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OF DANCING
;m. ALBERT
ZORN
m.
A.
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http://www.archive.org/details/grammarofartofda1920zorn
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17-
GRAMMAR
OF THE
ART OF DANCING
THEORETICAL
AND
PRACTICAL
Lessons in the Arts of Dancing and
German
of
Academy
of the Art
of Teaching
Dancing
Dancing,
Member A. N. A. M.
of D.
INTERNATIONAL PUBLISHERS
EIGHT BEACON STREET,
BOSTON, MASSACHUSETTS
1920
To
the
American National Association of Masters of Dancing of the United States and Canada
this
work
is
respectfully dedicated
Foreword
ZORN'S
GRAMMAR
is too
well known
to
it
de-
may
not be out
ofplace.
The work was originally published under the direct patronage of the German
in Berlin,
and
a very
and
concise history
which follows.
text itself.
made plain by
the
The original
edition
was
of
the
Grammar, which
con-
tained the text, the Atlas, which contained the illustrations, scores
the " Notenheft,"
violin
which contained
and piano.
is
unique.
German
edition
for
than a thousand entries, which he believes will be of great service in rendering the
book more practical as a
work of reference.
A glossary
used in dancing and music has also been compiled for this edition.
The Editor
Mr. Benjamin P.
edition
is
desires to
acknowledge
his gratitude
conscientious assistance
of
his
translator,
and
largely due.
The
assistance
of so capable a translator
is
greatly appreciated.
vii
Vlll
the
dedication
of
this edition
of
the
Grammar was
accepted
work adopted as
the standard
of
authority.
The
the duty
of teachers of dancing
pay some
attention to that
of their
form a part
rules
their application
and of too
transient
of twenty years.
is too fickle
a goddess
of settled
rules.
dancing will get more practical ideas regarding deportment from their experience as
teachers than
it
would be
any book.
And now
it
having
and
the
fact that
supply a great
and
of French
These terms
now form
the only
to discontinue
to indefinitely
Universal Academy.
these terms
which have
us use them.
Of course there is no
use of them
of them
and such a
would
it
would be a
advantages as
terms that have for centuries been accepted without cavil by other nations
who
do not
speak French.
art that entitles
In
truth,
what has
so
it to
make
radical a change?
Would
it
IX
we
seek to discontinue?
The Editor,
for
and
that should his colleagues closely study the works of the foreign
m asters,
they
common bonds of
other,
and by no
among
which
it is so
certainly entitled.
The Editor
Brookline Massachusetts
October
ipoj
Author's Preface
TO
may
the average reader, the following pages will probably reveal a vast
amount of re-
search and labour, but the specialist in the subject should not, merely because the
in a different
is
to cast the
work
aside as of no value.
it
a fair
appear to be fanciful
probable objections,
in
obtainable authorities
in order to consult
he has for
many
St.
Arthur de
judgment of Herr A.
Royal Academy
in Berlin,
upon
The Grammar
Academy,
is
highly
commended
in
the
report of the
members of
the Royal
a
May
24-25, 1885, and the author has been thereby induced to prepare
revised and enlarged edition of the work, in which he has received the valuable assistance
of Herr A. Freising, president, and of Herr Otto Stoige, ballet-master and teacher of dancing
at the
University of Koenigsburg.
Also, to
He
gentlemen
offers his
warmest thanks
" Catechism."
The Author
the
earnestly
recommends
this
it
contains a key to
xi
Xll
author
is
the
work
is still
incorporate
them
by
demand
for one.
He
work
will
who study
carefully.
Arthur de
St.
Leon, and
Klemm
express the hope that their system, the one most generally adopted by
art
which
is
worthy,
stand in the
rank
in matters
of
taste.
To
Those
great masters
us have accomplished
much
at their disposal,
and have
the
devolves
good fortune
improve
may
be greater
still.
would indeed be
open
to us,
experiences and discoveries might injure our personal advantages should be cast aside as
unworthy of our
rect
attention.
di-
of
all
who
are interested.
It
Dancing
is
incontestably one of the fine arts, and not the least of them.
is
borrows
all
into a
still
more lovely
graceful attitudes
ing influence of music; and the ballet, which has been brought to so high a point of perfection,
is
an indisputable evidence of
is
its artistic
possibilities
and value.
There
now
may
down
to posterity
a script
been preserved.
Where,
let
script
when he
may soon be
live to see
examples of
upon
OF DANCING
Xlll
author considers his system of script appropriate for the representation of any
ballet,
at least
be sufficiently
intelligible
to
students of the
skill to
"Grammar"
it.
for
them
to
acquired sufficient
life's
execute
The
author would
is
feel
amply compensated
for his
work, were
his
ideas
would be of signal
In preparing this
"Grammar
authority might be submitted and final decisions as to the best methods and solutions
be made.
a journal
or other
in
circulate
among
interested persons,
a large
measure overcome the influence and wanton speculations of those who masquerade
teachers, but
as
who have no
actual
knowledge of the
art
of dancing.
If the unworthy designs and demoralizing influence of such persons could be counteracted, the dancing profession
a great step
it is
In a copy of the
its
way
to the
German Academy of
the
in Berlin, and,
a
member.
its
He
interest
has
much
for
which
to
different
mem-
immense
practical benefit to
his strength
emy have
sible.
not only urged but aided him to complete this work at as early a date as pos-
At
it
was resolved
after
that each
a careful
member of
"Grammar" and
Academy,
should
might bethought
beneficial
in
it,
another edi-
hardly
fail
to greatly
XIV
former word
tains the
given in the Dictionary of Noel and Chapsal, published in 1857, which conreliable information respecting
most
dance terms.
of the word
was used by two of the most distinguished of our recent choregraphs, Carlo Blasis and
Arthur de
St.
Leon.
is
for this
work because of
form of
questions and answers, but the recent application of the term to other than religious subjects has
less
changed
subject.
its
significance
and
it is
now
of
its
This " Grammar " has been put forth with the object and hope of elevating and extending the scientific art of dancing, and to accomplish that purpose the author has exercised
his
all
of his
faculties.
fifty
He
for
will consider
it
years of
labour which
a favourable reception
and recognition
such
will
be an indication that the goal toward which he has striven so earnestly and
Odessa, 1887.
Contents
Foreword
AuthcK
't
Preface
Introduction
Frontispiece
vii
xi
CHAPTER
Method
Grammar Carriage
15-17
Choregraphy of Heel Flowing Measure of Height Raising Half-High Closed Flowing High Closed Flowing Air V Inward Turned Open Flowing Intermediate Half Bended and Double Intermediate Crossed Intermediate Prolonged
..........
II
Sole Positions
CHAPTER
18-39
Positions
Crossed Po-
Ball
Positions
Positions
Positions
Positions
Positions
Positions
Positions (Positions en
Air)
Positions
Stretched Positions
Positions
Positions
Positions
Positions
Positions
Parallel Positions.
Movements
The
Simple Movements
.........
ill
CHAPTER
40-43
CHAPTER
Preparatory Exercises
Bending Exercises
Raisings
(P/ier)
IV
44-54
Raisings (Elevations)
(Battements)
Gliding
et
Combined
Dessous)
Bendings and
(Glisser)
Carrying
of
Behind
(Dessus
Direction
for Social
Dancing.
XV
XVI
CONTENTS
The Apportionment
of
Time
.........
Metronome
CHAPTER V
55-61
Dance Music.
VI
Explanation of Musical
Terms
CHAPTER
The Beatings
Raising
62-73
and
Lowering Exercises
Beatings
Large
Small
(Petit*
Grands Battements).
Turning Exercises
.........
CHAPTER
VIII
(Port de
Principal
74-81
82-IO5
Inter-
ders
Zorn's System of Arm-Positions The Carof Arms Arm-Positions The Bras) The mediate Arm-Positions Crossed Arm-Positions Supported Arm-Positions Closed Arm-Positions Open Arm-Positions Narrowed and Amplified Arm Opposition Supported Arm-Positions (Demi-Bras) Mimic Character Arm-Positions Arm Movements of Arms The Simple Arm Movements Hand (Ronds and Giving Hand of ShoulHands Shrugging and Movement of Head (Tenue Mouvements Movements of Trunk and Shoulders (Mouvements Group Tableau Choregraphy. Harmony (Coincidence)
French System of Arm-Positions
riage
the
Positions
or
Carriage
the
(Port de
Bras)
Circles
de Bras)
Pre-
senting
the
Positions
the
the
the
Carriage
et
de la Tete)
the
de Torse
et
Epaulements)
Attitude
CHAPTER
Compound Movements
Classification
IX
.
I06-IC9
Definitions
Music-Syllable Dance-Syllable Step Temps Pas of Various Dance Terms (Termes Danse) Grace.
de
CHAPTER
Technical Steps and Movements
Steps (Pas)
ment de Pieds)
Attributes
Steps (Pas
of Steps in Instructing
The Meaning of Term Pas The Names Changement of Feet (Change Raising
the
All'es)
........
Military
IIO-164
March (Marche
the
Militaire)
CONTENTS
Raising-Marching Steps (Pas Marches
sur
les
XV11
Steps
\he Points (Pas
Pointes)
the
Escaping (Temps (Temps (Temps Temps Throwing and Double (Temps Hunting Chasing Temps Whip Cutting Temps (Demi Tossing Basque Zephyr Tendus Pas (Temps Body Turns Turn Twisting Choregraphy Turning Occupation of Trunk Rump (Tour The Free Leg Turning Turns V Thigh-Beating The (La (Temps Changement Crossed Pas Legs Half Counter-Beating Jump Broken Whole Counter-Beating and Temps Pigeon-Wing Pas
Syllables
Echapp'es)
Courante)
Changements of
Running
Elev'es)
Step (Temps dt
ou Pieds)
Tomb'es)
Spreading Syllables
Assemble)
Ecartes)
Steps (Fas
Jet'es)
Scissor Step
st
de Sissonne Double)
or
Gliding
Syl-
Glissades)
lables
Fouett'es)
Ha'f-Steps
Coupes)
Stuffing Steps
de Z'epbire)
(Pas de Bourr'ee)
Stretched or
Steps (Pas
ou
Steps (Pas
de Basque)
Ball Syllables
Ballonn'es)
(Tours de Corps)
of the
or
de Torse)
of
in
in
Air)
Pirouette
Pirouette)
Syllables
de Cuisse\
Beating Steps
(Les
Battus)
of the
(Changements de "Jambes)
(Capriole
ou
Entrechat)
(
(Demi-Contretemps)
Steps
(
Contretemps Entier)
Syllables
et
Bris'es)
Pistolets).
CHAPTER
Periodica*.
XI
.
165-173
CHAPTER
The Choregraphy
of the Figure
CHAPTER
The Contra Dance and Quadrille
Theory of
Prelude
the Quadrille Positions
The French Contra-Dance (La Fran Pantalon L La La Les La La Les La La Rose Pas Galop Moulinet Dames Grandes R^ndes Rondes La Guirlande
Original Steps
'
Division
Et'e
........ .......
XIII
XJI
174-177
178-205
Contredanse
faise)
Poule
Tr'enis
Trois Crochets ou
Coquille
Graces
Finale
de
The
des
Opposces
CHAPTER XIV
The Minuet
Minuet of the Queen (Menuet
la Cour)
206-216
de la Reine)
Minuet
Execution of
Minuet
XV111
CONTENTS
The Gavotte
............
Execution of the Gavotte of Gaetano Vestris.
CHAPTER XV
217-223
Social
Round Dances
Galop and Galopade
Pursuit
The Galop Waltz Reverse Galop The Two-Syllable Waltz The Waltz {La The {La Waltz (La Deux Temps) The Three (La Envers) The Polka (La Temps) The Reverse Waltz (La Redowaczka The Redowa Mazurka Polka Polka-Mazur The Tyrolienne Hop-Waltz The 5-4 Waltz ance Waltz Temps) The Krakoviak Mazurka-Waltz Varsovianna (La Mazourka) Galop-Polka Glide-Polka (U Polka Hungarian Waltz The Mazurka (La Mazourka) Technical of Mazurka Mazurka Space Large and Regarding and Mazurka
a ghtatre Couples)
(Galop a
/'
..........
Galop a" Amazones
'
CHAPTER XVI
The
224-266
Star of
Four Couples
(L'Etoile
Envers)
Poursuite)
False)
False a
or Six Step
False a
False a Trois ou
a Six
/'
Polka)
(Rejdovak)
(Redowatschka)
or
(False Sautillee)
Bal-
(False Balanc'ee)
(False en Cinq
Farsouvienne)
(Cracovienne)
(False de
or
Esmeralda)
Schottische,
Rheinlander, Bavarian
(False Hongroise)
Steps
the
Figures
Instructions
Cotillion
Figures
Small Circles
Introduction
Selection of Figures.
Concluding Remarks
Object of the
Index
Glossary
CHAPTER
XVII
267-277
279
297
ji-"
Introduction
Introduction
TO
its
thoroughly understand an
art, it is
necessary to learn
its
there-
by reaching the
of going about
what
is still
to be
The
source of dancing
lies in
is
If in
more pronounced
movements
This
is
raises
himself involuntarily.
natural dancing;
it is
to be
found
and among
is
all
nations.
To
to
entirely, as
the wish of
some persons,
it
would be necessary
ment vary
who
has the
greatest nobility of
mind
and to follow
different courses
of civilization, there grew up different dances, dependent upon and indicative of national
characteristics;
their dances
statement which
made by many
may be known by
work
modern
Czerwinski, in his " History of the Art of Dancing," Rudolph Voss, in "
its
M.
Bahlme,
in his
"History of Dancing
in
Germany." There
are
many
others
who might
OF DANCING
its
has
its
childhood,
blossom time,
arts,
its
climax and
its
decay; but these periods are more uncertain than those of other
efficient
Without such
for posterity.
a script
By means of
we have
to reproduce, note
last three
but what
last
is left
of
even of the
few decades?
Only
a few
rather to accentuate the extent of our loss than to aid us in reconstructing the
works of
which they
treat.
is
so.
He
must go where
it is
executed.
And
if
he desires to reproduce
one of
his
own
same
difficulty as at
the original production, for the dancers are not the same.
He
step,
because
alone.
it is
impossible to supply them with written parts with which they could practice
In 1852, A. de
published the
all
St.
Leon,
first
first
the
facilities
and influence of
manner.
in a
most
signal
tunity, notwithstanding the serious duties of his kingly calling, to read the first part of the
its
us splendid material for perfecting the system set forth in his letters
An Academy
was
liberally
XIV,
in 1661,
and
endowed by
names of
its
in
1873 by several
as
we most
objects,
it
will
not be the
first
things.
art
may be
and
in
doubtless,
all
who
purpose
is
composed
The
Academy: A.
Freising,
Teacher of Dancing
Hamburg;
Bernardelli,
Teacher of Dancing
at the
many
others of prominence.
as a
board of
who
Inasmuch
adopted
tions
it
as the
Academy
work
to a
is
most
rigid
(May 25,
1885), it
upon
upon
down
therein.
is
withstanding that
tatingly
It
is
many
it
condemn
true that gymnastics develop the physical powers, increase courage and endurance,
improve health and render one more robust, but they tend toward coarseness and impress
one with a certain recklessness and lack ofclelicacy, unless taught by persons who are properly
informed
It
nastics
as to the true art
of movement.
is
Schiller says,
Still,
"To
who
those
for if
that,
we contemplate
with few excep-
we are compelled
to
admit
we
find
them objectionable
to
good
taste.
deportment and that exquisite delicacy which marked the dances of the 18th century, and
stage indecencies of a
which are so
to believe
scrupulous managers
and
The same
state
of affairs exists in the dance-halls, for custom has so shortened the vision
least criticism
of this nature
is
One
is
la
mode
why
it
is
that clergy-
The
Lanciers Quadrille came into favor in 1856, and was generally hailed as a step
taste,
toward better
but the supposition has not been confirmed by experience, for that beau-
J
if possible,
dance has been long since banished from our orders and we dance worse,
its
than before
introduction.
are
and responsi-
oppose objectionable
taste;
but the great majority practice for a livelihood and dare not struggle too persistently
against
common
customs
lest
who might
Unfortun-
who
that they
i
may
of its ethical or
Proper dancing gives one that grace which should form a part of
all, is
our movements,
are obliged to
who
Upon
first
time
we
by
his presence
inti-
become more
mately or fully acquainted, our treatment of him must necessarily be gauged by the impression thus obtained.
First impressions, therefore, are never of indifference, wise.
all,
lack
fail
to create
carriage
and
a pleasing appearance should neither be regarded as the only valuable traits, nor should
they be held to compensate for vice or ignorance; for indeed; unless they be in harmony
with nobility of thought and action, they can but form a
mask
torn away and disclose the real person in his true ugliness.
Modern
society
if
demands of
all
who
enter
it,
behaviour, which
often
as
boys.
That grace which comes from dancing, however, does not depend
solely
fortune of finding a competent and conscientious teacher, for unless one possesses a natural
results.
There
are in
many persons
to
whom
instruction
is
would
he welcome, there
than the books
the subject.
It is
nothing better
many of which
carefully written
upon
effects
of
is
better than
No
is
'from wasted.
It rests
among
therefore,
for position
and movecritics,
approval of the
certain that
we
shall
will
We
deserve.
It
appears that these are not given that study which they
should never
of dancing earn a
living,
and
Dancing
exercise
it
is
Indeed, the
provides
of dancing
now
in
method known
exercises that
young persons
ing of the abuse than of the truly useful aspect of the exercise.
that if persons
only to be expected
who
are
still
all
then dance immoderately a whole evening, and, becoming overheated, indulge freely in cold
drinks and
ices,
ill.
If,
to be beneficial.
The
Classification
of Dances
Dancing
salon and
pleasure,
a
is
generally divided into two grand divisions, namely, social and theatrical, or
social or salon dance,
social
who do
not
make dancing
a profession
may
acquire
knowledge of
its
Minuet and
may be
considered the greatest, for they are replete with grace and modesty
The
It
is
" waltz position" in the so-called round dances should be conscientiously regarded.
to be regretted that the
as the
generally preferred to others, for they do not merit the distinction, from the standpoint
either of art or of grace.
as
it
This liking
for that
form of dancing
is
it
would be
it
must
dislike
as
it
wholly objectionable,
may be prop-
queen of
it
affords every
and grace
the same
as
widely varied as that of the Cotillion, thus offering never-ending charm and novelty.
Column and
make an
line
dances are
afford
much
pleasure and
agreeable change.
is still
further
Bernhard Klemm,
in his "
Catechism," gives
is
the
more minute
quite logical.
It
of the manners and customs of certain peoples, but as they arise from and form a part
IO
of the national
dances.
life
This
class contains
Tyrolienne, Styrian, Hungarian, Cossack, Cracovienne, Russian, and others too numerous
to mention.
Any
if
properly arranged to accord with stage requirements and executed with sufficient
The
all
dancers upon the stage, and which are, properly, Theatre dances.
five degrees.
They
Those of
Their character
is
unsteady
or,
mand
skill rather
than gracefulness.
Those of
the
first.
"Comic," and
They generally
third degree
life
is
The
known
They
exemplify
affairs
of ordinary
a love-story or a plot in
which the
characters" are
from the
common
people.
This
class
is
and elegance.
The
known
as the
They
represent
The
and elegance
etc.,
is
They
They demand
tion
and movement.
The
are
fifth
degree
is
of a
still
These dances
known
as
Such dances may be properly termed " Ballets," and our century
class.
The
ladies
in this degree.
Taglioni (mother and daughter), Fanny Ellsler, Fanny Cerito, Carlotta Grisi, Nadeschda
(father
and
son),
St.
in
producing
may
easily
II
at the conclusion,
much
to be deplored that
up
been no adequate or
satisfac-
tory script, by
for future
generations, and
realization of
"Grammar"
to
which
much
The
parts
and indeed
of music.
a sheet
Thus
communicate
form
their
achievements
them
in intelligible
to posterity.
Grammar
Chapter
METHOD
THE
is
first
justed to the capabilities of the student as to lead from the base to the
acme of perfection, without unnecessary waste of time. Without such a method or system, and without the necessary specific names for even the most minute details and objects, progress in the Art of Dancing will be rendered well nigh impossible, on account of the numberless difficulties and apparent contradictions that must naturally arise. Such a system should be devised as will lead the student easily and gradually from the simpler to the more complicated portions in such a manner as to enable him not only to comprehend but to demonstrate as he goes. A competent teacher is not often at a loss to thoroughly communicate his ideas. The first necessity is, therefore, what we may term a Grammar of the Art of Dancing which shall contain a system analagous to those employed in teaching language or drawing,
and which
shall so clearly define the principles
it
it
shall be
none the
grammar of this
indeed, by the general public, as a means of promoting correct principles, and at the same
in society
stage.
May
not also, perhaps, induce careless and indifferent teachers to work more diligently for
their
own improvement, by
the foregoing one
through the
his ideal of
From
may
and
the nature of a
Grammar
of Dancing.
Time and
i6
GRAMMAR
GRAMMAR
Dancing is the expression of pleasure or of other sentiments by means of prescribed movements, which are regulated by music, either imagined or expressed. Its factors are Position, Movement, Figure and Measure. 2.
1
3.
may
is
4-
The
lines described
upon
the floor
The
is
division of the
movements
into
called
Measure.
dancing to language,
To compare
to
to
movements movements
consonants;
syllables;
compound
steps to words;
Fig.
2.
Fig
3.
ragraphs.
Simple figures correspond to verses, compound figures to stanzas, and the connection of
compound
poem.
CARRIAGE
8.
Before dealing with the various positions we must refer to the carriage of the body,
carriage
is
for
good
the
first essential
to a dancer.
-be
up
or down, but to the face of the person opposite, the neck perpendicular, the chest expanded and thrust
abdomen drawn
in,
ward from the toes, the knees stretched, and the arms hanging naturally at the sides
[Fig.
1].
Hold
Fig.
4.
the fingers as
shown
in
Fig.
fig.
5.
Fig.
6.
and touch the side line of the leg with the thumb and first and second fingers. It is
GRAMMAR
rectness of the position
17
as in Fig. 3.
if
to neglect
it,
The
cor-
may
proper, the
in
such a way that the fingers touch the middle of the sides of the
hang
and
fingers
been
proposed
[Figs. 4, 5
and
cording to the
10.
circle
of the arms.
The
The more
arm is stretched the more Fig. 7. Fig. 8. Fig. 9. the fingers must be stretched. In Fig. 7 the little finger is bended properly; in Fig. 8 too much; and in Fig. 9 not enough. There is a mathematical correctness of beauty, and perception thereof is as keen a sense as musical perception. A circle not exactly round is as much an offence to the eye as a
false
chord or note
is
to the ear.
it is
Taste can be so
far
debased
as to
accustom
itself to
im-
The
positions and
movements of
Chapter II
POSITIONS OF
THE FEET
modern AS French
the
.
art
used
in all countries
where dancing
is
Grammar
should
knowledge of them.
Simple Positions
] ]
There
These
are sub-
ject to
heel
Sole Positions
12.
floor,
When
it is
in sole position.
13.
First Position.
ward and the knees held close together. This position is the one most commonly used [Fig. 10].
14is
Second Position.
Fig.
10.
Fig. 11.
out raising the sole from the floor or transferring the centre of gravity [Fig. 11].
foot corresponds to the ideal proportion, the width of the separation in this position
is,
If the
that
will
is
said to
be the
norm of width
18
in the
open
positions.
may be observed
19
moved,
it is still
in 1st position.
the distance
into use,
is
doubled [Fig.
12].
common
are
Third Position.
There
If,
for
example, one
3d
of the
in
left
3d
inner middle
Fig.
of the
left foot, as in
14.
that
most used. 16. Fourth Position. The 4th position is attained by extending the foot in a straight line, either forward or backward, the length of one of the feet, as shown in Figs. 15 and 16. The ordinary walking step
tion.
Fig. 12.
Fig. 13.
is
The
it
figures are
front
would be
difficult to distinguish
1st position.
is
is
Note.
5th, the foot should be carried forward on a line with the supporting foot,
principal positions undoubtedly have their basis
carried forward
in
natural attitudes.
The crossed
therefore, can hardly be considered as other than an intermediate position, and will be referred to later
Fig.
14.
Fig. 15.
Fig. 16.
Fig. 17.
17.
Fifth Position.
In the 5th position the legs are so strongly crossed that the heel
17].
Positions
18.
All positions in which the feet touch one another are called closed positions.
in
The
which the
20
OF DANCING
Crossed Positions
19.
The 3d and
all
positions.
20.
is
may
supporting foot
These
positions
may
left foot,
and
this rule
may
also be applied to
21.
the dancer as facing the reader, and the terms right and
the dancer,
who
is
sup-
22.
When
1
the foot
portions rest
upon
8],
held in such a position that only the front " the floor, it is said to be in " ball " or " half-point
is
position [Fig.
23.
When
the sole
is
in
19].
Sole Direction.
The
positions differs in accordance with the nature of the dance and the
ability
of the dancer.
Many
cuts.
are represented
by
Below Fig. 20, which has been explained in 13, we find two signs which represent the position. The upper one is the symbol employed in the script of Arthur de St. Leon, who called the invention by the name of "Stenochoregraphy." The lower sign is that designed by the author, who has amplified and perfected the system
25.
First Positions.
of
St. Le'on.
26.
is
shown by
the hori-
The
GRAMMAR
27. as such a position
21
and
slightly in-
is
indicated by
left
leg.
shows the same position, but with the weight upon the
i
Fig. 20.
I
Fig.
2.3.
1
/ v
I
jL
Fig. 25.
i
Fig. 2i.
2
Fig. 22.
is
i__I
Fig. 24.
28.
supporting
The
line
ball position
floor.
by
comma below
the
of the
29.
The
Fig.
24 shows both
and
it
must be noted
that if in rais-
ing the heels they are separated, even in a very slight degree, the position changes from a
ist to
an intermediate one.
Fig. 25 represents the ist point position of the right foot,
left leg.
30.
and
of
A
1
Fig. 26.
A
Fig. 27.
A
Fig. 28.
A
is
A
Fig. 29.
A
Fig. 30.
shows both
well to
although
very
seldom,
it is
know
and,
if
22
OF DANCING
Second Positions.
Fig. 27
in
been explained
shows the 2d sole position of the right foot. This posi 14. The symbols are too clear to need explanation.
Fig. 28
in
2d
ball position.
2d point position.
is
in raising
2d point position.
Raising Positions
32.
is
raised
and
it is
well to
remember
"raising" always refers to the supporting foot, which may, according to the ability of the
dancer and the requirements of the occasion, be carried either to the ball or the point of the
33.
foot.
When
1
is
in raising position,
it is
shows both
feet in
2d point
position.
is
of both
feet,
the position
is
A
Fig. 31.
1 I
Fig. 32.
1
i
Fig. 34.
1
'3
Fig. 33.
34.
Third
Positions.
15
describes the
3d
sole position
and
illustrates
in anterior
3d
ball position.
left.
In the stenochoregraphic sign the lower end of the line representing the bended leg
touches the line of the floor, thus indicating that the point of the foot touches the floor.
35.
The number
is
is
porting one.
in anterior position.
point
36.
3d
ball
position.
In this position
the heel
in a line
23
is
comma
In the lower sign, the number and point are placed below the symbol to indicate that
the foot
is
and
to
show
is
cut by
Fig.
34 represents the
3d
point position.
The
is
tioned.
39.
Fig.
of the right.
40.
foot in
36 represents the right anterior 4th sole position; the drawing being
it
Fourth Positions.
1 1
Fig. 35.
is
I
Fig. 36.
in profile to distinguish
from the
1st position.
41.
In
all
illustrations
Fig. 36 shows only a partial view of the heel of the supporting foot, in order to
if
it
2d position.
It
43.
For
body
is
added
where
is
occasionally shown.
1
1
Fig. 37. Fig. 38. Fig. 39.
i
o
Fig. 41
1
Fir.. 40.
44to the
The
is
But owing
in Fig.
form of the symbol and the shading, the number and point are unnecessary
The shaded
it is
perpendicular line always shows the supporting, and the thin line the
is
position leg.
is
anterior.
If at the
bottom,
The
ball
described.
24
46.
If,
OF DANCING
in profile,
it
is
necessary
37 represents the right foot in 4th ball position. Fig. 38 shows the right foot in 4th point position.
Fig.
39 displays the posterior 4th sole position of the right. Fig. 40 represents the posterior 4th ball position of the right.
Fig.
is
in posterior
Fifth Positions.
42 represents the 5th sole position as described distinguishable by the number 5 which is placed below it.
Fig.
it
feet,
and par
necessary in indicating
s-
j-
A 1
Fig. 43. Fig. 44.
I
Fig. 45.
1
.
s~
Fig. 42.
Fig. 46.
48.
Fig. 43 represents the anterior 5th ball position of the right foot.
is
In
this the
corresponding 3d position
This difference
Fig.
is
44 shows
The
point of the
left.
with
its
46 represents the
Note.
This
is
The
symbols have
now been
must be remembered
that
is,
may
is
25
Heel Positions
51.
These
The
raised
from the
and while
this can
be done in nearly
While
may seem
at first
absolutely essential to
in
many
class, in
47 shows the right foot in id heel position. Spanish "Gitana," for the tortille, etc.
53.
This
used
in the third
pas of the
The stenochoregrais
phic sign
for
similar to that
the
ball,
being an in-
The other
symbol explains itself. Fig. 48 shows the right foot forward in 4th heel position. This position is frequently
used
in
/\
Russian dances.
Fig.
A
Fie. 47.
I
Fig. 48.
Fig. 49.
factor in
Cossack dancing.
These few
Flowing Positions
55.
If one foot
is
is
lifted
from the
floor,
and the
entire weight
The French
se balancer,
as applied to position,
means
is
foot.
as in the leaping
57.
same time,
58.
As one
foot
is
always in the
is
air in
it
may
be very readily
manifold.
The
may vary
If held as in
said to be
"horizontal"
if as in
26
"inclined";
if as in
GRAMMAR
"upward"
the
heel position,
be
JV
J_J
Fig. 50.
LZ
Li
Fig. 52.
I
Fig.
5^
Fig. 51.
In Fig. 50, a shows the horizontal sole position; b the diagonal; c the vertical; d the rebroussale. In the open flowing positions, the direction of the sole usually follows
the line of the leg, as in Figs. 51, 52 and 53.
This
will
be further explained in
72.
Measure of Height
60.
a standard
measure
tions, specific
For
from the
"low"
flowing positions.
In Fig. 54 the right foot is shown in the horizontal low flowing Tst position. 61. In the stenochoregraphic script the flowing positions are indicated by auxiliary
horizontal lines such as are used in music script, placed below the line of the floor.
line
A single
"half-high "
and
And
indicated as
;
>
horizontal
;
diago-
vertical
and
rebrous-
sale.
A
In the above stenocho-
A
I
Fig. 55.
is
1
%
Fig. 56.
62.
Fig. 54.
the foot does not touch the floor, and the sign below the level of the floor shows that the
sole
is
in a
horizontal direction.
The
other symbol
self-explanatory.
Fig. 56 represents the right foot in anterior 5th flowing position, with perpendicular sole.
27
63.
If the foot
is
lifted in the
calf, it is said
to be
in "half-high" position.
I
Fig. 57.
i
Fig. 59.
Fig. 58.
Fig. 57 represents the right foot in the half-high flowing 1st position, with perpendicular sole.
line
shows the half-high anterior flowing 3d position of the right foot with sole
shows the half-high anterior flowing 5th position of the
right,
inclined (diagonal).
Fig. 59
ular sole.
with perpendic-
Positions
64-
The
high closed flowing positions are those in which the point of the foot touches
1
Fig. 60.
1
Fig. 61.
1
Fig. 62.
i
Fig. 63.
A
Fig. 64.
1
Fig. 65.
Figs. 60, 61
1st,
may be assumed
with the
left foot.
28
Fig. 63 Fig.
GRAMMAR
64
the half-high posterior 5th position of the right, with perpendicular sole.
in
Fig. 65
raised backward,
and from
this
see that
it is
not
difficult to write
;
Their execua
for
some
diate positions,
which are
on [ 97-101], or with
bended sup-
porting
leg.
The
except
in
use of the word " half" in connection with the height of raising
extraordinary cases,
it
is
is
Open Flowing
65.
Positions
Any
is
called an
all
(in
--JM
N
M
7
V /
tisy
1'
___}A:
-~
/
'
\
/
-01
1
it
n'IZ~
,
Fig. 66.
Fig. 67.
When
The
one foot
from the floor and the weight of the body rests entirely upon we have what is termed a "balancing" or flowing position [55].
is
lifted
positions are in
is
carried in the
open balancing
into
When
66.
one foot
lifted slightly
it
comes
But
if
the leg
is
it is
in
ing position.
67.
The
half-high
in
Fig. 70,
is
midway between
the
OF DANCING
29
If the circle of height be divided into eight equal parts, as in Fig. 66 (front dia-
gram), counting from the lower centre (between the heels and indicated by a zero), tV will
represent the low; i the half-high, and
69.
i
of the horizontal
K
Fig. 68.
Fig. 69.
H
Fig. 70.
r
Fig. 71.
70.
in the
dances.
71.
The
larger circle
is
also of use, as
it
above described
most
" "
"
half-high,
" "
three-quarters high,
high,
90
" "
= 135
The
"
"
"
super-high,
open balancing
positions.
I
Jf
K
ig. 72.
K
Fig. 74.
4
Fig. 75.
Fig. 73.
left
sole.
[72]
:
sole.
3
72.
GRAMMAR
The
called
by the same
name
shows the
left
and notwithstanding
is
said to be perpendicular
If the geometrical direction were to stand as the rule in this particular, the
sole direction
73.
name of
the
would vary with every measure of height to which the foot might be carried. Fig 73 shows the horizontal, Fig. 74 the diagonal or inclined, and Fig. 72 the
leg.
in the anterior
As
drawn
of clear-
i
Fig. 76.
Fig. 77.
Fig. 78.
Fig. 79.
Fig. 80.
Fig. 81.
74-
The
stenochoregraphic symbol
is
drawn
in front view,
but
is
the signs of the 4th positions in which both feet touch the floor.
The
is
sents the supporting leg and the thin one the free or position leg.
made
line
of the symbol,
is
it
vice versa.
;
If the position
drawn
at the
if
75.
The
auxiliary " height lines " are beside the sign of the position leg,
end of the line which represents the position Fig. 76 shows the anterior half-high 4th position of the right, with perpendicular
Fig. 77 represents the corresponding high position;
sole;
Fig. 78, the super-high of the right; Fig. 79, the posterior low balancing 4th position of the right, with perpendicular sole; Fig. 80, the half-high position corresponding;
posterior position.
OF DANCING
31
I'air^j
76.
When
both
from the
floor at the
is
in air
position.
Fig. 82
shows both
feet in
2d
air position,
A
Fig. 82.
Fig. 83.
^r
Fig. 84.
<&
Fig. 85.
77.
While
and
feet
may
Inward-Turned Positions
78.
There
are, in
many
and although no authority upon dancing has before written regarding them, they
Fig. 86.
I
Fig. 87.
I
Fig. 88.
Fig. 89.
A
Fig. 90.
They may
be found in sole,
79. Fig. 86
inward turned
3*
itself.
It differs
ist principal
position only in the sign of the inward turned foot of the position leg.
Fig. 87 represents the inward turned ist ball position of the right foot.
lines
In the script the inward turned positions are represented by the inward bended
of the position
leg,
and the
below the
line
of the
floor.
A
Fig. 91.
J_ _A
Fig. gz. Fig. 93. Fig. 94. Fig. 95.
2
i
Fig. 96.
81
ist position.
The
82.
author's script
is
Since the balancing positions differ from the floor positions only in the fact that
it is
many of them
will
not be illustrated.
represents the right foot in inward turned ist ball, and the left in inward
These two positions occur frequently in the so-called pas tortilles of the Russian dances. In Fig. 92 the right foot is shown in the inward turned 2d point position, which is
often found in the
Hun-
garian dances.
Figs. 93
and 94 show
the
respectively
inward
I
Fig. 97.
n
Fig. 98.
So
Fig. 99.
Fig. 100.
The
tions.
more
Figs. 95, 96
inward turned 3d
sole, ball
Fig. 98
in the posterior
33
shown
in the
Wherever
distinctness
wanting
in the script
number of
the
position, as in the
above
sign.
84-
Many
indeed most of
may be assumed
with
bended or stretched knees; while the closed ball and point positions necessitate bending; and the open heel positions cannot be executed save with stretched knees. 85. Specific names have been assigned to the various degrees of bending and may be
either
illustrated
by the following drawings which show the stretched, half-stretched, rounded, half-bended and entirely bended positions of the leg respectively [Figs. 101, 102, 103, 104 and 105]. 86. In the entirely bended positions, the thigh and calf nearly touch one another.
Fig. 106 shows the legs in the entirely
bended
1st position.
A
Fig. ioi.
A.
Fig. 102.
rrt
y
Fig. 103.
Fig. 104.
is
Y
Fig. 105.
The drawing
87.
88.
well nigh
impos-
In the half-bended positions the thigh and calf are at right angles.
The
and may be
a circle.
called
quarter-bended.
89.
The rounded
Figs. 107
position
is
that in
90.
1st positions
of
left,
10 shows the
left in
same
position,
left
in a
shows the more exaggerated form of the very effective Hungarian dance, and in which the
1 1 1
top of the
34
GRAMMAR
in the
The
a
position
shown
in
Fig.
in a
leg,
bended
Fig.
raising position.
legs in a half-
bended
The
more
91
clearly
leg
is
in an en-
jl
Fig. 106.
tirely stretched
&
Fig. 107.
&
Fig. 108.
the right
is
leg in
bended
raising position
on the
ball
in
All minor or auxiliary symbols should be placed as near as possible to the leg whose
position they qualify.
\p
<X
Fig. 109.
^>
Fig.
1
5^
Fig. hi.
is
JlLl
Fig. 112.
*&. 4
Fig. 113.
10.
92.
left
leg
is
2d position. The
left
left
foot
is
shows the
^>
Fig. 114.
" 1
4.
Fig. 115.
Fig. 116.
n.
Fig. 117.
zs
left,
?
which
Fig. 118.
In Fig.
is
is
supporting the
35
left
leg supports the weight in a fully stretched sole position, while the
held in the anterior high half-bended 4th position, with the sole nearly horizontal.
93.
In
all
is
thigh
when
the knee
bended,
as explained in
65 and 71
described in 85 to 89.
<=,
a.
h.
Fig. 120.
n
Fig. 121.
is
j^
Fig. 122.
m
Fig. 123.
Fig. 119.
in
is
com-
the right leg into the amplified anterior low 4th balancing
half-stretched
in
is
carried
Intermediate Positions
94.
The
foot
is
a position
Such
is
Intermediate positions
may be
mediate.
96.
which
shown
foot
is
in
in
which the
is,
left
si
to be regarded as free,
and
therefore,
*\-J
^
3/
Fig. 124.
H45
/
*V2
*
/'
>
5 \S-3 i\'^\
f<-J
\J
fa4
at
various points
upon which
Fig. 125.
representing the amplified, and the "fiat" (^ representing the narrowed positions, and these symbols were placed upon that side of the
tf
leg to
GRAMMAR
The
resented by numbers.
97.
To
writing the numbers, as 2-4, ^~S> etc '> ratner than in the form of
i, i, etc.
common
fractions, as k,
98.
The
left
foot are:
st,
between the
<c
1
i
1
and
2,
known
as the 1-2.
2d,
3d,
4th,
5 th,
and 3 forward, known as the 1-3. and 3 backward, known as the 1-3. and 4 forward, known as the 1-4.
and 4 backward, known as the 1-4. and 4 forward, known as the 2-4.
6th,
7th,
8th,
9th,
10th,
and 4 backward, known as the 2-4. 3 and 4 forward, known as the 3-4. 3 and 4 backward, known as the 3-4. 3 and 5 forward, known as the 3-5.
1 3
nth,
1
and
backward,
2th,
i3 th >
also
known as the 3-5. forward, known as the 4-5. backward, known as the 4-5.
right foot.
99.
in
The
*-*?"
y>-*2
half-way between
\
such a point and a principal position. These positions are represented in Fig. 126.
100.
The
ruling position
is
designated
by
.v*
.lit.
in closest proximity.
aft-
These
$*</
*'-z
possible positions.
Fig. 126.
37
y.V
101.
are
in
The double
intermediate positions
to
lie at
points which
W\
$4*
direct relation
in Fig. 127.
three principal
positions.
They
are
J!
shown
tm
S*ty
**._
'rsi
Fig. 127.
Crossed Positions
102. 103.
position.
The 3d and
5th positions and all their derivatives are called simple crossed positions.
it
3d point
position.
3d point
position.
foot
is
in anterior
unneces-
In the choregraphic signs the double-crossed positions are indicated by a cross (x)
I
Fig. 128.
1
3
1_ _1
S
S
Fig. 130.
Fig. 131.
-s~
iL_ _.
4 '->~
Fig. 129.
Fig. 132.
Fig. 133.
Fig. 134.
Special attention should be paid to drawing the feet in the symbols, as absolute distinctness
106.
is
imperative.
Fig. 132 represents the right foot in the amplified double-crossed anterior 4-5
point position.
107.
Figs. 133
in half-high
respectively.
These positions can be most easily represented by the skeleton symbols. The three last shown positions come into use in the pas de basques.
38
GRAMMAR
Prolonged Positions
108.
If the heel of the free foot be placed within a circle of which the radius
feet,
it is
is
the
in
an intermediate position.
But
if
beyond such
a limit,
which
is
only possible
open positions,
comes into
J\.
K
4
^^u.
Fig. 135.
Z^X
Fig. 136.
<X
Fig. 1^7.
and 136 show the prolonged id heel and point positions of both feet. Fig. 137 shows the left foot in the prolonged 2d heel position and supported upon the wholly bended right leg.
Figs. 135
Parallel Positions
]]0.
which the
feet are at
A
f
\
_I
Fig. 139.
Fig. 140.
AT
Fig. 141.
Fig. 138.
HI.
Note.
Parallel positions
may
be either sole,
still
ball,
mav
be
in parallel position.
These
OF DANCING
in
39
stretched raising position, while the feet are parallel and the points directly forward.
is
line
of the
Fig. 139
shows both
The
dotted line
is
drawn
to indi-
to be less than
that of a principal
position.
In Fig. 141 the feet are both in parallel 2d position on the points.
From
the foregoing
sands of them
and although
if
it
can be seen
it is
how manifold
all,
the dancer or
choregraph should,
to classify
The
demand thoughtful
to their form.
consideration, and in
order to clearly express every quality in such a manner that the dancer
may understand
special attention
must be given
Chapter III
MOVEMENTS
TRANSITION
is
These may be either simple or compound. If compound, it is necessary to analyze the movements and reduce them to the simple movements of which they consist. The ability to write the compound movements is therefore dependent upon the ability to write the simple; and he who has learned to do that can surely handle any
more movements.
combination.
]]4-
If
we study
toes
the
anatomy of the
leg,
we
move-
ment:
(a)
(b)
The The
may be either spread or contracted. ankles may be either drawn up or stretched down;
knees
the instep.
(c)
(d)
The The
may be either bended or stretched. thighs may be either raised or lowered; and a turning movement, in which the other portions of the leg participate, may be accomplished at the joint of the
hip.
(e)
Both
legs
may, by cooperating,
effect a transfer
other.
]J5.
By means
of these possibilities of
all
movement human
transferring.
16.
The
clutching or contraction of the toes which occurs in the point positions, and
is
their spreading, as in
them
as
most heel positions, are so natural that it independent movements; and there are therefore no
special choregraphic
sym-
The
may perhaps
be a time
as are
now employed
manner
language of
art will
would only serve to confuse the student, and we can be of far greater service to our language by explaining these technical terms and by using them properly, than by seeking to
avoid them.
40
4.1
18.
Bending
(Ptier).
legs,
and
is
The
exemplified under the heading " Bended and Stretched Positions" [ 84 to 104] ; and while it is true that bending is for the most part so natural as to render its description unnecessary, there are cases in
indefinite.
The system
tinctness.
has therefore been extended to the bending signs for the sake of absolute dis-
119.
Stretching (J\edresser
Allonger Tendre).
it
Stretching
is
is
that
movement which
redresser
is
no new bending
possible.
it
The term
means
to stretch
to the limit.
These terms
(to stretch) is
sometimes
1
Very few persons possess entirely straight legs, and few therefore find it easy to hold them straight. Those whose knee-joints nearly or quite touch, and whose calves stand close together,
20.
Narrow and
while the heels are separated, are said to have narrow legs.
and
thick,
and
it is
who have
lively
a space
a hindrance to properly
Such persons
121.
Raising (Elever).
is
movement which
is
results
body
slightly raised
from the
The move-
ment may be made with either or with both feet, and the raising may be extended until one stands upon the extreme point of the foot, as in the case of many female ballet dancers. To do this, however, the toes must be very strongly contracted. No light and easy dancing can be imagined without raising.
to
body from a sole position carries the apply the same movement to a flowing foot, creates
raise the
sole.
To
of the
122. tion
is
By
raising
upon both
(Jlbaisser).
feet
from sole position, the heels are separated and the posi-
123.
results
Lowering
raising.
from
In this
Lowering is merely the resumption of sole position which movement, the heel merely sinks to its normal position. As
Lifting (Lever).
movement creates a rebroussale sole direction. Lifting is a movement which starts at the hip, by means of which
42
the entire leg
in either
is
from
a position
bended or stretched position. the closed, and 66 to 71 those of the open diagrams accompanying these sections.
125.
upon 6o
the floor.
to
be executed
lifting in
positions.
Putting
Down
(Baisser).
To
put down
movement with lowering {abaisser). 126. Turning (Tourner). Turning is that movement by means of which the leg is turned either inward or outward. This movement cannot be made unless the entire leg particibeen
lifted.
Do
This
that
differs
from the movement by which the single members are turned, and from
a simple
by which the whole body is carried around upon one foot or in the air. If the leg is carried from an outward position, without turning the body, Such movements
are
it is
foot-turning.
common
in the
Russian and
many
Turning may be executed in sole, ball, point, heel or flowing position. 127. The French term se tourner is understood to mean changing the direction of the body. Such a movement may be made without really turning the leg. Most of the rapid Pirouettes are executed by swinging the arms and body and one of the legs, whereby the supporting leg, which is really not turned, is carried around upon the
ball.
is
movement by which the weight is transferred from one foot to the other. Such a movement may be made in all positions, but is more frequently found in the open ones. Its importance as a movement is demonstrated by the fact that no step can be made without a transfer. Movements which
128.
The term
dkgager
is
applied to that
do not contain
129.
clearly illustrated
by drawings.
By
new
position
is
made
to
This
is
true even
though the
feet are
not
moved. Degager
be more fully dealt with in 253 and 289 to 291, in which the transferring exercises will be found.
will
o o o
43
Choregraphic Signs
for
Movements
130.
as follows
The
choregraphic symbols for the movements which have just been described are
MOVEMENT.
RIGHT.
LEFT.
BOTH.
Bending.
Plier.
JL
-X
JX
JL
Stretchi ng.
"Tendre.
L
1
J.
J.
Raising.
E lever.
A
JL
2.
Lowering.
Abaisser.
Lifti ng.
Lever.
Baisser.
Putting down.
JUL
V
1L
\
oo
J2L
Turning.
Tourner.
Degager.
Transferring.
AX
n_
movements represent the dancer as facing the reader. 131. The movement signs differ from the position signs in the fact that the body is not represented above them, and in that they are usually made in smaller proportion than
All symbols of the
the position signs.
The symbols
signs.
may
movement
The
movements
is
demon-
Chapter
IV
PREPARATORY EXERCISES
GREAT
It
is
may
of the pupil.
If for
young
grown persons, who desire only social dancing, they must be limited to those which are necessary, as more than these would render the instruction tiresome. In teaching children, or at private houses, more attention may be devoted to the work and more difficult exercises are both possible and desirable. In the case of courses which extend over a longer period, still others may be used ] 33. with good results, for here the training is rather for aesthetic development than for education in the various dances.
Even
such exercises as
may
is
to achieve
worthy
results.
who
desire to
make dancing
a pro-
in its entirety.
Of these
most necessary
are
plies, elevations ,
battements, changements de
transferring).
and
Bending Exercises
(Plier^
135.
These
exercises,
them
it
would be impossible
to acquire
is
any
ridiculous.
These bendings must be made in all positions, and as low as possible; and the exercise is as necessary to the most proficient dancer as to the novice. 136. The trunk must be held perpendicular, the knees turned outward and the heels remain upon the floor, thus supporting the weight upon the whole sole. The arms should hang naturally at the sides with the forefingers touching the side lines of the legs. The
ladies
may
44
in
body
if
the
45
and
if
the
body
is
is
absurd.
first
eight measures
should be counted.
Pupils will practice
The remainder
it is
is
The measures
of the metronome show the various degrees of speed, from the simplest
difficult.
with that degree most in accordance with the temperament of the pupil, and work upward
to the
more
difficult
is
by easy degrees.
given, so that the teacher
Variety
In the Music
cate the exact
is
may
indi-
tempo
musician
The melody
written
upon
Exercise
I.
mm
M
M.
80
40
12
D.
Fig. 142.
JL
in
1
accordance with Maeltzers metronome.)
Note. As a musical example appears here, it seems necessary to refer to music, measure, accent, metronome and kindred subjects but such information on these subjects as is required will be found
;
in
Chapter V.
The
dotted lines between the choregraphical signs indicate the continuation of the
movement.
For
this the
French term
is
continuer.
all
it
139.
Exercise 1.
120
Legato Bendings
MM. 80
^
:
/T\
il
JL
Fig. 143.
la
For the sake of variety
the pupil, vary the speed from
I
which might otherwise become tiresome
to
in these exercises,
M.M.
46
OF DANCING
ing slowly and stretching quickly or vice versa, pausing a longer or a shorter period be-
Exercise 3.
MM
80:
Fig. 144.
It
is
readily seen that the " slurs " belonging to the notes have a gliding influence
exercise.
upon the
141.
Exercise 4.
MM
i
60
iff
Us
&m ^ S3 Pm ^m p^
0IR0
Fig. 145.
on
The
oolitTo
-%it
sign
two measures
142.
as in music.
(-4-)
;
and
if it
Exercise
MM. 60
fcs
s
5
o_JL
5 fe
^3e
^ s^U
s
\ 2
^F#
I
Inn
Fig. 146.
first
understood; and the reader must not imagine that the author has forgotten them
signs are left out in other instances.
such
Exercise
6.
MM
60= J
&k w 1
^P W^
Fig. 147.
ate
^^
&J
Vo
Jl
JUL
47
[Fig. 148].
^2=
i
Y
oil.
m h*m &
oil
bl
Fig. 148.
P
One
p*
ffrf irzffm
bJL
Leg, with Balancing Position
Exercise
8.
m
<4
MM. 60:
m
i_i
JL_L
A
Fig
149.
im
m
p
1p-
ese
>2
Exercise
A
150].
9.
MM. 60=
Fig. 150.
Exercise 10.
[Fig. 151].
in
Equal Duration
MM. 60:J
Fig. 151.
leg.
By varying
143.
may be changed
all
in
many
ways.
should be executed
144-
may be
them
have learned
le
when they
is
will
cou-de-
pied [ 164].
145.
Inasmuch
as
dancing
all
48
the
first
what
is
learned
demands
is
a great deal
of careful practice.
146.
But
It
is
\\1
a well
known
would not
he
must
movement
work
it is
therefore
necessary from time to time to introduce changes which will not interfere with the course
of the instruction.
148.
of the pupil; as
impossible to set
knowledge and requirements up a standard of accomplishment for a given time, Any teacher whose method is practical can, howability,
whose knowledge
tory manner.
Teachers should give the reason for each exercise, and be able to correctly answer
questions regarding the work.
accurate or well grounded, are
instructor.
all
Answers which may be given upon the instant and are not soon discovered, and react in no favourable manner upon the
150.
No
one thing
is
demon-
knowledge for although many succeed for a short time, and with certain persons, by means of boasting, the only real success comes from wide and appropriate knowledge and a constant endeavour to succeed. Besides all this, the teacher's conduct must be dignified and refined his speech free from levity or immoral suggestion, and his dress tasteful and neat. J5L By friendly ways, a teacher may, if he possesses great patience, effectually gain the confidence and esteem of his pupils, thereby overcoming their lazy, careless and even vicious instincts, if such exist. Private reproof, administered in a kindly manner, can only result pleasantly, but unkind or ungentlemanly manners usually destroy that confidence
stration of his ability
and of
is
lost forever.
49
Raisings (Elevations}
152.
These
exercises are
raising
and lowering.
They
ance
;
strengthen and train the muscles of the lower leg and foot, thus increasing endur-
without
and
measure.
a
all
The
to the
difficult
They bhould
be done by counting at
first,
and then by
music
Pupils should
never be a'lowed to
the lingers in an
153.
It
is
make
ridiculous grimaces, or to
move
awkward manner, as all of these things tend more difficult to lower one's body slowly than
times.
work.
slcviy, but the
heels
must be allowed to sink noiselessly at all Exercise ii. Pushed Raisings [Fig. 152].
mm. 60: J
/T\
1 3E
JL
Bound
I
Fig. 152.
I
__
Exercise 12.
mm 1
M. M.
M.M.120a60rJ
wm
fe^
JL
^m
1
-
JL
Fig. 153.
Exercise 13.
80
:
[Fig. 154].
SE
f^m
70
1
M.M.
-.
EE=ES=fcB|
1^
Fig. 154.
it
* I fc & m
time [Fig. 155].
'
ff fTf
.
jJL JL jlA
Slow Raising and Quick Lowering
in
|
Exercise 14.
J
EJ
&
JL
i^
Jk
# a?
^m ^m ^p
Fig. 155.
w
.L__
liUL
JL JL
5
Exercise 15.
GRAMMAR
MM. 60
^^
J
120
**
M
&p
3= * = F
j
#^
/!"#-
jfet
Mm
JL
XL
Exercise 16.
1
Fig. 156.
1
in
MM. 100;
^?
mm
;
mm
1
lJL_A JL 1
154-
JL
Fig. 157.
variety,
fit
The
satisfied
author has searched diligently for suitable phrases for each exercise, but as he has
He
In
is,
naturally, less
cases he has
all
if
known.
bended and intermediate
positions.
When
upon one
possible to apply the entire system, the raising exercises should be executed
all
foot only in
stretched,
igs Raisines
155.
Exercise 17.
J_
in
m
i
t
MM. 70
r\ hi
f=f^
JL
ZZI
O O JUL JLl
Bending and Raising
J
i
Time
II
[Fig. 159]
JL
JL
Fig. 158.
Exercise 18.
in
-}
m pp
la
MM. 60-120=
3=k
H JL
A
Fig. 159.
.7
GRAMMAR
Exercise 19.
--
lis
AJL
Fig. 160.
all
possible positions.
position,
3d or 5th
we
so vary the
are
movement
that,
in lowering,
falls in front,
we have what
literally a
changement of the
it is
such
as occurs in
manner
by sticking
to the
Inasmuch
of the trunk
is
is
They
will therefore
[ 246].
59.
When
the foot
is
carried
from
a closed to
is
raised,
and
when
carried
from an open
to a closed
lowered.
160.
If one foot
is
is
called a beat-
ing
{tin
161. 162.
or alternate.
Small Beatings (Petits Battements) are those in which the feet are not separated
which the
tip
when
the leg
is
fully stretched.
Their
52
163.
is
is,
GRAMMAR
customary for ballet-dancers
Large Beatings (Grands Battemenh) are those in which the leg passes that
For the
social dances,
it is
suf-
164*
The Medium
an angle of 45 degrees. Beatings (Battemenh sur le cou-de-pied) are executed solely by the
is
lower
leg, in
held
still,
165.
The
Small Beatings are especially adapted to training the ankle; the large
medium develop
Simples).
its
original posi-
called Simple.
Croises).
167.
If
it
is
position, 168.
Crossed Beating
(croise).
Changed Beatings (Battemenh Change's). If the beating be with the same foot forward and backward, it is called changed (change). 169. Alternate Beatings (Battemenh Alternatifs). And if it is made first by one foot and then the other it is termed alternate (alternatif). 70. Beatings may be executed in all directions, from an open to a closed position, but are usually commenced from a preparatory closed one. 171. They may be either glided or carried, and therefore may be either audible or
1
inaudible.
Gliding
Glisser)
172.
The word
glisser,
which
is
English, are
known by
the
more
specific
names of
sliding, slipping
and
tracing.
is
as follows:
a simple leg
the foot
is
posi-
Sliding
is
a voluntary
movement
in
is
means of
its
own
is
weight, or the
momentum
Slipping
or both feet
an involuntary or unintentional
a surface.
is
either
one
move upon
upon
73.
glissez,
un
glisse,
and un
glisse-
ment.
Glisser,
being the
infinitive,
means
to glide.
Glisse
is
the technical term which signifies a gliding step or battement; un glisse desig-
!$
and glissement
is
movement
is
known.
as
More particulars may be found in 480. 174- Gliding may be executed upon either the sole, ball, follows: sole ^ v, ball ^"^, * point jzz, and heel /TV. o
<
.
written
Carrying [Porter^
175.
in
All beatings that are not glided are said to be Carried, and this includes that class
free foot
which the
in transit.
Carrying {Porter)
in dance-writing.
There
-^*,
horizontal
and down-
ward \.
et
Dessous)
176.
fover),
it is
called dessus
and
it
is
Strictly speaking,
it is
;
tnese
movements should be
preferable in
word and to adhere to the French usage thus obviating from the employment of similar terms to express different attri-
Direction of
Movements
177.
Movements may be
lines.
either forward,
backward or
curved
178.
Straight movements
may
or under crossed; and oblique movements, to either side forward or backward, over or
under crossed.
179.
circles,
or elliptical, waving
or spiral
It
is
may
the
and movements.
practice, in order
dance-writer, the
54
180.
1.
The
3d
into the
2d position
(les
petits battements
croises de la
2.
The same forward or backward from 3d into 4th position. 3. The same forward and then backward, alternately. 4-0. The corresponding large battements in all above directions, to the half height. The medium changed battements in different degrees of speed (varying tempo). 7.
Chapter
SOME
now
imperative
remarks relating to the coincidence of music and dancing may have appeared
necessary in connection with the bending exercises, but they have been deferred until
in order to
more
for
clearly
them in his mind. It will be unanimously conceded that without this coincidence, dancing becomes disagreeable both to the dancer and to the observer; and although this fact is based upon a sense of measure which is instinct to most persons, there are comparatively few who clearly
understand the reason of
it.
demand
Now,
may
must be so completely
is
conscious of what he
is
doing
at all times.
We are hardly
rhythm
surprised, however, at the present time, to find not only social dancers, but professionals
who demonstrate by
and accent.
182.
are
movement
Exercises and steps for dancing are usually practiced by counting, before they
in so
count relating merely to the beats, or part measures, which constitute the step-syllables;
for there are in
may
be compared to words
of more than one syllable; and the dancer counts the number of time or step-syllables in
the
same manner
Every movement consumes a certain period of duration which varies in accordance with its length and form. This applies most conspicuously to the jumped steps. A long jump consumes more time than a short one, as the falling back takes longer, in accord183.
may be executed
in
quicker tempo
55
$6
than those in which the feet are lifted from the floor, and
to
urge musicians to play in more rapid tempo than the quality of the step requires.
Metronome
184-
In the days before the invention of the metronome by Maeltzel, certain Italian
etc.,
sion of the various degrees of speed in rendering musical compositions, but since that time
this
ingenious
little
parts, has
ible strokes,
other words,
to a minute.
it is
arranged so that
it
One
it
tempo be determined. It is not necessary that the dancing teacher should be a performer upon any instrument, but some knowledge of music is absolutely imperative; without it he can never hope to succeed, either as a teacher or as an artist. For the information of the student who is perhaps only slightly acquainted with the
alone
the exact
subject of music, the following explanations have been inserted, and careful consideration
may
thereof is earnestly recommended, not only to dancers but also to dance musicians and to
composers.
Explanation of Musical
Terms*
185.
Measure.
1.
is
upon
means of perpen-
The term
periods of duration.
Of
most common
in
known as 2-4, 3-4, 4-4, 3-8 and 6-8. The term measure, as applied to dancing, signifies and movements into periods of duration to correspond
*The
writer has
drawn
largely
That
excellent
work contains
a masterly exposition
57
with the music,
86.
To
is
therefore to
to vary the
is
in either
more or
tempo, or
in
sound.
dancing
inattention or carelessness.
187.
is
is
conveyed or affected
In music
it is
by means of
the
demonstration of the theme by means of strengthening the tone which forms a certain portion of the measure,
is
and without which the melody would not be properly expressed. In applied to that part of the descending step which coincides with the
in
music, and
if
measure
tempo.
to the first part of the measure, but there are certain excep-
Down-Stroke and Up-Stroke (Thesis et Arsis). If, in beating the measure, a musilowers his baton on the first part-measure, it is called " beating down " (Thesis, frappe, a);
if
and
last
part-measure,
it
is
up
" (Arsis,
Ieve, v).
189. 190.
is
made by
in
Syncope in music is the continuance of an unaccented into an accented note, and dancing it is the execution of an unaccented step closely joined to an accented one.
191.
Rhythm
is
same arrangement. In poetry, rhythm is applied to the arrangement of syllables in music to the division of tones and in dancing the term refers to the coincidence of movement and music.
;
192.
Cadence, which
is
fall, is
to the final
down-beat
in a passage
of music.
Cadence
is
by means of rests and pauses, in the same manner as cadences of speech the expression of the speaker and the singer by means of raising or lowering
therefore, a dancer finishes a certain chain of steps either before or after the
is
(Knchainements}
193.
If two dance
movements
combination
is
phrase),
known
technically
as an enchainement, or a step-sentence.
194.
is
falls
upon
the
58
OF DANCING
the enchainment extends through two measures, as in the Waltz, the Galop, the Polka,
etc.,
first
dancing
measure, although
best explained by
in those
must be paid
dances whose enchainment requires four music measures for their execution, such as the
Schottische,
etc.,
as, for
which the combination of steps instance, the Cracovienne, the Hongroise and the
and
in those in
still
to
fall
Arsis Thesis
First
Cut
m
n>
o O 3
a-
*3 V"M1
Fig.
161.
195.
In the Varsouvienne the tempo remains the same, although the rhythm
is
is
changed,
and one
196.
false
measure
Each strain of a piece of dance music contains, ordinarily, eight measures, which may be compared to a square [Fig. t6i]. This square, which contains the melody (Clausula) may be divided into its eight measures, each two of which constitute a "cut" or "Caesura" and two such "cuts" form a principal part; two principal parts making up the
197.
entire
melody.
By
it
will
first
and third
like
rhythm.
They
OF DANCING
59
conclusion.
measures; but
such a number
is
insufficient
composing dance music in strains of eight for the composer he may sometimes use ten
measures, without seriously disturbing the dance, but melodies of twelve measures should
very
common
is
in
Mazurka and the Quadrilles. It is to be regretted Mazurka music, for such compositions can only be used
etc.
in the execution
199.
Ballet music
comof
is
always executed.
taste
number of measures
is
immaterial;
it is
left to
the
judgment or
is
unchangeable, and
as the dances
may
melody of a dance composition, and although it is left entirely to the judgment of the composer to prefix such an introduction as may be necessary, it should be as short as possible and should end with a
201
.
An
may
recognize the
commencement of
the dance
melody. The prelude should never be repeated during the execution of a dance, and even the " to place " which occurs in Quadrille music as an introduction to each strophe or couplet
is,
202.
No
Fin-.
prelude whatever should precede the "trio " or any other part of a dance com-
cated in
162.
^
203.
^5
Many
5
Fig. 162.
npii
make
this
"Wine,
Woman and
te
at the
&3t
t=t
X*
t=t=f
%
Fig. 163.
popular polka:
6o
^
I
If,
E
finds
it
i
Fig. 164.
therefore, a
composer
to the dancers if
embodied
in a
melody of
;
improp-
the melody.
f=fr
m r
Fig. 165.
fe
m
mZEZM
fta LJLJ
In Fig. 165
?
i
r^^
Fig. 166.
MM:
La
Fille de
we
is
correct.
similar
example
2-4 time
may be found
in a
Madame Angot
[Fig. 167].
r
f
r
|
if it
as
shown
in Fig. 168.
m
Thousands of such
205.
interpret the music
#=*
Fig. 168.
f ify
cited,
instances
might be
A dance musician who has a correct understanding of cadence and accent wili clearly
by placing a strong accent upon the first syllable of the measure, but composers should write their music so that misinterpretation will be impossible, instead of leaving it to the player to properly express their meaning. 206. All dancers can hardly be expected to possess a knowledge of music, but dance
6l
may
and should therefore be composed so that it composer understands enchainments, movements and
a scientifically
figures,
and
their
publishing dance music; for even the most perfect musical masterpiece
if it
is
does not
surprising.
must be mentioned, and this is the tendency upon the part of certain musicians to vary the tempo in order to render the music "soulful." In the programs of garden and house concerts, there are usually some numbers of dance music, and of these the musicians frequently render certain measures more slowly and others more rapidly than is proper for dancing. To render music in this manner is
207.
Another, and
still
more annoying
evil
destructive of the sense of measure, for if a composition be played several times with a certain variation
it
becomes
fixed in the
mind
one
form of the
piece,
and
rhythm.
208.
No
is
better qualified to
make
than the dancing master, for the contemplation of properly measured dancing develops and
refines this sense.
There are, at this time, many more persons who lack a conception of measure than in the days when it was fashionable to dance correctly. Indeed, while there was scarcely one in a hundred dancers who lacked that sense fifty years ago, there are more than ten to-day.
Chapter
VI
THE BEATINGS
Raising and Lowering Exercises
of the body must be corthe lowering exercises which follow the INrect; raising andstretched, and the entire sole should holding upon the floor as long as remain the knees
possible, thus exercising the ankles.
It
is
work and
210.
beautiful dancing.
Bad Habits.
It
movements than a hundred careless quickly become accustomed to either good or bad habits. If the
is
better to
make
ten proper
and
well,
but
if
they have
it is
later, it will
be found that
much
more
would have been to learn properly from the beginning, because the muscles will have become accustomed to careless movements. As it is self-evident that one can glide from one sole position to another, no particular
difficult to
make
it
Most of the musical examples for the following exercises are extremely simple and old, and may be replaced by any others, so long as the rhythm is correct. Of course, all musical compositions grow old, but although the various compositions may be succeeded
21 ].
by
2] 2.
Exercise 20.
[Fig. 169].
The
cise
upon
the
rhythm
it
manner
in
with music.
The
sign
is
Counting
213.
shows the unaccented, and the sign ( ) shows the accented counts. of special importance to those pupils who do not understand music, or whose
(w)
sense of measure
is
imperfect.
is
called Small
the 1st into the 2d Position [Petits battements simples du pied droit de la premiere position
la seconde).
214-
The
^
63
OF DANCING
for the
if
purpose of demonstrat-
memory.
are called small because they
These battements
one of the
feet;
and simple, because the foot returns to its original position. Repeat the music and go through the exercise with the left foot before proceeding
b,
to
Exercise 20
to each
Rhytme.
j
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215.
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Fig. 169.
is
*-
Jr
4-
-If
known
as
2)6.
a
Although the 3d
is
is
not called
is
word "simple"
suf-
ficient to
show that the foot returns to 3d The names for Exercises 20 b to 20 / them with those already described.
It
by comparing
GRAMMAR
movement
thtm
movement of
useless.
croises
changes}
217
'.
By
carrying the foot into a crossed position alternately before and behind the sup-
known
as Alternate
croi-
218.
Exercise 21.
croises alter-
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These movements
ticing
4-
Fig. 170.
"
and
are of so great
much
In prac-
them, however, enough variations should be introduced to retain the interest of the
pupils,
who should
also be
alternatifs}
219.
first
these
movements
and
if
they return
220.
If the position be
first
movement
is
called Alternate
'
65
which
is
in the rear,
they constitute a
is
movement
forward;
and
it
movement
reversed.
Exercise 22.
[Fig. 17 1 j
MM. 72
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5 l JUL LA_TL./f
SEEi
Fig. 171.
0-0-0-
5E
Jl
221.
crois'es)
Exercise 23.
[Fig. 172].
fe- 13
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Fig. 172.
These
exercises differ
in position
and
in
rhythm.
The rhythm
in
in Exercise
22 shows the
is
movement continued
to the
Exer-
cise 23 there
pause
(rest) in
tion of the
movement.
222.
The
sole
or
movement ^A ), which
to be
line
of the
Three alternate beatings, rest, and repetition with other foot; four measures walking forward, and four measures walking backward. {Trois petits battements alternatifs dessus, intervalle et repetition commencee de F autre pied: 4 mesures. Repetition de ces
Exercise 24.
battements mais dessous
:
4.
MM. 72
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Fig. 173.
66
GRAMMAR
The second
backward.
[Fig-
is
174!
J
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alternate
-L/fJ-K
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Fig. 174.
Exercise 26.
Enchainment of Eight Measures {Variation avec des Intervalles). Two beatings forward, rest, and repeat. Four measures. Same backward 4 measures.
measures [Fig. 175].
Repeat
Rhytme.j)
entire eight
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Exercise 27.
Two
first
clausula
M.M.100,
J.
fk
,
JLAl 1~/t
t
6"
Fig. 176.
battements]
These movements commence with a beat, the leg being carried as high as required, and they may be varied in the same manner and to as great a degree as the small beatings; but if executed by the same music it must be played more slowly. Different music has
223.
OF DANCING
its
67
use
is
therefore recom-
The
it
more
difficult to
maintain than
if
The grands
more
difficult in
execution
than the -petit s, and their difficulty increases with the decrease
in the
commenced
Note.
at
M. M.
it
72, that
is
customary to practice the large beatings with the aid of a bar or support, they should also be executed in free manner, as greater benefit is to be derived from that form of exercise, after the bar work has been accomplished.
225.
Although
Exercise 28.
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i
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3
1
5
I 1
1 1
3
Fig. 177.
Exercise 28 a
is
from the
to
takes
many words
The
sign
/^/
upon
the floor
68
and the
its
227.
terior
Exercise 28 b
into the high
is
known
as large
simple beatings of the right foot from the ansignifies that the beating returns
3d
In Exercise 28
3d
position.
These
178].
Exercise 29.
MM
&
72-40 o
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a.
&
&
rj
LA
The
JL/L
-=*^j
P JLzL
Fig. 178.
3EEE
I=
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L-
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1
28 which are
This Exercise
is
in Exercise
choregraphic symbols of the degrees of height were explained in 61 and 75 and illustrated therein by cuts and diagrams. Some of these signs are used in this Exercise.
Exercise 30.
[Fig. 179].
M M 60-80
J
^r
*-7
n
m
Exercise 3
1
.
gg If
ir-tf
\W
\lr *
1ZL
Fig. 179.
1
le
Large Simple Beatings upon the Point (Grands battements simples sur
M M 75-100: J
1.
fgjjg
k f=^F
#^l
fcf
U2 L_IL
Exercise 32.
i
^W
4ri#r *fll{
\tf
a ggj M W
yfliy 1
Fig. 180.
[Fig.
8 1].
69
3
ii~7ifn
^?
nri
ri HZLO
s OJ P^
niu
On
<-.
in n~7^~7
Ol
nzn
Fig. 181.
UZL
228.
The
signs of movement have been purposely omitted, as they have been rendered
full
unnecessary by the
229.
descriptive
titles
of the exercises.
Exercise 33. Alternate Large Beatings {Grands bat tements alter natifs) [Fig. 182].
J
M.
60-100:
^ ini
iLd
3
U/r U/r
3-
o-
L2LI / vL/R
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,1
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LT?
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Kfl
6*
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3
Jl3
Z
o
it
Z
o-
_2
ZI
Z i
the free foot
Fig. 182.
At
the
commencement and
It is called
in the
middle of
this Exercise
the
"key" and
indicates the
movement of
This sign
will
7
230.
GRAMMAR
The
is
known
from the
(Grands batte-
ments alternatifs).
ing position, and
lifted
ad high balanc-
then put
down
r\
(degager) y
and the
The weight is then transferred, as same movement is executed with the left foot.
is
An
entire
commences upon
move-
ment coincides with the thesis or first quarter of the measure. The third movement falls upon the second quarter, and the fourth or last upon the third quarter, while the repetition commences upon the last quarter. The movement has been so arranged that the last movement coincides with the third part measure, for the purpose of distinctly expressing the
cadence.
232.
It will
be noted that in the second measure the transfer sign, and in the third and
down
in the fifth
measure.
This
because a
new
line has
The
abbreviations used in the sixth and seventh measures have already been explained [ 141] as indicating a repetition of the preceding measure; and as they are regular signs from
music-script they need no further
ience of reader
233.
is
used
for the
mutual conven-
and
writer.
Exercise 33 b is known as the alternate large beatings forward and backward [Grands battements alternatifs en avant et en arriere).
is
lifted
from the
high anterior
is
down
when
the weight
transferred,
and the
234.
croises).
left
to 1st position.
alternatifs
Exercise 33
at the
The left foot, which stands in posterior 3d position, is lifted into the high 2d, and put down in anterior 3d position; the weight transferred, and the same movement made with the other foot. This movement is The key
beginning of
executed four times and the body
is
pointing backward follows the third part of the fourth measure, and indicates that from that
point the
movement
is
reversed,
commencing with
These
most frequently used of the alternate large beatings. Exercise 33d differs from 33 c merely in position, starting from the 5th instead of the 3d. 235. Exercise 33 e contains the alternate large beatings with direction sidewise and forare the
alternatifs avec
changement de direction de
cote et en avant).
The
3d
left
foot
is
lifted
in anterior
in anterior
3d
position.
The symbol of repetition extending through two measures means to repeat both preceding measures. The fifth, sixth and seventh measures are the same as the first, second and third,
but the eighth ends upon the third quarter.
All of these exercises should be practiced in different directions and various heights,
71
much more
no more
237.
difficult to
meaning by applying them to the musical score, but it is acquire skill in reading them than in learning to read the script of
which now follow, although belonging, on account of their construcexercises,
language or of music.
The
exercises
tion, to the
this time,
because
238.
de-pied).
The
rendered them impracticable up to this point [ 144]. Intermediate Beatings {L.es battements moyens, ou les battements sur
le
cou-
In
as in Fig. 183,
it
will
be
outward.
The
through
this posi-
2d low balancing position, followed by so bending the knee as to carry the foot again into the 3d low balancing position, is technically known as the battements sur le cou-de-pied. These beatings tend to train
tion into the
~
-i
This exercise
leg
is
because, while
may
is
beat
upon
\
-^
Fig. 183.
movement of the
limit
as to
fill
may
the
movements
The French term, Le cou-de-pied, which finds its equivalent in the Italian as // collo del piede, may be literally translated into English as the neck of the foot, or ankle. While this term may be appropriately applied to that portion of a horse's leg known as the fetlock, there is really no part of the human leg which resembles a neck.
240.
241
.
be made to execute each beating with an audible tap upon the floor; and to perfect his
sense of measure, the
part of each measure should be accented by a stronger and
is
more
This
known
more
To the greatest
Exercise 34 a. Intermediate simple beatings of the right foot from 1st ball to half-high 2d flowing position, with inclined sole, in which the foot is put down in its original
242.
position, palpably touching the supporting leg.
them
is
battements.
The
signs.
choregraphic signs for these movements are the usual bending and stretching
If the
movement
is
executed
in a
made evident by
the
line.
Exercise 34 b differs from the preceding only in the perpendicular sole direction.
72
GRAMMAR
MM
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(
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Fig. 184.
Exercise 34
the anterior
composed of
3d
Exercise 34 d differs from 34 c in sole direction. Exercise 34 e contains intermediate simple beatings of the right foot, from the posterior
3d
and back to
its
original position.
sole.
Exercise
34/ is
the
same
as
34
e,
These
243.
exercises
may be
who
are
To the
I
a.
mm AAA
.
MM
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Fig. 185.
m
ball position (dessus)
Exercise 2S a The right foot into the half-high 2d, and then put
-
is
down
3d
ball position,
palpably touch-
Repeat
in opposite direction.
3d position renders
this
mov?
73
are illustrated
from the simple beatings. These positions by Figs. 186 and 187. This is the most im-
known
Explanations of Exercises 35
ssary.
6,
35
cy
35^,
245.
Exercise 36.
1
I
Fig. 186.
<1
',3
Varied
Rhythm
1
'9
de rhythme).
To
:
tempo
[Fig. i88]<
Fig. 187.
mm
MM. 100
4) A
^jiyi^u UJAiAlAHIA
&p
w
3=
m
LU-LLi
aids in the appre-
t
Fig. 188.
in different
rhythms.
Such practice
Chapter
VII
TURNING EXERCISES
THE
247.
qualified
signs.
se
The
is
further
same manner
248.
les
?
**
&
l~T
# <t
*
r
1
it
1
<j>y
,
rr
A
1
"
A
?
?
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-*-
lh %*
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r
1
"T~>
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>
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>
11A
<0 ? >
1 e
the
Fig. 189.
In
heels;
shows the
first
first
means
to turn
both
feet
upon
(<?)
upon
the balls;
inward
same
as d,
and
(i)
the
first
it is
position.
The
first
and
feet are
mentioned
are
1st
show the
is
of the
If the accent sign (a) be placed horizontally, near the sole sign, as in the
it
movement
is
is
to be executed sidewise.
Whether
the leg
is
The term
simultaneous
turning of one foot upon the toe and the other on the
This
is
74
75
movements, and it will therefore be explained more fully under the head of compound movements and steps in 532. The choregraphic sign for
consists of two turning
Tor tiller
252.
>
is
double v or w.
Transferring (Degager.)
in
128 and
its
symbol
is
130.
open positions may be combined with elevations upon the balls or points. Such exercises are usually practiced in 2d position, but the movement should be more thoroughly practiced in the intermediate 2-4 position, as more benefit is
The
is
253.
These
movement
thereof.
One may
mov-
Certain
contribute
movements of the head and arms, combined with much to the acquirement of grace [ 289].
is
The
most
it.
found
in Exercise 38,
it is
which follows,
is
in
superfluous to indicate
may
moment
MM. 200-60-.
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zz_
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1-4
^2.
2.4
Fig. 190.
Exercise 38
left
foot as high as
possible, thus throwing both feet into intermediate 1-2 point position [Fig.
movement
is
the
so
comes into 2d
it
position.
The
transfer in raising
and lowering
natural that
needs no comment.
b.
Exercise 38
the
left
raise
in
pos-
terior
4th position.
At
the instant
when both
A.
of a half step.
Exercise
38^
consists in raising
Fig. 191.
anterior 2-4 position of the right to the posterior 2-4 position of the
76
Foot- Circles
[Ronds de jambe}
The-foot
circles differ
is
in straight lines.
They
254.
A foot-circle
is
is,
as its
name
by the
foot.
In the French
applied; but as
of the
leg, is
term "foot-circles"
255.
(a)
(b)
(c)
considered proper.
The
may be
half,
classified as follows:
Into whole, double and triple or more, and Into large and small
circles.
outward
circles.
circles.
256.
(b)
(a)
Whole,
known by
Small
circles are
those whose diameter does not exceed the length of the foot;
circle
forward does not pass farther back than the line of the 2d position, nor
in front of that line.
does a
circle
backward reach
line [Fig. 192].
by the same
a
.--
/"~"\
s~+\
-f
b
i220C!2zS2i
.-*
-.
.-"
-j
;
v_>
Fig. 192.
v....,-
v.
^
c if
is
S~ v.
\
ie-
/!
258.
The
the foot
called
is
is
carried
backward, the
\b
"outward,"
if
"inward"
described
and c\ If
from
an "outward" circle
by carrying the foot forward, and an "inward" by the opposite movement. Any circle which starts forward from an anterior closed position is " outward," and all those which begin
with a
movement
"inward."
a posterior closed position are
Circles starting
backward from
"outward."
which
A
is
which
starts
1st
and 2d positions
circle.
"inward," but
if it
is
an "outward"
77
1st
from the posterior 4th position and passing through the 2d and
in
and those
backward from open intermediate positions are "outward," and those starting forward are "inward." All circles which go in the direction indicated in the preceding figure [b] are "inward," and those in [c] are always "outward."
Circles starting
259.
leg.
"bended"
260.
Circles
circles.
which are described upon the floor by the point of the foot are
called
"glided"
anced."
26J.
If the foot does not touch the floor they are called "carried" or "bal-
These
latter
may
The
a.
b.
c.
d.
e.
f.
g.
h.
i.
k.
1.
m.
n.
o.
p.
q.
7 V
^7
Fig. 193.
(a)
left.
(b)
(c)
(d)
(e)
(/)
(g)
(/;)
(/')
Medium," of the right and left. "Forward" (dessus), indicated by auxiliary line under free toot, "Backward" {dessous), shown by point over supporting leg. "Outward glided," of the right. " Outward glided," of the left. "Inward glided," of the right.
"Inward glided," of the
left.
right.
left.
(k)
(/)
(p)
(q)
right.
left.
The
262.
is
is
Double or repeated
circles are
78
is
t.
u.
v.
w.
x.
y.
2.
4 k
St
St
merit)
k a, a
3t
Vi
Vs
a
3/
\\> r r
V4
1/8
34
it
Fig. 194.
Exercise 39. Stretched Glided Foot-Circles to the Side [Ronds de jambe glisses
[Fig. 195].
M.
lat'eralt
50-100
LA
d.
A
A A
d.
A.
h-JLA. A
2-4
A
J
A
I
A d
A A
A
A A
L
Fig. 195.
A 4
2.4
A
J
A A A
A
2-4
LA
A A
A A A A A
2.4
2.4
f
6-
2.4
1A LA
Exercise 40.
A A
A
A
A A
left foot.
2.4
A
1 1
A A
MM.
Fig. 196.
This exercise
floor.
differs
th(
OF DANCING
79
=3
^m
I
MM
120: J
ms
fe
pe
m
i
^
1
J.
A
A
Fig. 197.
b,
may be found
in the
The
exercises
melody provided above [Fig. 197]. Exercise 42. Small Stretched Glided Foot-Circles Backward {Petits ronds de jambe
[Fig. 198].
M.M. 120
m &&w ^^ ^p
^gjjggjfcrf
1
5
JL
i
3 5
A
A
JL
A
Fig. 198.
The
corresponding carried
circles
may
Exercise 43.
and
jambe portes
un degagement) [Fig. 199]. While every movement is written by signs upon line a of this exercise, only the most
et
the
most necessary
8o
GRAMMAR
AAA AA 4 AAA A
V
^
S-
Msl
J.
AA^
Exercise 44.
A
cot'e^
-.
m w
12.
[Fig. 200].
KV
is.
^2_
i. jOL
A A
Fig. 199.
de jambe dessus, de
M.M.100
A_A
jQ
as
J!
_k
1l
Fig. 200.
Is.
la
Jk
JL
^2_
AA A
Exercise 45.
M.M.100
z
1 - I
JL
uOu
The same
commencing with
circle
-&-
jtc/iriircj
Wi w>
Fig. 201.
US* a
mrn^
i
Exercise 46. Large Glided Foot-Circles, combined with Raising and Bending [Fig. 202].
^
b
>
^
\
s=x 2
x.
.L.
AM /M
JL
i_L 2_L
cA
4_L
2_L i_L
m
Li
I/? t/f
rA
oiA
.
iA
Fig. 202.
4_L AA.
2 ?
and bend and stretch same during the lowering. At the same time describe a large outward circle with the right foot, forward. Exercise 46 b. Execute a large inward circle backward with the right foot, during the combined lowering, bending and stretching of the raised and supporting left leg.
Exercise 46
Raise
upon supporting
left leg,
Exercise 46
to the side.
c.
b,
with large
circles
GRAMMAR OF THE ART OF DANCING
8l
Accessory Qualities of
Movement
264-
The movements
heretofore described
may
not yet been mentioned, such as stamping or pounding, rubbing, striking, 265. Stamping (Taper). To " stamp " one puts his foot down forcibly
in the
this
is
known
French language
(Frapper).
as taper.
Pounding
To
is
to wilfully
the knee
must be bended
order to
movement may
ball,
may be
indicated by the regular symbols of sole direction below the line of the floor.
These more than ordinarily strong accents are noted in the choregraphic symbolism by the same sign as is used in the script of music (a). The difference between the two movements, stamping, A taper (a), and pounding, j-l * "\^*frapper (A), is indicated by representing the former by thin and the *j latter by thick lines. The application of these symbols is fully exfig. 203.
Rubbing
(Trotter).
By
movement of
or
the feet one against the other, and the choregraphic sign therefor
sign
is
r~
The proper
portion of the rubbing foot comes into actual contact with the other. 267. Striking (Battre), taken in its technical sense, means to touch the supporting leg
sharply with the free foot, which
is
in transit
One may
"strike"
strik-
either with the entire leg, the calf, the sole, the
ing, the free leg touches the
If, in
two strokes
constitute a double,
and three
The
(a)
h
.
m
Fig. 204.
(d)
(e)
Double Double
striking,
striking, forward
dessus-dessous).
(f) Triple striking, backward, forward and backward (Battu triple dessous-dessus-dessous). If the signs do not of themselves indicate the striking foot, the corresponding sole
Chapter VIII
OF
the
many
different systems
to this
department of dancing,
French school has become most widely known and adopted, and
Still,
the exercises practiced according to this system are extremely beautiful and graceful. the representation by the dance script, which describes the order and
manner of succession
of the positions and movements, makes necessary certain alterations and additions to the
French system.
These changes
Blasis, St.
are rather
to that system,
and
are quite
upon dancing,
artistic
as Sulzer,
expressed by themselves.
The
masters, to assist
place with
all
which
is
first
the Art of
The many
fied
fine exercises
may
be very distinctly
classi-
by means of
of positions.
it is
Our
us; but
only a
false
means of the assistance they have left which has gone before which would prevent
that line of action,
corrections or
we would
still
improvements; indeed, had all former writers clung to be dancing in the same manner as did Adam and Eve.
French System of
Arm
Positions
According
called the
to the
at the sides
is
2d
position.
Now,
if
one arm
in front
is
and
is
3d position?
Both.
But how
is
arms so
differ-
82
83
Has
not one remained in the horizontal side position, while the other has
The same
is
is
true of the
is
in horizontal
and one
Which
in
4th position?
The
5th position,
with the arms raised and forming an oval above the head.
Zorn's System of
Arm
Positions
If
we hold
to the
the 1st position, and the the 5th, there exists, theois
is
of which
gorge, which
is
and which
is
shown
say,
find
what we may term the 3d position, and these points are horizontal to the shoulder line. The 4th position falls,
consequently,
midway between
is
2d
at a
The
posiFig. 205.
known by
the height to
raised.
For the purpose of representing whether the position be sidewise, forward, or backward let us suppose the dancer to be surrounded by a horizontal circle [Fig. 206], and we shall then be able to indicate, with mathematical precision, the exact position to which the arm is carried. The system embodied in this Grammar is based upon this mathematical foundation, and the difference between our system and that of the French school is that we consider the horizontal position of the arms the 3d instead of the 2d position, and that the heights midway between the 1st and 3d, and 3d and 5th positions are taken as the respective 2d and 4th positions.
In the French system the harmonious coincidence of the arm and foot positions
is
maintained, the 3d arm position corresponding to the 3d foot position, etc.; while in our
system
describe
it is
necessary to
name
By our method we
universal and
its
are enabled to
all
positions exactly.
all
The
of dancing
is
script
must be
ca-
pable of expressing
national dances.
84
GRAMMAR
The
Carriage of the
Arms
[Port de bras}
268.
positions,
five positions
all
the variations
and
all
The
Principal
Arm
Positions
269.
The pendant
is
and
is
universally under-
i-Mi.
Fig. 207.
Fig. 208.
Fig. 209.
270.
The
line
fingers,
are extended to
These two
eighths; for
lines cross
one aiother
a little
centre of a circle,
we may easily find the various arm positions by dividing the arm positions are based upon this division in our system.
is
The
of the horizontal diameter, that of the 3d; and the highest point, that of the 5th
the lower intermediate points
tion.
It will
while
show the 2d
be noticed that the ends of the fingers touch the circumference of the
85
3d
position only.
This
is
209 shows all positions as viewed from the front, and stretched sidewise and Fig. 207 represents them as viewed from the side, and extended either forward or backward. 271. The wholly stretched arm positions occur only in comic dances, for the repreFig.
;
sentation of stiffness, but they are mentioned here for the purpose of
strating the system.
more
clearly
demon-
272.
nized.
They
are
known
technically as follows:
(a)
(b) half-stretched,
demi-tendu
;
and
in
The
most appropriate
all
serious dances
and
The rounded
and
is
positions
most
medium
height and
Fig. 210. Fig. 211.
full figure.
This
is
qualification
the most usual position, and unless used, the term "arm position " is always
is
The half-bended
Wholly bended
The
273.
Intermediate
Arm
lie
Positions
The
between the
may
be found
in Fig.
209, which shows not only the principal positions, but also the simple,
Crossed
Arm
Positions
274. If the
cle into
line
cir-
equal parts,
Supported
Arm
Positions
may
arm
positions,
which
will
86
275.
First
Assume
arms
legs
hang naturally at the sides, with ringers rounded and the palms turned toward the [Fig. 212]. Gentlemen hold their arms in ist position in Quadrilles and various other
to
it
been so
position
now
appears affected,
ist position.
Second
Arm
Position.
The
ing, are so
rounded as to form an oval, with the elbows turned outward, and the wrist neither noticeably bended nor stretched [Fig. 213] but so rounded as to harmon;
as
previously
circle.
Fig. 212.
Fig. 213.
stated,
In
may be more
circle
long as
finger
it
of the arms.
first
is
sometimes more
277.
fully stretched
Third Arm Position. The arms are raised (rounded) to the height of the shouland the forearms are held at an angle of 45 degrees from ders, and form an open circle the straight line of the upper arms [Fig. 214].
;
Fig. 214.
Fig. 215.
Fig. 216.
Fig. 217.
278.
Even
the
common
greeting of "shaking
hands"
line,
is
279.
To
and
it
ridiculous,
and
the hand be carried higher than the horizontal position of the forearm,
to reach that of the other person.
This
and
affected.
Mazurka and
frequently with either or both arms, and the theory of the "position" for the social round
is
based upon
it.
280.
The
left
is
half-stretched
and
rests
upon
arm of the gentleman. The proper height of raising the arms on the height of the dancers [Figs. 215, 216].
in this position
depends up-
87
rounded and carried so far toward the perpendicular as to form a circle above the head, in which the breach, or distance between the hands, is equal to the width of the shoulders [Fig. 217]. This position is seldom used
Fourth
Position.
Arm
The arms
are
in social dancing,
but
it
is
Note.
sons
The
are
circle
ing of the arms, for well proportioned persons, but for per-
who
more than
is
who have
more
282.
Fifth
Arm
Position.
The arms
are raised,
Although
it
this position
is
never
used
in social
dancing,
atrical
Spanish
FlG 2i8
FlG 2I>
Closed
Arm
Positions
283.
tions.
All positions of the arms in which the hands touch are called " closed " posi-
They
occur at
all
heights
number of
the
position.
Open Arm
arm
Positions
284-
All
open
positions.
The
such positions
is
Arm
Positions
If the distance between the hands in the open arm positions is less than the width of the shoulders, they are said to be " narrowed " and if the distance be greater, they are
;
in
"amplified" position.
Fig.
219 represents an amplified arm position which is very commonly used. 286. To determine the degree to which a position is narrowed or amplified, let us surround the body by a horizontal circle at the height of the shoulders, which will represent
the various positions as seen from above.
Fig.
a plan.
A dotted line
b,
88
position
is
GRAMMAR
determined.
The
the points
dd represent the
The
Opposition
287.
Opposition
is
is
movement.
If,
for instance,
one arm be
in
2d and the
are in opposition.
may be
either coincident or
is
221, which
agreeable to
Fig. 221.
Fig. 222.
Fig. 223.
the eye
or they
may
is
not.
The inharmony
arm
is
rounded.
289.
left
The
movement by maintaining the proper for the movements of the arms are all
based upon
290.
To
of
this
movements should be
arm
In practicing this exercise one should start from a position like that in
Fig. 223, which
Fig. 224.
shows the right foot in 2d point position, the left arm in x 4th, and the right arm in 2d position, with the head turned /$ to the right. From
titude the various
this at-
members
are gradually
GRAMMAR
positions, while the left heel
is
89
raised
This
left
movement
foot in
carries the
body
shown
in Fig. 224,
2d point position, the right arm in the 4th and the left arm in the 2d position, while the head is turned j4 to the left. This exercise may also be practiced from the anterior to the posterior
4th position.
and accurately under the direction of a competent teacher, are of great value (especially for girls). They should be practiced away from the dancing school before a mirror, or if no large mirror is accessible, a lamp may be
291
.
These
room and
the
movements followed
{Degagements
in the
Exercise 47.
[Fig. 225].
Transfer with
Arm Movements
et
MM. 60-120
Fig. 225.
Supported
Arm
Positions
(Demi-Sras)
292.
in
In
many
may
be found
bended and the hand rests upon the hip. This is called a supporting position. The technical French term for this position is demi-bras. 293. The position shown in Fig. 226, in which the palm rests upon the hip, with the thumb backward and fingers forward, is usually reserved for gymnastic exercises. 294. The positions in which the closed hand is supported upon the hip are generally
which the arm
used by male dancers and occur most frequently
295.
in
peasant dances.
Those
in
rest
upon
female dancers, as they are more graceful than those in which the hand
closed [Figs.
upon
are
used frequently
in character
dances [Figs.
90
297.
GRAMMAR
The
resting of the
hand upon the arm or shoulder of another person, as in Figs. 231 and 232, is very effective, and these attitudes are found in all round dances. 298. The palm of the hand is sometimes placed upon the back of the head in certain Hungarian dances [Fig. 11,3], and some persons execute the movement of placing the back
Fig. 226.
Fig. 227.
Fig. 228.
Fig. 229.
Fig. 230.
of the hand against the forehead, as in the military salute, in an extremely graceful and
elegant
299.
manner
Folded
[Fig. 234].
or interlaced in
They
are
shown
Ir*
in
Fig. 231.
Fig. 232.
Fig. 233.
lie. 234.
in character
executed [Fig. 237]. Interlaced groups, such as are represented by Figs. 238 and 239, are found in unlimited
if well
number and
variety.
Mimic
or Character
Arm
Positions
300.
No dances
are so rich in
mimic positions
as those
we might descend
Moors and
The
very
title
GRAMMAR
be superfluous.
30J.
91
of this class of positions so well demonstrates their nature that further explanation would
The
Polish and the Hungarian dances and those of the Gypsies, the Tartars and
mimic arm positions; and while the native dancers in this class do not execute their steps with artistic finish and elegance, they certainly do instil into them sufficient of the national characteristics to make them typical of their race, and a thoroughly educated teacher of dancing can so arrange them that they will become prethe Bayaderes are replete with
<
Fig. 235.
Fig. 236.
Fig 237.
Fig. 238.
Arm Movements
302.
so beauti-
Dancing" by Bernhard Klemm, that the author has, with the kind permission of Herr Klemm, transcribed many of them here. 303. The movements of the arms are entirely
the Art of
independent
legs
;
of,
to,
those of the
to
harmonize with
This
independence
may be
best explained
by
stating that
Fig. 239.
the arms represent the plastic, and the legs the rhyth-
Carriage of the
Arms
(Port de bras)
304.
The
expression Port de bras means the ability to carry or hold the arms grace-
fully, either in
curved or
in parallel positions,
and
to
change
easily
q2
OF DANCING
;
consequently
the
The port de bras are divided into two classes, the high and the low. 305. The Low Port de Bras include all movements of the arms horizontal to or below shoulders; and the high, all movements above the shoulders. The low port de bras are
in social dancing,
and national dances. 306. The entire arm contains but five movable parts: the upper arm, the elbow, the lower arm, the wrist and the hand; and the fundamental movements of the arm are raising and lowering. Each of these movements is executed in accordance with the same rule. In raising the movement starts with the upper arm and extends in easy transition to the
used only
in the art
is
inverted.
a
In the low Port de bras the movements are executed as follows: First, assume
closed position of the feet, observing the rules which apply to the correct holding of the
body, and
raise
both upper arms, turning the elbows and forearms slightly to the front,
to correspond, while the forefingers nearly touch.
The arms
is
are
now
palms
and carried
an oval
formed
From
The High
Port de Bras
are
commenced
until
raising continues
is
same manner as the low, but the the head, which should be thrown back,
framed
in the circle
The
and
left
and
in a circular
The
The
ability to
bend and
and the
fingers,
may
The
script
The
ability to raise or
it
Hand -Circles
313.
[Ro?ids de bras\
circle.
arm
it is
called a
GRAMMAR
small circle; but
circle.
if
93
the radius,
it
the shoulder
is
arm
is
is
a large
circle
one
drawn by the hand is termed a rond de bras. 312. While it is the rule in the ronds de bras
to
draw the
will permit, in the small arm-circles (pelits ronds de bras) y the first quarter starts
from the
height of the breast and passes from the perpendicular or 1st arm position into the nar-
rowed 2-3 position; the second quarter from that point to the height of the shoulder; the third quarter to the amplified 2-3 position; and the fourth quarter to the place from which
the
ing
movement began. 313. The easy bending of the wrist in raising and the corresponding stretching in lowerthe arms add much to the grace of the arm movements. Even the fingers must parmovements, being bended
to correspond with the degree of
bending the
Hand
314circle
arm beyond
and absurd. 315. In dancing the gentleman always " presents " his hand palm upward ( ffSX ) and the lady " gives " hers palm downward ( :2^ ), thus signifying that the gentleman must
or to too strongly
wrist, renders
it
bend the
affected
If a circle
is
composed
If the circle
is
hand mixed
(that
contains both ladies and gentlemen), the gentlemen present both hands (palm
ladies give theirs.
The thumb
is
in the
3d
318.
The
sixth simple
arm movement is known as "turning" or "rolling," but be the more appropriate for the language of dancing.
the
Positions of the
Hands
is is
94
GRAMMAR
backward,
upward or downward turned positions. Figs. 242, 243, 244 and 245 show the hands
described by their names.
Fig. 246
in various positions
which are
sufficiently
{a)
turned
] fj
^\
turned backward
and the
hand turned palm forward. Fig. 240. Fig. 241. Fig. 247 represents the right elbow (a) and palm turned outward, and the left elbow (b) and palm turned inward. 319. In giving the hand, one should look at the person to whom it is given, thus causing the head to participate in the general movement of the body. This concerted movement is called tournure.
left
Fig. 242.
Fig. 243.
Fig. 244.
Fig. 245.
fists.
Forward turned
Backward turned
fists.
320.
The
shoulders
may
all
other move-
ments.
Carriage and
Movement
of the
Head
(Tenue
et
Mouvements
de la
Tete)
321.
left,
ward or sidewise; and it may be moved in a circular manner in the inclined positions. In turning, the head cannot be moved further than the limit of a quarter circle, as shown
in Fig. 248.
in Fig.
So complete
is
249,
much
a
however, appears forced, and the x turn, as shown / slight inclination of the head to more agreeable to the beholder.
a turning,
very pleasing
effect.
not possess exceptional beauty, carry the head in so beautiful a manner as to render themselves extremely attractive or " bewitching." Grace is often
Many
persons
who do
GRAMMAR
95
Movements of
the
de torse et epaulements)
322.
left,
or
backward or
tions.
and
it
may
be
moved
in a circular direction in
The
in
is
a quarter turn,
so complete a
The movements
of the trunk are most clearly noticeable in the shoulders, and are for
bis. 24O.
Fig. :4 7
Fig. 248.
Fig. 249.
most graceful and beautiful accomplishment connected with the dance, and is called avoir unejolie tournure. This phrase, however, cannot be properly translated to express beauty of carriage, nor regularity of outline, as the word tournure
323.
art
The
of turning
is
the
implies a
movement
(turning),
and
it
exterior form.
324.
turnings of the body {tours de corps) are fully described in 540 to 548. In addition to the above movements, the weight of the body may be transferred
in this
The
movement
is
the
muscles of the legs participate so naturally and unavoidably that the sign of transfer
seldom
show the movement of the body. 325. The bending of the body forward, backward and mon in the Spanish dances and in the ballet.
necessary in order to
to the side
is
particularly
com-
Harmony
326.
(Coincidence)
is
called a chord.
combination of harmonious tones creates a pleasing impression upon even those persons
%6
who understand
man
is
disagreeable to them.
The same
is
window or a human
harmony
is
equally destructive to
JbiG- z$o.
The
little
artist
or connoisseur
is
who have
body
to a proper
sense of what
graceful
and what
tc
is
not.
The harmonious
may
be said to constitute a
Attitude*
327-
"Any
body, either
m
;
either or both feet, which gracefully displays the lines of the figure by
means
of
upon a harmo-
and such a position expresses repose, which precedes the development of graceful movement."
is
called an Attitude
The
"The
"by
97
Group
328.
"
The
artistic
size, atti-
is
called a
Group."
Tabl eau
329.
"The
combination of several
is
of a larger unit,
ergy/'
called a Tableau
which
artistically
is
en-
[Fig. 250.]
Choregraphic Signs
for the Positions
and Movements of the Head, the Arms, the Shoulders and the Trunk. (Signes choregraphiques des positions et mouvements de la tete> des bras, des epaules et du ironed)
330.
ring,
The head
is
represented by an oval
indicate
:
a.
)
b.
c
c)
the
331.
line in
The
this
long perpendicular
sign
represents
line
the the
body;
the
;
horizontal
/^f\ \ J
Right.
Half
right.
Front.
Half
left.
Left.
shoulders
Fig 251.
332.
The
is
Stretched {tendu).
-^
"X
Half-stretched {demi-tendu).
Rounded
(arrondi).
V
333.
Half-bended
[demi-courbe).
Unless
specifically
rounded form.
98
334.
GRAMMAR
The
m
First.
(a)
Second.
Third.
Fourth.
Fifth.
and 218.
Intermediate
Arm
Positions
335.
[ 273],
if .an
arm appears
in
an intermediate posi-
may be
in Fig.
by the position of
as
shown
arm
in the 2-1
and the
left
left
arm
in
in the 4-
arm
in 2-3
and the
arm
in
3-4 posi-
tion
and
the right
(/')
arm
in 2-3
and the
left
arm
3-4 position.
Fig. 252.
The
336.
last sign is
The Narrowed and Amplified Arm Positions have been explained in 285 and 286, and the drawing referred
duced
at this
to in
286
is
again intro-
point for the purpose of explaining the manner of designating their various
The
;
letter a
at
body;
possible amplification
and
backward.
These
above the position signs [Fig. 255], which show reanterior closed; the 2d half-amplified; and the 3d wholly amplified
The second example is an abbreviated sign. 337. The expressions " wholly narrowed " and
ing, contain a distinction
in
mean-
and
a difference,
notwithstanding the
of both
may
GRAMMAR
when both hands
are
99
h.
may
be assumed, with
3_4
3_4
2_3
338.
its
If an
side, as in
is
arm passes from the half-circle of Figs. 21c, 235 and 238, it enters
which position
what
tions
Fig. 253.
274.
These
posi-
may
be indicated in the script either by the form of the sign or by a cross (x) placed
arm crossed
in front.
demand
added.
and the x.) In cases which of the body which complete the drawing may be
(Observe the small
a
In
the
left
arm
is
arms are
in anterior
3d crossed
position.
Opposed
Arm
Positions
339.
in
is
in
2d and the
left
left
arm
in
and the
half-backward 3-4.
Supporting
Arm
Positions
(Demi-bras}
340.
The
a fork,
at the
point of support
k.
1.
m.
c
n.
9
2
vh
CD
Fig. 255.
Fig. 2-6.
The
is
(V),
and
IOO
GRAMMAR
In Fig. 249 the right arm
341.
is
4th position.
In cases where the choregraphic symbols are insufficient for showing the lay-
t.
Fig. 257.
Fig. 258.
mimic hand
must be more
by means of
a drawing.
Arm Movements
342.
The
right
arm
:
{bras droit)
*
is
it
"*-,
and the
left
{bras
-.
A
which
dotted horizontal line indicates the continuance of a movement, and the position
shows the
result of the
movement by
ends.
If the
343.
is
movement
is
line,
drawn so as to show the exact figure of movement, and an arrow point is placed at the If the movement is curved, it is represented by a curved end to show its direction.
;
line
and
if it is
undulating, a
wavy
*.
line will
[Fig. 259].
.*
Fig. 259.
344for
The
and "lowering"
moving
345.
may
is
Tourner (Turning)
movement
As
may may
at
times be
render the
symbol more
346.
leg,
distinct.
of the
J[
on either
show the
arms.
and
in the
IOI
Carriage of the
Head
347.
The
is
and by the shading which represents the hair; and the inclination of the head
the line which represents the neck.
shown by
348.
To
is
placed on that
side of the
made
[Fig. 260].
a.
b.
c.
d.
#?
Fig. 260.
?#
2
l
Vi
V2
V-2
Fig. 261.
349.
If the dancer does not stand fully facing the observer, the fractions
showing the
:
degree of turning are used instead of the double cross, as in Fig. 261, which shows
a.
b.
c.
Quarter-turn to the
Half-turn to the
left.
left.
d.
Half-turn to the
is
right.
a
350.
If the
body be
shown by
body-line in the sign, in the proper direction, as in Fig. 262, which shows:
e.
f.
Fig. 262.
e.
Inclination of the
body
pendant arms.
f.
g.
h.
Same
to
left.
inclination to right.
his
back
In
position.
is
at the right
of the figure,
The darkening
of
the best
way
to
show
this
position by chore-
graphic sign.
102
The shrugging or raising of the shoulders has been referred to in movement is indicated in the script by means of the regular lifting sign, which is placed above the shoulder to which it applies. The lowering is
351.
320.
-.
This
shown by placing above the proper shoulder the regular sign of putting down. Each is shown in this drawing. 351 a. J^amasser-PAovements. Strong bending movements, accompanied by deep lowering of the arms (as in picking up objects from the floor), are of
frequent occurrence in Spanish dances, and are
known
as ramasser-
movements.
more
intelligible if
Arm-Circles
352.
what direction,
it
is
executed.
is
a.
b.
c.
d.
V
e.
f.
<
^^_
"
f-
g.
h-
W
Fig. 264.
1.
3/
*N
/I
K.Q
)
<-
a dotted line
(a) small
inward
circle
from the
1st position.
icr<
d. a
large
outward
circle
of the
left,
from the
e.
of the right
and/", a small
A
left
upward
i.
circle
of the
right
is
and
k.
a large
outward
circle
of the
left
circles
in the hip
support.
Clef)
353.
staff, to
symbol which is placed upon a given line of the the pitch of the note which is placed thereon. In the script of dancing
is
a similar
effect
symbol
is
line
The
superseded by another.
The form
of such keys
may be
wavy
or zig-
to be described
upon
the floor.
The
first
step always
The
shown
in Figs.
1.
3.
4.
5.
6.
7.
8.
9.
10.
11.
*2
13.
1*
l~~s\ SxA^
Fig. 265
a.
***<
<i
> ^
1.
Movement
" "
5.
to be executed
upon
the place.
2.
"
" "
"
forward.
3.
"
"
to right
backward.
Movement
"
and
to
left,
respectively.
left,
7.
9.
respectively.
respectively.
left,
Movement
"
11. 12.
"
"
to right to
left to
right.
Zig-zag forward
" "
and
left.
13.
14.
backward
forward
"
"
to left to
and
right.
15.
"
backward
"
"
104
16.
GRAMMAR
17.
18. 19.
20
22.
23.
24.
2*.
Fig. 265/;.
16.
17. 18.
19.
Movement curved to the right, forward. Movement curved to the right, backward. Movement curved to the left, forward. Movement curved to the left, backward. Circular movement to the right, forward. Circular movement to the right, backward. Circular movement to the left, forward. Circular movement to the left, backward.
Waltz turns Waltz turns
to the right, with direction line to the left, with direction line
running to the
right.
25.
It
running
to the left.
must be remembered that the key refers to the direction of the entire movement in the room in which the person is dancing, and that it represents the figure described by the dancer upon the floor and also that the dancer is supposed to be facing the reader.
;
Chapter
IX
COMPOUND MOVEMENTS
THE
It
is
movements
This
is
principal reasons
why
it
is
the script.
Classification
355.
most comof
monly used compound movements before the classification is made. 356. A step difFers from a compound movement in that it must contain weight {degager)^ while this is not always true of the compound movements.
a transfer
Music
Syllable,
Dance
Syllable,
Step
Te??jps t
Pas)
357.
The same
and
and pas.
step
is
is
movements which
and
it is
this last
temps
is
therefore,
A
A
word
is
itself,
and having
its
own meaning;
a step
is
also
an independent entity.
359.
syllable
may be made
alternately.
a single tone; a temps
.105
106
GRAMMAR
may contain many letters, but only one vowel sound a temps may, in like manner, contain many movements without a transfer of weight, but must not exceed one
syllable
beat of music.
As
temps.
Definitions of Various
Dance Terms
Termes de Danse}
and these are often unfamiliar to those outside the profession or trade; indeed, they are sometimes not understood at all by the outsider. Many such expressions occur in the arts of dancing and choregraphy, and while they appear unreasonable or unnecessary to the inexperi360. sciences
Each of the
and
arts
and
own
technical expressions,
enced, they are not only reasonable and appropriate, but they are indispensable to the
initiated.
The
Chapsal.
may
furnished by A. de
definitions follow
and have been inserted because they are imperatively necessary to the proper understanding not only of the subjects which already
experienced in the
These
in this
is
work.
Temps.
The
literal translation
that
word
in preference to the
Italian
The
Italian
word
is
compoin the
363.
The word
is
is
not current
Simis
the innovation
justifiable in gymnastics,
why
not in dancing?
is
364-
Un Temps
side,
which
1
consists of lifting
is
ing step.
It
may be
^/\
_j[^
Syllable)
is
the putting
down of
shown by (J?). 366. Levi et Eleve (Lifting and Raising). There is a distinct difference in the meaning of these two words. Leve, which means to lift, applies only to the free leg while 'eleve, which means to raise, refers always to the supporting leg.
;
107
Sauter
Jumping
367.
Un Temps
Saute, a
jump, is the result of a quick pressure of the front portion of by means of which the body is litted from the floor. If the weight
is lifted, it is
upon one foot only, while the other leg jumped lifted syllable, or a lifting syllable.
This
is
h a compound movements. A hop on the right is shown in a, and one on the left in b. The lifting sign \ } does not touch the floor. This clearly shows that a jump has been made. 368. Sautiller. Although the word "hop" is seldom used, it is quite as correct as the words "spring" or "throw." Indeed, many of the new books upon gymnastics use the word frequently. The hop may be distinguished from the spring or leap, not only ^
all
the
.,
by the indispensable bending of the knee, but also by the fact that the weight is not y transferred from one foot to the other. A high jump cannot be executed without bending the knees, and may be written as shown in the drawing. It must never show the
(
sign of transfer.
369.
Pas Saute.
Bondir.
If, as
soon
it
it
Although
body is lifted from the floor, the weight is "^x ^-1^/7 is a jumping step and is represented as follows has been stated that hopping and springing (bondir) have
as the
:
same meaning, there is a technical difference. A child may be said to jump for joy, upon either foot or upon both feet, but in so doing he remains on or near the place while a man does not jump, but springs across a ditch for instance A sparrow jumps over a straw, and a lion springs at his prey. Inasmuch as a spring contains a transfer of weight, it is not a step-syllable or temps, but a step of one temps, un pas. 371. Jeter. The word sauter in the French language means "to jump," and the word bondir means " to spring." This latter word has been used by Delille and Blasis, but the word jeter, to throw, is more commonly used in the termcs de danse, because in springing the weight is thrown from one foot to the other. 372. Bond (Spring). Jet (Throw). The term " spring " relates to the foot from which the force is derived, and the term " throw " refers to the one which receives the weight. If one springs from the right foot and lights upon the left, the left foot has been thrown, and the right, which is now free, may either during or after the movement be carried into
the
;
any position.
373.
In springing
it is
and
bend and stretch the knee. These signs show the spring from the
to forcibly
right
left
foot, re,
/ \
/l
spectively.
The
sign of transfer
is
ry
the
movements
108
374-
GRAMMAR
Tomber
(Falling).
Every jumping, springing or throwing movement is accompanied, inevitably, by a falling back, which may be executed either upon the sole, ball, point, or heel. If this movement is so strongly accented as to become audible it is called a fall, une chute and if a step is executed, it is called a falling step, un fas tombe. The choregraphic sign depends upon and corresponds to the movement which pre;
cedes
c.
it.
d.
e.
fall
on right
foot.
'
i
i
fall
on
left foot.
/
/l
v r\
both
feet.
'\
JL
f. Spring from right and fall on left foot. g. Spring from left and fall on right foot.
A
FlG
266
"
'
375.
Un
is
is
differ-
ently occupied,
syllable, in
is
made.
backward upon
supportit.
noted by the
(o-^
3
upon
above
movements.
They have
119.
376.
'Elevations (Raisings) are simple
is
movements and
is
a raising of the
differently occupied.
left is
the
377. 378.
in
is
Temps Jlbaisse
is
m
123.
.
Un temps
-^
no transfer of weight.
executed
Lifting)
is
simple
Un Temps Leve
(A Lifting
is
upon one music-syllable [ 364]. 381. Une Baisse (A Putting Down) is a simple movement and is explained in 125. 382. Un Temps Baisse (A Putting-Down Syllable) is the putting down of a lifted leg
while the supporting leg
383.
is
L"\ Temps
Baisse.
IZ?\
Temps Ji baisse.
t':e
To
in the
movement
The
sole direction
above
signs.
384-
T{uer
(To Kick)
is
movements should,
Tin Jtyement
therefore, be
termed ruements.
from
a beating,
open position and kicking This term has been seldom used, except
;
in referring to horses.
(A Kick)
differs
I09
is
movement of
that of
ies
movement,
knocking the
supporting
leg.
upon
maintaining
embellish-
lines
all
This
is
memorizing the
is
figure,
and
it is
Terre a
terre.
This expression
movements,
which the
feet lightly
(Music:
387.
[Klemm.)
is
Equilibre (Equilibrium)
is
effected
by
independently
of the legs, although cooperating with them to present a harmonious appearance. [Klemm.)
388.
Aplomb
is
the absolute safety in rising and falling back which results from the
artistic
placing of the
feet.
By means
of aplomb the dancer acquires a precision and an elegance which insure the successful execution of every foot-movement, however artistic and difficult, and thereby creates a pleasing
and
a satisfactory impression
upon
the observer.
[Klemm).
Grace
389.
Grace
is
the ideal
of purity and
the
beauty
of
movement and
that
ease
body which attracts and charms all beholders. is a beauty not given by nature, but produced by the subject itself; and as the beauty of the human form does honor to the Creator, so do cheerfulness and grace do honor to their
elegance in holding and
possessor.
moving
and "Grace
One
is
is
[Schiller.)
{Klemm.)
effort to please, na-
Gemle and
tural grace
charm, and
this
free
from the
most
Overstepping
and grimace. Schiller says, "Grace must be always natural and involuntary (or at least must appear so), and a person mujt never display a consciousness of it." [Klemm.) There are persons who possess so great a degree of natural grace, that a teacher may
learn
to
rare.
com-
petent teacher
and form.
The development
Chapter
Pas
mean
the
THE
position.
term "stepping"
is
generally understood to
movement of
ordinary
walking, and a
common
movement by
made from one position to the other. The transfer of weight is so closely allied to the movement of the legs with which it coincides that it is impossible to separate the two for that reason, wherever two or more steps are taken, it is unnecessary
which transition
;
391.
are
As every
more or less active therein. The legs may be engaged in either simple or compound movements. These are often so natural that they do not require description. At other times, however, not only the simple movements and the moment of their execution, but even the various positions through which the dancer passes in making the step, must be
indicated so precisely as to enable the distinction from other and different steps to be
easily seen.
392.
size, direction
and
duration.
Size.
may
be found.
;
As
to size, a step
may be
small,
medium, or
large
393.
Direction.
As
to direction, a step
;
may be
either
sidewise or crossed.
Side-steps
may be made
either to the
right or to the
left,
The
diagonal steps
may
be
made
to
394-
Duration.
REMARKS
395.
AS TO
The
whole step,
as
it
is is
made from
from repose
the posterior to
in a closed posi-
but the
first
movement, which
and the
last,
which
is to
no
OF DANCING
III
Military
March [Marche
Militaire)
396.
The key
indicates the
movement
foot
is
it
starts
from
left
lifted
upon
and
the
first
upon the second part by the putting down of the left foot in anterior
finishes
TT
F
1|
II
JL^/7\.
J C\\*
2g7
'
v
\
J? /?\>
in
posis
FlG
carried forward
first
The
as all
signs are unnecessary for any but the part-measure, the first
first
bol of repetition
397.
A whole step
If the foot
is
from
3d
to the 5th.
and
passes
beyond the
1
5th position,
a large or
prolonged
step.
If, for
it
Never
added,
it
example, a movement
;
is
no transfer
is
made,
is
a step-syllable
but
if
the
a half-step.
398.
it
Small,
Medium
14,
If,
found
feet.
This rule
however,
is
e.
is
carried
to the
is
carried forward.
The
a
distance in such
open positions
ward
is,
therefore,
An
m
(X)
^
/Cf\
Fig. 26S.
C3C~
:>
30
inches.
An
average
it
is
a large,
and
if it
it,
it is
small step.
Fig. 268
shows
(a)
(c)
112
399.
OF DANCING
of a dance prescribes either
The composer
medium
Simple and
Compound
Steps.
A simple
into differ-
ent movements, nor can a simple step*be divided into different steps; but a simple step
may
consist of various
movements and
several temps,
different secondary
qualities.
compound
401.
Direction.
movement from
who
practice
them
is
in
"marking
word step
obliged to carry
402.
is
is
such a point
reached by a
wavy
diagonal.
in various sections,
and
we
cluding the necessary transfer, does not require more than one syllable of music.
steps
Such
may
404-
may be
and
it is
a degree
which
is
Quick steps require a certain amount of impetus, and are more laborious than temperate
steps; slow steps require a voluntary holding back which coincides with the duration of the
music.
Therefore, slow and prolonged steps are more tiresome than temperate steps, because
obliged to restrain his natural impulsiveness in order to properly execute them.
one
is
metronome, the degree of speed is seldom given in words, as the numbers of the metronome scale are far more definite. The metronome measures given herein, particularly those for the social dances, are for the temperate speed. This
405. Since the invention of the
degree
is
may
be of service
406.
The
ordinary walk of a
man
Young
per-
sons walk more rapidly than older people; lymphatic persons more rapidly than phlegmatic persons; gay people more rapidly than solemn people.
407.
a natural influence
gayety
dancing
is
The
408.
From
these explanations
it is fair
to
assume that
steps,
11^
409.
specific
it is
manner,
it is
lifted off
transit to the
new
position).
is
bended or stretched, the common walking step which contains an agreeable and natural degree of bending and stretching of the leg, is taken as the normal type.
Unless
a step
more than
ordinarily
410.
less
A secondary
quality
a step
without changing
it
to anything
a characteristic attribute
which
relates exclu-
sively to the
it is
component
to the
movements and
positions of which
constructed.
The Meaning
The
it
of the
Term Pas
in the
41
1.
wider significance
language of danc-
ing than
word
"step "
for
is its
it
more comprehensive,
for
may
seul,
or
pas de manteaux.
The Names
of the Steps
Every step has a technical name, usually of French origin, which may be understood by a knowledge of the meaning of the word; but time and custom, and in some cases an improper usage of the word outside of France, has evolved a different technical mean412.
ing.
An
sistently
made
that
word has in some instances even been so perthe wrong expression has grown into technical value by its constant
it
use.
very
difficult at
some terms
and indeed has seriously injured the value of most of the works upon dancing that have been published up to this time.
41 3.
We
have, therefore, no better criterion to go by than the usage of the best authors
for
upon dancing,
German
or the French
Academy, would
n the
is
114
un substituted for
etc., are
it,
GRAMMAR
unjete
et
un assemble,
word "step,"
it
language, however, requires would be improper and unsatisfactory to say " a gliding,"
If,
The English
a gliding
used
is
a coupe, etc.
last
reader will avoid many noticeable errors by following the suggestions of this paragraph in the description of dances and the use of dance-script.
Note.
The
415.
article
Wherever the participles, such as glisse, plie, un, they become nouns, and are significant of the
transfer thereof.
41 6.
In order, therefore, to determine upon the proper name of a step, one must as:
first,
movement
of the free
leg
movement of
Walking
Steps
Pas Alles
417.
While
is
this step
is
usually spoken of
;
2^,
is
for
walking
marching
the result of the continued application of rule to the step for the purpose of a
is
manner
and while,
put down
the foot
in
such a
fall
manner as to gradually receive the weight of the body, in marching first upon the point and then pass to the ball for the balance.
418.
must
In order to walk not only gracefully but with ease and safety, the body should
be held erect, and the free foot should be carried horizontally and only naturally stretched.
If the feet are at right angles, as If they turn
shown
in
gait
398 b, they are turned sufficiently outward. becomes less beautiful and appears affected.
besides
it
In walking, a pupil should not be required to touch the floor with the extreme tips of the
foot
first,
would appear pedantic and The knee should be bended only enough to permit freedom
;
of movement.
419.
The
that
the foot should be carried from the posterior to the anterior position without crossing
as in the case
of
artificial
and the
is,
be too large.
420.
srated,
is
To
The
in
therefore take about 80 steps per minute, to coincide with the 80 pulsations which
their
"5
;
In the Quadrilles a dancer usually takes about 90 to 100 steps per minute
is
more
rapid
tempo
unreasonable.
If a
is
man
in
walking takes
less
indicated; if
conversing with an
naturally lessened.
in
The Movement
of the
Arms
is,
Walking.
naturally,
and
in
opposi-
that
right
termed natural
opposition [ 289].
movement of the left arm coincides with that of arm with the movement of the left leg. This may be The arms are allowed a degree of freedom of movethe
ment which
is
by
upper body.
stiff,
The
is at
clenched
fists
indicate rage
hands supported upon the hips appear awkward and give the idea that one
a loss as to
what
to
do with them
fists
at the sides
(arms
akimbo) gives an appearance of impudence. 422. For the purpose of developing refinement of singly or in couples, with music, and to describe such
other figures as space and circumstances permit.
circles, squares,
For new
naise;
as
march or polka and for those further advanced, a Polothe accentuation of 2-4 or 4-4 measure is more readily understood than that
pupils, play a simple
of 3-4.
In
it is
unwise
for in
such cases the children must enlarge their steps while the adults are forced to dimin-
423.
as the
The
in
417, and
term marching
understood to
more
in a
more
precise.
is
[pas ordinaire)
16 steps
now
about 70
J
accelere), 144,
Exercise 48.
MM .80-120
**
li
mm &
=
iS
Fig. 2C9.
mm ^
1
is
a ^
Z>
\\J
o
/i^
424.
Slow marching
is
especially to be
recommended.
M. M.
72
a very suitable
tempo, and 60
is
tempo diminishes.
n6
GRAMMAR
In marching, the leg should be raised to half-height [ 67], which script by the addition of two auxiliary lines above the carrying sign.
425.
It
is
indicated in the
left foot,
and
command "forward"
"march"
be raised
may
immediately to coincide with the unaccented part measure, and put down upon the accented first note of the measure succeeding.
Changement of
426.
It
is
may
be regained in the
manner
[Fig. 270]
left
Supposing the
accented beat
down
in either
o
7
\
I
sj'
'
7
^-o
3d
position,
FlG 27 *
the
left foot.
427.
As
and
in well defined
measure, as
Exercise 49.
Changement of
J
MM.
72
100
1
i
3B
$mm
J
1
I
JL^
r r
Iff
^1
*
u
0-
^
in
I
m m
pp
rzj
j^
Fig. 271.
IT
3d position
1st.)
is
used because
it is
more
distinct
and
less liable to
The
is
^tSss
OF DANCING
117
Order of Steps
in
Instructing
429.
from what
is
easy to that
which
is difficult,
agree as to the exact order in which the various steps should be taught.
that theirs
is
They usually
affirm
all
This
tors
is
of course unreasonable and impossible, and for that reason the present direc-
of the
"German Academy
cession of steps which was used by the celebrated ballet-masters, Taglioni and Lauchery,
and
been proven to be
of persons
of
and
for other institutes of higher instruction, but of course, the order given in this
in the case
who
to learn to
dance
The
make
own
selections
and dancing
430.
The movement
is
in 121.
By
"
steps, there
Each
step, therefore, to
which a
to
applied
is
"raising" step.
If
still
other qualities
are
added
431.
raising-walking step
is
different
upon
is
maintained to
upon each step; while in the walk the end, when the lowering is made
is
432.
portant.
The
and jumping-walking
forcibly
still
more im;
Raising
is
an easy
movement produced by
while jumping
a species
and stretched so
body into the air. 433. Straight raising steps go into the ad or 4th position, and crossed ones into the 3d or 5th or intermediate positions. With few exceptions, the raisings occur upon the light beats and the lowerings upon the accented beats of the music.
forcibly as to project the
>
n8
The
ing form.
in carry-
The
The
difference in the
names
TT
a
_Cl
TT
-l
TT
3
_j
_j
should be noted
in all cases.
The
shown
Fig. 272.
in Fig. 272.
The music
may
Ukk
?
I ALrfcv
n-
t\
n-
11
H-r-x
AA
1 J_
n.
s.
1,
-o
/^
U
o
A
I
sx
^ A
o-*-
IJLt
l.-t\ 1 a.
is,
I
1
a.
Fig. 273.
JL -r^
434.
The
difference between
"marching," which
the appearance
indicated
more
seriously attentive.
signal difference
is
is
noticeable at the
moment
of transfer.
In raising-walking, the
it,
free foot
which
is
already following
is
it
while in raising-marching
placed
upon
carried to
Simple and
|AJLJLzLk
Fig. 274.
lively
The
raising
is
slight in raising-walking
and great
is
in
raising-marching.
in Fig.
The
script
of the
shown
274.
[Fig. 275J.
eleves)
119
60
^m
/it
bJJ
i\!U
II
PP
Fig. 275.
IP
^^
X*
les
/TV
^ ^ dZM
,
The
435.
It
Steps
Upon
Pointes\
upon the points the raising position is movement; the steps are therefore smaller
These
steps are also called pas emboites, " boxed-in steps," if they are so small that
feet).
they do not pass the measure of the simple open positions (the length of one of the
Exercise 52.
Small Steps upon the Points or Boxed-in Steps (Petits pas sur
les
point es
M.M.72
WM
il 5555 u u 11 ii U M M M
\
1
t-r+V-tJ-
Will
jLLI
i-h
3"
'3
3*
ill ^\
~-tn
<-0
1-K AaAjJaA
3 3
-
i 3*
A\A\A
5"
LilLULl
5
M
3
Li
3
MM
o
*
MMl Lj u
I
llllI
Fig. 276.
The manner
is
easily
abbreviated form
120
GRAMMAR
Exercise $3.
[Fig. 278].
Walking upon
Rhythm
OO
3 OO
OO
"> 1 '3 3*
"3 3
11
Ftg. 277.
liE& tea
J3
mi
J
1.4
^m
<^
J
1-4
i
)
*i
f
t
/>
fei
J
pEJ
J
1.4
!l
Li
3
1-4
ULi
3
* 1-4 v-
UL1
3
3
J
1.4
L
1.4
LUl.
"-f
1.4
1.4
u U
>,
H U
little
J^ 3
fcl
4
*
M
J
^ ?
Mfe p ^irTrrl ^^
/
/TN
M MM
I_U_L LJl
\\\
L_Jl
LAo
lliill i_J
Fig. 278.
The special aim of this exercise is to direct the pupils' attention to the rhythm, that they may learn to accommodate their movements to the requirements of the music. Too
attention
is
paid to this
all
important point.
Running
Steps
[Pas de Course)
437.
The
in
417.
is
The
and running
is
lies in
always
ing one.
Thus we
a person
and running
is
running
is
usually executed
more
Indeed,
more rapid tempo, and advance more quickly, than one who runs slowly; but even in the most rapid walking both feet must touch the floor at the same time once in every step. This is not done even in the slowest running movement. Running may be executed on the soles, balls, points or heels; forward, backward or
may walk
in
sidewise.
438.
To
soles
makes the
a
steps longeithis
As
dancing exercise,
movement appears
439.
stiff
and awkward;
Running
held erect.
more graceful, and in these the legs are fully These steps are often and differently used in
121
They
or crossed.
440-
The
steps
and
is
rapid.
441-
the heels
The
442.
As
The running
is
graphic symbol
positions have been described and illustrated in 93, a serpentine line [Fig. 279]. If the symbol does
line,
or
if it is
written with a
r\
signifies
soles.
The
other
modes
are
-^
_r"
'
shown by the
444-
Fig. 279.
The
is
shown by the
due largely
of the
corre-
sponding
size of the
symbols;
this difference is
modes of running.
445.
movement
executed, to demonstrate
the exact
manner of
transition
movement
is
necessary.
446-
Ifj
is
abbreviated,
it
may be
tinctness, to
to the signs
rests
of movement.
foot which has executed the
447.
in the
As
body
upon the
sign of transfer
unnecessary
is
in writing the
running steps,
its
as the transfer
is
contemplated by
symbol.
Courante Step
Temps de Courante)
Temps de Courante is a slow dancing step which was taken from the Courante^ an ancient and long since forgotten dance. The step is of some slight classical value, but is seldom used. As the step has no resemblance to running, its title is a mis448.
nomer.
449.
There
is,
in the
Mazurka,
a so-called pas
c our ant
running step.
It will
Mazurka
( 882).
122
or Feet
is,
in
feet,
which
is
conse-
When, however,
movement
451.
is
the
name
We
shall
now
jumping exercise. The usual script for these movements is shown in Fig. 280. As a preparation, stand in either 3d or 5th position 3 and jump upon both feet, changing the relative positions Fig. 280. of the feet and falling back in such a manner that the foot which was in front will be behind after the jump. Exercise 54. Changements of the Legs or Feet {Changements dej ambes ou pie ds)
consider
as
klSUA
[Fig. 281].
M.M.
58-80
k
JL
TT
-i
m
A
j^.
m000
<>
M
A.
M i=
A.
A.
Ll
IT
JL
<>
LP
Tfyg\
A
<,>
$
$
I 1
Q 11st o n a LJl
IT
$
5
I
1
1 A
IaA
known
as
continuation
/\
A
IV\ LZX
i
I
Li
Exercise
L
Fig. 281.
54^
is
[Change-
Exercise 54 c consists of the Jumped Changements of the Legs in 5th Position (Changements de jambes sautes en cinquieme position).
This
last exercise
contains a high
jump, while
that
which precedes
it
is
executed by
means of slight
symbol
is
lifting only.
also be expressed
OF DANCING
the Legs in
23
Turning {Changements
Note.
The
which occurs
at the
beginning of
The
is
fractional
Jumped Changements
Exercise 54/*
is
also be practiced in
Escaping Syllables
Temps Echappes)
452.
The word
is
contain a transfer
means to escape, or to slip but as of weight, it must be called temps and not pas
echapper
;
this
echappe.
This
from
453.
a closed position
their
consequent
upon the place, from a preparatory 5th position, by bending and jumping from both feet, which are separated and fall back in open position (generally the 2d) upon the balls.
usually executed
This movement
I
j
-5
T\
454-
When
this
movement
(echappe)
is
<JZ
455.
The word
ecarte
means
to spread or
open
this
movement
is
which
is
derived from the Italian word spalancare^ which signifies to open wide or to greatly
extend.
Execution
feet,
position.
Commence
fall
with high
back again
in a closed position.
124
If,
changement
TT
1
1
/\
''
r\
tt
|
1
r-\
tt
j
same
line
is
noted by
its
corresponding
5 Fig. 282.
456.
The word
assembler
means
may
Assemble
is
which
it
finishes,
is
and
in
it
most
frequent usage
457.
Of
in
foot to the
Where
several as-
_\
qM
Fig. 283.
n^
=?o
sembles are
made
The
free
foot passes from the 2d balancing position to the 5th position behind the other in the
(Klemm.)
et dessous)
[Fig.284].
MM. 60
^
1
^
'
r
L/
-d-t
#ff
*-0-
f~f~ Iflf
'
lf
fc rpKI
1
ri
0^
^b
<3iS
-*-
-*-
if
-*-
*>
-*-
--
Fig. 284.
Exercise 55^ shows the assembles dessus. Exercise $$b shows the assembles dessous. 458. The first measure contains the complete, and the second the abbreviated script
for the exercises;
and
open
sole
active,
and
J25
Throwing
459.
This
class
of steps
is
differs
from
it
only
in
the fact that in running one foot always touches the floor; while in the throwing steps
same time [ 372]. 460. Pas jete is a step of one syllable and contains four simple movements, viz.: bending, stretching, putting down and transferring. To throw the body into the air, one must bend the knee of the supporting leg and then stretch it forcibly. As the weight of the body is received, in the falling back, upon the other foot, the transfer must of necessity either accompany or follow the leap. 461. Jete relevation. This step is frequently followed by a raising upon the foot which
both
feet are
momentarily
is
called
is
a very
common
step,
and while
it
may be
l^rfc^r
Fig. 285.
movements, in many different ways, such other positions and movements are not comprehended within the meaning of the word jete; they must, therefore, be indicated by qualifying words. The script in Fig. 286 shows the complete method of writing a simple throwing step,
and the abbreviation thereof. 463. This abbreviation has been adopted because of the time and accuracy which is necessary when the step is written
in detail.
A^\ n v
Fig. 286.
sf
by the same symbol as the running steps, but as the falling back is more strongly accented than in running, the sign of transfer would have to be made much heavier and thicker, in order
to
The throwing
convey the
464
a.
distinction.
step
size
and the
must never rest upon the floor line, for jete is always of the symbol varies in accordance with the rule regard-x
The
Throwing Steps
into an
Open
Fig. 2S7.
126
GRAMMAR
Exercise 57. Simple
Throwing Steps
close).
MM. 80
.} g
v J)
1 ?
Pihri
fe^ B
7
7 i
1?
ni
ri 2J
5 -Z-'
i_n
l_ri
3-
continual,
1
3
-*^
-3
d_l
^_ri
5-
-^
'*'
^t^
--Z--
i-rl
P
Se
464^.
Position {Jete
1^
7 I
Fig. 2S8.
Exercise 58.
Throwing Steps
[Fig. 289].
into an
Raising
in a
Closed
et r elevation)
m
M.M.
80.
0*0
Mea
~v
*-
isiil E
1
Fig. 289.
_*-*
i Mai
yife ^
id
K7^?
v^t
-o
4^
1 KT^
464^.
Exercise 59.
AJ^X
Advancing with Small Throwing Steps
[Fig. 290].
db
=fc
li b 1
ixl
iri
o
SI
mm
11
3
f^p
3
#-#
c/
in
t
r
itl T
Fig. 290.
465.
Exercise 60.
OF DANCING
I27
MM.
6C
-*
faJ
-0
LI
Fr=H=B
*
'
rH
"#
f ** f
id^S/
0-
Eo
b^
If
r
-0
0-
-0
3
<iX
ctir aJir
The
fl 6
d^? 7
o-O
56
*l
s& K~
~j>*r
Fig. 291.
is
sign of transfer has been omitted from these exercises, because the d'egagement
comprehended in the throwing sign. There is no d'egagement following the assemble. Fig. 292 shows the choregraphy of the throwing step with turning {jete en tournant). Fig. 293 shows the choregraphy of the throwing step with collecting {jete et assemble)
'4\^6i
Fig. 292.
/\-q
<y
o^
Fig. 293.
o- p
zso
Scissor Syllable
et
Pas
de
Sissonne ou de Ciseaux)
466.
times,
The word
Sissonne
in his "
is
given as the
name of
and R. Voss,
among
its
others as
in
1565
in
movements
first sylit
and
figures, has
been found.
467.
lable, the
is
The
scissor
rests
movement
upon both
If,
during the
weight
but
in
the second
is
step
294^].
But
a \\
**
J\
b
\\
upon the same support during both music syllables, it is merely a movement of two syllables {temps de Sissonne) [Fig.
N_-4^
*-
^
Fig. 294.
294 a], 468. There is, in the bending and stretching of the knees
in these
movements,
scissors,
motion
and the
names temps
ou pas de ciseaux (scissor syllable or step) are therefore quite as properly ap-
word
sissonne.
as
for instance,
128
GRAMMAR
may
be recognized by
its
name, and
this
is
as
it
should be;
years,
art,
it is
so,
notwithstanding the fact that the term sissonne has been used for
many
the duty of the dancing master not alone to justify the technical terms of his
may be of
assistance in teaching.
which incorrectly describes the motives or attributes of the step should be retained merely because of its ancient usage, when a more appropriate name can be assigned
to
it.
No
From
preparatory 2d balancing
First Syllable
is
During
a light
jump upon
left
foot
put
down
Second
syllable
Jump and
is
fall
is
quickly
of the
other
is
it
put
down behind
is
backward or under-crossed
scissor
ciseaux dessous).
By
first
we have the
pas de ciseaux
alternatifs).
may
Exercise 61.
J
I
m m
M.M.
72-100:
N/V
OfM vo
\ \ 5
mm
\
\
set
5-
-r
\\
O-TKJ \Q<A
V
\Q<A \or Nj
orN
vor
Fig. 295.
SQ <A
upon
Nj V
Exercise 61
a.
Note.
When
all
made with
the
same
129
b.
Over-Crossed Scissor Step with Right Foot (Pas de ciseaux simples dessus
du pied
droit).
c.
Exercise 61
Scissor
Walking Forward by Means of Alternate Over-Crossed Scissor Steps {Pas de ciseaux alternatifs dessus en av an cant). Exercise 61 e. Simple Under-Crossed Scissor Steps with Left Foot, with Backward Turning upon the Right. Exercise 61 f. Turning Forward by Means of Alternate Over and Under-Crossed ScisExercise 61
d.
sor Steps.
470.
The
461, and,
as applied
pas de
cuted in
3-4.
forms what
is
de ciseaux releve.
or
j.
'
It is usually exe-
it
is
Ma-
r~\-\S\\
\J
:><
_>
ciseaux
fig. 296.
Exercise 62. Scissor Steps with Subsequent Raisings {Pas de ciseaux releves) [Fig. 297].
H ^= m
o U\orh)
0-6
:r*
mm
o-r^nK
Fig. 297.
Double
471
double scissor
upon the same foot throughout these movements, it is called but when there is a transfer added during the execution, it becomes
double).
pas de ciseaux
This step
as follows:
is
described by Bernhard
Klemm,
in his
Upon
the place.
:
Preparation
5th position, right forward. During the part measure, the knees are bended,
first
beat in the
full
feet, falling
Upon
upon
the
left
carried
when
it
13
falls
GRAMMAR
behind
(dessous)
the
left
[Fig. 298].
472.
in
the
Hornpipe.
This step
is
473.
also
known
as the
pas
Fig
298.
de Rigaudon because of
The "Dictionary"
is
was the invention of Rigaudon, whose name it bears, and that the dance was carried to England from Provence, in the southern part of France, where it was first danced by only two persons, but afterwards became used as a social dance. The position for the Rigaudon
was
became extremely popular. The gentlemen formed in a straight line opposite and facing their ladies, and the first couple danced a figure which was afterward repeated by the others. As there are various different
like that
later
it is
474.
If we
may
consisted of zjete which was immediately followed by a.fouette, similar to the second half of
Exercise 63.
Double
t^m m^ ^pg
I
9 f- gjgs
Fig. 299.
m& ps m
1 6-
Q Ull Qa
6
V^fl Q.
mlQ SM
means to chase, and is most appropriately applied to these steps, for in them, one foot "chases" the other from its position. If, as is often the case, all of these steps are executed with the same foot and in the same direction they are called simple
475.
chasser
The word
chasing steps (pas chassis simples) [Fig. 300], but if they are executed alternately with one foot and then with the other, they are called alternate chasing steps (des -chasses alternatifs).
The
JOL
-A
sx.
3*
'
of the Quadrilles.
sis also
Fig. 300.
476.
Cote).
To
first
to the side,
left
foot in
GRAMMAR
or steps with the
left
131
place,
foot into posterior 3d, thereby chasing the right foot from
whence
it
2d
position,
where
it
and prepared
movement. The
step
is
executed to the
left in
countermotion.
To
execute the chasse forward, begin with either foot, from a preparatory posterior 4th
same time transferring the weight and gliding the advancing foot forward to anterior 4th, where it immediately receives again the weight of the body. A slight raising and lowering, combined with a corresponding bending of the
position,
at the
To
one.
make
open
The
the rear
most frequently begun from the anterior 3d position, by foot and gliding forward upon the advanced one, while the weight
chasse
is
slightly raising
falls
back upon
will
written in
full in
only
is
Exercise 64,
<o
fH
p 3-
m
is
pfei
i#
o
eHeI
l#
j-OO-r
A.
z.
As^,
Fig. 301.
is
T-OO-C
placed below the line of the floor, at the end of the fourth measure,
balls
is
placed
of the exercise
to be executed in the
The
only one music syllable, but in order to immediately execute another step with the other
foot, certain
movements
is
This combination
times, either
of syllables
known
in
as
pas
chasse.
They
478.
occur
the Quadrilles in the traverse, the "chains" and various other figures.
complete chasing step {fas chasse) consists, therefore, of one whole and two half-steps, which are executed upon two music syllables, and may be made in all directions.
Chasing Step Forward {Pas Chasse en avant). Preparation: Anterior 3d position of right.
Execution: Raise upon the
tion,
left
The
upon
slightly
foot forsyllable.
ward
into posterior 4th position during the transition to the accented first
is
music
3d
position,
132
GRAMMAR
its
it
trans-
thus making
#.
left foot.
479.
Exercise 64
al-
Fig. 302.
The key indicates a circular movement and the arrow point shows its direction. The choregraphy of the part measure and of the first measure are written completely,
but the succeeding measures contain only the abbreviated sign of the chasing steps, and the
symbols of movement
The
atifs
abbreviated sign of the chasses alternatifs differs from that of the chasses simples
;
very slightly
line,
and the
altern-
by two perpendicular
of
ii
1 Cu
jO.
\sO^
Fig. 303.
Glissades^
480.
in
The
social
among
and theatrical dances. There are few steps which have been known by so many different names, or which have been so differently explained and interpreted. For this reason, one must consider especially the proper order of words for example, 481
both
;
pas
and pas
mean
quite
different
movements.
raised
upon
the supporting
upon
the floor, but, in the raised gliding step the free foot
on the
floor,
133
Pas
is still
different, as that
term
is
applied to the
The terms
glissade
and pas
mean
the combination
movement of
movement
is
demi-glisse or
pas eleve
et
un glissement.
483.
The
definition of a half-step
may
be found in
395. If, then, the foot is glided from the anterior 3d to the anterior 4th position, and the weight transferred, thus throwing the rear foot into
posterior 4th position, there has been executed a gliding
half-step.
This
Fig.
is
is
-rO
Fig. 304.
484full
Entiers).
A gliding step
is
whole
if it
extends the
width of a step;
2d, past the 1st into the 3d, 5th or similar crossed position.
The
is
always understood to
mean
therefore only
to be defined
is
more
clearly.
The word
"half,"
from the similarity of the symbols, that a whole step was meant.
Gliding Half-Steps (Demi-glisses) [Fig. 305].
Exercise 6$.
M M 72
.
.-
j'lllJTppvg^
Ix
3 3
-
7-Q
OrS'
^L
3
7-0
O LJ
I
v
ir\*<tfM&4
^^ gs^g
^
s
X2
IIJ-1J
O-r
7-o3
8"
o-t
JLJ1
-o
1
*-o
AJA\A.^/l
o-t >
I
T-a
Ecriture abresee
4 o
&
-o Joo 2 o
Fig. 305.
485.
Alternate Crossed Gliding Steps (Glisses Croises Changes ou Glissades Croisees). Glidcroises.
ing steps which pass into crossed positions are called glisses
nately before and behind the supporting foot, they are
et
If executed alter-
known
move-
Fig.
script of these
"ZZ2-^1 ^-r^-
fig. 306.
ments.
complete description
will
134
Exercise 66.
MM. 72
3
<0
gg
TT
-J
i
ms
m m ps m
k
o*
/i
1
m^f ^p
Se:
/LLUL4
Fig. 307.
486.
may be
found
in
Klemm's "Catechism of
Dancing"
in
*-
_
->
1
tzf
f
1
P
et
Echappe,
Dactyl.
Echappe
assemble.
Spondee.
Fig. 308.
composer
in writing a
melody.
Whip
487.
Syllable
[Temps Fouette)
Inasmuch
as the
weight
is
it
cannot be
all
The syllable
composed of
movements,
The
These movements are all executed in the air, and so quickly suggest the snapping of a whip, from which resemblance it derives its name.
Exercise 67.
Whip
J
mm. 70 -100
9
o
3o
3q
4-
r&
Fig. 309.
GRAMMAR
Exercise 6j a
is
35
"Simple Whip Syllables upon the Place" of the right foot into the low crossed anterior 3d position, with inclined direction of the sole and immediate raising of the same foot into half-high balancing ad position. {Temps fouettes simples du pied
called
droit sur la place, a la
',
la direction inclinee
de la semelle
et levee
la demi-hauteur.)
Thus, we see again, how many words are necessary to explain a simple dance movement that can be completely described beneath a single note, by means of choregraphy for the entire movement is completely expressed under the second quarter note in the exercise.
;
487
a.
Both the
first
script,
direction.
number of the position The succeeding measures show merely the sign of
the
movement
into posterior
3d
position,
B
*
&
B~T
composed of whip
Fig. 310.
movements crossed alternately above and below. Fig. 310 shows the different signs of the various whip syllables. Exercise 68. Phrases of Two and Enchainment Four Measures.
$m
*o
t
Fig. 311.
o>
d. TZr
Fig. 312.
Exercise 68
a.
(a)
Phrase of
Two
Measures to the Right Composed of One Raising Simple Chasing Steps, and One Whip Syllable (Phrase a deux meset glisse et
Two
contenant:
un pas leve
(b)
(c)
The Same
Phrase Executed to the Left [Fig. 312]. Enchainment of Both Phrases [Fig. 313].
^T
mm
m>
o
J-J
b
Fig. 313.
The
short perpendicular line has been omitted in the sign of the raising step with
is
no striking
in this step
such
as occurs in
pas
chass'e.
This exercise may remind the student of some others which are mentioned much
in the
earlier
book.
136
488.
GRAMMAR
The
phrase ( 193) of two measures begins in the part measure, and ends, therefore, with the third eighth-note of the second measure that is, upon the completion of
the
first caesura (
197)
and
ctesura^ or
The
489.
The second
By such
first,
but
is
exe-
cuted in countermotion,
490.
are
completed
( 194).
jv^
l
cjur
w=*=&
^mmi
h>x
Fig. 314.
^
^-T7
The
In
by abbreviated
signs,
is
the second part {clausula) of the Galop, to which composition the preceding exercises belong.
this exercise the
number of steps
in each direction
doubled.
491.
A
is
cutting step extends from an open through a closed and into an open position.
A cutting
position,
step with the right foot from the posterior 4th position, passing through the
3d
executed as follows
is
The
right foot
carried
to the posterior
3d
position, touching
left foot,
where
now
free, is raised
These movements, if they are all executed upon one music syllable, constitute what is known
as
-o -3
J^-
1
i
i^_
/ML A
Fig. 317.
i
Fig. 315.
Fig. 316.
behind).
492.
commences from
it is
3d
493.
If the step
commences
in
pas coupe dessus (cutting step before) [Fig. 316]. the ad position and passes through the 1st (or another
it
is
OF DANCING
is
point above signifies dessous (behind); a short horizontal line below means dessus
(before).
This direction
If,
is
494.
as occurs in
is
by the arrow point. the step of the Mazurka, there is a strongly perceptible knockalso indicated
called a coupe
893).
495.
-3
i^O
<-3
1_
If the
foot
is
put
down
it is
in
an audible manner,
A
Fig. 319. Fig. 320.
Fig. 318.
The
pousse often occur in Russian dances, with the points of the feet turned
heels gliding
upon
the floor as
shown
in Fig. 48.
The
Pushed cutting
[
step, to the side, with parallel feet (coupe lateral pousse parallelement)
Fi g- 3
9l
le
Pushed, beaten, under-crossed cutting step, followed by gliding on the heel [coupe dessous pousse et frapp'e suiv'e d\un glissement sur
talon) [Fig. 320].
496.
If only the
first
is
executed, the
movement
is
called un demi-coupe.
itself,
constitute
as
a step, as
it
step
be.
temps
glisse,
fraisse, etc., as
may
4-
t -*
Pas Coupe,
to the
to the right,
left,
the
3d
is
right,
Pas
sition
from 2d
ball
poto
3*
Fig. 321.
3*
of
foot in 2d position,
is
b.
i38
GRAMMAR
The pas coupe forward finishes in anterior 4th balancing position of the right. The pas chasse forward finishes in posterior 4th ball position of the left. The positions in the^zj coupes are usually " balancing," while those of the pas
(almost without exception) touch the floor.
chasses
made
by
a light gliding
upon
the floor.
transfer
and
finishes
upon
Ballotes)
498.
balloter
means
and may be
kpjvL^I
V
Fig. 322.
fvplvTT
J^_
movement of a
499.
ship in a storm.
322 a shows the tossing step crossed behind and before {ballot e dessous et dessus). Fig. 322 b represents the tossing step crossed before and behind {ballote dessus et dessous). (The signs on the lower line are abbreviations.) 500. While pas ballote never contains less, it may contain more than two syllables.
Fig.
Note
Z2-
c\
3-
n-
J
Fig. 323.
n.
3'
^2,
_2-
AZ1
c.
IM\
d.
Pas
ballote
of three syllables,
Pas
ballote
of four syllables.
Exercise 70.
Fig. 324.
GRAMMAR
This enchainement
is
139
composed of a triple tossing step [pas ballot e) and a whip syllable [temps fouette) in anterior 3d balancing position. The whole is repeated alternately six times and finished with three alternate stamping steps in 3d position. The same enchainement is repeated upon the succeeding eight measures, commencing
with the other foot.
Stuffing Steps
[Pas de Bourree)
now obsolete dance which was once very popular in the province of Auvergne, France; this movement takes its name from that dance. The word bourre is an adjective, meaning "stuffing," and is most appropriately applied to the movements which go to make up this step. Indeed, it is not at all unlikely that the
501.
La
Bourree
is
the
name of
dance
itself
derived
the
as
its title
from
this quality
of the movement.
its
502.
As
name of
do the
this step
should indicate
peculiar quality of
movement
(in the
same manner
titles
glisses) the
name
^j
The
practice of
naming
is
extremely impracticable.
It
almost invari-
many
named
same manner. Is there one of our dancing masters who can state definitely the exact manner in which La Bourree was danced, or who would claim indeed that it was danced everywhere in the same marTfter? This element of doubt is eliminated by the use of an adjective which explains the quality of the movement, for this kind of a description is not subject to subsequent change of meaning.
cuted; while others differently
the
much
is
offered for the author's preference for the term pas bourre as
name
503.
While there
is
marked
similarity
steps, there
is
some degree by their names. That which is "stuffed" is usually stationary, while that which is "chased" is forced from its place, and these characteristics apply to the pas bourr'es and^j" chasses. In the pas bourre
in reality a considerable difference,
which
indicated in
is
is
momentarily held
in
glides forward;
its
and
in the
indicated
by the name
Pas Bourre may be executed in either 2-4 or 6-8 time. At the period when it was fashionable to dance Quadrilles, Contra-Dances, Ecossaises, Anglaises, etc., with slow and precise steps, such steps were known as pas de Bourre'es, and
504.
fill
Since that time, however, fashion has changed, and in place of the slow stuffing steps,
we
in
have quick chasing ones to correspond with the more rapid tempo now in vogue. 505. Ancient Stuffing Steps (Pas de Bourree Anciens). The word " ancient" is used,
this case, to distinguish
between
this step
stuffing step
which occurs
in
140
several of the
GRAMMAR
more
recent dances.
To
we
"
Exercise 71.
avant
et en arriere)
Fig. 325.
Forward (En avant). Posterior low balancing 4th position of right. Preparation Bend the supporting knee slightly and glide right foot Execution First syllable forward to 4th position, where it receives the weight of the body upon the thesis of the music, thus completing a whole step.
Exercise 71
a.
:
Second Syllable:terior
Glide
left
3d position and
transfer (half-step),
and
~~h\
(half-
_SX
o_^.
3-
JJL
I S^
The
left
succeeding
movement commences
FlG 326.
-
with the
Exercise 71
506.
starts
in the
countermotion.
one back-
ward usually
507.
At
The
al-
new
nr
<**&
nn
^dL
the
symbol
indicates a posterior
and the
number below it an anterior position. 508. Modern Stuffing Steps (Pas de Bourree Moderne). The pas bourre lateral has been applied, in some of the modern dances, in such a way that all three step movements are executed upon a single music syllable, or triole, or so that the first and second step movements coincide with the part measure, the third falling upon the first syllable of the full measure, as shown in the following exercise 509. Exercise 72. Over and Under Crossed Stuffing Steps to the Side (Pas de Bourree
:
GRAMMAR OF THE ART OF DANCING
zsx:
HI
-0-0
r-0
KLyAv
dessous
41Altv
5
tr~Ej
IL/Lv hd.
cJ^
i
^ i ^m
Fig. 327.
^
&
half,
^m
^o
During the
ries
first
half of this exercise, the steps are crossed in front or above, which car-
Exercise 73.
Rhythm
(Pas de Bourree en
rhythme de
[Fig. 328].
tiuuatioii
Fig. 328.
In executing the stuffing steps to the side, for example, to the right
the
left
the dancer
first
is
raises
2d position,
as preparation,
and from
either before or
music syllable
carried to 2d
Upon
is
upon
the third
its
music
again carried to
VsN,
o5
y/
V
00
>/
immediately
lifted to half-high
2d
Fig. 329.
511.
tion
;
In Spanish and Italian dances, the stuffing steps are usually made
in
fall
in the
3d
and
in different
512.
The
The symbol
s
"modern"
rounded and nearly perpendicular, while angular and horizontal. The same signs
and backward crossing
^-
j)f
-~~^
added
142
Exercise 74.
GRAMMAR
Step Sentence of Four Measures, Containing a Triple Jete Bourre Folbourre repete 3 fois^puis 1 jete et 1 in countermotion to compose an enchainement
(1
jete et
/t/\
hJLJJA
fe
^1^
Fig. 330.
513.
all ideas,
west wind was called Zephyr, and the name implies especially the qualities of the warm,
gentle, spring winds
who was
who was
These two
among
in the various
mythological
ballets.
therefore, natural to
this
name
has been
applied contains
514-
movements of
and
attractive quality.
The
usually applied, in
its
technical
movement of two
:
syllables,
in all directions,
upon
515.
Pas Tendu.
the preparatory anterior 4th balancing position, with the execution of a nirring step into
1st position,
goes backward
The second
jump upon
the
the
Fig. 331.
In the choregraphic
script, division
"a" shows
"b"
The word
tendu has been applied to this step because of the fact that the active
stretched during transition, notwithstanding the fact that the supporting leg neces-
"
OF DANCING
H3
stiff,
slightly
tip
bended during
of the foot should touch the floor in passing through the ist position.
517.
if
more agreeable
to the
meaning of the name pas de zephire. The term is beats gently backward and forward in 3d position during
to
name.
the
Pas de zephire, then, is a beating step [ 583]. 518. Although this step may be executed in the 2d
position,
it
is
2-4 intermediate, and by the addition of the corresponding movements of the upper body and arms, which are very easily determined, one may improvise many very agreeable exercises
[Fig- 33 2 l
-ft
4^
Fig. 332.
more
beautiful in
519.
and
it is
Pas de Zephire may also be composed of a coupe dessus and a temps hallone [528] often used in this form in that exquisite composition, the Gavotte de Vestris.
Exercise 75.
520.
Gliding Zephyr Step in 4th Position upon the Place {Pas de zephire
^33l
Fig. 333.
If the transition
is
symbol
of the floor;
if
executed in half-
movement
/I *
-T
K-^ TiX
^
*-
334 Exercise 75 b. Zephyr Step in 2-4 Position upon the Spot, with Quarter-Turns (indicated by the turning sign below the line of the floorj
'
[ 546].
'
144
GRAMMAR
Exercises 75 c and 75 d are completely drawn for the purpose of acquainting the reader with the signs, and in order to demonstrate the proper corresponding movements of the
In
75/ is composed
first
to the right
and then
to
de Basques)
around the Bay of Biscay, among whom there have always been many good dancers, and this movement forms the most important
521.
are a people
The Basques
who
live
is
also to be
found
it is
in the
Spanish
dances, such as the Aragonesa, the Gitana and the Cachucha, in which
in
executed either
in
3-4 or 3-8
522.
time.
It also exists in
it is
danced
2-4 or
6-8 time.
Exercise 76.
forward, b backward.
M. M.
120-144
J)
&
m
2-4 6
-
n
^O
5
24
^# ^
2^
4-5
uu
tm
conti.
ill
xl r\ O
f
<> >
4-5
s^
Z2_
-Z
4-5
jL.
LI
nuation
\Ji ZL
4-5
iJL
Z2_
tL.
conti.
Fig. 335.
In this step
all
The music
is
Cachucha.
Exercise 76
:
a.
Preparation
Second
syllable: Glide
and transfer [Fig. 336]. Third syllable: Glide right foot into posterior 5th and transfer [Fig. 337.]
or carry
left
K
Fig. 336.
H5
O
Backward.
Preparation
Posterior
. .
First syllable:
syllable:
left.
...
O o
2-4
4-5
FlG> ,, 7
'5
4th position.
Carry right lightly into 4-5 position and transfer. Third syllable: Glide left into anterior 5th position and transfer, thus leav
ing right foot free and prepared to
Second
commence
Exercise 77.
[Fig. 338].
MM. 72-80
= J
This step
524.
is
executed
first
to right
and then
to
left, as
The
first
and second
and 6-8 time, that they coinand the preparation, which begins in the part measure,
as to
movement
form
a syncopation.
The
same
forward movement, but go to the side, and the transition from one to anis
Exercise 78.
a forward, b
m H
,ki
525.
^^
8-4
#-*-
j = j
HZ
5-4 o-oo-
L 2 o TL^
5-4
-0O-
5
m s^ &m
o
r&z
re,
2-4
oCJO-o
JUJjp
o-00- 5
o
Fig. 339.
o
Turning, to the Right (6-8 Time) [Pas
Exercise 78
a.
in
The
legs
must be crossed
upon
Exercise 78
b.
in
en tournant a gauche).
This movement
526.
is
Abbreviated Script.
In the
first
two measures
in
146
In Fig. 340 the sign a signifies an entire Basque step with the right foot, and the sign b one with the left foot. The direction is indicated by the key. The tip of the free foot
o o
Fig. 340.
The symbol
of the
lateral
Basque step
is
The
Ball Step
(Pas Ballonne)
521.
its
name from
the circular
It is
it
movement of
may
also
may
be practiced alternately,
it is
usually applied
is,
Ball Syllable
(Temps Ballonne)
528.
If the circular
movement of
is
unaccompanied by
transfer, as in the
it is
Preparation
3d or 5th position of
the
left foot,
it
right.
The
first
syllable
is
commences
in the
jump on
carried in a circular
id position, where
left
q
/
_
*\
"
/[
~
,-* ~"~
'
(F^
(^s
[Fig. 341].
"
5*
3
5J0
same
direction,
necessary to add
is
>
H7
.*.
[Fig. 342].
u
t
^
s.
11
O-c 3-
P
-X.
O-l 3-
% 3
HM
*
I
I
a=
conti.
LJkiJ
3
A- J@L
ja.
l -03.&.
L^J^bJL^JL rO
7-0 3
r^n
feE
^ a^h^k^
i
d^
5"
_@_
-05-
-fT*
5
^_
g
Fig. 342.
#.
b.
c.
d.
The
Tortilles)
The simple turning movements are explained in 246 to 250 and the compound movement tortille and its choregraphic symbol (LL>), are dealt with in 251. The word tortille occurs very frequently in the descriptions of dances, particularly in
530.
^
tortille)
contains
transfer, all
For the purpose of abbreviation, the letter <IV has been chosen as a symbol, being composed of two v's, which letter is the symbol of a turn [251]. These steps may be executed upon the sole, ball, point or heel, or in balancing 53J
with which the steps coincide.
.
and
in all directions.
While they may be made independently of all other steps, they are often executed connection with other steps, and thus either form enchainments or complete them.
in
JL v/L
532.
ia
iA
II
v*.
/L
is
jl
jL w
wjl
Fig. 343.
In Fig. 343, a shows a twisting step on the sole of the right foot, from the 2d to the anterior 5th position (unpas tortille du pied droit sur lasemelle), consisting of an inward
I48
GRAMMAR
foot,
Note.
As
it
is
practically impossible to
make
a real turn
upon the
sole,
it
is
necessary to raise
either the heel or the ball of the foot in executing this step.
in the
script.
533.
Low
upon
position
(tortille
sur la demi-pointe et
le
talon du pied).
is
Demi-pointe means the ball of the foot, and the sign of transfer
placed above the symbol of
tortille to
fr
'
c\
JL 1AS^/L
'
turning
The signs below the turning movement is made upon the ball, and
sign
show
that the
the second
upon
the heel.
534.
et les
Twisting Steps upon the Heels and the Balls {Tortille surles Talons Demi-Pointes). This step is combined with afrappe in the 2d position,
tt
1/t
*
//
y
'
Twisting Step upon Both Feet in Opposite Directions (Tortille Bipede Contraire) [Fig. 344]. In this step there is a simultaneous turning of both feet, but the right foot
makes
a turn
first a
turn
ball,
upon
will
upon
left
foot
makes
on the
Tour
tortille^
which
be explained in 538.
*
0O-<;
A
Fig. 344.
7-OO
i
dA
Fig. 343.
is
*A.j A
Twisting Step upon Both Feet in the Same Direction (Tortille Bipede Simultane) [Fig. 345]. This step is composed of a simultaneous turning of both feet in the same di536.
rection, either
upon
tortille bipede
Leaping Twisting Step upon the Point and Heel, with Audible Lowering of the Ball of the Foot (Tortille Sautille sur la Pointe et le Talon et Termini par un Tape)
537.
[Fig. 345].
This movement
starts
right,
by throwball
put
down
forcibly
of the foot.
The
ment
is
made upon
the
538.
Movement from
feet in
the Place by
Tortille).
The
twisting step
upon both
er
line.
from the
It
place,
toward the
left,
and may
If,
OF DANCING
149
upon
a curved line,
it is
tortill'e
This
is
dances.
de Corps)
various turns and their differences have been explained in 126 and 127, and some reference to the turning of the rump has been made in 322 to 325. The term " rump turn " {tour de torse) applies only to the turning of that portion of
539.
The
the
feet.
is
executed mainly
in the hips,
The term
movement of
These movements are usually executed upon the points, or balls, of both or the feet, and they occasionally take place in the air. Only in very rare instances made upon the heels.
540.
are they
Whole or
Part Turns.
The
dancer
who
turns in one direction until he has resumed his original position describes a "whole turn."
If he stops the turning with his back to
them he executes
left
a "half-turn."
If he turns to
is
an "eighth-
turn."
541-
To make
3-4 position
If the weight
it
is
upon the
it
left foot
it
finishes in anterior
left.
3-4 position
of the right
if
is
on the
right foot
ends
in posterior
upon the
movement
rests
upon
the
aVs
bV
cl
UJUL Vh
s
_
TM
*s
-0-ti
Y
-0-t
II
A
9-0
if
r-0 -c
t-0-*
3"*
*-c
\A\\ T?
T-Q
Fig. 346.
Fig. 347.
Fig. 348.
left foot,
the result
is
upon
it
pro-
[Fig. 347].
quarter-turn to the right, from the 2d position, carries the right foot into anterior
;
while a similar
movement
to the left,
effect.
So
OF DANCING
[Fig. 349] reverses the position.
in
3d position
mentioned
left,
movement
(Do
elevations
quarter-turn to the
157 and 158.) from the anterior 4th position, brings the right into posterior
left
upon
Note.
Bear
in
mind the
distinction
as explained in the
note to 16.
half-turn to the right forward, from posterior 4-5 position, brings the right foot in-
The
5th position
is
changed
in the
same manner
as the 3d.
dVs
3*^3 7-OCKrO(H
\>
1
J
/*
f l/2
V2
Li JLJ
^7
4-5
V_^4-5
4-5
1LJL rX37
Fig. 351.
Fig. 349
Fig. 350.
542.
In order to
artistically
This
is
greatly facilitated
by
a preparatory
bending of
From
this
and
543.
raise the
body
A turn
and
to the right
one
in
his right;
By
upon
foot
and by turning
to the left
upon
the right
it
moves backward.
Turn of
the
Trunk
or
Rump
(Tour de Torse}
544-
is
and
a turn
is
545.
class,
therefore, a
more
skill
than
is
151
Choregraphy of Turning
Quarter-Turns upon One Foot (Quart de Tours de Corps sur
to
546.
a.
I'un Pied)
[Fig. 352].
Quarter-Turn
Quarter-Turn
le
the Right
le
pied droit)
abed
Vb
<^
_.
to the Left
upon
(Un quart
/*
^*~"
pied
droit).
Quarter-Turn
le
to the Left
pied gauche).
to the
Quarter-Turn
droite sur
le
pied gauche).
While this system of describing the quarter-turns is very simple, the symbols must be perfectly memorized before proceeding further, in order to clearly distinguish them from
547.
I'un Pied)
[Fig. 353].
Half-Turn
le
upon
pied
droit).
Half-Turn
le
to the Left
\/o
^-^
pied
droit).
K~^
^^
^f
Fig. 353.
Half-Turn
le
to the Left
upon
a gauche sur
h.
pied gauche).
to the
Half-Turn
le
pied gauche).
549.
i.
Whole Turn
pied
droit).
k
/~n
m
s~\ \Z7~
Whole Turn
le
to the Left
tour
,-v,
pied
to
droit).
\D
upon
the Left Foot
%J
^~\ V_J
Whole Turn
le
the Left
FlG
pied gauche).
to the
Whole Turn
550.
n.
One and a Half Turns upon One Foot (Tour de Corps One and a Half Turns to the Right upon the
et
[Fig. 355].
le
pied
droit).
n
IV2
O
fF^,
p
r^\
Q.
One and
et
to the Left
le
upon
the Right
Q
^^
^T^
Foot (Tour
p.
pied
droit).
y^
fig. 355.
^C +^
One and
et
to the Left
le
upon
the Left
Foot (Tour
q.
le
pied gauche).
One and
to the Right
upon
et
pied gauche).
152
551.
In
all
of the above mentioned turns, the movement of the supporting leg has been
reference to the occupation of the free one, which
shown without
may
Turns
in
the Air
(Tours en V Air)
Turns are sometimes executed during movement, or a vigorous turn in the air, which
552.
the continuance of a
will
jumping or throwing
be explained in
574.
The
Pirouette
(La
Pirouette)
553.
in turn,
is
Low
is
comes from gyrus, a turn. In the "Dictionary" of Noel and Chapsai, such
le
is
a turn
Un
body, which
is
held
upon
The
piroetta also means a complete turn upon the spot. In the "Stenochoregraphy " of Arthur de St. Leon, he says: " Pirouette se dit en danse
Italian
word
11
'
*"
is
called
From
554.
these quotations
it is
clearly
nically, a turn.
and rouette, a small wheel, and thus most happily describes this wheel-like rotation of the body upon the point of one foot containing one or more complete turns. Certain other authors besides those previously mentioned maintain that a pirouette must contain not less than three complete
is
call a single,
complete turn
"simple pirouette."
if,
555.
therefore, one or
more com-
may be
called pirouettes,
OF DANCING
'S3
if
whereas, quarter, half, or even entire or simple turns cannot be considered pirouettes
they occur in social dances.
556.
dedans).
Pirouettes
may be executed
in
(en dehors) or
inward (en
The backward
turns are usually called outward; and the forward turns, inward.
Simple Pirouettes
557.
The
Principal
Forms of
Sur
le
A la
En
seconde (in
Fig. 356.
Fig. 357.
Fig. 358.
Composite Pirouettes
(Pirouettes Composees}
558.
known
as pirouettes composees,
may
be formed by means of varying the carriage of the upper body and arms (des attitudes
et arabesques),
free
leg in transit,
his
own
method of
at the
executing pirouettes, and the following treatise upon them has been kindly and unselfishly prepared for this
i.54
GRAMMAR
left foot,
the
the right
is
Upon
the
first
syllable, the
body
is
raised
upon
left foot,
arms
almost shoul-
der-high.
Upon
both
left
is
lowered upon
Fig. 359.
foot
bended 2d position, during which the turned outward upon the point, thus thrusting
arm
is
is
rounded and
lifted
is
Upon
[
quickly
from the
floor
upon
the
left, in
Fi g- 359]-
Fig. 360.
Fig. 361.
Fig. 362.
560.
If the pirouette
is
le
cou-de-pied) the
body
[Fig. 361].
(a
la
seconde), the
horizontal
end [Fig.
side
561.
In
this
is
made
to the right,
is
i
Fig. 363. Fig. 304.
If the pirouette
is
made upon
movements
also starts
motion.
562.
This
is
GRAMMAR
In order to render the
first
155
more intelligible to the reader, it has been divided into four movements which have been marked a, b, c, and d [Fig. 364]. As this pirouette is executed upon the left foot, it starts from the anterior 3d position
syllable
of the right.
a shows the lifting of the right foot forward into the stretched 4th position, with sim-
movement of
shows the carriage of the right foot backward into the 4th
accompanied by
left
;
position,
upon
the
raised
and the
left
d shows
sition
in posterior
tip
4th po-
reaches the floor, the positions of the arms are changed before the
is
arm
is
All these
first
in
unbroken continuity,
after
opportunity for
In order to execute the pirouette, the weight must be once more transferred to the
left foot,
is
momentarily lowered
to the floor
arm
is
arm and
le
leg, to
Note.
is
If this pirouette
is
executed sur
cou-de-pied, the
it
The
563.
chiefly
carriage of the
arms
cou-de-pied
left
is
564-
princi-
pally aided
In
is
commencing
Outward
it is
executed
slightly
565.
cou-de-pied,
attitude,
566.
may
movement of
56
OF DANCING
cou-de-pied.
Pirouette a la seconde
et
cou-de pied.
En
dedans
Pirouette sur
le
cou-de-pied en tire-bouchon
of two turns).
Note.
This
pirouette generally precedes coupe, jete and a sharply accented step into posterior
it
its
principal use
is
in the
commencement
of a step or an enchainement.
are frequently
found
in the
Fig. 366.
Fig. 367.
Fig. 368.
Fig. 369.
567.
Pure Pirouette.
is
most
artistic.
Note.
Stullmueller, formerly royal solo dancer of Prussia, brought the pirouette sur
cou-de-pied
to seven rotations.
568.
ball,
the turns
may
may be
more complete
tions
and movements.
569.
The
they
if
may end
as
it
the pirouette
be finished too
event the time
570.
is
late is
is
may be
en T air.
;
The
the
pirouette sur
cou-de-pied effects a
upon
changement of the feet that is, if the turn foot in front, and ends with the right foot beskill
and
proof of great
and precision
if
'
started.
usually only
made
for the
purpose of aiding a
different embellishleft to
The
free leg
The The
pirouette
it
is
may
used
in
Air).
Sect.
is
552
number
While
2,jet'e
en tournant
the expres-
is
usually understood to
mean
the
body
575.
is
lifted in
feet.
This movement
sometimes called
respectively, a turn,
and
They
ers
who
have acquired so
much
perfection in
them
as to
They
are oftenest
employed by
They
in
strong
feet;
c,
single
.-
be
/\
d
/*"\
e
Ty-
air; e, finish-
^"^
It
S
symbol, the
\[
2*
jL
Choregraphy of the Pirouettes. The pirouettes are written in the same manner as the complete turns, but
576.
in addition
Fig. 370.
to the turning
letter
t,
meaning
tours, with
the corresponding
number,
foot;
b,
is
placed below.
upon the
foot;
c,
right
triple
left
(~~\
\t
abed
^\ f\
gt
"*
f"~\
quadruple outward
gt
4t
upon
it
the
left foot.
is
*~*
The symbol
distinguish
of the pirouette
be evident to those
who have
devoted
movements, that the description that he has given is the result of thorough knowledge of his subject, combined with many years of practice and the most exact observation or every movement.
much time
58
GRAMMAR
Thigh Beating
Syllables
[Temps
de
Cuisse)
577.
The word
cuisse,
as
used
in
movement the leg is entirely stretched and the thigh {cuisse) is so moved as to describe two lines upon the floor with the tip of the foot. On account of this unusual activity of the thigh, the movement is called temps or pas de cuisse, differing in accordance with the
non-transfer or transfer of the weight.
578.
Execution to the right [Fig. 372]. Preparation: 2d balancing position of In the part measure, the supporting leg is bended, and the left leg,
audibly with the
tip in
left.
2d position, after which movements the, dancer hops to the right upon the supporting right foot, and the left is put down again in the 2d and drawn audibly
entirely stretched, beats
o O
Fig. 37:
*5
579.
fer is
If several such
movements
same
foot,
no trans-
But
if
executed alternately,
them steps which are known as pas de traits de cuisse. They may be executed forward, backward or to the side. 580. These steps are very similar to beating steps, although no actual battement is made. Exercise 80. Thigh Beating Syllables and Steps [Temps de cuisse et pas de traits de
a transfer
must be added
cuisse)
[Fig. 373].
-o
Kivi.
o--
li vl
M
n
1
vl
1
IT.
1
v.
v^.
_2
4Ai
HvS
5-
l
1^
?^
^X>
dj
a.
v.
v^
TL vFig. 373.
E_v^
a droit e).
b.
d.
59
The
581.
script
The
definition, explanation
in
its
choregraphic
with both
582.
much
the same
manner
as grace
are
added
to a note of music
must be so much a part of the consume no more time than if they had been
;
for beatings
movement rendered
in
simple form.
are
all
and endurance
execution of the beating steps, and they belong to the theatrical dance exclusively.
Note.
The Zephyr
is
in the
3d position, referred to
in
517,
may
584are
battus
what
In Fig.
method of
counting them.
585.
At
point
let
battu
is
which
In the
name
movement of which
is
the result.
Fig. 374.
There
is
are, therefore,
two beatings,
changement of the
legs, in
which the
change
is
and upon one music syllable; of which the first an open position and the second is the resumption of
;
In the cuts, the beatings are shown commencing from the heels, and extending
lines.
588.
another beating
added
to
it.
may
if
upon
may be carried to any of the balancing positions. Crossed Jump {Capriole ou "Entrechat). This name is applied
word
intrecciare,
to
the repeated
which means
to
mani
*
intrecciate
This and many other examples and explanations have been taken, by permission, from Klemm's " Catechism."
i6o
OF DANCING
repeated beating together of the feet or legs with crossing called capriola, and the
as capriola intrecciata.
from
in the
may be made
as that
position, followed
by a strong jump.
The
ment
is
jump
move-
The
591.
in
open or
in closed position,
according to the
number
374 shows
3d
position.
375 represents an entrechat clos a trois which goes from a closed to an open position.
Fig.
(a closed
crossed
jump of
three beatings)
376 shows an entrechat ouvert a trois (a crossed jump of three beatings) going from an open to a closed position. Fig. 377 shows an entrechat a trois (Royal) beginning from a closed and ending in a
Fig.
closed position.
Note.
is
triple beating in
3d
position without
Fig. 375.
Fig. 377.
Fig.
The
easily
jumps
593.
Abbreviated Script.
composed of an appropriate of the complete choregraphy. Belcw it the number of the posiof the entrechat
is
The symbol
Fig.
tion in
a.
which
ends
is
added.
a
<^>
"3
b
XS>
2^1
C
<>
5^
379>
e
of>
3-1
"
oS
5
of right.
b.
c.
Entrechat ouvert a
Entrechat
clos
trois,
ending
in 2-1 position.
FlG
"
trois,
ending
of the right.
d.
e.
Entrechat
cinq,
ending
in
is
OF DANCING
161
The word
is
contretemps
which
is
used as a
ments
in
dancing which appear unexpectedly, and which seem to be contrary to the measure.
Fig.
clearly.
They
are executed
2d position, the free leg is carried into a closed position, then to an open one, and touches the supporting leg either behind and before, or before and behind, in 3d or 5th position in passing, but does not receive the weight. It is executed entirely upon one music syllable during a light jump upon
as follows
Thus
body
and
is
It
feature.
595.
it
name contretemps was applied on account of this The movement corresponds to the double beat in music which is called spondee. Whole Counter Beating {Contretemps Untier). This is a step of two syllables, and
executed forward, backward, sidewise, or in turning, for example, to the right.
:
may be
Preparation
Right foot
and
lift
Upon
down and
weight
is
the
first
is
put
Ha^/^-ATT n
4-5
Fig. 381.
<\5
which was
in the
described in
to be
made
same
direction, a transfer
is
added
to the
second syllable.
The whole
if
step appears almost to consist of an enchainement of pas glisse and pas bourre,
the point of the active foot lightly touches the floor during the beating with immediate
degage.
may
be executed as a
first syllable, if
desired.
Whole Counter-Beating
W^
1=^ A-ftX
4-5
^
-6
+~o
^
i
M
-6
cJ /
,-^K
lU
U
TO
/L^JUl-^
4-5
^
script,
etc.
i'"u^i ^
The
first
tM
rf/rrre
Fig. 382.
two measures contain the complete, and the third the abbreviated the musical symbol appears in the fourth measure.
596.
and
et "Pas Brises). It
was explained
in
i6i
coupe
GRAMMAR
meant a cut or divided step. Un pas brise is also a step of one of a jump, during which the free foot is carried from one open position to another, executing, in transit, a beating
before and behind (dessus
et dessous),
&
which
CjUp'e is
it
body.
While the
made
is
and divided
in the middle,
the brise
in
zig-zag form.
feet
Figs.
movements of the
597.
clearly
very clearly.
The
distinction
Brise
dcssits
Brise dessous
Fig. 384.
demonstrated
in Figs.
Fig. 383.
3|=E
-jr
TT
fftTC^
CN.T
m
a
Fig.
-,6.
n^L/L-^o-^
4-5 "5
-^V\
d.
Fig. 385.
is
movement
as
an embellish-
by beating. 598. If, after the beating, there is no transfer of weight, it is called un temps brise a broken syllable. Two or more such syllables, following one another upon the same foot, will finish in an open position but if they are executed alternately, there is an unavoidable transfer after each movement, constituting what are known as des pas brises alternatifs the alternating broken steps. 599. Although the beating in the brise is similar to that in the entrechat, there is this
in the brise the step begins
ment, and
difference
active, while
/J
"^\\
/[ ~~^\\
Fig. 387.
J\AA AAA.
ment
finds
its
Fig.
forms.
Exercise 82.
a.
Broken
Six over and under-crossed broken syllables to the right, one collecting syllable
transfer, followed
by the same movements to the left {Six temps brises dessous et dessus a droite, 1 assemble et 1 degage, en suite les memes mouvements a gauche). In the part measure and the first full measure, the complete choregraphy is given, and
and one
end of the melody indicates that the remainder of the enchainment goes toward the b contains the same brise syllables as a, but they are executed dessous
the abbreviated sign
is
The key
at the
first
left.
half of the
et dessus.
c.
Alternate broken steps forward {pas brises alternatifs en avant), followed in the
163
Alternate broken steps backward [pas Arises alternatifs en arriere), followed by the
M. M.
72-80= 4
HA
-*0
^ bA 1
ll
S^E
tiuuation.
A 1A A _A t
^
"T
A
A
'v
SiP
_i_
_k
o
>-
ron_
t
7^1
1
'o
JV
"?
t-"
H^ I4 \
.
t:
t L^i ^
jn
L
La
^m
Fig. 388.
Pigeon
Wing
Steps
[Ailes de Pigeons
Pzsto/ets)
600.
wing," which
is
similarity of the
its
other
name
seems to be unknown.
bris'e
601.
cuted
alternately,
place, or in turning.
602.
A single
may be compared
and the
trill
r-f
^^v
VVAAAA.
to striking a harp
alternate steps
[trillo).
from low
to high [arpeggio),
-
Fig. 389.
may be compared
(to the left).
to a continued
603.
Execution
left
is
upon the other foot [Fig. 389]. These movements are clearly demonstrated
in Fig.
390.
Fig. 390.
164
Exercise 83.
Wing
m
11
m
2-4
s ^ss
>
r
2-4
'
I
*-Jtr f
1 g g r
sin
conll
\^1
Fig. 391.
aH
nuation
The
first
two measures contain the complete choregraphy, and the third the musical
sign of repetition.
Chapter
XI
MONG other things, 7 likens dancing steps to words, combinations of steps to phrases J\ and sentences, and combinations of enchainements to paragraphs. Simple figures are
yi
compound
figures to stanzas,
poem. In the art of dancing, French terms are generally used, and step combinations are called phrases ; phrase combinations are known as enchainements ; and combinations of enchainements are called "strophes" or "couplets" ( 193 and 194). If the same phrases or enchainements are repeated, in like sequence, upon a certain number of measures of music, the whole is called a " periodical enchainement ," and several such periodical enchainements composed of the steps and syllables which have been described, will be given in this chapter, to promote
figures or strophes (as in the Quadrilles) to an entire
,
pound
skill in
execution and to demonstrate their application in various social and theatrical dances.
They
are
among
the
most helpful of
all
the exercises.
605.
We will commence with a combination of pas chassis and pas eleves, such as
of the Quadrilles.
occurs
in several
606.
These
erence to the
common method
solos, etc.,
while recog-
method contains
is
it
is left
judgment to select proper combinations and to substitute other music. In the latter case, however, care must be exercised that the rhythm exactly coincides with the \ ITtn step movements. Exercise 84 a. One Chasing and Two Raising Steps Forward {Une pas chasse et deux pas eleves
wm
m
T-N
Ez^
Fig. 392.
The
in
abbreviated script
is
used because the pas chasses have been described and explained
to 433.
tion
475 to 479, and thepas eleves in 430 upon the floor; that is, the figure.
The key
165
i66
GRAMMAR
One Chasing and Two
[Fig. 393].
$.
arriere)
Exercise 84
i r
Turn
to the Left
deux
[Fig. 394].
3^
Fig. 393.
Raising Steps
to the Right
Quarter-Turn
pas
feet
395]
The
turns
upon both
c.
in 541.
Exercise 84
& E
^TT
m
IK \3__
T-OO-*
{Traverse:
Trois
chasse s
et
demi-tour
Half-Turn
to the
Exercise 84^/.
demi-tour a droite) [Fig. 397]. Balance and Transfer {Balance-degage) [Fig. 398].
et
The meaning of
is
fe|
<N.
explained in
56 in their relation to
^
J&.S
3
positions.
^T\
Fig. 395.
upon
In
this exercise,
may
be introetc.
id.
duced,
608.
and then passes immediately into. 2d position. The full choregraphy is given in the
first
m
1
ZSi
wM m &M
Fig. 396.
#-=-
l
chasses
Turning by the hand {tour de main) with three pas right. Four measures [Fig. 399].
609.
and
a quarter-turn to the
The
;
expression balance
is
but
this
is
E
c Ik
mmp m
Fig. 397.
000*
buoyant movement upon the place, which is usually inferred from the term balance.
6*-
'3
As
compromise, however,
in
favor of
GRAMMAR
those
16 7
who have
cliasse.
jitisr?
rirrf
G
Fig. 398.
m$ mm
Fig. 399.
llA^i
&-r 3*
Chasing Steps Forward and Back, to Right and Left Across; to Right and Left to Centre, Balance Chasse, and Circular Chasing Steps Forward and Back (Chasse en avant et en arriere, a droite et a gauche, traverse, chasse a droite et a gauche, au milieu,
Exercise 85.
balance-chasse, chasse tourne en avant et de ret our) [Fig.
400]
is
Note.
one being
This
in
exercise
is
movement goes
for balance
substituted
d'egag'e.
is
a chass'e-
At xc
1m A
m
r
pa^
iiii
LUh
*t
t\
w ^ f
<tr <tr
3
tv^n 3TT73
70
-f\
>
^m
1r
mm
6
a
*.
j
5
r/rp
^5
lL n^
3
'
IK
tt/
^3
<tr
t^TT^K
3
3<
'3
/n
w m
<s
i
LI
Fig. 400.
m
6
?^+
^p
ll
r-OOr
*<s
I
3
1
One
Exercise 86.
Balance with
One Thrown
Stuffing Step,
et
One Zephyr
et
Step and
Thrown
par un jete-bourre
un pas de zephire
un jete-bourre)
[Fig. 401].
4-8
Fig. 401.
i68
Exercise 87.
One Zephyr
Step and
One Thrown
11
/^
T-0
-^>^-V~ \
^K r(v^
Fig. 402.
is
The two
measure
is
interpreting music.
The same
piece of music
used
in both,
first
legato,
movement
best fitted for the jet e bourr'e, and the legato for the pas de
therefore decide, from the music, the nature of the step to be danced; indeed, the rule can
who
how
In theatrical dancing, unless the composer writes his music to coincide with the
exe-
movements of the dance, the dancer must consider each note with minuteness, and cute each movement in exact coincidence with the music.
It
is
this feature
spectators,
is
and the
bestowed upon
artists
it
by most
is
ballet masters
beyond comprehension;
although
this quality
of coincidence
really the
mark of
of either sex,
now appear-
who
Exercise 88.
et glissades)
[Fig. 403].
pi
Ll
i
i
^
J
=fc
1
F7
Z2L
5
m
1
^a
*=
IS
+-*-
p I
o-=
^p
rs
Z2_
M il=S
I
i)
PP
,
A
mm
et
O,
jix
u m
0'f'
9-9-*h0
#0:0 EtI
0'
0-0
m-f m
Htttl
O
f=m
1 ^^
61
1
.
frg^o
1 ^o
is
Fig. 403.
The
old custom of executing the Quadrille steps with jete and assemble
are far
retained
by some conscientious teachers, for the reason that they than the walking or raising steps now in vogue.
more
artistic
and beautiful
GRAMMAR
169
no
who
will,
in this respect,
even though we
artistic
such a change
for correct
and
in
dancing
is
Exercise 89.
one, but
it is
P
1
Cc7
5
r^a f\
^m
/W
,
am
Z2.
3
WB ^
i Qs
p*
g
t>
J>
ei 5 w
Vi Iv.
m m?
m$
CX
??&,.
nh
Fig. 404.
Exercise 90.
iLUj^-Ll^l
jx
t=p
zfci
H=i
o
>-
^
-K
^^
A
:e
# lL \
^
mm
I
*,
4-
.'m m m P
IM P Ipp ip #
V-gFig. 405.
1f
-r^
C
>v
lZ
^X
:
Forward, one chasing, one throwing and one collecting step [En avant
et assemble).
chasse, jete
in)
[En arriere
8 fas
eleves
To
[A
right,
:
droite
two gliding and one zephyr step to left, two gliding and one zephyr step 2 glissades et 1 pas de z'ephire et a gauche ; les memes pas).
;
170
GRAMMAR
par 2
Exercise 91.
[Fig. 406].
i *e
fe
fe
m -
P-+
l*EEES
i
/
PP
2/
3E
5ith
Exercise 92.
-TK X
Fig. 406.
TN
^^^K
Combination of Chasing Step, Changement of the Legs, Cutting and ColChasses^ changements de jambes, coupes-assembles).
legs.
upon
the place, one cutting and one collecting step, alternating to right and
et
and
2 changements de jambes ; en
arriere, les
memes
pas sur
^
k ^
la place\
1 coupe
et
P^m
5
i
5 L
n^
HiP
n
7
4.
fjjfe
*"0_
^.p-N
r\
>
a_
Kk^^
Fig. 407.
^
N-
JBg.
cvr
Exercise 93.
The same
408 J.
n
PA
'
^
r ,r
a
p
,
r,
f\
h
X7
fa
IM IM
i-P
r I-r
tO-i
Dt.
^-*s~.A >\
Fig. 408.
OF DANCING
171
[Fig. 409].
i^#e$=m&
O
<L
^-^^^ mm
i.
3\
7-00-c
-7--r-0-<:
o-
Tours a gauche.
Par
et
S tours
Fig. 409.
a.
Traverse.
In the
first
com-
and
second
half,
a half-turn to the
This occupies four measures of music, and the " retransition "
(retraverse),
which
foot
contains the
b.
same movements,
differs
fills
This
from a
left
entire
movement going
to the left.
Midway of the
is
made and
left.
at the
movement goes
it
to the
This exercise
contains
first
and
a half turns.
Note.
If the reader has carefully studied the explanations and choregraphy of the turns and
pirouettes, in
546
to
is
unnecessary.
in
Exercise 95.
ing,
Turn-
and
Two
J_
J)
\
o
5
Fig. 410.
tendus).
jumped changements of
first to
Exercise 96.
172
Crossed
and
Left:
One Over-Crossed
u
L
The
^ lL
last
\ "\\-*K /
n
^X
i^a
A
Fig. 411.
^K M
^\
t^*\ <>2
that in Exercise
95 the steps are simple, and in Exercise 96 they are beaten. Exercise 97. Combination to the Right: a Throwing and a Stuffing Step Twice Executed, Followed by a Turning Chasing Step, and the Whole Repeated to the Left
(Phrase
:
2 jetes-bourres
et
un chasse-tourne a droite
et
repetition de la
phrase a gauche)
[Fig. 412].
^=4
<
^^
hL
ijjJ C/
4.
O-^ A
^e=
^g
fes
tai
_x
m
1K
5
~b
pE&
0->TT
*
JN
2i
^
/
7-OCK
ZK
^>-^ N-^
Fig. 412.
,>
I
5
7-OCK
Exercise 98.
Combination
to the
Right
Stuffing Step
Twice
Executed, Followed by a Turning Basque Step and a Zephyr Step, and the Same Steps
to the Left (Enchainement
droite;
et
1 pas de zephire; a
gauche;
les
-*O TT
r /*^
rr
m ^
St/
^
^--^4^
o
^
v y OrO(K
-o
IjA.
5
..4.
*&
o
*
S
/j^
""-^
^^ >
j"
^\
m
7-OCK
--
Fig. 413.
OF DANCING
173
Syllables,
Exercise 99.
Combination:
One
Gliding Step,
glisse,
Two Whip
and One
Fig. 4
14.
This combination
is
usually
known
name being derived from the quick time. The same name is someand under-crossed whip two measures back-
The movement
a.
right,
left,
The same
Exercise 100.
in
Turning
(Enchainement
et pirouette basque}
[Fig. 415].
%
<
^s
w
et
& tj^u1
Fig. 415.
=3
\
^m
000o
n
6
Forward, two Basque steps; backward, three stuffing and one collecting step; forward, two Basque steps; backward, two Basque steps in turning (En avant, 2 pas de basques; en
arriere
;
J pas
t our
de bourrees
1 assembl
en avant
2 pas de
basques en
nan t).
is
613.
This combination
found
in the
recognized as a model
it
by
all
the honor
various
movements
its
are
all
truly artistic.
This
exercises,
entire dance
may be
divided into
will
Chapter XII
THE upon
5), signifies
move
as a plan.
The
As
instruc-
come within
Grammar,
the
Author has
deduced and
in order to obtain a
method of representation that may be universally reliable and devised from them the symbolism described in the following
to be an adequate solution of the
intelligible, has
him
problem.
In the following table are given symbols of the dancers and the figure which each describes, the
A^ the lady under the letter B, of the lady under D, and the symbol of the
letter
Author
Noverre
Place
Paris
Date
1761
ABC
.r\,
E
<
,^\
Madel
Dancing Teachers' Society
B.
.
Erfurt
1805
H A^BC
/.
Vienna
Leipzig
1844
1855
1861
Klemm
(p.
Q
X
.
&
6
^-^
Bazaar
333)
....
.
Berlin
Berlin
-o
Bazaar
(p.
347)
1864
1885
/?^n
>
L. Manzotti
Milan
Berlin
o
ff
_>
A. Freising
F. A.
1885
J)
Zorn
Odessa
1887
J?
615.
By
it
will
agree as to the symbol of the figure of the gentleman and lady, by using a continuous
line to represent the
latter
174
GRAMMAR
his
*75
these symbols have
own
Even
been changed
of Fashions " ("Bazaar"), page 333, for 1 861, and page 347, for 1864. It will also be seen from the table that Balz, the inspector of the ballet in Berlin, used
the same signs in 1864 as did Noverre in Paris in 176
616.
It is plain that
1,
by individual choregraphs leads to unavoidable ambiguity, and that the only manner in which a script may become universally intelligible and definite is to adopt universal and arbitrary symbols which will not be subject to change, but which will remain the same during all time. After carefully considering each one of the systems referred to, the Author has selected
the use of different symbols
for the
purpose a sign of the person which corresponds to the anatomical structure of the
body.
Working upon
nations and
would need no
any language
(as
be perfectly
clear.
As
respects the person of the dancer in connection with the drawing of the figit
from
a point directly
above
it
we apply
to an imaginary
view of a
covthe
From
arms.
such a position, an observer would only see the top of the head, which of the feet would be only partly
is
ered with hair, the tip of the nose, the shoulders, and the horizontal
movements of
The
activity
visible.
618.
line
In drawing the symbol of the person, therefore, there has been taken the outfeet.
of the top of the head, the bone lines of the arms, and the soles of the
In these
may be known by
arm
lines
feet
by the
416 shows the complete drawing of the sign, and the respective abbreviations for the symbols of the gentleman and the lady. The arm line of the gentleman has been drawn with the palm upward and that of the lady with the palm downward, for the reason that the gentleman " presents " his hands and the lady " gives " hers in these positions. 0*0 619. To further distinguish the sexes, the symbol of the gentleman FlG l6 has been filled in, while that of the lady is in outline. Also the figure described by the gentleman is represented by a continuous line and that described by the lady by a dotted one. The symbol of the person is written at the starting point of the symbol of the figure, and the arrow head at its end, while the position signs are drawn at any point in the figure where distinctness demands them.
Fig.
CO
620.
it is
621.
a correct picture
of a figure
is
to actually
176
,.
This
practical
demonstration
will
convince
very
sons,
The representation of the various dancers by means of different colors would be much easier to follow, but it would be difficult to show more than six different perand the cost of drawing and printing
in
color
is
great, so small
nu-
merals by the side of the person signs, and along the direction
a
lines,
may
be used to represent
number of dancers. 623. For the purpose of drawing figures for use upon the stage, a frame representing the floor plan of the stage must be shown which provides similar arrangements and conditions at
all
times.
Fig.
a frame.
/
The
line a-a
it
F1" d
stage, dividing
known
pendicular middle
The
line.
line
b-b divides
is
forward and
known
as the horizontal
middle
/ I
1
Avant-i scene
a,
The
other,
is
point
c,
at
lines cross
one an-
fig. 417.
known
as
Five side scenes or "wings" are represented on each side; these are numbered from
the front backward, and the ends of the third pair rest
upon
passage
624.
is left
free
The term
person approaches the front of the stage, and the term monter means the opposite. These
expressions are literally correct, as applied to the stage, for the floor
the rear, so as to render
tion
is is
slightly elevated at
all
No
explana-
necessary as to dancing forward, backward or to the side, except that these directions
radiate
to his position
upon
625.
move
either
upward or downward, by
walking forward
626.
or he
may walk
or irregular lines, forward, backward, diagonally or sidewise. If the frame consists of a simple quadrilateral figure,
it
repreFig. 418.
from the auditorium. Fig. 418 shows such a frame. The dotted zig-zag shows the opening figure of the first couplet of the Cachucha, a Spanish solo dance, which is
sents only that portion of the stage
which
is
visible
fully explained
later in this
627.
et seq.~\.
ballet
plainly indi-
group
The
they are
in the
same
work.
Therefore, the
OF DANCING
seldom
as possible
177 cannot be
The French
."":
universally
z
/
.....
<1
'
JP
Oobo
known, and
regraphy,
is,
therefore,
more
1\
....-^...A
easily
demonstrated.
In
/
/
/'
dance in
Note.
detail.
3)l\\0b ^\ } -\
Fig. 419.
to devote so
may appear entirely superfluous to many readers many pages to the description of the ordinary Contre
It
Danse, whereas other writers have found a single page quite sufficient to answer the purpose; but
description has not been written for those
this
who
quence.
will
It
who
be enabled to clearly and satisfactorily answer, both for themselves and others, any question that
arise regarding this beautiful dance.
may
Chapter XIII
THE
ladies
means "opposite dance"; and the term quadrille, applied to dancing, means, technically, the assembling of four or more and a like number of gentlemen, in the form of a square (quarre).
term contre danse, translated
literally,
the
The Contra Dance and the Quadrille differ only in the positions of the dancers, same figures may be executed in either, in which case they retain the same names
it is
for
al-
though
names of the various simple and compound figures, this Grammar can recognize as authentic only the literal meaning of the term which is applied to each, for the reason that traditions and anecdotal references differ widely and not infrequently
With
respect to the
in Quadrilles.
They
are as follows
SYSTEM A
SYSTEM
I
24
I
3
2
These systems have been advocated by twelve different masters in their respective works, and in the following table these authorities are divided under the respective systems they advocate
:
SYSTEM A
1
SYSTEM
. .
...
Cellarius,
Paris
6 Martin, Philadelphia
....
4
5
Hamm
^74
. . .
1875
178
OF DANCING
is
179
not due entirely
European authority, for it will be noticed that an American appears among the supporters of System A. The Author had adhered consistently to System A for more than forty years, having
learned
it
in
System B
631.
There
are but
two couples
in a Contre
and 4
are,
therefore, merely
added
lady,
and that
couple
at the right
of the head
couple follow in third place, and must therefore be considered the true third couple.
Again, suppose a teacher asks a new pupil which are the second couple
he
will invari-
ably signify that opposite the head couple, as that will appear to him to be the natural
order.
System B has
ities,
also
been adopted by
recent author;
0f
u
among them being Freising, Wallner and Guttman the German Academy of the Art of Teaching Dancing also accepts that theory as
632.
correct.
hall to represent a
map
at
?>?
the top
North;
at the
bottom, South;
is
and
at the left,
hall,
Fig. 420.
West.
second
633.
and
in the
couple stand
North, the
South, the third in the West, and the fourth in the East [Fig. 420]. If the square be composed of eight couples, a letter is added to the number of
1
a are opposite,
{visNord
c is
if
there
Of
3a
lb
J*
t
4b
If two or
in
each
line,
the couples
marked a
first
O
4U
2a
J
3b
-b
634-
It
is
SiicP
Fig. 421.
couple in a Quadrille stand facing the orchestra, but there are frequent
exceptions to this rule.
the hall
room
at
Sometimes the couple facing the entrance to are called the head couple. Very often the orchestra is placed in an adjoining the side, in order to save the space in the hall which would otherwise be occuis
head couple.
The same
is
at
however, there
is
only a
violinist, as
is
teaching, a position
may be
will
l8o
if
best
served.
635.
In case neither the orchestra nor the entrance can serve as a guide
it
is
well to
The
is
first
place or place of
that place
which
at the
throne
is
never placed
The
It
is
first
place belongs
some
Muses
are
evoked
for the
beautifying of
wedding
festival,
and
to extend this
same
rule to
all
social functions.
first
637.
if at a
lady.
If,
cousin, or
anyone
else
is
whom
she
may
select.
first
If the function
rank
is
always given to that person and the guest of honour stands in the
place.
At
a birth-
affair,
always assumed to
place,
is
wherever he or she
may
stand.
to the first place, that point
hall.
is
In case there
arbitrarily
For the proper understanding of the diagrams which follow, it is necessary to specifically name each of the different parts, single and combined. We shall therefore first
638.
639.
The word
The term
is
fact that it
a simple figure.
A figure-strophe
stated
verses
composed of the enchainement of such simple figures, and as has been in 7, it may be likened to a stanza of poetry, composed of a number of lines or corresponding to the number of enchainement s of eight measures which constitute it.
l
Note.
sideration, because
Grammar,
French terms
names
for
movements,
l8l
is
there-
and
640.
The
Quadrille of the present day usually contains six couplets, which are called
by the following names: Pantalon, Ete, Poule, Trenis, Pastourelle and Finale. The fourth couplet {Trenis) was inserted many years after the others, and even now
is
it
not executed in
all
countries.
It
should perhaps be
it.
left
out entirely, as
it
too closely
Many
last
couplet so
many
is
different logical
and
illogical
most remarkable, the diligence of the orchestra, the good nature of the abused dancers, or the presumption of the so-called "manager" in undertaking to present something of which he is ignorant. 641. The number of figures and couplets varies from time to time. The Author saw at a very elaborate ball in Berlin in 1833 a French Quadrille of eleven couplets. In 1836
combinations that one
often at a loss to decide which
it
in
was customary, during the early part of the nineteenth century, for persons of
fashion to study
new
couplets for the Quadrille each year, and every one of these was
known by
danced
642.
its
specific
name, and
its
Persons
who had
weeks
as,
The
upon
simple figures usually bear the names of the geometrical forms which they
the floor,
for instance, chaine, balance, tour de
describe
main, traverse.
The
couplets or strophes bear names that are seldom suggestive of any object or
the names being often derived from the
title
movement,
name of its
inventor, or
some
The name
uncertain.
but these names are of no value, and are usually disregarded, because their derivation
"
is
The custom of speaking of simple figures," has been common for more than a
643.
technically incorrect.
figures as tours,
and of
entire strophes as
The
literal significance
is
a circular
means a single rotation of a wheel. of the Waltz, or sometimes, to waltz once around the hall. Balance and traverse may be called figures, but not tours, because, while they do contain movements which would describe certain lines upon the floor, they contain no turning, and the word tour implies that quality.
tour de roue
Certain rules relative to the execution of the various figures must be given, besides
the exact description of each of the drawings which follow.
644Division of
ous movements, to
counting
is
Time Measure. It is necessary, before applying music to the vari"count" the different steps and figures, and in Quadrilles such
In this division, however, the count relates to the number of music syllables or tempi,
and not
to the
number of measures.
182
syllables
GRAMMAR
and two
steps,
number of music syllables that count in the figures and not the number of measures in the same manner that a line of poetry is composed of a certain number of word syllables, irrespective of the number of words.
but
it is
the
;
645.
Signal (J\itournelle).
To
set,
Dance or Quadrille.
The music
646.
of the Quadrille starts immediately after the various couples are placed and
At
the beginning, the dancers wait during eight measures of the music,
played
at the
The most
creased to
when
it
or 6-8 time,
about
M.M.
100; but
for the
may
be in-
M.M.
116.
In this connection
may be mentioned
is
some
M.M.
144, which
even
Original Steps
647.
The
Dances
were
as follows
FIGURE
STEP COMBINATION
chass'e et
chass'e et
elev'es. elev'es.
elev'es. elev'es.
deux pas
Traverse (crossing).
Balance
chass'e (balance).
Un pas
chass'e et
deux pas
elev'es
a droit ou a
gauche.
elev'es.
648.
desires to
assemble
may be
elev'es, if
the dancer
It is a
the steps,
improve the execution of the steps (Exercise 88, 611). matter of profound regret that it is no longer fashionable to properly execute
further
that
it is
ing, to strictly
of children, and
aesthetic
movements which
it
affords [ 611].
83
Four pas de basques, executed alternately to the right and left, are substituted for and, if well executed, they present a very pretty effect. the balance in North Germany
;
608)
is
executed.
it is
now an almost
none
the less desirable or advantageous to learn the proper steps, and the correct
ecution, for the training that
is
;
method of ex-
movement and
who
measure
in a Quadrille, or
nothing of dancing.
651.
It
in the
execuartistic
more
beautiful than
is
it
now
appears.
it
Since that
a tyrant
would be
useless for the dancing master to appeal, so he has been obliged to follow
Even now,
person
may endeavour
to
walk
is
in
no attention
many
countries,
le
and
the figures are absolutely neglected, while certain persons exclaim, " Ce nest plus
de danser en mesure" (It
is
bon ton
to
dance
in
measure).
How
in that
sible to
is it
which
it is
fashionable?
may be
No
is
offensive to
common
and
to beauty.
it;
652.
He who
progress.
human
It
is
only
fair to
assume that
a person
who
tious
manager
at a ball, or
who
opportunity
and occasion arose, violate the laws of the state. It should be firmly impressed upon the minds of the young that their dancing is sure to indicate their character, their education and their breeding.
653.
This
is
in
conto
654is
be executed by as
lines.
many
In a Quadrille, however, at
least four
Indeed, sets
number
is
impracticable, and
should be avoided,
as
it
The music
for
184
OF DANCING
is
as the
of the
feet, a
656.
lacking to
fill
a set,
filling
both positions.
a hall
is
so
and then
rest,
it is
whenever
possible.
many
ladies as
may
is
en-
first
with one and then with the other, but unless this
feature.
done
657.
While
it is
sit
The
it is
ting while
two couples
and while
agreeable to be comfortably seated and to pass the time in conversation with an interest-
ing lady,
still
the practice tends to cause the couple to neglect the dance and therefore to
The
carrying of chairs
is
also inconvenient
and unpleasant.
658.
Before engaging a partner for the Quadrille, a gentleman should arrange for a
is,
vis-a-vis, that
another gentleman
a lady,
who
will
dance opposite
if
he
is
He
they
may
when
the signal
is
given.
185
Contredanse Franfaise)
PANTALON
name of this couplet is taken from its original music, which was the air of a French song commencing with the word " Pantalon," although the Italians believe the strophe to be named for one of the characters of the old Italian comedies and pantomimes, in which certain mythical personages, such as Pantalon, Polischinello, Colum659.
It
is
660.
title for a
In our language, a word like Pantalon would be entirely out of the question as a
strophe, and
it
the French.
would not appear unusual to our language many French words such as names
us,
but
it
which
in
if
translated literally
The
called
Those
figures in
chaines.
Of these
there are several different examples, such as cbaine anglaise, cbaine des dames, cbaine
in
and
others.
If
at
drawn upon the floor they would the precise moment in which all the hands
fact that
it is
would be the
is
result.
called "anglaise,"
from the
said to be of English
In the English language, although the name Pantalon is applied to the couplet, this figure is known as " right and left," while the chaine des dames is known as "ladies' chain,"
as
left."
it
so
named because
and back
it is
all
indicated by the
if
word
cbaine in
its title.
The
of advantage, for
one presents
his right
it
hand
will
hands with
should
at least
begin with the joining of the hands, for the sake of demonstration.
The number
I.,
'Entiere).
Eight measures.
The
first
couple
exchange places
to the vis-a-vis
86
GRAMMAR
by the
left
to position
hands.
This consumes four music measures, and is called demiThe same movements executed upon the succeeding four
anglaise entiere
'
[Fig. 423].
moved
hand
ures.
is
rounded
the
person to
whom
\^??
4Mesures
-
\\
ITukte)
The
term
se balancer
means
to rock or swing,
Mes
(Tukte)
FlG 422.
Fig. 423.
word "balance"
times written in
ing,"
also used.
The word
is
this
is
quite correct in
"prompt-
is
given as a command,
it
it
word renders
noun
noun
is
spelled balance.
This rule
is
and other similar terms. and the demi-balance, and fashion demanded, and it
At
the time of the composition of this figure, the dancers did actually rock from one
same manner
elaborate steps, as
became customary
steps have
But now
it is
and then
movement
663.
may be
even
in this dance,
not at
all
uncommon
to find
the
most
polite persons
V
\
,
^'
f
"\
necessary, but
quette.
It
is
none the
breach of
eti-
\\
V_y
s n \J
L
one
is
whom
he addresses;
this
it
;
so A
still,
\\
M
"
\ e *"
we
Fig. 424.
Fig. 425.
The
664.
face
whom
one
is
to dance, so
or both, hands with their partners and walk in a small circle around to place [Fig. 425].
It
is
at
present the general practice to give both hands in this figure, but
first
it
is
more
because the
name of the
if
both hands were intended, the plural form would be used and the
name would be
GRAMMAR
of the
I8 7
measures of music, which provide for eight walking steps, each about the length of one
feet.
hand is given, eight such steps will bring the dancers back to the exact place from which they started; but if both hands are given, eight such steps will carry them once and a half around the set. The same condition exists in the case of chasse steps. 665. V., VI. Complete Ladies' Chain (Chaine des Dames Entiere). Eight measures.
If one
The
ladies advance,
and give
by and give
left:
hands to
at the
who
commencement of
the figure to meet the visiting ladies, for which purpose they advance
its
repetition,
suc-
more
666.
VII.
In
it,
the couple join both hands, with the right crossed above
and proceed
v.
VI.
vm.
4Mes
Fig. 426.
Fig. 427.
667.
The word
demi means "half," and signifies that the figure leads only to the oppotheir places
site position,
by means of
a demi-chaine anglaise
consumes the remaining four measures of the music and ends the strophe
If,
is
and second couples wait while the "second party" couples) execute the same figures.
first
and fourth
ETE
668.
is
L'Ete, meaning
from the opening words of a song, upon whose melody the figures
for nearly
ct
En avant
deux
et en arriere, chasse
a droit e
88
et
GRAMMAR
a gauche, balance
et
a droite
above suc-
nation would require twenty-eight measures of music; thereby contradicting the rules, as
well as the sense of measure.
is
either the first chass'e a droite et a gauche or the balance (see p. 362, "
Manuel de
la
Danse,"
by
the
Blasis, revised
Paris, 1830).
The
word
comma and
are con-
If,
we
write retraverse
et balance, tour
de main,
nected, in which case only four measures of music are used, and the persons
who remain
followed
upon
by
a tour de
order in the
this
manner, and
it
is
given in
B.
Klemm.
IV.
II.
1
m.
1
1
0/ t
.'?. '*
/\
/*
k
2
6
2
o
2
V 22
4 Mes
Fig. 432.
(f
4 Mes
12
<>
4 Mes
Ta kte
4 Mes
Fig. 431.
Fig. 430.
Fig. 433.
669.
is
In places where
it is
( 609), the
its
couplet
natural
recommended because of
first
gentleman
I.
(vis-a-vis)
commence
Forward and Back Two (En A vantDeux et en Arriere). Four measures. One chasse and three fas eleves forward; same backward [Fig. 430]. II. To Right and Left (Chasse a Droite et a Gauche). Four measures [Fig. 431].
Note.
rect
neglect to return to place after this figure, as the omission would dis-
Many
left,
but this
is
incor-
a great deal
of space.
Crossing (Traverse).
line to the place
Four measures.
left in
curved
IV.
ures.
To
a Gauche au Milieu).
Four meas-
Especial care must be taken in this figure to reach the centre by means of the chasse
left, in
to the
order to regain one's position in proper time for the balance-chasse, which
89
it
VI. Turn by
Hand to Original
ain a voire
At
are repeated
first
gentle-
v
^==ri
x tt ..^~~
(L ^imi
V_^/
named.
670.
The custom
is
%Cr<^i <C7
>_,
superfluous.
The bows
taste.
to part-
V"^*
\Ty
Fig.
4-54.
the dance
,
are sufficient
,
. ,
for
good
Repeated
Fig. 43?.
would be
in a social call.
Of
for
many
Quadrilles, nois
tably in the Quadrille a la Cour, where they form a part of the figures, and allowance
made
them both in time and in music. However, the most elegant and artistic salon dances, the Minuet and the Gavotte, contain but four bows, two at the beginning and two at the end, the first being to the spectators and the second to the partner, in each case.
LA POULE
the original
name of
this
strophe (The
music, which, at the time of the balance, resembled the cackling of a hen.
The
the
first
figure
is
commenced by
|
man,
'
as in the
second strophe. r
(Traverse).
is
Q.
I.
Crossing
Four
j
11 f
'
D>
2
m.
t
H>
*
1
/ \
\
:
rr -*
measures. This
executed by join-
In
*
. 2
I
i
CO> C/
8
y
Z
/*^
4Mes
Fig. 437.
our measures.
-
4Mes
Fig. 456.
4 Mes
Fig. 438.
ouple join
left
.,
fifth
syllable, thus
forming an irregular
line in
may
Balance in
conveniently face one another [Fig. 437]. Line (Balance en Ligne). Four measures. In this figure, the ladies exeleves to the right,
:cute
first
left
while
'eleves
190
This balance
Still
is
GRAMMAR
to place.
avant a
droite^
movements back
This
is
very good,
properly executed.
la place.
One
person toward
whom
IV.
be noticed that
it is
the
who began
it is
left
and, as
enade that she change her place, she remains in this relative position, until the conclusion
at
The arms
V.
Two
(En JlvantDeux
is
et en Jlrriere).
Four measures.
It
is,
of
who commenced
It
the
673.
VI.
To
T>roite et
a Gauche).
Four measures.
was
at
V.
VI.
VD.
Z 2
via.
'/
4
1
a'O
l
4
1
4Mes
Fig. 440.
4Mes
Fig. 441.
4Mes
Fig. 442.
4Mes
Fig. 443.
left,
to
Forward and Back, Four (En Avant Qualre et en Arriere). In going back, one should turn the head slightly toward the partner, as avoiding a too automatic appearance, and rendering more apparent the
674-
VII.
Four measures.
if to
speak; thus
similarity of the
VIII. Half Right and Left (Demi-Chaine Anglaise). Four measures. This figure brings
the dancers to their original places in the set and restores the form of the square for the
LA TRENI
is
said to
have
is
invented
It is
now omitted
most
countries.
GRAMMAR
676.
it.
191
arises regarding
It
is
in
still
The Author
danced with an
danced with
Norway and
also
and
in other ways.
is
The
it
best course
to
it is
here.
677.
The
original
strophe, as
.
en
composed by Trenitz, was as follows: I First Couple Forward and Back (Premiere Couple Avant et en Jlrriere). Four measures [Fig. 444]. 678. There exist essential differences between the
couple, deux
words
easily
?
es
4 Mes
"
FlG 444-
FlG- 445-
by the term deux, which, as an unqualified numeral, does not imply any relationship between the persons
not, but are designated
is
to
whom
it
applied.
The word
couple in
French
is
who
and paire
and
couple de
2
.,
chevaux,
II.
etc. ("
Couple Forward; Lady Cross to Opposite; Gentleman Back to Place (Premiere Couple en Jlvant, la Dame Traverse, et le Cavalier T\etourne a
First
sa Place).
(-
?:'
.
first
couple forward
\
6
\ iN6
i
ft
4 Mes.
Fig. 446.
Mes.
Fig. 447
Three
(Traverse-Croise a Trois).
Four measures. In
two
ladies,
who
curved
are
line to the
outside,
to face their
own
partners
who
now
vis-a-vis
[Fig. 446].
IV.
Four measures.
proceed to their
In this the gentleman once more passes between the two ladies, and
original positions [Fig. 447].
V., VI.
Balance and
Turn
to Place (Balance et
Tour de Main).
Four measures
[Figs.
448, 449].
192
GRAMMAR
The
third figure
is
v.
vi.
execution
er oise.
In
%S
4 Mes
'
<o>
set,
in the
middle of the
In
set
and facing
it
own
these figures
who
and
4 Mes
Fig. 449.
Fig. 448.
recrosses
behind or outside.
first
This
its
figure
is
because
execution
is
680.
In some countries
still
executed as follows:
(LES TROIS
CROCHETS OU LA COQUILLE)
Four measures
[Fig. 450].
II.
Four measures.
In
this,
the
name and
the
The
ID.
TV.
n
4
2
2
4 Mes
Fig. 450.
4 Mes
Fig. 451.
4 Mes
Fig
452.
4 Mes"."
Fig. 453.
ner,
and returns
gentleman executes
(this circle is
a tour de
lady, in the centre of the set, presenting for the purpose his right hand, after which they
remain
Four measures
IV.
Turn by Hand
Main
a vos Places).
Four
193
it
it is
extends through only sixteen measures, whereas the music contains twenty-four. It may,
La
Trenis, but as an
independent
figure.
Many
per-
La
Coquille
(The be more
LA PASTOURELLE
(The Shepherdess) from
original
La
Pastourelle
its
First
et en Jlrriere).
Four
figure of
La
Trenis.
Meme
Couple en Avant, la
Dame
Traverse
Four measures
[Fig. 455].
II.
II
ft IV.
n
4
z
n
*
2 fob
1
VI.
f
LI
12
8 Mes.
Fig. 456.
2
2
4 Mes.
Fig. 454.
Mes.
Fig. 455.
Mes.
Fig. 457.
Mes.
Fig. 458.
682.
fois).
III.,
IV.
Eight measures [Fig. 456]. This figure was sometimes called chasse a
in
advanc-
ing turned his head toward the lady at his right, and in retiring toward the one on his
left, as
though
in pleasant conversation.
This greatly
in
too
automatic a manner.
This figure may be varied by the use of different arm positions, and one may, if sufficiently skillful, turn the ladies under the uplifted arms, as in the Allemande or Tyro683.
lienne.
The
684.
V., VI.
Solo.
Eight measures.
The
[Fig. 457]
and
to the right
and
left
Other than the ordinary Quadrille steps may, if desired, be danced; as, for instance, the so-called Cossack step but unless the gentleman is capable of executing such steps
;
194
skill.
This solo
main, the
first
is
with his vis-a-vis, and the second with his partner. Many dancers execute this solo as follows " Forward and back, and right to centre," omitting the " left to centre," and thus filling only
:
six
VU1.
as
ahead of
proper time.
to
VII.
Open Half-Circle
the
Left
(Demi-
Four measures.
This
an
4Mes.
Fig. 459.
It is called
open
half-circle,
VIII.
glaise).
back again to
(LES GRACES)
in
This strophe may be repeated under the name of The Graces (Les Graces),
is
This name
the
The Three
Graces," for
Greek mythology represents such a group, composed of three of the daughters of Zeus or Jupiter. They were the dispensers of grace, beauty and refinement, and presided over festivals, entertainments, dancing, music, painting and sculpture.
apres le
Solo
de la
dame.
(beauty) and
4 Me
Fig. 461.
Euphrosyne
Perhaps the
title
would be more
correct.
LA FINALE
of this strophe
is
self-explanatory.
Different combinations
may
be used to
The most
la
Cour
is
is
Album"
to be
found
in the twelfth
edition of the
6).
*95
The
combination sometimes
known
as
La
changement of the ladies, is among the final strophes most commonly used. The name La Rose (The Rose) is derived from the figure itself, which, if drawn, presents a design resembling that flower. This resemblance is nearly lost in the Contredanse, where only two couples form a set, but with eight couples the similarity to the flower is more marked.
couples).
Forward and Back, Four (EnJlvantQuatre eten Arriere). Four measures [Fig. 462]. Four measures [Fig. 463]. II. Exchange of Ladies (Changement des Dames). III. Forward and Back, Four (En Avant Quatre eten Arriere). Four measures [Fig. 464]. IV. Return of the Ladies (J{eprise des Dames). Four measures [Fig. 465].
I.
i
u.
1
111.
IV.
4M.
Fig. 463.
4M.
Fig. 465.
689.
who approach
them on the
is
danced by only
the set; that
who
stands at his
690.
As many
couples as desire
may
must be added
figure.
and, as
it
is
always necessary to
maintain an even
number of
first
Following the
strophe
as
the second, although the reason for so doing has no logical explanation.
The
second strophe
which
is
691.
own
partners, with
whom
it
friends,
who
will accept
as
196
a pleasantry, but
it
OF DANCING
should be avoided or at least very seldom used among strangers. It is " cheating " be done twice, thus occupying sixteen measures of music
who may,
at the
must hold
his partner in
left foot,
Waltz position, and the while the lady commences with the
PAS DE GALOP
Forward and Back, Four (En Jlvant Quatre et en Jlrriere). Three Simple Chasing Steps and One Whip Syllable to the Centre {Trots chassis simples et un fouett'e au milieu). Four measures. Both execute three simple chasing steps and one whip syllable forward, and the same movements backward [Fig. 466]. (See 478 to 482, and Exercises 59 and 60.)
I.
II.
et en Arriere).
the dancers
may
II.
IV.
ft
4M.
Fig. 466.
4M.
Fig. 467.
4M.
Fig. 469.
properly done and the execution does not interfere with the other dancers), provided that
the tempo
the
left,
is
maintained.
upon their right; but in the Galop, the Waltz position renders it necessary to pass by upon the right of the approaching couple [Fig. 467]. III. Forward and Back, Four (EnAvant Quatreel en Arriere). Four measures [Fig. 468]. IV. Recross, Four (J{etraverse a Quatre). Waltz position. Four measures [Fig. 469]. This figure is followed by another repetition of L'Ete, upon twenty-four measures, and this is unchanged whether the Rose or the Galop is danced, for its figures always follow one another in the same sequence.
allowing the vis-a-vis to cross
If,
is
as rep-
resented in
figure
is
as
No. II. [Fig. 467], but if" the reverse" shown in No. IV. [Fig. 469].
(a I'envers ou a rebours) is
danced, the
OF DANCING
197
ladies' windlass
693.
is
The
is
very popular
in
North Germany,
final
may
strophe.
chas-
gentlemen
to the right
upon
left
meeting,
or to
left
all
pa s
and
and
Four measures. The same figure in counter-motion. III. Ladies' Windlass (Moulinet des Dames). Four measures. Four ladies join right hands to form a cross and retain same while they walk once around the set to place. IV. Balance in Windlass and Turn to Place (Demi-Balance en Moulinet et Demi-Tour de Main). Four measures. The gentlemen, who have so far remained inactive in their places,
II.
now
receive the
left
in their
own right
hands, and
a half-turn,
all
execute a demi-
which the
by means of
gentlemen
in the centre
and prepared
man
all
gives his
left
hand
to his partner, to
set.
This figure is executed four times, and is followed upon the succeeding twenty-four measures by the entire strophe L'Ete. Upon the fifth repetition of this figure, the gentlemen offer their right arms to their
proceed once around the
partners and conduct
them
to seats.
still
further extended
figures
As the execution of these various figures and combinations depends largely upon number of dancers, their ability, the size of the hall, and the time allowed for dancing
therefore be
are
who may
it is
most
dancing-master may,
of a cer-
tain Finale,
but even he
may be
tute others
figures
where
a large
number
most thoroughly
drilled
may sometimes
fail;
very successful.
I.,
II.
Grand
Circle to Left and Right (Grande T(onde a Gauche et a Droite). Eight measall
ures.
left,
In this figure
join hands
and form
a closed circle,
to the
3d
position,
198
ing steps in a
circle.
turn to the
rig!
Dames au Milieu
et de J{etour).
The
[
Fi g-47!]I
V. Gentlemen to Centre and Balance (Les Cavaliers au Milieu et Demi-Balance sur Place). Four measures. The four gentlemen execute a chasse-tourne to the right to the centre,
let
II.
in.
IV.
f
*
*
N
.*
*
8 M.
Fig. 470.
b 4M.
4M.
Fig. 471.
Fig. 472.
do
likewise.
This demi-balance
upon
is
the same
movement
drawn into posterior 3d position and executed on the other foot, and requires two measures or four
the right while the
left is
syllables of
V., VI.
Turn
Dames
et
Eight measures.
These
walking steps,
V.
VI.
Ml.
--.
*J%,
4M.
Fig. 473.
4M.
Fig. 474.
-~>4
\
1
&^\
*
!
Fig. 475.
695. VII.
Left,
Tiuit).
and present the right hand upon the first to the next lady, and so on [Fig. 475]. During this figure the gentlemen pass in front of their ladies and continue in a serpentine line half around the circle, where they meet their own partners, who have simulthis all turn to partners
199
this figure
is
toward
toward the
of the
circle.
696.
calls
Eight measures have been prescribed for the demi-chaine a buit, but if the prompter merely " grande chaine! " it is always understood to mean grande chaine entiere, or
left all
way around; in which figure the dancers do not stop upon but continue the movement to places, thus requiring sixteen measthe
VIII.
T male).
Eight measures.
floor with ordinary
is
This figure
is
designed especially for the escorting of the ladies to their seats, for which purpose the
gentlemen
698.
from the
walking steps.
This
It
the most
commonly used
final
frequently pro-
longed.
699.
parties.
is
"prompt"
700.
It
is
at-
tempt
so
who know
little
regarding the figures as to be ignorant even of their names, to say nothing of their
combinations, frequently attempt to direct Quadrilles, prompting one thing and leading another, until, when the confusion has become complete, they call " cberchez vos dames!"
when
all
the dancers struggle to find their partners and to untangle the snarl into which
taste, are
given herewith
Left Half
Sixteen measures.
when they
The
gentle-
men
start inside
ladies.
must be lengthened
This figure
accordingly,
i.e.,
two measures
Balance and
Turn
to Place (Balance et
Tour de Main).
Eight measures.
who
For four couples. In this the arms are crossed as in the Promenade ( 666), and the first and second couples turn respectively to the third and fourth, thus forming two lines of four, diagonally across the set. I. Forward and Back, Eight (En Avant Jiuit et en Arriere). Four measures. II. Exchange of Ladies (Changement des Dames). Four measures. In this the first and
702.
The
200
GRAMMAR
gentlemen
who
present their
left
Forward and Back, Eight (En Avant Huit et en Jlrriere). Four measures. Repeat to next gentleman. These figures are then repeated, the second and fourth couples turning respectively to the third and first, and so on, until the ladies are once more restored to their original positions in the set.
This
ing
if
is
a very beautiful figure, if the lines are kept straight, butit loses
by the widenparticifig-
703.
The term
all
en avant huit
is
used
in all cases in
pate in the figure. Such expressions as en avant seize (sixteen) are not used, because the
ures are
704-
Not
less
in
number makes
I.
Dames au
Milieu).
ladies execute
I.
"
*
ex..
q
-V
""74
#
/
rs-'+
*;
HI.
P
y" a
O'
>
' -
Y- "O
r A
b
4M.
Fig. 477.
4M.
Fig. 476,
composed of ladies or of gentlemen, the right hand is presented palm upward and the left is given palm downward, and in the following manner: upon the first step of the balance which goes to the right, the right hand is presented, and upon the first step to the left, the left hand is given, thus closing the circle. II. Gentlemen Forward (Les Cavaliers' A'pprochenf). Four measures. The gentlemen
705.
If such a closed circle
entirely
take two short steps toward the centre, where they execute a demi-balance sur place, during
to
form a
477].
2C1
Eight measures.
The
circles as
and the gentlemen in another circle to their left, thus they are facing one another and producing a very attrac-
appearance [Fig. 478]. 706. Every figure is rendered easier by the execution of exact steps and the mainteThis figure, which contains sixteen steps, presents a better appearance
danced upon
upon
four.
Droite).
IV.
IV.
v.
VI.
**
^?
Mes.
^^
Fig. 480.
4 Mes.
n r\ O O O
(
"
Fig. 481.
V., VI.
Balance and
Turn
to Place (Balance et
Tour de Main).
is
repeated, as follows
The Gentlemen
les
Hands
(Les Cavaliers
au Milieu
el
Donnez
II.
Mains).
Ladies
The
Approchenl).
Four measures.
et
III.
Droile).
Sixteen measures.
IV.
Turn
Eight measures.
707.
I.
as
many
The
Form
Circle (Les
Dames
en
T{onde).
Four measures.
chass'e
The
circle.
with one
eleves.
They do
to
Tormer
Four measures.
Form the Wreath (Les Cavaliers en Avant The gentlemen advance to the ladies, cross
pour
their
202
OF DANCING
circle
arms
ladies'
arms and join hands, thus forming another closed and completing the wreath.
Wreath, Circle to Left (Guirlande, T\pnde a Gauche). Four or eight measures. Retaining the form of the wreath all walk to the left, half around the set. IV. Open the Wreath (Ouvrez la Guirlande). Four or eight measures. The first
couple release their
left
hands and
fall
at the other
end of
the
the line to form a straight column, thus utilizing the remainder of the music.
V.
Ladies Pass
Through
(Traversee de Dames).
Four measures. In
this figure,
gentlemen
raise their
is
forming what
hands so that the ladies may pass under and to the opposite side, known as an " English column," the ladies being upon one side and the
followed by
UTote
Generate, in
figures, as in the
second
En avant
deux
et en arriere.
Chasse a droit e
Traversee.
et
a gauche.
Chasse a droit e
et
a gauche.
be noticed from
now opposite partner, while the whole concludes with a march by couples, from which may proceed either a Finale Promenade, a Polonaise, a Grandfather Dance or any other movements that may be desired. 708. In case too many couples participate to permit the formation of a single wreath, two or more may be formed and the figures may be executed alike in each wreath. At the command " Open " both wreaths fall back and form two lines vis-a-vis.
made with
the
!
is
executed
first
by
all
all
the
gentlemen, and upon the second chasse a gauche they dance to the centre, and execute a
balance with partners instead of retraversee.
The
709.
may be added
is
203
The
(M.
Polonaise
M.88=J)
710.
is
or Procession.
whose honour
the ball
may
this
be given to greet the guests, and to invite them to participate in the enter-
tainment.
For
purpose, the lady so honoured makes a tour of the hall accompanied by her
The gentleman
line
Each couple, after having been greeted, fall into their way around the room until all have taken
behind the
couple
who
continue
The
is
a difficult
especially at private or
to follow the
house
parties.
It
the
example of the old Polish and French genat different points in the
tlemen,
712.
naise,
who
It
models of politeness.
to
was
at
exchange ladies
Polo-
now
is
obsolete.
713.
If no one lady has a particularly prominent part, as in the case of public parties,
fee
where an admission
ladies to
commence
the Polonaise.
to a social function
it
714its
casts
upon what
at the
The
Polonaise
is
sometimes executed
conclusion of a
ball,
but when
this
is
made
at the
are
expressive of a farewell.
The
to the
times,
moment, and are left judgment of the leading couple, who should, in selecting them, bear in mind at all (1) the amount of space necessary for their execution, (2) the number of participants,
different figures
and
716.
Many
exquisite figures for the Polonaise have been published in the various
works upon dancing, both old and new, with and without drawings.
sible to describe
plicity.
them
all,
717.
a better
appearance
the tallest
regular gradation.
204
facilitates the
GRAMMAR
work of
a teacher.
The
March commences
pair,
who wheel
It
to the left
in order.
I.
( 693)'
couples have
joined.
II.
Column
of
Twos
(Colonne a Deux).
In
this, all
other couples
fall in
line
behind
march up the centre of the hall, where the column is divided, and the gentlemen proceed to the left and the ladies to the right, around the room, meeting again at the starting point, and passing once more in colonne a deux to the head of the hall
the leading couple and
Twos. In
this,
the
first
couple go to the
left,
Column of Fours
Casting off Fours.
(Colonne a Quatre).
of the V.
and
right,
Column
is
of Eights (Colonne a
it
Tiuit).
This formation
is
of the hall
reached, where
and
the
right.
column
falling in
The
more to the head, where the dividColumn of Twos, the line once more casts off
la
and
VIII.
Passage cf the
First
Premiere Demi-Colonne).
first
Upon
in
led
by the
whom
last
they meet,
who
From
here
all
hall, for
the
IX.
Column (Passage
de la Seconde Demi-Colonne), in
which the
X. Passage of the Ladies Through the Middle (Les Dames Passent au Jffilieu). In this the couples separate and the ladies pass between the partners of the advancing columns. XI. Passage of the Gentlemen Through the Middle (Les Cavaliers Passent au Jffilieu).
On
meeting
head of the
hall,
and divides
for
Moon
(La Demi-Lune).
Upon
Both
lines
and the gentlemen join hands and move proceed in this manner to the meeting-place, where
As soon
as the
two
lines
have entirely passed one another, they turn, and the gentle-
GRAMMAR
men
of the
205
to the opposite ends
where the
and
all
718.
couples.
XIV. The Snake (Le Serpent). This figure may be executed The single file is better adapted to classes in which the sexes
is is
in single file or
are
At
formed
for the
XV. Grand
The
Waltz or a Polka, but if at the end, which may be done in two ways. 720. The first and more dignified manner is as
ball, lead into a
follows:
The
first
couple,
still
retain-
ing the hands, turn to the second and address, then pass to the third and address them,
and so on
whom
by each of the other couples, until the last have passed the first, when the Polonaise is ended. 721. The second manner of ending is less elaborate, and is preferred among acquaintances.
It
is
as follows:
Having formed
is
broken, and
falls
back
in
four lines to the ends and sides of the hall; the head and foot lines advance, address and
retire to their places,
ofFers
his
arm
722.
to his partner
to her seat.
is
company
too. large,
if
some of
more intricate be introduced, where there is a sufficient number of couples upon whose ability in dancing dependence may be placed. This, however, must be left to the conductor, who is usually
omitted, or others
may
be substituted or added
desired; or
in a position to
judge
as to the abilities
q( his guests.
Chapter
XIV
THE MINUET
45 2 J, has been taken from a manuscript copy which is said to have come down to us from Gardel. The text above the lines refers to the movements which are executed during the first rendering of the music, and that which appears below the lines retext [Fig.
fers to the
THE
724.
is
its
is
in
pos-
of
this
;
grammar
work.*
Minuet of
which
the
Queen
in its original
form
as
will
de la
Courj
Court Minuet may be found in the " Lexicon of Dances," of Rudolph Voss, and the " History of the Art of Dancing," by Albert Czerwinski, a more complete description is given by Bernhard Klemm
726.
Although much
in his "
Catechism."
is
The Minuet
to itself;
Its
it is
a grave
for
derived from the French word menu, which comes in turn from the Latin word minutus, meaning " small " or " dainty." From this fact we may infer that
the steps should be small
727.
name [Menuet]
and
daintily executed.
The music
executed in
3-4 time, the tempo slow (M.M. 56 J.) and the music should be a majestic manner (maestoso), with the accent falling upon the first music sylis
in
is
if
The music
* It
is
for the
Minuet
consists of
to be regretted that
which he
refers.
Ed.
206
207
is
repeated.
Inasmuch
as the entire
melody
is
is
also a Prelude
and a
Postlude of eight measures each, the entire dance, as hereafter described, extends through
first
introduced
at the
court of France.
the
{Menuet de
Cour)
is
ascribed to Pecour,
Musique du Menuet de
Salut.
la
Reine.
Fin du salut.
ca
2 d Pas grave
T
pa
Commencement par
le
Pas grave
Pas en tournant.
rw
m
3 pas
et
P&
m
mam
1
s p^ H s
Pas de cote
0-
n tm ^
1 1
-f
Pas de cote
1
p i i
i3
o^
rr^- *-*
1
Coupe pirouette
et droit
lemps leve
et
chasse.
en arriere.Pas grave
11
r * 0-*T-* h. ...1
TTtt-t-,
W Fl
gauche
Balance
]tna
9-
ma
Fin de menuet
^ m
1^1 *
%
i
DaJ segno al Coda.
P^
S *T 1 9 r-ftW3
1
CODA.
Fig. 482.
(1674- 1729), while the Menuet de la Reine, which is accounted the most beautiful as well as the most perfect and the most difficult ever written, is the work of Gardcl, and was composed for the celebration of the marriage of Marie Antoinette to Louis XVI., from which circumstance its name is derived. It was generally executed in conjunction
his period
its
Minuets have been written by many of the most celebrated composers, but the Menuet de la Cour is generally danced to the " Boat Song " from " Don Giovanni," by
208
GRAMMAR
Mozart.
730.
for
played twice
The Minuet
has been frequently termed the " queen of dances," and justly so,
is
so exquisitely graceful.
is
It
spread
to
many countries, was practiced in every European court, and it many places where one would hardly expect to find so beautiful
a dance.
Note. Norwegian
The
Author was
and out-of-the-way
Minuet.
He
known
to them.
list
731.
Although
value, the
it
is
perhaps
ridi-
culed by persons of
little taste,
is
and
as a
its
Minuet
and by those who are too ignorant to appreciate its beauty considered by all competent dancers and teachers of dancing
It frequently reappears,
most valuable
even now,
at
social functions,
among
those persons
who
still
retain
some
some
An
illustration
ana Bath," in
Minuet which was danced in the new hall of the "DiVienna, may be found upon page 220 of the German periodical, " Ueber
showing
a
Land und Meer," for 1861 (No. 14). 733. A Minuet Quadrille, composed by A. Freising, dancing teacher at the Royal University in Berlin, has been adapted by the members of the German Academy and incorporated in their course of instruction, for the purpose of aiding to revive the Minuet.
734.
script
in
No.
January
1st,
1886.
It
is
called the
written by
M.
The music
is
by E. Etesse.
There also appeared, during the latter part of 1886, another new Minuet, which was published by Franz Pechel, in Graz. It was presented and explained by means of three choregraphic drawings, with text, and was the work of Edward Eichler, graduated academic dancing master in Graz. The music was original and was composed by Franz
735.
Rafael.
Thus we may
now,
efforts are
made
to
do honour to
Steps of the
Minuet (Pas
de Menuet)
736.
There
it.
are, in the
ex-
clusively to
They
are as follows:
Minuet step to the right (Pas de menuet a droit e). Minuet step to the left (Pas de menuet a gauche). Minuet -step forward (Pas de menuet en avant). Minuet balance (Balance de menuet).
OF DANCING
209
Although the music of the Minuet is in 3-4 time, it is customary to so phrase it as to make four step movements coincide with six syllables of music. In teaching, however, it is preferable to divide the movements into six syllables of music, as this method is more easily understood by pupils, and by its use the simple movements are more easily accommodated to the music. 738, Exercise 102 shows the choregraphic representation of the different Minuet
steps
:
Minuet Step
to the
droit e)
[Fig. 483].
M.M. 56
-.
S2-
fl'ar
5
m
IK//.
O-r
5-
m
f r
r
-O-
Looking
>
5"
Z2_ it
Fig. 483.
Execution.
Preparation:
The
Raise the
First syllable.
upon
Second
into
syllable.
2d position.
Third
left leg,
syllable.
Bend
left foot,
Fourth
Stretch both legs and transfer the weight, thus bringing the right
Fifth syllable.
Sixth
syllable.
and
transfer,
thus bringing the right once more into anterior 5th position, and ready to begin the suc-
ceeding movement.
In the Minuet, two of these pas droits are always used in succession.
739.
Minuet Step
'
[Fig. 484].
*
o
m
rhJrl
jc^ K
*m
JL
)^L) e K 1
Fig. 484.
If
ILrK-K JLJL^X
Execution.
First Part.
Preparation
First syllable.
Bend
the supporting knee and raise the heel, at the same time gliding
it
Second
position.
syllable.
1st
2IO
Third
right heel,
syllable.
GRAMMAR
Glide the
left
Fourth
sition
Transfer.
Fifth syllable.
Bend
the
left
knee
po-
and
transfer.
Sixth syllable.
the
left leg,
Glide the
left
foot lightly to
2d position,
at the
and
transfer.
Second Part.
During the bending of the supporting posterior 4th position and transfer.
First syllable.
Note.
It will
first
first
of a step, this
syllable of the
Second
into
1
syllable.
foot
backward
st
position.
The
740-
Menuet
JALh^I
Execution.
^L.
JLJ gLjfi^k
-o_
Fig. 485.
11
jO..
J\
11
)[
First Part.
First syllable.
The
through the
1st
Second
into the
syllable.
left
3d and
foot in
heel, at the
left
posterior
3d
position.
Fourth
syllable.
Glide
left
Fifth syllable.
Advance
Glide
left
right foot to
transfer.
Sixth syllable.
Second Part.
sition,
The second
part
is
begun by the
right foot
which
starts
from
1st
po-
and the
first
first part.
Fifth syllable.
rise
left in
upon the
toes
and execute
Sixth syllable.
Lower
and
This half-turn accomplishes the change of direction necessary to the execution of the
figure of the
Minuet.
GRAMMAR
741-
211
Minuet Balance
[a]
Execution,
First syllable.
Glide right foot into anterior 4th, marking the 1st position in transit,
and
transfer.
Second
syllable.
Third
tion
syllable.
Fourth
and
syllable.
3d position. Carry same (left) into 2d flowing position. Put down left and glide same through the
Glide
left
to posterior
1st to posterior
4th posi-
transfer.
Fifth syllable.
Didelot, Bournonville, and certain other celebrated dancers have executed the
Same
as in a.
left
Second
syllable.
Mark
3d
posi-
tions in passing,
and
m
a
-S\
u.
i
0
3-
Ji
1
-o3 -o
-3
f//nl.
O
0-3
Fig. 486.
JJJL ^A
Third syllable, proceed into anterior 4th point position. Fourth syllable. Glide left a whole step backward to posterior 4th position and
Fifth syllable.
tions,
transfer.
Mark
and
If
I.
it is
form
front.
The
head of the
* t
column should
Fig. 487.
If space permits,
is
The
the
couples execute the same steps and figures, and exact uniformity of
the most important elements of the dance.
744-
movement
is
one of
The
at the right
of the line show the number of measures required for the execution of the figures.
745.
Exercise 103.
Minuet of
212
MM. 56
-i
Musique de Mozart.
1
Prelude
Vorspiel
mm
pour cond
m^m
uire
m mz
^rrrlrl^rimW
me
a la
p lace fixee
""^
1
$
danse.
ft/ a re?/
tN/s\/
la
da
pour
Platz
la
x
JT-t-
ma
um
1
die
i-
Dame
1
auf den
beslimmten
zn
voltj
lULi^JL
Vo.
2<la
\\r\M
gauche
Scfiriltsalz
rec/its
c/ie?i
Pas a
.de
2"!
droite
Schritlsalz
links
Pas
d.
O o
<
T3
dessglei
Sc/iraR
d
meme
oblique
Sc/m'tisatz
d
recfi Is
.2' r
Vebergang
Traverse
d".
Pas
d?
droite
>
da
Balance
de menu et
JKlL A
d
J-JbJbJ *
a
droite
L^KIKII
/L
J^JLtkU
aa 2 da
O o
o
du
SchriUsafz
d.
rec/its
Pas
d
Balance de menuet
d
Tour de ma in gauche
d
Kecnts
d?
a droite
Lints
d
a gauche
A"
|
o o
o
ma
Set/rag
Uebergang
2"
tra
d
verse
Rec/ils
d?
a droite
d 24?
o
#
Balance
d.
.
final
.
A -W
.
A JL~ ^IK
0 -o
HI
o-
I.MI
-w-O*-*.
II
Pas
. .
a
-
droite
.
.
d?
l"
.
.
Fig. 488.
SYLL.
FIRST COUPLET
Prelude.
MEAS.
During the
first
to them, and,
THE LADY
PART
THE GENTLEMAN
PART
The
The gentleman
foot to
2d position.
Transfers, and executes a quarter-
a quarter-
Draws the
left
3d
Draws the
position.
left
3d
position.
At
movements
OF
DANCING
213
Choregrapkie de F. A. Zorn.
Links
.
.3 te Uebergans
'~
3 e traverse oblique
I
ma
o
o c
o
3he.
.
2 da
.d
.
.
.d?..
w
'2.
-
Schritlsati
rechts
Pas
droite
1
o o
o
7-0 -*
l er
traver
2 da
.
.
Links
gauche
2'"' Uebergang
8? traverse
* n
o
it-
Rechts
Links.
gauche
....
2 da
.
.
Reverence au publique,
.
comme
\
l'int r oduction
-
et a la
dame, puis
Schluss
la
reconduir
.
sa
place
L ||o
Ferbeugungitt'. .wie.bei
der.
Einleitun\g
und
-beglei.
lung
Fig. 488.
SYLL.
746.
Bow.
MEAS.
The gentleman
inclines the
body
left
foot
backward
to pos-
terior
again
And
And
ward
3d
position.
ward
3d
position, at
747.
The
ordinary
bow of
the gentleman
is
upon
the place, but in order to coincide with the figure of the Minuet,
214
SYLL.
it
GRAMMAR
is
the
MEAS.
same
upon
2 3
the right;
upon
3d
posi-
the
left;
Transfer;
Transfer;
Draw
Draw
left
into anterior
3d
position.
tion.
Carry
left
position;
i
Transfer
Quarter-turn to right to face partner in 1st position.
Transfer;
Ouarter-turn to
in
1
left to face
partner
st
position.
1-2
transfer;
Carry
left to
2d position;
3-4
Draw
left
into posterior
left
dropping
5-6
1-2
Draw
3d
posi-
right
hand
to side;
Bow.
Ouarter-turn to
left,
Bow.
and
transfer;
Quarter-turn to right;
3-4
5-6
748.
Draw
right to anterior
3d position;
Draw
left to
anterior
3d position
Give hand.
Present hand.
of the Ladies (Introduction).
en avant. en avant.
The Leading
right foot.
2
in Fig.
now been
Pas de Menuet a
droite.
de de
de
de
a droite. a droite.
a gauche.
2 2 2
2
ni.
a gauche.
in Fig.
shown
commence
1
Fig. 490.
The
12
figure.
IV.
meas.
Note.
oblique,
The
first
double,
and the second couplet commences with the pas de Menuet a gauche and calls for the repetition of the entire melody.
principal figure
is
\l
F|G
750.
The
first
of the Minuet.
First repetition
of principal figure.
figure.
becomes necessary, or
Minuet, these
repeti-
may
are omitted in each half of the dance, there will result a very disturbing condition, as the
It
is
music
will contain
first
dancer to
orm
and the usual signal is a light clapping of the hands, immediately preceding the last pas de Menuet a gauche. By this signal all the
to be executed only once,
THIR D COUPLET
Minuet balance {Balance de Menuet). 751. During the conclusion of the balance
the right
arm should be
raised in readi-
ness to give the hand for the tour de main droite, which consists of
[droit ou gauche).
At
Ft g. 492.
at the
conclusion
In the pas
of the second, they should have passed entirely around one another.
de cote, the hands are released and the partners separate, passing to their original positions, the lady
by pas de menuet a
Following
this
is
droite.
arm
is
lowered gently,
left
arm,
1
6
VI.
Fig.
Pas
4 4
2l6
GRAMMAR
FOURTH COUPLET
After this the principal figure
is
MEAS
first
vn
traversee thereof filling the last four measures of the third couplet,
-,^V\
and the remainder the entire thirty-two measures of the fourth couplet; at the conclusion of which the dancers are in the positions
vVp
fig. 494.
shown
in Fig.
494.
2>6
FIFTH COUPLET
CODA (CONCLUSION)
*
752.
demi-tour des deux mains and two pas de menuet en avant, which
bring the dancers into the relative positions shown in Fig. 495, from which they again come to their original places the lady by
;
^
1
//
i*s
!
means of
menuet a
753.
FlG
droite.
is
The dance
but in-
stead of retreating
upon
Chapter
XV
THE GAVOTTE
THE
in
now
description,
to be
found
in the "
is
1588.
sible to
alterations
which would destroy the originality of the dance, and therefore render reproof the Gavotte which reached the highest mark of favour, and which
duction of no value.
755.
The music
at a
in
composed
756.
much
later date
than
title
of
la
effect;
and
as the
dance
a
may be executed
wonder
that so
worthy
The
is
first
part of the
Menuet de
la Reine,
by Gardel
( 728),
is
this
measures
executed.
During the
is
At
758.
It
in
mind
which contains the entire melody of the music, and that the word "figure"
the lines described by the dancers
to twelve
upon
the floor.
A single
from eight
measures of music.
Exercise 104.
759.
La Gavotte de G.
217
218
GRAMMAR
de G. Vestris.
la
La Gavotte
.*:
Choregraphie de F. A. Zorn.
Introduction. Menuet de
Reine.
g^ggg
Prelude
1
m
o 3
MM. 56
m.
.-
^ 3
conduit
^ W?
la
PEgfSfi
place fixee
m S^
pour
le
Le cavalier
la
dame a
commence
merit
n
9*
<
1
TT
8
o-3-
VJUJ
!sJJiisJJrsJJ
3*
3*
3*
-o
XalJL
o
3
J
IT
1.. .o 3o- -o
'IT
^-/O
3
o-
Jg_
hljJI -00-30
^ill^gill^=ilr
30 30
-3<
LaJJ
3
Gavotte.
MM
o
o
CD
76
fS ^S
*
m
JLa Eg
'
Role du dauseur.
La dame
^p
Ml
SS-
^m
fait les
^
111.
3
2 Fi S'
1
3
3.E*. 3
3-
ll Q^.
3-
TUJ 1
3
^*h W^^iU^&n I j
3
LJL
3
tyt^ rf O
IT
Fi,*"
Solo du danseur.
1
Fis 5
/i\M
.\
<?
O-
_o
2u^l
^1
|
3
Kg
4.1
IT
^
I
1
l
Solo de ladam<
T
TT
Fin-.
; .
oj y o
,
t^llijLL vL 3-0
^f"
ffi
3t
TT
^iFii
JJ_k
ggyrg;*;
,1
B-
f^^
-?
v --^
^T^
3tours.
Fig. 496.
SYLL.
Introduction.
"
La Menuet de
la
Reine."
MEAS.
Prelude.
The gentleman
to start,
is
THE LADY
I
PART
THE GENTLEMAN
PART
2
3
Draw
left
into anterior
3d
position
Draw
left
into posterior
3d
position
219
3 ' P"g
t
(i
/o.a?Fig
*cx4*Fig
-O
1
t
de
%
1
t^
autre
\\
\\
t1 f
l>
\f
.
h
-l p.
Repetition
pied
t
\
\ O
{ -o
t>
h 6^*
\
0
1 0
/
-0
\
b-
11
ILL
4* Fig.
3 Fig.
L
continu
.
tt~i
ation
es ^ i
1'autre
W
4-^4
1
~hiz3i
i A
I
Tf
(i
9 3Fig.
avec
pied
dos a
dos
5
f^[L^ 1
Fig.
vis
a vis
continuation
3* Fig
{07
4* Fig.
IT
se
L
La
finale
Tw
fait
1
*
l'introduction
1
par
la
1
l
1 a*i
partie
comme
er e
.
du
menuet de
la
Reine
Fig. 496.
SYLL.
I
MEAS.
Incline upper
body and
transfer;
Incline upper
body and
transfer, si-
and
transfer;
and transfer;
Draw
l
right to anterior
3d
position.
Draw
left to
anterior
3d
position.
~3
Three walking
Carry
left to
Execute
both
a quarter-turn
feet;
to left
on
Execute a quarter-turn
both
feet;
on
left.
220
SYLL.
I
2d position;
2 3
Transfer;
Draw
3d posi-
Draw
left
into posterior
3d
posi-
tion.
tion.
Incline
transfer,
Incline upper
body and
transfer;
Glide
left to
and
3
transfer;
left to
and
transfer;
Draw
Three
anterior
3d
position.
Draw
Three
Carry
right to anterior
3d
position.
glissades dessous,
to
left.
Carry
fer;
left
right
to
ad position and on
right,
transfer
a quarter-turn
Execute
terior
glid-
Execute
gliding
terior
quarter-turn
left in
semi-circle to pos-
3d position
3d position
Transfer.*
Transfer.*
The Gavottef
FIRST COUPLET (FORTY MEASURES)
Figure
1.
(Eight measures.)
1-3
1
Forward.
1-6 Note.
Backward.
Three jet'es
dessus.
The
:
first jet'e is
Forward
f
steps
The
and
is
The
same
221
meas.
Two jet'es
3d
dessous
position.
the music of the fourth and eighth measures renders this variation
Note.
The rhythm of
11.
necessary.
Figure
(Eight measures.)
Backward
dessus-dessous).
2
1
Recross to
behind lady.
2 1
Backward
Figure
111.
Upon
the place
2 2 2
commencing with left foot. Repetition of same two measures, commencing with right foot.
Repetition of preceding two measures,
Beginning with
posterior
left foot,
one
Upon Upon
the place
One
jambe
Figure IV.
3d position of
left.
/'
'autre pied.)
12
1.
(Eight measures).
[Exercise 100,
613].
Cross to
left
and
right.
Backward.
Cross to right and
left.
Backward.
Figure
11.
Two pas de basque. Two pas bourrees, and one assemble Two pas de basque brises. Two pirouettes basques to right.
Eight measures.
1
dessous.
2 1 2
The same
222
Figure
111.
GRAMMAR
(Twelve measures.)
Forward.
right, lady
with
left.
ballotte
ballotte
ballotte
ballotte
and one assemble dessous with left foot, during which the gentleman executes a quarter-turn to left, thus
2
2
coming dos-a-dos to partner. Backward. Four glissades croisees to left. Three-quarter-turn. Two jet es dessous and one assemble dessus, by which the gentleman comes into anterior 5th position of left.
Figure IV.
(Twelve measures.)
left,
lady's right)
in the eighth
measure.
12
Figure
1.
(Eight measures.)
Forward.
into
3d
position.
1
changement de jambe.
alternate temps de cuisse, right,
left,
Backward.
right, left.
Forward
into
3d
position.
2 2
11.
battue of two or
foot
2 2
Four pas
ailes
de pigeon.
left
before lady.
One One
chasse.
pirouette battue of
in an-
of right.
Backward.
Three pas
ailes
de pigeon.
223
meas.
(Twelve measures.)
Slightly forward.
One
lady to
outside the
circle.
One pas
ballotte.
Two
2 2 2
left foot.
Upon
the place.
One
ballotte
Backward.
in
an-
Figure IV.
(Twelve measures.)
Ronde separee
in
;
Slightly forward.
gentleman to
left
with
left
foot,
and lady to
6
same steps
counter-motion.
ballotte
ailes
Upon
the place.
One
Four
right.
Backward.
de pigeon.
One
Two
761.
Postlude.
ending
of
right.
first
part of the
Menuet de
la
Reine
is
first to
Chapter
XVI
the Galopade
word " galopade" refers to a similar movement in dancing. "Galopade" is, therefore, a more correct terme de danse than " galop." The dance which is now known as the Galop was formerly called the Galopade, which name signifies a dance movement to the side by means of simple chasing steps. The word Galop refers technically to a waltzlike turning by means of alternate chasing steps {chassis alternatifs). 763. This dance, being one of the simplest of the round dances, and having been althe
THE
"
is
the
a horse,
and
ready introduced in the closing figures of the Quadrilles, will undoubtedly appeal to the
teacher as the most natural transition to the round dances.
is
equally placed
upon both
tempi.
(See 476 and 477.) Simple chasing steps to the side should be practiced until the student is competent to
after
them smoothly, either in repetition or alternately, be added to the exercise. (See 476 and 488.)
which
a temps fouette
may
By combining
the enchainement
is
may be immediately
however,
to extend
a whip-step
should be used.
Exercise 105.
M.M.126: J
Fig. 497.
224
225
The
it
following figure
is
but
in practicing the
above combina-
A QJJATRE
COUPLES)
As
the
Waltz
position
is
assumed
arms
in this figure,
it
will
be necessary to
make
a digres-
it.
The
carriage of the
in Fig.
in the
as its
position, as
for the
shown
498.
The
arm behind the lady, in order to hold and guide her. The lady places her right hand, palm downward, in the gentleman's left, and her left hand upon the gentleman's right arm. Care should be taken that the feet do not touch.
gentleman to pass
his right
The
position
is
illustrated
Fig. 498.
Fig. 499.
Fig. 500.
766.
far
as to
bring her
elbow, thus drawing her hand close to him; neither should he contract the habit of supporting his
left
hand upon
is
a constant
menace
to other dancers.
The hand
takes too
much room
not only awkward and uncomfortable, but the idea that such an attitude is " smart " is absurd.
The
taste.
upon the right arm of her partner, for with freedom of movement, but is offensive to good
more common in our day than ever before. 767. The most correct Waltz position is a perfectly natural carriage of the body with both arms in 3d position. This is clearly shown in Fig. 498, above. 768. Had not our judgment and taste been perverted by that most unreasonable tyrant we call fashion, there is little doubt that we should unhesitatingly pronounce the Waltz position to be indecent, for even now it would be considered a flagrant insult should a
This lack of reserve
is
226
gentleman place
his
whom
he
is
sitting.
is
Why
then,
It
should such a liberty be excused, merely because the music of the dance
in the air?
is
the
769.
star [T etoile).
The
four couples
stand in the
in Fig. 501.
Waltz
shown
aa
*%
Fig. 501.
Note.
It is
left,
waltz position.
MEAS.
All execute three chass'es simples and on.e fouette with quarter-turn to right.
left foot.
be found that by turning the head slightly in the direction of the steps, the
turning will be
ing appearance.
more
easily
will present a
more
pleas-
4
8
The above
it is
figure, if
is
known
as
Tetoile simple
or
etoile
a quatre couples.
If executed by eight
couples,
known
double
star), in
which
form an octagon,
shown
in Fig. 502.
Couples
2, 4, 6
i, 3, 5
and couples
and 8 as the second party. First party. Forward to centre and thence
Second party.
First party.
Forward
to centre
first
and thence
4 4 4 4
16
Repetition of
four measures.
Second party.
Repetition of same
movements
to original places.
as a Cotillion figure with
Either star
may be executed
Galop
steps, or
by substituting
plainly
Mazurka- Polka.
Galop step
to the last figure of the Quadrille
is
The
strated
application of the
demon-
by
The Galop-Waltz
word "waltz " means to turn forward from the place, or to advance by turning; and in waltzing one either moves from his place by turning or causes his partner to move from place. Thus we may say that every round dance is a Waltz, the particular kind of Waltz being designated by prefixing another word.
771.
Literally, the
227
Galop and the dancer executes Galop steps, the addition of the turnings makes the dance a Galop-Waltz; in the same manner, Polka steps produce a Polka-Waltz, Mazurka steps a Mazurka- Waltz, and so on. 772. The steps of the Galop-Waltz are neither more nor less than the alternate simple
for instance, the
music
is
that of a
is
the side, thus forming the necessary preparation for the suc-
to to
must be made upon each chasse, and for this purpose the gentleman turns the left backward, and the lady to the right forward upon the first; and the gentleman the right forward and the lady to the left backward upon the second chasse. !Th. The Line of Direction. By means of the turns above described, the dancing
half-turn
circle,
around the
hall.
To
right,
illustrate: let
us imagine such a
circle
floor, as
the line
is
upon
at
which we are
to waltz.
his
and that
to the left
774.
a rule,
Waltz turns
to the right
upon the
line
in Fig. 503.
IV.
/
J ^_^s
Fig. 505. Fig. 506.
'-
Fig. 504.
The
the
left
reverse of this
movement
to the right
is
Figs. 505
in
*K
The
775.
upon
the
This variation
is
left
1 he
somewhat
less
228
GRAMMAR
a
whole turn.
in the
The
line
tinue in the
same general
hall in the
way of
who may be following have no contemplate changing, and for some couples to start
commence
the Galop with several simple chasing
around the
777.
It is
Particular attention
must be paid
fall
into false cadence, in which case his steps will not coincide either with
who
The
Pursuit
[La
Poursuite\
The Galop is varied by dancing directly forward without turning, in which movement the dancers move along the line of direction without revolving. This figure is called La Poursuite by the French, and in it the gentleman should always dance backwards,
778.
if
is
False)
779.
As
may
ticular species of
no such word
780.
is
Waltz may be indicated by prefixing a denominative word. If, however, prefixed, and the dance is spoken of simply as a " Waltz," one always under-
Germany
is
meant.
Waltz was danced, and that slowly, sometimes very slowly(56 Jj. This gave good dancers so smooth and easy an appearance that it was often said that they "could dance upon a plate." 781. Since that time, however, the beautiful three-step Waltz has disappeared in all but a few of the German states, and even there it is danced in more rapid tempo, the dancers sometimes demanding as nonsensical a tempo as 88 to ioo. 782. The proper tempo of a dance depends upon its nature, as has been explained in If the music is too slow, the dancer is unable to prolong the rhythm to coincide 407. with it, and if the next step is begun before its time the effect is extremely annoying. If the music is too rapid, it is difficult for the dancer to follow it without becoming " winded,"
and
is
artistic.
229
As
the result of
many experiments
tempo
in
come
to
is
Johann Strauss, senior, the Waltz king, played Waltzes at about 72, and Lanner rendered them at about 76. In Germany, the tempo runs from 69 to 72 in Paris, as high as 76; in tranquil England, from 66 to 69; and in Russia many young persons waltz at a tempo so rapid that few musicians can follow it.
784;
Valse a
Deux Temps)
785.
This Waltz should be called the Chasse- Waltz, or chasing step Waltz, and
it is
The
real False
a deux temps
is
described in 834,
The
so-called
Hop
come into vogue and nearly displaced the beautiful three-step Waltz. This so-called Vienna Waltz is, in reality, only the Galop danced in Waltz time, for the Viennese delight in rapid dancing and make everything a Galop, compelling even fashion to follow them by
their bewitching
merriment.
787.
It is the
rhythm, and not the step combination, which constitutes the difference
For the Galop-Waltz the music is written in 2-4 measure and rendered with practically the same accent on each syllable; the dancer therefore requires an equal length of time for
each step-syllable.
For the Valse a deux temps the music, which is accented first syllable, and the dancer in accenting
',
in
3-4 measure,
is
correspond with
the music
it
to
fill
will
prolongation
if
is
m
788.
MM
72
I
J*
JJtJ
-o
r.iJ d*Ja
mms
Fig. 507.
lJul LLM4J
Although Waltz music
is
always written
in
is
as
wide
a differ-
ence between the various compositions as between the different interpretations of them. For
23
the Chasse
OF DANCING
may
find in
=3=
^=g
H?E=^3
tt
u
Fig. 50S.
QEJEI
789.
54-60
= J. [Fig.
is
best, viz.,
M. M.
8a
790.
f^0
5fe
Fig. 509.
^
if
The
played at
tfe iBE
m
Still,
Z2I
mt
upon
the music
it
Fig. 510.
79J
notwithstanding
all
and a
really
will
fit
the requirements
gdjg 3
K
I
TO
4 J.
If
*JI^-P
i
Fig. 511.
111
g
[
=F=* ==
p rr
A
fl
O
g
Fig. 512.
792.
in
All that has been said regarding the Waltz position, direction, figure and changes,
is
OF DANCING
231
The Three
or Six-Step
793.
There
is little
more
al-
ready explained.
bles,
An
six sylla-
and
we may
style
it
proper.
794.
Exercise 107.
pm
3
MM.
54 4 72;
J-
^
JLJLJLz i
vIL-IUL
P^
s f
1-4
A
Fig. 513.
is
The key
line
to be
made along
the
of direction to the right, and the symbol of the gentleman means that the choregraphy
for the
gentleman only.
The
upon
the
first
pleted a half-turn.
Carry the right foot forward slightly toward the right into 4th posiGlide
foot forward into the crossed 4th position, executing at the
and
transfer.
Second
syllable.
left
same time
Third
left to
a half-turn
syllable.
upon
Draw
3d
position, transfer
and carry
commence-
left in
Glide right backward into crossed posterior 4th position, at the same
upon
left
the
left,
and
transfer.
Draw
the
3d
mediately carrying the right into anterior 4th balancing position [coupe dessous), ready to
repeat the sentence and completing the
795.
It
is
Waltz
turn.
Waltz turn
less
the dancer
either
more or
than a complete
rotation, in accordance with the requirements of maintaining the line of direction as ex-
plained in
775.
1^1
796.
It is
GRAMMAR
customary
for the
gentleman
commence upon
difficult,
the
first
note of the
first
first
The acquirement
far
from
and gracefully one must practice long and diligently. 797. There is no other round dance so conducive to dizziness as the Three-Step Waltz. One should therefore immediately stop upon the first appearance of this sensation, and
either turn three times in the opposite direction, thus dispelling
until
it
it,
has passed.
In
is
this
avoided
once
it is
likely to result in
agreeable feeling.
798.
in the
Galop, one
may dance
the
These
(see 8
variations were
first
Germany under
1 1),
about 1830.
The
/'
Envers)
799.
The
execution of this
echism"
"
in a masterly
manner:
movement
is
explained by Bernhard
Klemm
in his
"Cat-
The gentleman
left foot,
first
nary Waltz (to the right), after which he immediately commences the succeeding six steps
with the
right foot
turning to the
in the
left,
while the lady begins the same six steps with her
same direction as the gentleman." 800. Exercise jo8 shows the choregraphy of the " Reverse." In dancing it the gentleman commences with the first half of the sentence, and the lady with its second half [ 794,
and turns
Fig. 513*].
Polka)
801.
tion, as
Rarely,
if
much
honor, or so
much
attenit,
and apparently thought little of anything else. Every newspaper contained essays singing the praises of the dance, and persons dressed
their hair a la polka, with
pomade a
la polka, ate
cakes a
la polka,
wore gowns a
la polka,
for the
Every music
pictures,
"Polka"
all.
dance, that Professor Schlosser might have spent months had he reviewed them
GRAMMAR
At
that
*33
time the author travelled from Odessa to Vienna and Paris, for no other
visit the
most celebrated teachers of the Polka. And what did he find ? Only the dance which, as a child, he had learned from his father under the name of the " Scotch Waltz," and which he had shown to his pupils in Dresden in 1835, in Christiania
reason than to
in
known
802.
was n t however, until 1844 that Paris to those persons who understood how to advertise it.
>
this
dance became
The Tour
or the Parisian Polka, once so popular, has long since disappeared, and
composed
in
1845
is
m P ai
"i
s>
The music
is
of the Polka
in 2-4, or
eighth-note
said to
The
step-sentence, however,
commence upon this third eighth-note. 804. The Amazons Polka, by Emil Titl, was among the first of the so-called original Polkas, and The Tour (La Tour) or Parisian Polka, as well as the Polka-Quadrille were arranged upon that composition. The composer gave this music the title of" The Bohemian Amazons," and the degree of the metronome was so slow (88) that the steps could be executed with the utmost precision. In social dances, however, few young people are satisfied with such a tempo, and it
was accordingly accelerated.
executed
is
may be
The most
rapid
tempo
in
108.
Exercise 109.
MM. 88
rx
a 108
3t
1 ? p
3 -3
m ^ mm f
Fig. 514.
*' *b d *
ti*
805.
3-
3"
As
indicated by the key the steps are executed along the lines of the regular
Waltz
figure
upon
symbol shows
left,
is
He
commences with
the
left foot.
806.
right
Execution.
lifting
and
of the
the part-measure.
left foot,
First syllable.
Put down
and
transfer.
Second
syllable.
Third syllable. Glide left forward and sidewise, upon the sole, and transfer (this must be done whether one is dancing directly forward or is turning). Fourth syllable. Draw right into posterior low 3d balancing position, ready for the
step.
The "
pursuit " and the " reverse " are easier of execution in the Polka than in
are therefore
the
more
often danced.
234
808.
GRAMMAR
The Polka
has been
known by
identical in execution.
is
name of
in
809.
" Rheinlander." In Vienna and certain other portions of Austria, a so-called " Rush Polka"
and which
Bavaria
is
known
as the
is
is
is
played
in
Many
who
is
no hopping
in the Polka.
810.
There
is
in
which
to bring
among
the vari-
and that
is,
by maintaining
to
whom
questions
may be
established,
A
is
German Academy of
the
it
hoped
that
all
friends
move-
may
be effected.
Redowa
(Rejdovak^
811.
fro, in
In the Bohemian language the word rejdovat signifies to push by turning to and
at
is
same manner that one would grasp the shafts of a wagon and push it backward, the same time turning the shafts to guide it to a given place and the noun of the word
the
;
spelt rejdovak.
to the
tc
Three-Step Waltz,
of turns
in
line
of
812.
The number
in the
same direction
is
recommended
Four measures, Waltz turn to right. C( (C Gentleman going backward. cc tc Waltz turn to left. (C C( Lady going backward.
813.
This combination of
figures
was adopted
in
der the
13
Redowa
^m
Fig. 515.
*=*
#-*
*=
Redowaczka (Redowatschka\
814-
^he same
ing change to 2-4 measure, and the dance was called the " Redowaczka."
Exercise 111.
6].
Fig. 516.
815.
At
the time of the general acceptance of the Polka, similar variations were applied
to that dance,
and
it
it
to this day.
Note.
The French
final
of suppressing the
consonant.
and worthy compositions having been published under the title of " Redowa," by Karl Faust and others, in which a peculiar rhythm, similar to that of the
816.
beautiful
Many
Mazurka, was employed, it was thought worth while to invent a new step-sentence to correspond to them, and it is this that we now call the Redowa; and by an unimportant change in this sentence, or rather, by its repetition, the dance called the Mazurka-Polka was produced.
817.
(See 823.)
Exercise 112.
Modern Redowa-Step
M M 144
.-
>
.lUA-J^
Execution
i-u
AW a
Fig. 517.
mw
for
vm
*^
m^
left.
Preparation
gentleman
Anterior 3d position of
in
First syllable.
man
2d position (temps
/eve glisse),
and
transfers.
236
The
right foot
now
3d
is
slightly raised
Third syllable. The left foot, which hangs down and receives the weight, while the right is
balancing position.
ad balancing position,
is
now put
3d
These three
combination
tion
;
syllables
fill
a half-turn,
is
repeated in the second measure with the other foot, to complete the rota-
818.
In
this
it
facilitated
by the
lifting
(jete).
moveSuch
;
ment which
indeed
it is
more common
is
in the
Redowa than
its
in
name.
name of" Tyrolienne," and there are many compositions for it which have been made up solely of genuine Tyrolese airs. The disagreement which arises from such a condition is readily understood when one pauses
819.
The Redowa
hemian and the Tyrolese music which determines the proper title of the dance. such questions could only be suitably decided by a board of experts.
820. Again, the Redowa is, in certain other countries, known as the " Hunters' Schottische " or the " Hunters' Polka." These names, like those of many other dances and
steps, are difficult to
account
for.
been
cite
first
it.
least plausible,
we
will re-
About
tary
the time that the dance was introduced there was garrisoned in Berlin a mili-
body known as the "Neuchatel Hunters," composed largely of good-looking young men whose handsome uniforms were greatly admired by the young ladies. It is said that one of the " Hunters " executed the steps of the dance is so exquisite a manner that his comrades endeavored to imitate him, and that the ladies therefore gave the dance the name of the " Hunter " Schottische or Polka, which title eventually spread to other
places.
821.
It
is
invented at two
a
dif-
ferent places,
is
contingency
quite possible in the case of such combinations as the Polka step and in others which
names
in this case.
Would
it
Young
its
name
for that
regardless of
universal
academy of the
of dancing.
GRAMMAR
2 37
Mazurka-Polka or Polka-Mazur
usually referred to as the " Mazurka-Polka," although most of the musical compositions for it are marked " Polka-Mazur." Which is the correct title ?
823.
This dance
is
824-
Although the
and
at least a part
of the
in
Mazurka
it.
tempo
to be
Mazurka by
Now,
for
if in
the other round dances the music designates the character of the dance, as,
example,
in the
is
Galop-Waltz, which
is
in the
Mazurka
this
Waltz, which
825.
ation.
It
danced to Mazurka music, why should not the same rule apply to
Mazurka
may be
made
of easier pronunci-
826.
The
is
Marie Nicola-
ewna
Court
such was
origin.
He
it
will state,
was practiced
said to
The
original
music
is
given herewith
Exercise 113.
Mazurka-Polka
m m
MM
140: J
-m
3-
0-+
1 IX
m=t K~*ZU
^
ik.
Fig. 518.
Si
'
U 3
*~p-
f=m
$m m
Preparation
transfer.
Anterior 3d position of
left.
Temps
/eve glisse
and
Second
syllable.
Coupe dessous
Jete dessous
lateral.
Sixth syllable.
into posterior
upon
the
left,
followed by immediate
lifting
of right foot
3d balancing
position.
as a
consequence the
which contains
23 8
variety,
first
combined with the Galopade. In this case the first two measures may be danced a rebours with a half-turn, and the remaining two measures filled in by the Galopade, which consists of five chassis simples and one fouette. This combination, applied to the star figures, presents a beautiful appearance (see Exercise 105 and 770). 829. It would, however, be an improper combination to execute the first three syllables twice, and the last three only once, because the repetition of such an enchainement would constitute a period of only six measures, and would throw the dancers into false cadence but this would be remedied by executing the first three syllables three times and the last three once, as that combination would constitute an enchainement of eight
828.
The
enchainement
may
also be
Tyrolienne}
The
melodies of the Tyrolese dances are Alpine songs called Todlers and Land-
the accompaniment of which the boys and girls dance at weddings and festivals.
his partner gently
by the hand, turns her beneath his arm, revolves most skilfully, and sinks upon one knee, while she dances around him he perhaps finishes by lifting her high in the air, all of which is done to the music of a charming Three-Step Waltz.
;
Dresden, in 1835, a dance called the Tyrolese or Balance Waltz, the music of which was a genuine Tyrolese air. Following is its choregraphy
831.
The
author saw,
at
Exercise 114.
m
1
8
M.M.50rJ.
m
8
:
%
3"
Ss;
^c
o-
.K^-J a
A&jKri A
position.
3-.*
ms
3d
j ihK_N
Fig. 519.
Preparation
Waltz
Gentleman
in anterior
3d
position of right.
The gentleman
turning.
executes a demi-balance to
left,
while the lady executes a demi-balance to right with corresponding inclination, but no
GRAMMAR
First syllable.
239
transfers.
The gentleman
Raises
2d position and
Second
position.
syllable.
upon
left
foot
Third
syllable.
Lowers
Second Measure.
The
Third and Fourth Measures. Execute a complete rotation of the three-step Waltz, in which the gentleman leads backward with the second half, and the lady follows forward
with the
first
half of the
Waltz
step.
is
Two
measures.
left
Turn, disengage hands and execute Waltz turn, the gentleman to the
to the right, again joining hands.
Two
measures.
Twelve measures.
Other Tyrolese
the dance.
figures
may
be added
at will,
in
may
retire
maintained.
Tyrolienne de IJlcademie.
Tyrolienne
dances and
is
so arranged that
The
music, which
airs, is
by
in
Kdouard Herold of
833.
Berlin.
this
will
be given
another collection.
Its figures are briefly outlined in Freising's "
Dance-Album
Note.
Ed.
24-0
False Santillee)
834a
Waltz
the beginning of the nineteenth century there was danced, to very lively music, in 2-4 measure known as the " Hop Waltz." The step consisted of one jete and
as
At
one fouette>
shown
Exercise 115.
Hop
sautillee)
[Fig. 520].
m^ m m m wm 1 A
M.
M 144
* t
>;
>
wm
left
Fig. 520.
-
The key
signifies the
ordinary
Waltz
Preparation
Waltz
position
lady, posterior
3d
position of right.
During the part-measure, the gentleman lifts the left foot into 2d balancing position. First syllable. Jete into 2d position, with immediate lifting of right into posterior 3d
balancing position.
Second
syllable.
Hop upon
left
and extend
left
into
2d balancing position,
as
prepa-
During these two syllables a half-turn is executed, and the rotation is completed in the second measure by the repetition of the same combination with the other foot. The hop [saute) may, as shown in the script of the third and fourth measures, be substituted by zfouett'e, which will embellish the movement.
835.
The same
is
steps are also applied to the regular 3-4 Waltz, in which case there
is
no jete
and the
transfer of weight
is
This movement
the Balance
known
as the
movement
is
is
also called
Waltz [La
name
it
explained in
Klemm's
" Catechism."
GRAMMAR
241
While the name " Two-Step " or "Two-Step Waltz " is in itself literally correct, inasmuch as only two transfers of weight are made during a complete Waltz turn, it might be well to call it the " Degagee Waltz," to distinguish it from the Balancee Waltz of the
Tyrolienne.
Exercise 116.
$m
3~o
M.M. 69
J.
rr
==s i
Prjz
P
Fig. 521.
tJ f'r J
l
JE3Z
22
-ZFTZJl
K<^U
N
:
During the part-measure, the gentleman carries the left foot into 2d position, at the same time hopping upon the right. First syllable. Put down left in 2d position and transfer. Second syllable. Hop on left foot, simultaneously executing a rond de jambe en dehors
Execution.
First position.
Preparation
Third
syllable. syllable.
in
2d position, and
left into
transfer.
as preparation
Fourth
Hop
2d balancing position
These four
It is
syllables contain a
unnecessary to state that the lady executes the same movements as the gentleman,
very beautiful dance, by doubling the rond
part-measure
;
Persons of sufficient skill may make de jambe and " beating " the temps /eve
this a
in the
is
especially
The
836.
Waltz
it
in
5-4 measure, which was said to have originated in Paris, was at one
its
rhythm was
measure that
utter failure.
fashionable resulted in
837.
overtook the
in
Sicilienne
and descriptions,
1854.
They were
>
>
242
GRAMMAR
The
This was another round dance of the same period, but it was more favorablyreceived than the three preceding, and thus lived longer and spread farther. It is occa838.
sionally
danced even
839.
The
original
Exercise 117.
M M 120 a 144
r t
tf>
O
^f
&i
2
mm
K
O-
^
y^
Fig. 522.
t^m m
L-jq: A zM**x
id KK K
The key
^
l^
^V
L
is
AAM**JhU*JhlL^l k
to proceed
by means of the regular Waltz turns, along the line of direction to the right, and the auxiliary keys, which are under the part measures, indicate the particular direction in which the movements should go at that point,
indicates that the dance
until
may
by
increas-
Posterior
3d
position of
left
tion of sole.
First syllable.
Put down
left in
2d position and
With, right,
transfer.
Second
position.
syllable.
left
into
2d balancing
Third
syllable.
Jet'e
upon
left,
backward.
Fourth and
fifth syllables.
Put down
for the
duration of a half-note.
GRAMMAR
Sixth syllable.
position.
243
its
the rotation.
in
Waltz turn upon the second jet'e, execute a half-turn to the right forward. The same enchainement is repeated upon the next four measures.
In
this the
as follows:
Part measure.
The
foot
is
Put down
left in
2d position and
right.
transfer.
Second syllable. Coupe dessous lateral with Third syllable. Fouette dessous ( 487).
Fourth,
fifth
and sixth
Coupe
Jete
syllables.
Repetition of
first,
Seventh
syllable.
syllable.
Put down
left in
2d position and
Eighth
lateral.
left,
Ninth
syllable.
upon
3d and thence
to
2d balanfor
backward.
syllables.
Put down
right foot in
Twelfth
syllable.
is
This sentence
842.
backward into posterior 3d, and thence to 2d position. repeated upon the succeeding four measures with the other foot;
Carry
left
In
the
original music,
it
Johann
Strauss,
still
other
who
have followed these examples closely to discover or to invent suitable combinations for
however, the measure
843.
If,
is
it
will
be necessary to adapt
the
movements
Krakoviak [Cracovienne^
844.
That
it is
this
dance originated
in
Cracow may be
its
inferred from
its
very
name
but
although
not, as
sometimes
merely
a social
music and
movement
are alike
244
GRAMMAR
Of the many
which follows
1 1
compositions that have been published for this dance, the most popular
:
is
that
Exercise
8.
M.M.100 a108-. J
^-.
* * * # f 3
I
tn
3
iCi
4-5
n
.-.II
ip
A
4-5
s^
f^
J
C\
< lJL
^m IP m ? n^o ^ a
o?
^-^
5F
ga
JLDJL.. 8-
AAA
8
8
4-6
Fig. 523.
to
Both stand in anterior 3d sole position of right. Position The gentleman holds the lady as in Walz position, but allows his left arm hang naturally at the side, or supports it by placing the back of the closed hand upon
Preparation
:
:
his hip.
Note
Some
left
to raise
it
to 4th position.
The The
hand
lightly
upon
holds her dress gracefully with the right hand, or supports her hand open upon her hip.
Polish ladies assume this attitude with an inimitable grace, quite in keeping with
FIRST HALF
Both begin with the
2-4 measure
right foot
ordinaires
Mazurka
880
to 883), but in
left
foot
and
lifting
First Measure.
First syllable.
Put down
immediately
lifting left
which glides forward into 4-5 position, and transfer, foot into posterior 4th balancing position with slightly bended
right foot,
Second
syllable.
Hop
left
forward in a
circle to anterior
4th
upon
succeeding step.
Second Measure.
Repetition with
left foot.
foot.
The
boiteux,
lady executes a fourth pas ordinaire, and then crosses over by means of a tour
chainment
foot
First syllable.
Put down
left in
2d
right
upon
245
syllable.
coming
de ciseaux en tournant.
Many
second.
dancers execute, in place of the beating of heels, three audible steps in 3d sole
first
and third
are
This figure
is
is
quite in
harmony with
where excitement
almost unavoidable,
may
so degenerate as to
constitute the
first
SECOND HAL F
845.
boiteux, while
he executes three
strikes the
2d position, and
may be used as preparation for a repetition. Unless the enchainement is begun with the commencement of the clausula, the dancers will fall into false cadence, and the entire movement will appear ridiculous.
in
measures
de
Mazourka)
846.
in either
The
title
of this dance
is
self-explanatory, for
in periods
it is
3-4 or 6-8
Mazurka time
:
The
dance
become widely spread, but is particularly popular in Poland. Execution. Preparation Gentlemen left and lady right foot in anterior 3d position. The gentleman holds the left hand of the lady in his right and leads her through the first half of the enchainement, but assumes the regular Waltz position for the second half.
has
The
dance
may
graceful ways.
Exercise 119.
Mazurka-Waltz (Valse-Mazourka)
[Fig. 524].
U %
i^
I
dliJZl
m
v~v
^^"V
m
0
mm m
bJEA
/r
I
<?
f
Fig. 524.
_kJL ~
246
GRAMMAR
FIRST HALF
a.
first
man commencing
foot
SECOND HALF
During the succeeding four measures, which constitute the second half of the c!ausu a, the dancers assume the Waltz position, and execute the same steps with Waltz turns along
7
in
This enchainement, therefore, requires eight measures, and particular care should be taken it to observe the proper cadence.
847.
Any
The
as a
of the
Mazurka
the.
may
848.
Mazur,
For the sake of brevity, only four measures of the cises 1 19 a and 119^.
849.
in
Exer-
Execution of Exercise 119^ [Fig. 524]. Preparation: 1st position. During the part-measure the gentleman
carries the
left
2d
Pas
battu parallele.
(This
is
Second Measure.
the third syllable.
Pas
ordinaire to
left,
left
foot
upon
Exercise
119^
Repetition of the 1st and 2d with other foot. [Fig. 524]. (This exercise is described in Klemm's " Catechism"
as the False
Execution
The
first
measure of
2d position of the
left.
is
Jete to
and
left
transfer.
Second
syllable.
cute a half-turn to
Third
syllable.
backward into the crossed 4-5 ball position, and exethe left backward, finishing in anterior 3d position of left. Finish by coupe dessous with left.
Carry the
is
step-sentence
upon
the
other round dances, executes the same steps as the gentleman, but
movement along
the line
of direction.
^47
Galop-Polka or Glide-Polka
[U Esmeralda)
851.
side
This combination of
steps,
and one
is
perfectly described
and
so absolutely in
its
harmony with
the
rhythm of
a properly
sition that
good instance of
this.
Many
of
this
dancing-masters,
the
name of
the Galop-Polka,
little
a similar
it.
combination occurring
852.
sition,
in the
The music
is
in
any Polka music may be used, provided the rhythm given above the lines of the following example is applied. The dance is executed in Waltz position, and the part of
the lady
is
the exact counterpart of that written below for the execution of the gentleman.
853.
Exercise 120.
R1
* me -yJ^y>-M
MM. 92
a
])J)J)y
J)
100
J
t-_S3*
m
same time
This
key.
is
m
lw -sp-
V3
m^
^k
Fig. 525.
left.
?r##/-i
tyfif,,grifn'?
es m$
m
the
Ai^
left, at
upon
upon
the
first
immediately followed by two chassis simples, one coupe, and one jele to the
dur-
For
variety,
Waltz turn along the line of the same movements may be executed a
which occur
in the
direction, as indicated
rebours.
in
by the
Note.
The
different abbreviations
462,
479 an d 493-
Polka
854-
all
parts of
844, been executed in Bavaria under the name lander," and in the Rhenish countries it was known as the " Bavarian Polka." These names
" Rhein-
248
have
in
The
music, which
is
in 2-4
measure,
is
of 4-4 time.
France, England, Russia, Italy, Greece and various
it
would be
difficult to explain, if
is
indeed,
it
could
the
be satisfactorily determined,
how
all
the
title
"Schottische," which
the
German form of
its
adoption, untrans-
of
The Polka ( 801) was known as the "Schottische Waltz" about 1840. 856. The music given in the following exercise, which was composed in
Decombre, corresponds exactly with the rhythm of the dance and attained
Exercise 121.
Schottische [Fig. 526].
Paris
by A.
great popularity.
M.M.54; J
II
3-
/luL^lrt
Fig. 526.
Execution
Gentleman's
Preparation
: :
part.
:
Waltz position anterior 3d position of left. Direction To the right, by means of regular Waltz turns. First Measure. First syllable. Glide left to 2d position and transfer. Second syllable. Draw right into posterior 3d and transfer. Third syllable. Glide left into 2d position and transfer. Fourth syllable. Draw right into posterior balancing 3d position. Second Measure. The same movements are executed during the second measure with the other foot, and the first and third syllables of each measure are accented, thus giving a rocking movement to the combination. There is no turning during this rocking [balance) movement. Third Measure. First syllable. One jete to left. Second syllable. Hop upon left and raise right into posterior balancing 3d position. Third and fourth syllables. Repetition of first and second with other
foot.
Fourth Measure.
857.
whole turn
For the
step-
first
last
The first
OF DANCING
249
composed of two
chass'es-glisses alternatifs,
en tournant) otherwise
known
as
Pas de Rigaudon
[ 474].
common
fault
among
dancers to neglect the exact execution of this latter portion of the enchainement and thus
must not be allowed to remain in the balancing 2d position with horizontal sole at the end of the sentence, but must be carried backward from that place into posterior balancing 3d position, thus finishing in a closed
produce
a peculiarly
crude
effect.
The
foot
position.
858.
The whole
if
executed as
shown
in
Exercise 121
in
is
alternatifs [ 479],
final
movement of the second pas chasse may be regarded ficient preparation for the succeeding movement {sauteuse). The third measure the complete script, and commences with the putting down of the left foot (upon
This accentuation of the
syllable),
contains
the
first
it
The
light
hop upon the left foot, during which the right is raised and carried by means of a rond de jambe en /'air, through the posterior 4th and again into 2d position balancing, from which (upon the third syllable) it is put down, glides
to
Upon
2d
ball position,
The
measure.
859.
fourth syllable
left
marked by
lift-
ing of the
in
The
slow tempo
in
which
this
dance
is
syllables of each
a division of the
movement
a
is
as natural as if the
music
were
in
4-4 time,
If, as
of the Imperiale.
860.
the musicians have no music for either of these dances, any Polka played in half-time will
Many
dancers find
it
more convenient
but
to vary this
movement by
it
substituting
regular
Galop steps
from the beauty of the dance. Another variation which became extremely popular in Greece and
In
it
was
for a
Waltz
position, stood
a tour sur
and balanced,
after
place
upon one foot, the lady turning to the right, and the gentleman to the left. 862. In Germany and France this balancing is usually executed parallel to the line of direction, but in England it is the custom to execute the movement diagonally, with
the gentleman's face and the lady's back to the line of direction.
250
GRAMMAR
863.
As
its
name
sisters
is
of Hungarian origin.
It
was
it
first
executed in
Odessa by two
who, upon
their return
as a variation
of
may
be
fitted.
The
all
who saw
it,
and
it
864.
[Fig. 527].
MM. 108
jjgji
x
o
^^
95>
p=H
V
2L
mm 1^
1
If
AA,rAA
rT
\L IMsAA
\^, A
y
s
7
</><\>
yir*
AJAjb
jSl
SiP
A 1
<n>
Fig. 527.
^g_V
Tf./rl
<pq> ?V
eon.
tinuation
The
dance
is
Preparation.
sole position of
The
is
During the
first
is
made up of two ballonnes to the left, one assemble and one tortille bipede. The Gentleman's Part. During the part-measure, hop strongly upon the
left
right foot,
and carry
into balancing
2d position.
FIRST HALF
2d position and transfer. Second syllable. Bend left knee and carrv right foot into posterior balancing 3d position with perpendicular sole and point turned strongly outward, and transfer. Third and fourth syllables. Same as first and second.
First syllable.
left in
Put down
Fifth syllable.
Assemble.
In this the
left
foot
is
carried
right.
Temps tourne
en dedans.
In
and turned
entirely
outward.
known
as a tortille bipede
contraire [ 530].
Seventh
outward.
syllable.
1st position
Eighth
syllable.
Carry
left
SECOND HALF
The second
as follows
backward turning,
Bend both knees with weight upon right foot. Second syllable. Stretch forcibly, hopping upon right and lifting
balancing 2d position.
left
syllables.
Repetition of
first
and second
syllables.
left.
ending
in 1st position.
Eighth
syllable.
hop
upon
2d position. During these two measures, the gentleman executes a complete turn backward upon
right foot
into balancing
It
and carrying of
being supposed that pupils have learned the simple step-syllables, one
may
prompt the first half of the enchainement and the term sissonne or tour de ciseaux to prompt the second half for the purpose of teaching [ 468]. 866. The Lady's Part. During the first half of the enchainement the steps of the lady
correspond with those of the gentleman, but are of course executed
in
counter-motion. In
the second half, however, she executes a tour boiteux, for which the abbreviated sign of the
pas ballonnes
is
used [ 529].
Part-Measure.
Temps
leve.
This
is
executed as follows
left
by means of
Put down
Carry
right foot in
2d position and
first
transfer.
Second
syllable.
left
and
transfer.
syllables.
Repetition of
and second.
25?
These movements carry the dancers along the line of direction in a circle, the same as in the other round dances. 867. The gentleman may, if he wishes, vary the moveTnent, by himself executing the tour boiteux. This variation will be very agreeable if the right leg has become tired, as is
syllable.
Eighth
The
dance
may
also be varied
rebours.
In
may knock
shown
the heels
upon the
is
fifth,
sixth
and seventh
in the
seventh
[ 249].
In order to do
which occurs
upon
omitted.
868.
The The
dance
may
is
Hungarian composition
869.
is
observed.
may be
executed
by
Direction:
To
The gentleman
executes
and one frapp>e to the left with the left foot, and two battements e/eves with the right heel, by which a whole turn to the left is made. The lady executes the same steptwo
ballonn'es
sentence in counter-motion.
This figure
is
left
arm
arm
as to execute a turn
and
a half,
which
them
In
executed to the
left,
and the
arms are
raised.
is
derives
its
name from
all
who
Duchy of
also prac-
Masovia.
871.
ticed in
Paris,
"Mazurka" would
is
preferred above
others,
and
it is
many
It
found
its
way
it
where it was for a time extremely popular, but Polka, the Waltz and similar round dances.
872.
ability
The
reason
is
Mazurka
required
As
its
much time, patience and artistic result, many dancers never learned
in special favor, there
the
Mazurka, and
was
fre-
as to prevent
is
execution.
The
OF
DANCING
Q.53
mazurists, not satisfied with a half-hour (which any experienced manager will agree
is
demanding a full hour. There is little wonder that those who were unable to participate became impatient. 873. The Mazurka is, beyond question, the most beautiful social dance of our time, and the author knows by his experience of more than fifty years that everyone who has
properly acquired the dance prefers
874it
to
all
others.
This
is
in this singular
dance
lies in
dancer
is
at will,
The
not fixed, as
is
it is
in
Qua-
that
some change
always possible.
Besides, the
first
may im-
There is in this dance a certain inspiration not to be found in any other. Nearly every good Mazurka dancer feels an indescribable sensation entering his very soul and driving away all fatigue, immediately the first strains of a properly composed and correctly rendered Mazurka fall upon his ear. 875. It would be difficult, indeed, to accurately describe the characteristics of this dance; in fact, to fully appreciate its beauties one must have seen it executed again and again by accomplished dancers. The Mazurka is a combination of exalted pride and martial boldness, knightly gallantry and the most graceful devotedness. While it is commonly admitted that the Poles, as a nation, are skilful dancers, it cannot be affirmed that
all
is it
beyond the
possibility of other
them
The The
Mazurka
is fit
is
apparent
among
all
classes
of Polish
peasant,
who
The
in
same steps, but in a manner so elegant as to be perfectly company, the glistening parquet, and the magnificent deco-
The middle
Mazurka
in a
manner
in the
distinct
from
either,
combining
the
In aristocratic circles
middle
class
pas ordinaire
is
877.
It
seems
to
be the opinion of many people that a great deal of noise and the most
extravagant
of the
movements of all parts of the body add to the beauty and national character Mazurka, but this is not true. The dance may be perfectly executed without any
It
such accompaniments.
ceases to be beautiful.
may, of course,
is
like
anything
else,
be overdone, but
if so, it
878.
syllable
in either
accented, as
first
shown by
syllable
is
above
it
accentuation of the
also observed.
254
GRAMMAR
In teaching the steps,
a
actual execution of the steps, the swing of the dance leads the participants, almost involuntarily, into a
much
it is
quicker tempo;
M. M.
879.
original
176, and
danced.
Owing
and peculiar
steps, but
to themselves,
as
is
number of
Mazurka
we may take
:
Exercise 123.
Mazurka
MM
144 a 176
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in
Pas Glisse or Pas Ordinaire or P#s Je F/ore, etc. (Usual step of the gentleman). This step is the one most commonly used by gentlemen, both in the promenade and the figures. It is described in several works upon the art of dancing under the name
a.
pas
glisse,
but
many
call it
The Author
that the
has carefully examined the various names and he has finally concluded
name fas ordinaire is most appropriate, for the reason that other and different and movements may be understood by the term glisse, while the term flore, being
sion,
inex-
pressive of any quality or attribute of the step, appears to be merely an arbitrary expres-
which
is,
at best, unsatisfactory.
:
Preparation
1st position.
:
Part-measure
First syllable.
Hop
lightly
upon
the
left foot, at
the
same time
Put down
right foot,
*ss
left
foot
left
Third
syllable.
Hop
on
right,
and carry
ceeding step.
This step
of the
feet
is
it
complete choregraphic
step
is
Mazurka
as
commonly danced,
way.
but
in certain figures
of the
Mazurka
becomes par-
by them
881.
Preparation:
Part-measure
First syllable.
Hop
on
left
Put down
Second Third
next step.
syllable.
syllable. syllable.
Put down
left
Fourth
Hop,
falling audibly
upon
left,
for
The width
of this step varies according to the requirements of the figure and the space.
movement
is
first
and
This
given
in
always executed with the same foot, for to alternate would cause
It
is
to cease to be a
pas
boiteux.
',
in the turn
upon
sur place
The
figure generally
known
in
Poland
although these names are seldom heard except in the Polish countries.
Many
upon
This creates
a very
pretty effect.
Pas
boiteux
is
may
Basque Step or Running Step (Pas de Basque or Pas Courant) [Exercise 123
step,
For
and
ladies.
This
is
which
is
sometimes known
Pas Courant.
It has
in
449.
et
The
seq.\
known
as
Pas de Basque
521
There
who
dwell around the Bay of Biscay and the so-called Pas Courant of the Mazurka.
is
The
in either
down
in
cute the
same step
in
256
Basque
ployed.
is
GRAMMAR
always
made without
ever
em-
Pas de Pas or Pas de Bas, but these names are the result of mispronunciation of the word " Basque." In view of the facts above mentioned, it seems to the Author that the step would better be called the Pas Courant or Running Step, and he therefore makes that recommendation.
This step
is
sometimes referred
to as the
Part-measure: Carry right foot into anterior low balancing 4th position.
First syllable.
Throw
Glide
Coupe.
left
(jete).
Second
syllable.
Third
syllable.
This
from
its
now
succeeding step.
The
526.
Pas
as well;
this
by
ladies,
is
but they accentuate the third syllable to a more marked degree than do the Lidies;
audible accentuation, while quite proper in the dance, should never descend to the
level of a
rude tramping.
in
Pas courant should be practiced both forward and backward, for it occurs very frequently the various combinations and figures, and even in the promenade.
If one fancies the crossed position, the coupe should be
made
position.
883.
23
d\
1st position,
sim-
and most
is
common
pas
boiteux.
Upon
position,
the third syllable of the pas boiteux, the free foot, instead of passing into 4th
carried only into
2d
parallel,
is
simultaneously turned
to a corresponding angle.
The
upon
the
first
syllable
The
cal
first
symbol of
884-
repetition.
1
<?].
is
known
as phrases or step-
for
example, in the
e,
ordinaires,
and one assemble, constituting a phrase which extends through four measures. After this has been thoroughly practised, add a tour boiteux, which consists of three pas boiteux and one assemble, and also requires four measures. This constitutes the second
one
boi'.eux,
half of Exercise
23
e.
885.
The
This step
is
also
known
as Polish step
257
the Poles, and might,
Mazurka
manner of
manner
The word
the actual
movement by which
in this
The word
one foot
is,
one foot with the other, and as movement, struck against the other sidewise, the name " Sidewise Strikliable to
is
come
is
For this reason it might be called pas battu par allele or "Parallel Striking Step." The word lateral signifies the direction of the beating. For the sake of abbreviation, we may refer to the step as pas battu.
held nearly parallel for the execution of this step.
886.
Execution.
Part measure.
left
Raise the
left
Strike the
hop on the
right
Second
transfer.
syllable.
Carry
left
foot sidewise to
leg outward,
and
Third
syllable.
lift
the
left into
2d
Here
cers,
is
audible,
and although
this attribute
is
and quite
harmony with
Mazurka
wears spurs) one should, nevertheless, keep within the limit of good
applied in both directions; although in the promenade
left,
This step should be practised with equal diligence both to the right and
as
it is
to the
left,
it
is
cuted to the
887.
as
by
this
Two
or
formed, the
first
more pas battus may be executed in succession. If two of them be perfalls upon the third syllable of the preceding measure, and the second marking the cadence of the music.
battus require a full
by a pas ordinaire, and four pas battus. When executed consecutively, they extend through one and one-third measures, the fourth falling upon the cadence of the second measure.
This combination
after
is
immediately drawn to
Ordinaire.
it.
888.
dent.
It
Pas Battu
et
Pas
The
.
is
self-evi-
extends through two measures of music, and consists of one beating step and
in regular enchainement
;
If the
first
step
is
executed to the
left,
the
and the
last syllable
left
This sentence is sometimes used in the Promenade, brings one directly facing- the partner, and one to the right
One
it
is
258
GRAMMAR
only allowable under any circumstances to turn the back to the partner at the
striking.
moment
of
Pas Battu,
a very simple
;
first
the
is
executed to the
left,
the
follows the
same
direction,
and
made with
the right.
Both
The movement to the right is in counter-motion. By executing a complete rurn in the pas boiteux^ with corresponding movements of the head, body and arms, one may improvise very graceful and attractive figures indeed, the Mazurka-Quadrille, which has been highly favoured is made up of just such combinations. 890. Exercise 123/" contains the choregraphic script of this enchainment, which may be
;
described as follows
Preparation
1st position.
left
foot
is
Hop
lightly
upon
left
right sidewise.
Second
syllable.
Turn
left
same
to
2d position, where
it is
put
down
audibly and receives the weight, and immediately raise right into 2d position.
syllable.
Third
Put down
left
into
commence
the repetition.
These three
syllables constitute the so-called sidewise striking step {pas battu lateral).
Second Measure.
First syllable.
Put down
left
same
lightly into
2d position.
Second
syllable.
Transfer upon
bended half-high 2-4 position. Third syllable. Hop on left foot, maintaining same
Third Measure.
First syllable.
attitude.
and carry right through the half-high 2d into half-high anterior 4th position, thus beginning a whole turn, which is finished upon the Second syllable. Third syllable. Put down right foot in anterior 4-5 position, and turn upon the tip
lightly
left foot,
Hop
upon
of the
left
into
2d
first
position, parallel.
Fourth Measure.
Upon
and into
the
1st position,
which
is
The
shall
The key
is
in the fifth
259
89J.
is
other steps,
two pas
ordinaires.
It is
executed
in the place
right foot,
it
down
same
left
foot
Second
syllable.
Put down
Third syllable. Turn both heels outward. Fourth syllable. Strike heels together.
Fifth syllable.
Rest
in 1st position.
Sixth syllable.
entirely
opposed
to
all
in amplified
2d
position,
some
and
if this is
done
in a sufficiently skilful
manner
it
Dancers of exceptional
ability
may
movements which,
reality
These deviations must be permitted to those whose skill is so consummate as to render them beautiful. No other dance so freely lends itself to these deviations as does the Mazurka. This may be attributed to the individual freedom which it bestows upon the dancers.
directly
may be
opposed
893.
Preparation
3d
position.
left
foot
in anterior
4th position.
Second
syllable.
Third
syllable.
Bring
left
the supporting right, transfer, and carry right immediately into anterior 4th balancing
position in preparation for the succeeding step.
This phrase may be repeated consecutively, but can only be alternated by combining
it
260
GRAMMAR
894(
The
is
its
ordi-
However, unless she fully understands this movement and performs it with exquisite ease, she would better stick to the running step for, although the movement may be executed in a most beautiful manner, it is still a French step, and therefore entirely foreign to the character of the Mazurka.
nary grace, the change
delightful.
;
895.
origin,
is
more or
in the
It consists
side,
promenade,
in
which the
to the left
and the
The movement
is
is
commenced by
gliding the
foot into
2d position and
transferring,
left,
thus bringing the right into preparatory 2d position with the weight
upon
the
which
assumed
to be in 1st position.
The
This
phrase begins upon the 3d syllable of the measure, upon which the right foot
to the side.
repeated
is
upon
the
first
syl-
In executing
this
movement, the
in
upon
and the cut in the rhythm are thrown into bold relief. There can be no other or more definite rule for the number of repetitions of the various Mazurka steps than that they must clearly mark a cadence of either two, four or eight
measures.
Scissor Step
[Pas de Ciseaux)
896.
(
in
844) and the Hungarian Waltz ( 863). sis sonne, to ciseaux is accounted for in 468.
Section
general form,
470
movement
as
<l6\
supplemented by subsequent raising [Pas de ciseaux releve). description of this movement may be found in Exercise 62 ( 470).
it is
The
choregraphic
This step
right foot.
is
in
upon
it
the
897.
It has already
is
great,
and
may
one might
fill
a large
volume and
incomplete.
Still,
those
who have
nations which have been mentioned above, will not only readily
enchainments
will
come
to
them
262
Mazurka Figures
Mazurka
figures, the
it
may
be exactly denominated
for
of recog-
nized names, notwithstanding the fact that he has the great advantage of being able to
In the case of written instruction, however, one often meets with the necessity of de-
movements,
etc., difficult to
must be thoroughly and precisely explained and distinpoints, and the writer is compelled to enter into more or less
his
Aside from
larly
all
this there
is little
will
be particu-
whereas, he
may
chance to
this
book
pondered
ity
whole days over a single simple expression, searching every available authorbefore he dared to declare an accepted term incorrect, or to suggest the use of a term
for
The
miltheir
system of denomination
greater distinctness.
their
Mazurka Figures
898.
is
known
as a
" Rank,"
and those who stand at the right and left of the middle of this line constitute, respectively, the right and the left wings. If several such ranks stand one behind another, the front line is called the first rank, the next the second rank, and so on. 899. If the pupils stand in a line one behind another, they constitute what is known
as a " File."
Therefore,
if
or
left,
GRAMMAR
behind another, they constitute
file is
263
first
as
many
at the
extreme
extreme
left
forming
the last
900.
number of ranks exceeds that of the files, than it is wide and is called a " Long Column." If the number of files exceeds that of the ranks, it is called a " Broad Column." In action, broad columns are generally used, and in marching, long columns. A long column becomes broad by means of a quarter-turn
the
and
vice versa.
Two
ranks of eight
files
901.
rank executes
a half-turn,
there
is
formed an
all'ee
vis-a-vis.
is
If,
however, the
all'ee
first
formed an
dos-a-dos.
is
composed of
alley."
ladies or all
gentlemen
it is
called respectively
"a
ladies'
or
"a gentlemen's
902.
If the front rank consists of gentlemen and the rear rank of ladies, a half-turn by
commonly known
is
as
what
is
known
Column."
903. If the front rank consists of gentlemen, and the rear of ladies, and each rank
is
a regular
dancing formation
known
as
is,
as the rule
demands,
at the right
of her gentleman.
A
in
at the left
of her partner.
The
position for the Contredanse has been described in 653 and 654.
The
may be formed by
is
column is divided lengthwise, it is ded crosswise, it is "cut" [colonne coupee); if the two a colonne coup'ee vis-a-vis, and if back to one another,
if divi-
Space
906.
cle
of a
For the purpose of ascertaining beforehand how many persons may sit in a cirgiven size, deductions based upon practical experiments have demonstrated that
this unit
is
each couple so seated require a space occupying four feet of the length or width of the
hall
;
and although
large
enough
it is
in reality
correct.
Around
a hall thirty-six
by twenty-four
feet,
there
may
More
264
384
864
sq.
sq.
ft.
ft. ft.
be seated around a hall 48 x 24 which contains 1536 sq. be seated around a hall 60x40 which contains 2400 sq.
hall will seat
ft.
more persons in proportion to its size than a large one, and that this proportion of seating accommodation around a hall is still further varied by the shape of the hall. For example, if the hall is longer than it is wide it will accommodate more persons than a perfectly square one would. This is shown by the following table
this
:
From
A A A A
hall
50 x 50 contains 2500
sq.
sq.
sq.
sc
ft. ft.
ft.
and
and and
will seat
50 couples.
hall
hall
hall
contains
will seat
will seat
50 couples.
50 couples.
contains 1875
If the persons are seated in two circles in a hall 70 x 30, each circle will be 35 x 30 and will seat thirty-two couples, and the entire hall sixty-four couples.
If in a hall 75 x 25 the persons are seated in three circles each 25 x 25, each circle will
In case more couples participate than the space mentioned permits, the ladies take
seats in front
The
rules
above given regarding the positions, terms, and calculations of space apply
907.
entire
company
is
at the right
many
Polish
cities, to
divide
is
the
company
908.
this
ad-
visable, fashions
have changed
cumstances.
good and its bad points which depend largely upon cirvery large, and particularly if it is much longer than it is wide,
its
in the
Mazurka
is
advisable.
In
persons
who
same
should
sit
together.
circle, in
The may
without
less efficient
than themselves.
if
Likewise, the less skilful dancers form a circle of their own, and
ficiently
the
manager
pleasure.
is
suf-
may
execute figures so
may
participate in
them with
This
OF DANCING
265
may dance
circle is
More
If,
may
participate in
two
than in one.
In a large
circle,
;
a single tour
sumes
a great deal
of time
besides, one
manager
is
a certain
number of
couples.
The
varying
abilities
advantage.
by inexperienced persons who necessitate corrections, which are always unpleasant and
annoying.
On
demand
long since
and so
it is
more than
very
few figures.
910.
stances
Notwithstanding
it,
all
this,
the
is
unless circum-
too large.
more of the element of unity, leaves promenade, imposes fewer limitations upon the selection of figures
single circle contains
a better opportunity to distinctly observe the various figures.
essential,
whether there
is
is
an
efficient leader, a
is
man who
matter of re-
so often
names of
Introduction
911.
The Mazurka
company
less
is
is
generally
commenced
with
a.
left),
upon
With
left
and
recom-
mended; but
first
more than
A promenade
soon
all
may
couple lead around to the right, returning to their original position, and there execute
The
couple have passed, and the figure continues in the same manner until
The Promenade
is
the
in the
whole Mazurka,
as
it
displays
l66
address.
in
If,
may have
a better
and
913.
The
depend upon the circumstances of numwhich may be begun by one, two, three, four, five or
more than
less
if
three couples
if
there
from eight to
fifteen,
he should never
commence with
six,
may
and so on.
In addition to
this,
mind
He
should place the good dancers together, and with his own
In this
commence
manner he may
fail
danc-
demon-
Where
all
and acquainted with one another, it is often dance a different figure, and the practice renders the Mazurka
more
attractive to
group of twenty competent dancers may execute ten or fifteen different figures in the space of half an hour without allowing the interest to flag for a single moment. A manager who is unacquainted with the company should always begin with simple figures
which
ures
will
be readily understood.
rules
all
915.
These
many
fig-
may
916.
The number
Cotillion figures
is
so great that
it
would be im-
include them
will
all,
and
not be undertaken.
Chapter
XVII
CONCLUDING REMARKS
THE
shown.
918.
purpose of
this
Grammar
is
to establish a universal
ing and the invention and demonstration of a satisfactory system of dance script, by
all
dances
may
many
of a collection of the
will
919.
On
account of this .necessary delay, and in order to give an idea of the manner
of representing the movements of the upper body, the author has added to this
Grammar
the following choregraphic description of the beautiful Spanish solo-dance called "
La
Cachucha."
This description
forth in this
is
work is capable of expressing, in a satisfactory way, all the movements of the various members of the body the legs, arms, head, rump, etc, which form so important
an element in the proper rendition of a dance, and the Cachucha has been selected as a
model because all the members are particularly Should not such a demonstration prove, at
gested in this book?
920.
active
least,
and expressive
therein.
Regarding
to
this description,
it
may be
it is
Grammar, and
and symbols
anything he
memory, he
is
at least sufficiently
may
Cachucha)
The Cachucha
is
a lady
danced
to the
melody of an Andalusian
been
This
Ed.
267
268
added
a coda.
is
The
larity in
celebrated
dance a popu-
keeping with
merits.
is
The word
of cap.
922.
cachucba, in Spanish,
is
also
used
as the
name of a
is
exe-
cuted
in
The
feature.
It
is
clicking of the castanets, which forms so essential a part of the Spanish dances,
all
generally neglected by
this
customary to play
melody
is
commenced,
is
as
shown
in the
124).
923.
The dance
script
is
The
of the
first
couplet
is
first line
on the next, and so on. Each couplet contains four figures of sixteen measures each, for the third of which the music is the same as for the first. 924. It must not be forgotten that a number below the line of the floor indicates the advanced foot, and a period the foot which is behind a comma below the period indicates a ball position, and a very small circle a toe or "point" position. A circle surrounding certain signs of the legs indicates that such positions are assumed during the execution of a pirouette or turn. The direction in which the turn is to be made is indicated by the direction of the circular sign, and the turning foot is shown by the sign of position. The
;
thick end shows the starting, and the arrow-head the finishing point of the turn.
If the
extends below the line of the floor it indicates a forward turn; if to the right, a right turn. The term " right" applies to the right side of the dancer, who is
beginning of the
circle
supposed always
face,
The shaded
line
which
is
and by
it
eyes.
it
925.
is
draw them
little
exactly,
feet
is
to be understood.
c
The
cross (x)
above the
line
( 105).
269
^
4.
Jj|
MM
60:
Prelude.
Chords.
FIRST COUPLET
926.
Figure
1.
(Sixteen measures.)
means of three
position.
ballonn'es dessous,
4
to the left. to the right. to the left to centre.
4 4
Figure
II.
(Pivoter.)
(Sixteen measures.)
to the left
upon the
left
place
by means of
raised,
six
pas de ciseaux
arm
the toe.
Pirouette basjue to
928. Figure
111.
One
I
by raising into 5th point position and aucarry left foot into
and
2d position balancing.
Put down
left in
2d position.
left
Glide right into anterior 5th position, pointing toe strongly downward, and
audibly lowering the heel, immediately carrying the
balancing position.
into posterior
270
Castagnettes. mettes.
Ju
;>
J)
Jb,
J)
iu
SYLL.
MEAS.
Carry
left
During
right
this
a large arm-circle
(grand rond
body
and then
corresponding move-
ment of
I
arm.
Execute a tour
entier
upon
2d
balancing, and thence into anterior 5th point position, and transfer.
1
Pound
Rest.
with whole sole of right foot into anterior 5th position, and transfer.
2 3
Ballonne retrograde to
4
8
Figure IV.
(Frappe
Tortille.)
repeated three
lateral.
One frappe
Turn Turn
left
foot
upon
comes
Repetition of
first
measure.
-3
I
ball position.
Put down
left
Draw
and
transfer.
OF DANCING
<ljl
_j
|_i^JLj^J
SYLL.
The
second and third syllables of the preceding measure constitute the pas
MEAS.
de basque espagnol.
left.
4 4
2
1
right.
Two
I
frappes
tortilles.
transfer.
2 3
Preparatory
movement
for succeeding
pas ballonne.
SECOND COUPLET
930.
Figure
1.
The
Inclined
Rhombus Forward
two pas
into
elev'es
2d position. 93J. Divide figure into periods of several syllables. It is of advantage to both instructor and pupil to treat this figure as a verse-line divided into eleven syllables or counts, which may be designated as follows:
o,
1
3,
6,
9,
and
left
10.
foot, carrying the right
During the
which
is
first
and
raising right
arm
to correspond,
lifting
movement by
right foot in
Upon
the
first
down
2d po-
sition,
and
transfer.
272
J),
Ju
JU-t
i
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Jl
Hi
RR2.I..
y.
P^P
5
"
*-6
jlXlA
4-6
ULi
-6
Hg.2.k
JUL u. kJt A A A
4-5
4-5
A*
Rg.2.b.
f
'i-a.
j
Draw
Repeat
Carry
A A A
left
JB
_E>_
SYLL.
MEAS.
3d
pas
Thtse three
3-4
5-6
7
8
first
two
syllables of
eleves
ballonne.
upon
line
of direction.
foot into
2d position, and
transfer.
Swing
932.
Syllables seven
basque.
it
The name
The
is
it
step
is
term
Raise 10
too indefinite, as
by many Spanish dancers, but that does not in any way explain the manner in
still
which
should be done.
heel
left
and lower
it
resting
upon
it.
This
movement
Stamp with
is
known
as
stamping or taper
( 265).
2d position and
transfer,
and
rest
during the
second syllable of the fourth measure, again resuming the dance upon
the third syllable thereof,
by preparation
Most of the
may
The same
enchainement
is
repeated
upon
other foot, and extends obliquely forward to the centre line of the stage.
are clearly
shown
in the choregraphic
The same
enchainement
is
again performed
upon
commencing with
left as far as
In doing
this,
it is
necessary for the dancer to nearly turn her back to the spectators.
2 73
J>
,K
Ju
J>
Ji>
J>
JUJ
JU-Jl
SYLL.
Still
another repetition of
this
MEAS.
more
Figure
II.
This
figure,
talon,
shown
in the script.
16
Figure
111.
The
is
Inclined
Rhombus Backward
first
This figure
it is
in
counter-motion.
In the foreground.
'
16
The steps have already been explained in their respective places in this Grammar; but the following repetition of the explanations is given that the reader may more readily understand their application in this dance.
For
Coupe.
Tortille.
that reason the enchainement has been divided into twelve syllables,
in the
I
same manner as previously employed. Put down left foot forcibly in posterior 5th
position,
and
transfer.
Turn
upon
the ball.
transfer.
Turn
Coupe.
fer,
right foot
Put down
basque.
and
trans-
Pas de
transfer.
274
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L,
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in 4 mi >lM$
L
^2
fe
v*
L.
Udi
iSi
1
1
a Coda.
Kt ^ L^iJU
JU,
Reverence au parterre
J.
1
SYLL.
et sortie
MEAS.
Carry
left,
by
a circular
movement,
and
transfer.
7
8
Stamp with right into 2d position, and Ramasse. Bend supporting right leg, and glide
Frappe.
transfer.
left
left
simultaneously
arm to such a degree that it would be possible to pick up with the left hand a small object lying upon the floor. The movement receives its name from this bending, and the meaning of the word ramasser is to pick up. The right arm is raised during this movement to a corresponding position in
bending the body and dipping the
left
movement
of the
left
hand.
io
1
and straighten the body, commencing thereby the transfer of weight, which is completed upon syllable by a stamp in 2d position with the right foot.
left
Put down
and
Raise right heel and execute a complete turn to right upon the toe, with
left
2d position.
12
Put down
foot in
left
Retraversee to
4 4 4
Repeat
Repeat
to right.
to left to centre,
Same
as third figure
II.
couplet.
16
Figure
Three temps de
OF DANCING
275
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ji
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11
%r
9
i
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-V
Li
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ff~
54
A
10
kJui
O
ia ,n
4-5
AA hH _s - ~
qy
J*
iV
lU
lk
Jl
5e
Li
MEAS.
SYLL.
4
with
left
arm
raised
left,
as in the
8
first
couplet.
pirouettes.
O
1-4
Hop
Move
pas ballonnes.
Put down
left
and
transfer.
Stamp with
and
and
transfer.
8-9
10
Repeat turning
and sixth
syllables.
Stamp with
Repeat
935.
transfer.
Repeat enchainement to
figure.
4
8
(Sixteen measures.)
six syllables.
Preparation
transfer.
Put down
left
and
276
GRAMMAR
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z.
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i
1
2
Coupe*-tortille,coupe p.d.basque,frappe-ramasse,frappe pirouette._Coupe-tortille, coupe-basque, frappe-pirouette,
continuation des
memes pas
mm
SYLL.
L?
%
$-**
^3
rs
-&*
MEAS.
4
5
Stamp with
right into
2d position.
Temps fouette-dessous. Under crossed whip-syllable. (See 487 et seq.) Temps /eve, as used in the part-measure as preparation for pas ba/lonne. This encbainement of six syllables is danced alternately eight times, and
brings the dancer at
its
l6
FOURTH COUPLET
936.
Execution
left,
i-4
5-6
Move
Slowly execute one and a quarter turns upon the right toe, with
high balancing 2d position.
left
foot in
Put down
ing
its
left
left
arm and
follow-
movement with
the eyes.
left foot, at
left
and raising
same time bending the the right arm and bending the
the
10
The
dancer rests upon the eleventh syllable, and upon the twelfth executes
again the
movement
277
MEAS
-
fifth to
line.
halfway
left
to front.
4
line
Repeat
of the front,
lowered and
937.
left
arm
raised,
Figure
II.
During the
first
rond de bras,
arm inside the right leg, by a grand which proceeds thence upward and through a raised position, return-
ing again to a lowered attitude outside the right leg, accompanied by a similar
During all this the eyes follow the movement of the right hand, while the head and body involuntarily cooperate. During the fifth measure, carry the left arm into the crossed anterior horizontal position, and turn the upper body slightly to the left, following with the eyes the movement of the left hand, and rise slowly during the sixth measure, upon the right foot, at the same time continuing the raising of the body and the movements of the arms. During the seventh measure, carry the right foot into 2d position, and transfer, and execute with the left zjete en tournant, sinking in the eighth measure upon
but opposite
the
left
movement of
arm.
in
in
which
the dancer, instead of kneeling as before, pauses during two syllables in anterior
move-
ment preparatory
938.
to the
pas ballonne.
Figure
111.
In the foreground.
the right.
2 2
One and a half fas ballonnes and two pas eleves to Deep curtesy to right, directed particularly to the
boxes, to
whom
Repetition of enchainement to
Backward
by two and a half pas ballonnes in circular direction to right, followed by complete turn to right upon right toe, and low curtesy to centre
to centre
to spectators.
CODA
The
Exit
dancer concludes with one and a half pas ballonnes and several pas eleves to
left
left.
upon
last syllable
of music.
Index
Unless marked
"p."
numbers
Abaissements, 377.
Abaisser, 123.
Abaisser,
Acc'el'er'e,
Symbol, 130.
Pas, 423.
Arm-Positions Amplified, Cut, 286. Arm-Positions Amplified, Diagram, 286, 339. Arm-Positions Amplified, Symbols, 336.
Arm-Positions
Bended, 272.
417-420.
French System,
p.
82.
A longer,
I
9.
Arm-Positions Front Diagram, 269, 335. Arm-Positions Half Intermediate, 273. Arm-Positions Half-Stretched, 272. Arm-Positions Imitative, 274, 300. Arm-Positions Interlaced, 299. Arm-Positions Intermediate, 273. Arm-Positions Intermediate, Symbols, 335. Arm-Positions Mimic, 274, 300. Arm-Positions Narrowed, 285, 286. Arm-Positions Open, 284.
Arm-Positions Opposed, 288.
Anatomy of Anatomy of
Ankles,
the
Arm, 306.
1.
Anglais e, Chaine, 66
Movements of
p.
83.
Aplomb, 388.
Arm, Anatomy of
Arm-Circles, 311.
Arms, Carriage of
the, 268.
the, 10. the, 309.
Arms, Curvature of
Arms, Movements of
279
28o
INDEX
Battements, Classification of, 161.
Arms, Movements of the, in Walking, 269, 421. Arms, Symbols of the, 331, 332, 342.
Arpeggio, 602.
Arrondi, 272.
Arqu'e, 120.
Arsis, 188.
Assemble, 456.
Battements sur
le
Cou-de-pied,
64.
Audible Beatings,
Beating
Baiss'e,
Baiss'e,
Down,
188.
38 1.
Temps, 365.
Symbol, 130.
Audible, 171.
Braided, 589.
Carried, 171.
Balance-Cbasse, 647.
Balanc'e-D'egager, 607, 649.
Balance de Menuet, 74 1.
Balance en Ligne, 67
1.
Beatings
Beatings
Changed, 168.
Classification of, 161.
Balance
in
Line, 671.
Beatings
Beatings
Crossed, 167.
Direction of, 170.
Glided, 171.
Inaudible, 171.
Beatings
Beatings
Beatings
Beatings
Medium, 164.
Simple, 166.
Symbol, 28.
Ballet
Music, 199.
$2J.
Ballonn'e, Pas,
Ballotte, Pas,
498.
60.
1
Battements Alternatifs,
69
Bending the Body, 325. Bending the Body, Symbols, 350. Body, Symbol of the, 331.
Boiteux, Pas, 88
1.
INDEX
Bond, 372.
Btndir, Pas, 370.
28l
Bourree
et
Chass'e,
503.
Bow-Legs,
20.
Bowing
in
Quadrilles, 670.
Chord, 326.
Choregraphic Figure, Direction Choregraphic Symbols, 25.
of,
131.
Choregraphy,
p. 4.
Arm,
31
1,
352.
254-263.
Temps
de,
468.
p. 9.
Cadence, 192.
Ccesura, 197.
Classification of
Dances,
Clausula, 197.
Clefs, Les,
J.
Carrying, 175.
Cat's Tail, 666.
Chaine Anglaise, 66 1.
Column of Eights, 717. Column of Fours, 717. Column of Twos, 717, 903.
Column,
Split,
905.
Dames, 702.
the Feet or Legs, 157.
Changement of
7.
or Feet, 450.
Compound Movements, 354, 400. Compound Movements, Classification, Compound Steps, 400.
Conception of Time, 181.
Conclusion (Musical), 201.
Continue, 138.
355.
a Gauche, 669.
a Gauche au Milieu, 669.
a Droit
282
Continuer,
1
INDEX
38.
Contretemps and
Bris'e,
Difference, 597.
Dance Music, 197. Dance Syllable, 182, 363. Dance Terms, 360.
Dancer, Symbol of the, 616, 619.
Dances, Classification
Dances, Comic,
of, p. 9.
p. 9.
10.
p.
Dances, Demi-Caractere,
10.
p. 9.
Cou-de-Pied, 240.
p. 10.
Counter-Beating, 594.
Dances, National,
p. 9. p. 10. p. 9.
Counting, 182.
Coup de Talon (Mazurka), 885.
Coupe and
Chass'e,
Difference, 497.
p. 9. p.
49 1
10.
p. 9.
Couple, 678.
Couplet, 639.
Courant, Pas (Mazurka), 449, 882.
Courante, Step, 448.
Social, p. 9.
p. 9. p. 9.
p. 9.
Courante,
Temps
de,
448.
7.
Dancing
as a
Branch of Education,
1.
p. 6.
Dancing, Definition,
Cracovienne, 844.
Crochets a Trois, 676.
Crois'e-Tr averse, 676.
Dancing, Factors
Dancing, Natural,
Dancing, Source
of, 2.
p. 3.
of, p. 3.
Crossed Arm-Positions, 274. Crossed Arm-Positions, Symbol, 338. Crossed Beatings, 167.
Danse
Classique,
La, 756.
Descendre, 624.
30, 222.
Degager-Wahz, 835. Degrees of Bending the Arm, 272. Degrees of Bending the Leg, 85.
Demi, 66 J. Demi-Bras, 292.
Demi-Bras, Symbol, 340.
Pas
579.
Cuisse,
Temps
$JJ.
Demi-Chaine Anglaise, 66 1.
Demi-Contretemps, 594.
Demi-Coupe, 496.
INDEX
Demi-Courbe, 272.
Demi-Glisse, 483.
283
!35I
Demi-Lune, La,
J.
Elbow, Movements of
Elevations, 152, 376.
Elevations
Crois'ees
the, 309.
Demi-Ronde
de Jambe, 256.
Alternatives, 156.
Elev'e et Lev'e,
366.
Temps, 376.
Dessus, 176.
436.
Names
Deux, 678.
Diagonal Lines, The, 702.
Diagonal Sole-Direction, 59.
Diagonal Steps, 402.
En En En En En
Arriere, 647.
Avant, 647.
Avant
et
en Arriere, 607.
Arriere, 674.
Enchainements, 193.
Equilibrium, -387.
L,
668.
Etoile a
Double
Scissor-Syllable, 471.
Down-Stroke, 188.
Droit e, A, 647.
141 145.
E carte,
2.
28 4
False Measure, 187.
Fausse Mesure, 187.
INDEX
Foot-Circles,
Names
1 1.
of the, 262.
Foot-Positions,
Mazurka, 898.
899.
Open,
Foot-Positions, Parallel,
10.
Forward and Back Four, 673. Forward and Back Two, 669.
Temps, 487.
First
Couple
in a Quadrille,
634.
89 1.
Flig-Flag, 612.
880.
Flowing Positions, 55. Flowing Positions, Height of Flowing Positions, Open, 65.
the,
6065.
Galop, 762.
Galop-Polka, 851.
German Academy of
Dancing,
p. 4.
t^**
Art of Teaching
INDEX
Giving the Hand, 315.
Glide Polka, 851.
285
Half-Turns, 540.
Hand, Carriage of
Hand-Circles, 311.
the, 8, 9.
Hand, Giving
the, 315.
Hand, Presenting
the, 314.
Hand-Shaking, 278.
482.
Hands, Positions of
the, 318.
173.
Pas, 173, 880.
Harmony, 326.
Head, Carriage of
the, 321.
Glissement, 173.
Glisser,
172, 173.
Glissez, 173.
Grace, 389
Heel-Positions, 51.
Grand Tour, 9 1
Height Lines, 75. Height of the Balancing Positions, 93. Height of the Flowing Positions, 60.
Height of the
Open Flowing
Position, 66.
Positions, 65.
of,
627.
Position, 64.
Hop, 368.
Hop-Polka, 808.
Hop-Waltz, 834.
Horizontal Sole-Direction, 59.
Half-Moon, 717. Half Outward Position, 398. Half Point Positions, 22.
Half-Promenade, 666, 672.
Independence of Arm and Foot Movements., 303. Influence of Temperament upon Dancing, 407.
Interlaced Arm-Positions, 299.
Interlaced Fingers, 299.
286
Intermediate Arm-Positions, Double, 273.
INDEX
Leg-Turning Exercises, 246.
Legato, 386.
Lengthening, 119.
Lev'e,
Names
of the, 97.
Lev'e
and
Elev'e,
Difference, 366.
Lev'e-Saut'e,
Temps, 367.
Levee, 379.
Lever,
24.
120.
7'U 37 2
'Jet'e,
Pas, 459.
Limping
Step, 881.
Jumped
Raisings, 153.
the, 10.
Jumping Jumping
Step, 369.
Syllable, 367.
305 307.
123.
Lowering, 123.
Lowering, Effect
of,
Knees, Movements of
the, 114.
Knock-Knees, 120.
Knocking
Krakoviak, 844.
La
Bourree,
50 1.
*
Masurek, 870.
Mazourka, Pas
de,
880.
Figures, 898.
Phrases, 884.
Mazurka-Polka, 823.
Steps, 880.
Leg-Movements,
Classification, 113.
Measure of
INDEX
Medium Medium
Beatings, 164.
Steps, 398.
287
Movements, Thigh, 114. Movements, Toe, 114. Movements, Trunk, 322. Movements, Wrist, 309.
Music,
Ballet, 199.
74 1.
Menuet
Menuet
Names
726.
Minuet Music, 727. Minuet of Louis XV, 734. Minuet of the Court, 726-745. Minuet of the Queen, 723, 759.
Minuet Quadrille, 733. Minuet Steps, 736.
Minuet, The, 723.
Narrow and Distant Legs, 120. Narrow Intermediate Position, Symbol, 96. Narrowed Arm-Positions, 285, 286. Narrowed Arm-Positions, Symbols, 336.
Natural Dancing,
p. 3.
Mixed
Pirouette, 568.
Step, 817.
Modern Redowa
Monter, 624.
Turning, 551.
of,
264.
Open Arm-Positions, 284. Open Flowing Positions, 65. Open Flowing Positions, Height Open Foot-Positions, 18.
of the, 65.
Movement of
Movement, Precision of, 210. Movements, Ankle, 114. Movements, Arm, 302, 309. Movements, Arm, in Walking, 421. Movements, Arm, Symbols, 342. Movements, Bending, 375. Movements, Classification of, 113. Movements, Compound, 354, 400. Movements, Curved, 179. Movements, Duration of, 183. Movements, Elbow, 309. Movements, Finger, 309. Movements, Head, 321. Movements, Knee, 114. Movements, Leg, 113. Movements, Shoulder, 310. Movements, Simple, 115, 400. Movements, Straight, 178.
707.
290.
Outward Foot-Circles, 258. Outward Pirouette, 559. Outward Turned Soles, 398.
Pa ire, 678.
Pantalon, 659.
97.
1
Parallel Foot-Positions,
Parallel Soles, 398.
10.
288
Parisian
INDEX
Academy,
p. 4.
Pas de Zephire, 5
3.
Part-Measures, 204.
Pas
Acc'el'er'e,
Pas
Pas
Elev'es,
430. 436.
I.
423.
Emboit'es,
Pas Frapp'e, 89
406, 417-420.
173, 480.
Pas Pas
Glisse
Jete,
(Mazurka), 880.
459.
596.
Chass'e,
Pas
Chass'e
La, 681.
06, 107, 52
1.
Petits
Ronds de Bras,
312.
Pigeon-Wing
Step, 600.
Pirouette, 127,
545-553.
Pirouette a la Seconde,
557 5 60.
Air, 574.
Mixed, 568.
Cou-dc-pied, 557, 560.
Pirouette sur
le
600.
Pile,
Temps, 375.
Pliements, 375.
467.
579.
Pas de Traits de
Symbols, 130.
INDEX
Plies,
289
Symbol of
the, 35.
135.
Posterior Position,
Postlude, 201.
Poule,
La, 67
I.
Pounding, 265.
Polka,
The, 801.
Importance
of,
145.
Precision of
Movement, 210.
Prelude, 201.
Hop, 808.
a Step, 189.
Polka-Maxur, 823.
Polka-Mazurka, 823.
Polka, Parisian, 802.
Polka-Quadrille, 802.
Polka-Redowa, 815.
Polka, Rush, 809.
The (Waltz-Dances),
Down,
125.
778.
Polonaise,
The, 710.
Port de Bras, Classification, 304. Port de Bras, High, 305, 308. Port de Bras,
Porter, 175.
Position en
I'
Quadrille-Polka, 802.
Quadrille, Positions in the, 630. Quadrille, Significance of the, 663.
Use of
the, 52.
Arms, 268.
Arms, Symbols, 334. Positions of the Arms, Amplified, 285, 286. Positions of the Arms, Amplified, Symbols, 336.
Positions of the Feet, Positions of the
1
1.
Hand, 318. Positions of the Hand, Symbols, 346. Positions of the Head, Symbols, 347.
Quick
Steps, 404.
290
Raising, 121.
INDEX
Rond Rond
de Bras, 3 1 1. de Bras,
Symbol, 352.
2.
Ramasser, 351.
Rank, 898.
Rebroussal Sole Direction, 59.
Redowa, 811.
Redowa, Modern
Step, 817.
Rump
Turns, 544.
Positions, 93.
Running Running
Step, 437.
3.
Regularity of
Tempo,
Relation of the
Arm
Sauter, 367.
159.
Repetition, 141.
of,
212.
Second Arm-Position, 270. Second Foot-Position, 14. Second Foot-Position, Width of the, 14.
Rolling the
Arm, 318.
INDEX
Secondary Attributes of Steps, 409.
Selection of
S'elever,
S'elever,
I
291
Dances
[Continued)'.
J J 5.
Social
Mazurka and
1
Galop a I'Envers,
'
Symbol,
30.
in
Galop-Polka, 851.
Sequence of Steps
Serpent,
Se
Teaching, 429.
Galop-Waltz, 771.
Galopade, 762.
Gavotte, 754.
Gavotte de G. Vestris, 757, 759. Hop-Polka, 808.
Hop-Waltz, 834.
Hungarian Waltz, 863.
Hunters' Polka, 820. Hunters' Schottische, 820.
Imp'eriale,
Turning
the, 348.
837.
837.
Krakoviak, 844.
726745.
Terms
Polka, 801.
Polka-Glide, 851.
Polka-Masur, 823.
Polka-Cjuadrille, 802.
466.
Pas
de,
Sissonne,
467.
Polka-Redowa, 815.
Polka, Scotch, 808.
Polka Tremblante, 808.
Polonaise, 710.
,
Temps
Temps
de,
467.
Sissonne,
de,
DoubL 471.
Redowa, 811.
2.
Redowa-Polka, 815.
Rejdovak, 81
1.
Redowaczka
(Redoivatschka), 814.
Dances:
Schottische-Waltz, 855.
Galop, 762,
292
Social
INDEX
Dances [Continued):
Spreading Syllable, 455.
Spring, 368, 372.
Springing, 370.
837.
Diagram of
the, 623.
Stamping, 265.
832.
Star of Eight Couples, 770.
Tyrolienne de
False, 779.
V Acad'emie,
Star of
False a False a
V Envers,
Stenochoregraphy,
Step, 356.
Maxourka, 846.
False-Mazur, 848.
False Russe, 850. False Sautillee, 834.
Step-Sentences, 193.
Steps, Attributes of, Steps, Average, 408. Steps, Ball, 527. Steps, Beating, 581. Steps, Boxed-in, 436.
Steps, Broken, 596.
392409.
Farsouvienne, 838.
Varsovianna, 838.
Compound, 400.
Open Flowing
Medium, 398.
Names
of the, 59.
Steps of
p. 3.
One
Syllable,
403.
Source of Dancing,
Space, 906.
Steps,
Pigeon-Wing, 600.
Steps, Prolonged, 399. Steps, Simple, 400.. Steps, Size of, 392.
Column, 905.
INDEX
Steps, Straight, 402.
Steps, Stuffing, 501.
Steps,
193
Tempi, 182.
Temperate, 404.
Tempo, 183, 361, 362. Tempo, Evenness of, 207. Tempo, Normal, 183.
Tempo
Temps
Straight
Movements, 178.
19.
Straightening,
Temps
Temps
Baisse,
365, 382.
19.
Brise, 596.
Temps Temps
de Ciseaux, 468.
de Courante,
448.
Temps
Temps
Temps Temps Temps
Strophe, 639.
Stuffing Step, 501.
Temps de
47 1.
Ecart'e,
455.
Ecbapp'e, 452.
Elev'e,
376.
Temps
Temps
Fouette,
Lev'e,
487.
364.
Temps
Temps
Lev'e-Saute, 367.
Pli'e,
375.
Sur
Pointes, Pas,
Syllable
Tendu, 272.
5.
375.
Word, 357.
Terms
for
Tableau, 329.
Taper, 265.
Technical
Names
its
Temperament,
Temperate
Steps, 404.
Throw, 368, 372. Throwing Step, 459. Time, Conception of, 181.
a94
INDEX
Turn Turn Turn Turn Turn Turn Turn Turn Turn Turn
ng, 126.
of,
181.
the, 116.
the, 116.
1
30.
16.
the, 114.
1
Toes, Spreading
Tomb'e, Pas, 374.
Tomb'e, Temps,
the,
16.
in,
246.
454.
Tamber,
Tortill'e
374.
Bipede Simultane, 536.
Turns
552.
Pointe
et
Talon, 537.
Tour, 538.
1.
Turns, Rump, 544. Turns upon Both Feet, 541. Turns upon One Foot, 542.
Twisting, 251.
Tor tiller, 25
Tour
Tour de Main, 608, 647, 664, 669. Tour des Mains, 664. Tour de Torse, 322, 539. Tour Tortill'e, 538.
Tourne,
I
Tyrolienne de
V Acad'emie, 832.
26
Un,
Up-Stroke, 188.
Tournure, 319.
Up-Stroke,
its
Use, 189.
Upward
Valse a
False
29.
128.
Mazourka, 846.
False-Mazur, 848.
False Russe, 850.
False Sautillee, 834.
Trillo,
p. 7.
508.
the, 322.
Varsovianna, 838.
Vertical Sole Direction, 59.
Festris,
Trunk, Movements of
Turned
INDEX
Vienna Waltz, 786,
Vis-a-vis,
295
655.
Vis-a-vis Alley,
90 1.
Walking,
16.
Walking and Marching, Difference, 417. Walking and Running, Difference, 437. Walking Exercises, 422.
Walking, Movement of the Arms
Walking, Normal Speed
Walking, Opposition
in,
in,
289, 421.
Whole Foot-Circle, Whole Intermediate Whole Step, 395. Whole Turn, 540.
256.
Positions, 96.
in,
406.
289.
Walking
Step, 409,
417-420.
Wholly Bended Arm-Position, 272. Wholly Narrowed Arm-Position, 337. Wholly Stretched Arm-Position, 271, 272.
Word-Syllables, 182.
Waltz
Pas
de,
513
Zephyr
Step, 513.
Glossary
Most of
as follows:
the
words
in this
in cases
Bo., Bohemian;
G., German;
//., Italian;
Lat., Latin;
Polish.
a, to,
from,
at, in.
autour, around.
autre, other.
abaisse,
lowered.
aux, to the.
avancant, advancing.
avancer, to advance, to go ahead, to
accelerated, quickened.
move
forward.
action, action,
motion.
avant, forward.
time.
avec, with.
avoir, to have.
adagio
aile,
(It.),
a slow
movement of
wing.
air, air.
all'ee,
alley, passage.
baiss'e,
movement of
time.
baisser, to
walk.
balance, balanced,
weighed
balance-step.
a/longer, to lengthen.
alternativement, alternately.
swollen, distended.
ami, friend.
ancien, ancient.
anglaise, English.
tossed.
balloter, to toss.
aplomb, self-command.
approchent, approach,
apres. after.
draw near
battement, beating.
battre, to beat or strike.
arpeggio
(It.),
accompaniment.
of a chord.
arqu'e,
on,
in, with.
arriere, behind,
two-footed.
arrondi, rounded.
arsis,
up-beat
in
music.
bon, good.
assemble, collected.
assembl'ee,
assembly.
bound, to spring.
bounding, bouncing, springing.
bondissant,
bottes, boots.
au, to the.
bourr'e, stuffing.
auf'(C), up,
at, in,
by, for.
dance.
297
298
bras,
bris'e,
GLOSSARY
arm.
broken.
couplet, a
combination of
figures.
cour, court.
courant, running.
melody.
courante, a dance.
courb'e,
curved, bent.
capriole, a crossed
jumping
step.
course, running.
crev'ee, split.
crochet,
croiss'e,
hook.
crossed, crossing.
these, those.
chaine, chain.
cuisse, thigh.
two
syllables.
chasing step.
dame, lady.
danse, dance.
danser, to dance.
chat, cat.
chevaux, horses.
chor'egraphique, choregraphic.
chute,
of.
an audible
fall.
(plural).
cinq, five.
c in qui erne, fifth.
dedans, inward.
d'egag'e,
disengaged.
ciseaux, scissors.
classique, classic.
clausula, a phrase.
clef,
clos,
key,
clef.
del (It.),
of the.
closed.
detni, half.
collo (It.),
neck.
colon ne,
column.
like,
comme, as,
commenc'ee,
how.
descendant, going
down, descending.
same.
descendre, to descend.
desgleichen (G.), the
dessous,
behind, under.
contenant, containing.
continuer, to continue.
contraire, contrary, opposite.
deux, two.
deuxieme, second.
die (G.), the, that, she,
direction, direction.
dit, said, called,
which.
contredanse, contra-dance.
named.
dix, ten.
corps,
body.
cote, side.
back
to back.
double, double.
droit, right.
knock.
two
similar things.
ecart'e,
spread.
GLOSSARY
echapp'e,
299
escaped.
glisser, to glide.
echapper, to escape.
graces, graces.
elever, to raise.
enchainement, step-combination.
entier, entiere, entire,
hongroise,
Hungarian.
complete, whole.
huit, eight.
huitieme, eighth.
envers, reverse.
epaules, shoulders.
epaulements, shoulder-movements.
equilibre, equilibrium.
(It.), the.
immediate, immediate.
inclinee, inclined, tipped.
espagnol, Spanish.
et,
and.
intervalle, interval.
etoile, star.
intrecciare (It.), to
weave or
braid.
exercice, exercise.
woven
or braided.
introduction, introduction.
fait,
makes.
jambe,
leg.
fausse, false.
fille,
daughter.
jarrete, close-legged,
jet,
jet'e,
knock-kneed.
throw.
thrown.
throw.
fixed, determined.
jeter, to
fore,
name of
a mazurka-step.
till,
as far as.
fois, times.
former, to form.
fouett'e,
la, the.
whipped.
francais, French.
frapp'e,
stamped, pounded.
the.
legato,
connected, smooth.
frotter,
to rub.
lev'e, lifted.
lever, to
lift.
ligne, line.
gauche,
left.
common.
lune,
moon.
a married
genoux, knees.
glissade, gliding
movement.
madame, madam,
woman.
glissant, gliding.
glisse, glided.
main, hand.
mats, but,
glissement, gliding.
why.
700
mani
(It.),
GLOSSARY
hands.
place, place.
pliement, bending.
plier, to
bend.
plus, greater,
more,
also.
meme, same.
menu, small, neat, dainty.
menuet, minuet.
mesure, measure.
milieu, middle, centre.
militaire, military.
of the
foot.
port, carriage.
port'e,
carried.
porter, to carrv.
position, position.
pushed.
precedentes, preceding.
premiere,
first.
medium, middle.
promenade, promenade.
publique, public.
opposing.
ordinaire, ordinary,
common,
usual.
ouvert, open.
paire, pair,
two of
a kind.
at.
parallelement, parallel.
partie, part.
countermotion.
pas, step.
upward turned.
passant, passing.
passent, pass (plural).
petit, small.
redovuatschka (G.),
redowaczka
(Pol.).
phrase, phrase.
pied, foot.
redresser, to straighten.
upon one
step.
foot.
releves, reraised.
upon one
foot.
renversee, reversing.
rep'ete,
pigeon-wing
repeated.
GLOSSARY
repetition, repetition.
soldat, soldier.
solo (It.),
JOl
reprise, repetition,
re tour, return.
renewal.
spalancare
open wide.
two
syllables.
retraversec, recrossing.
and
distinct.
retrograde,
reverence,
backward.
succession, sequence.
bow, courtesy.
suive, follows.
rhombe, rhombus.
sur, upon.
syncope, syncopation.
rhythme, rhythm.
ritournelle, signal, flourish, call.
an opposite turn.
talon, heel.
character, part.
tape,
pounded, stamped.
stamp, to pound.
taper, to
tempo
(It.),
time, speed.
ruement, kicking.
ruer, to kick.
russe,
temps, a dance-syllable.
tenant, holding.
tendre, to stretch.
Russian.
tendu, stretched.
sa, his, her, its.
salle,
tension, stretching.
room,
hall.
salut, salute.
saute,
jumped.
sauter, to
sauteuse,
sautille,
jump.
jumping.
hopped.
hop.
head.
thesis,
down -beat
in
music.
sautillee, a
tire-bouchon, cork-screw.
tomb'e, fallen.
sautiller, to
hop.
custom,
style, taste.
end of a dance.
body, trunk.
twisted.
tortille,
enchainment.
tortiller, to twist.
himself, herself,
itself.
seconde, second.
semelle, sole.
turned.
tourner, to turn.
separee, separated.
sept,
tournure, turn.
tour, turn, figure.
seven.
only, alone, single.
seul, sole,
tracer, trace,
trait, stroke,
mark, indicate.
touch.
seize, sixteen.
signes, signs,
symbols.
traverse, crossed.
traversee, crossing.
tremblant'e, trembling, quivering, shaking.
trillo (It.), a
simultane, simultaneous.
sissonne, a
six, six.
dance.
quivering note.
trio (It.),
302
triole,
GLOSSARY
a note divided into three parts.
variation, variation, difference.
triple, threefold.
trois,
three.
troisieme, third.
tronc, trunk.
votre, your.
um
un, one.
wie (G.),
as, like.
zu (G.),
to,
toward,
at.
Date Due
All library items are subject to recall at
any time.
MAY
09
20 12