Irv and Betty Easterday
changes! And so, as music changed to a little slower pace in the
1920’s – the Quickstep was born. Dancing to this light and
bright rhythm was exciting then and has remained a favorite in
today’s dance world. The Quickstep evolved from the very
fast-paced One-Step and actually utilizes many of the characteristics
of the Charleston, Peabody, Foxtrot, and even the Two-Step. There
has been and still is an easily accessible wealth of Quickstep music.
So -- Let’s Quickstep!
dance – in tempo and music – expresses a bright and carefree
mood. A beginner can realize very soon that the basic figures are
easy to learn, and the more advanced dancer will find that an
infinite variety of figures can be adapted to the Quickstep rhythm.
The dancers should have a full appreciation of the precise value of
the slow and quick steps. It is valuable to keep in mind to “work
on the slows and play on the quicks.” It is important to avoid
skipping on the quicks. The quicks are shorter steps and do not lend
themselves to being “working” steps. Learning the fundamentals
of the Quickstep promises to give each dancer an exciting expression
of this delightful, joyful rhythm.
you delve into the Quickstep you will realize that many of the
figures are familiar. You have danced these figures in other
rhythms. With Quickstep you may slightly change the timing, the rise
and fall, rearrange the slows and the quicks – anything is
possible! But – let’s first examine some of the basic principles
of Quickstep and some of the basic figures.
rhythm. Four beats to a measure. The 1st and 3rd beats are
played between 48 and 32 bars a minute. Round Dances may be slower.
RHYTHMS: Slow, Slow; Quick, Quick, Slow;
“Slow” has 2 beats of music. Each “Quick” has 1 beat of
Quarter Turns, Progressive Chasse, Natural turn, Natural Pivot Turn,
Chasse Reverse Turn, Zig Zag, Cross Chasse, Lock Step, Double
Reverse, Back Lock, Running Finish, Spin Turn, Fishtail, Tipple
Chasse to the Right, Four Quick Run, Change of Direction, Cross
Swivel, Quick Open Reverse, Flicker, Telemark, Impetus, and many
clinic notes prepared for the Roundalab Convention, June 2007, by Irv
and Betty Easterday & Brent and Judy Moore.
If you would like to read other articles on dance
position, technique, styling, and specific dance rhythms, you may visit
the article TOC.
If you are not a member of DRDC,
do consider joining. The group sponsors triquarterly weekends with
dancing and teaching, and the newsletter is one of the most informative
Past DRDC Educational Articles archived here.
Aditional articles and dance helps by
Sandi & Dan Finch
& Susie Rotscheid
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