 MB.
Cha Cha 4b/m 30-34m/m	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" is a figure where guapa timing fits well.	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.
Rumba 4b/m 27-36m/m (both Amapola and Perfidia are 28)	qqs; More regular tempo than cha, on balls of feet, knees flexed. Latin hip follows the step.	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.
Mambo 4b/m 36-51m/m	qqs; ss; Sharp initial step, small steps; a fast, staccato rumba. Latin hip follows the step.	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.
Samba 2b/m 50-52m/m	1a2; 3a4; 1a2a; 3a4; With a soft "samba bounce."	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.
Swing or Jive 4b/m 25-45m/m	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)	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/fox trot, cued by Jim Bahr.
West-Coast Swing 4b/m 22-35m/m (Java Jive is 28)	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.	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.
Lindy 4b/m 30-36m/m	123&4; 1234; A slow swing style.	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.
Salsa 4b/m 40-55m/m	qqs; qqqq; ss; Fast like mambo but more open, loose, and free	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.
Hustle 4b/m 27-32m/m	&123 123& 1234; Smooth and flat disco/swing; another slot dance.	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.
Bolero 4b/m 24-26m/m	sqq; sqq;s qqqq; Very slow first step with rise, then lower on beats 2 & 3. Smooth, regular tempo; a slow, sensual rumba.	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.
Slow Two-Step 4 or 6b/m 16-32m/m (Adeline is 32)	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.
Argentine Tango 4b/m 26-33m/m	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.
Merengue 4b/m 28-32m/m	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.
Paso Doble 2b/m 58-62m/m	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.

"Let your countenance be expressive of cheerfulness and gaiety, and let an agreeable smile ever play about your mouth."

"There are those who dance to the rhythm that is played to them, those who only dance to their own rhythm, and those who don’t dance at all."