competition Standard slow foxtrot timing

[waltzguy]

I see most world top couples dance Standard slow foxtrot off-time, like on WSSS DVDs. In my opinion, this is the best way to show the grace and continuity of steps like Feather Step and Three Step.

Question for you competitors or judges out there: At a closed-syllabus level, should us competitors stick to strict timing, or show the grace of slow steps but be off-music?

It all boils down to technique versus musicality, IMO.

[Chris Stratton]

I see most world top couples dance Standard slow foxtrot off-time

This is not off time, rather the opposite - it's showing a more musically mature understanding of timing. Foxtrot is a swing dance not a rhythm one, we don't time the footfalls to match the percussion, we time the swings to match the harmonic meter.

In my opinion, this is the best way to show the grace and continuity of steps like Feather Step and Three Step.

That it is.

Question for you competitors or judges out there: At a closed-syllabus level, should us competitors stick to strict timing, or show the grace of slow steps but be off-music?

For SQQ figures you should dance the music, not the percussion. For certain types of syncopations you might want to hit more rhythmic accents.

The only setting in which you might want to do otherwise would be an exam, and even then I hope you would have an examiner who would like to see musical dancing rather than mechanical dancing.

It all boils down to technique versus musicality, IMO.

No, it boils down to clockwork vs. musicality.

[pruthe]

I also agree that the timing of FT steps in events such as WSS are not off time. Here's my take of how, in general (underlined), the timing works. Instead of counting SQQ, you need to count 1, 2, 3, 4. In fact, it's probably better if you count &1, &2, &3, &4. What you're trying to do is take the first step using the full measure of the slow, that is, on count 2. So after the preceding count 4 (step 3) where you are up, you are doing a lowering action (downswing) on count &1 (step 1) and doing a rising action (upswing) on count &2. You stay up on counts &3, &4 (steps 2 and 3) and then lower into the next &1. Now I'm sure there is artistic license by some people to modify the timing of certain steps in FT, but in general, I think this is how it works.

Why do they time the FT is this way? I think it's to make for a more constant motion of the body through all the steps. In general, the first step is longer than the last 2 steps. If your body is moving at a constant rate through all 4 beats, it looks like you are floating along as you do the foxtrot and it doesn't look like your horizontal speed is varying that much. Now I know a lot of people do step on count 1 of slow in FT. Most noticeable in American style continuity FT (Silver and above). You see that a lot at comps. It's not clear to me which count (1 or 2) is best to step slow for American continuity FT. If you were at a comp, since most everyone is stepping on count 1, maybe you should too? But for Intl FT, stepping on count 2 is more universal I think.

Don't know what others think about this, but this is my take on FT timing.

[tangotime]

But for Intl FT, stepping on count 2 is more universal I think.

Don't know what others think about this, but this is my take on FT timing.






So let me get this clear.. you believe the 1st beat of the bar is ignored ? ( as in first of feather "S" )... then how would you apply the theory of.. " thrust " and " swing ".. thrust being the action of the body that creates the dynamic for the " swing ".. the "1" being the commencing action of the body as it prepares to move fwd into the Swing..( swing as leg action ).

I think the statement might infer, that the body is NOT preparing the dynamics required to effect a smooth transition between the required motions .
The Thrust action should be felt but NOT seen,, the blending of these separate actions give the motion its fluidity .

It was always taught to me by the past champs. that shading the timing ( slightly BEHIND the beat ) creates the look of effortlessness.

Lens fav. phrase... "measure the slow and Swing 2 quicks."

[pruthe]

So let me get this clear.. you believe the 1st beat of the bar is ignored ? ...

No, I don't think I said the 1st beat is ignored. I said there is a lowering action (downswing) on the &1 which turns into rising action (upswing) on the &2. I don't think this is inconsistent with the term "thrust and swing". This is the first time I've heard this term, but it sounds similar in concept to what I think I was intending. Any further comment?

[Chris Stratton]

Pruthe you have the right basic idea - it's about the swings. You can measure when the feet are falling, but this information isn't necessarily useful to learning how to dance it. What I think works is to get the feeling of a well proportioned swing cycle figured out, and then find the place where that as a whole feels settled in relation to the music.

I think that trying to use the music as a metronome to pace the foot actions of foxtrot is probably one of the greatest artificial impediments to learning to dance it. This is for two reasons - one, nobody tells you the precise truth of the timing they are dancing, so you end up trying to do the wrong thing. And second, most foxtrot timing problems are actually physical problems with sustaining movement. It does little good to know you shouldn't step yet, if your choices are step or fall on your partner. There are some things that need to be worked out in the feet before good timing and smooth movement are really possible.

As you noticed, some of the first beat is used finishing the previous action. Actually, a little of it is used even in placing the foot for the last quick. Probably the reason you are seeing people landing the slow early is that those who have to incorporate many different elements in dancing tend not to stretch out that last quick as much in time as those who are free to concentrate on quality of movement.

[tangotime]

No, I don't think I said the 1st beat is ignored. I said there is a lowering action (downswing) on the &1 which turns into rising action (upswing) on the &2. I don't think this is inconsistent with the term "thrust and swing". This is the first time I've heard this term, but it sounds similar in concept to what I think I was intending. Any further comment?

Guess I mis understood..

that term has been around for over 40 plus yrs.. and, no further comments, think we are essentially in agreement .

[samina]

when I am dancing FT my best in competition, I am feeling the rhythm as " & S S "...and neither of the slows are on the beat, but the first slow slightly before the beat and the second one slightly after.

course, that is ideally secondary to syncing with my partner... I have only had this experience with my pro, but that's roughly how he does it so I match.

[Chris Stratton]

I think practically speaking there are two ways to learn it...

1) stumble around trying various impractical things for (months to years) before finally getting it

2) pick up the feel of it from someone who already has it, by dancing with them

[samina]

wanted to add... I used to turn myself in knots trying to break down where the &s and everything coordinated to the movement, but my instructor taught me to bag that approach and go with a more holistic approach. and a coach explained the value of the &-S-S timing...so for me, what I described above, is as complicated as I get with it.

rather than making it rocket science, now I go by feel...with much better success.

[Nybz]

wanted to add... I used to turn myself in knots trying to break down where the &s and everything coordinated to the movement, but my instructor taught me to bag that approach and go with a more holistic approach. and a coach explained the value of the &-S-S timing...so for me, what I described above, is as complicated as I get with it.

rather than making it rocket science, now I go by feel...with much better success.

In the &SS, more or less, is the and 1 and 2? and the ss are 3 and 4?

[GJB]

& - .5
s - 1.5
s - 2.0

[Chris Stratton]

That doesn't add up to anything plausible.

Generally I think "feeling words" may be a better way to communicate the idea of foxtrot timing, but please don't use actual numbers that way... it makes my head hurt.

[Nybz]

I'm thinking it was meant as,
& .5
S 1.5
S 2
Q 3
Q 4

[Chris Stratton]

No, that doesn't work either

It's not being specified if the numbers are points in time or durations of time, but neither way does it work out.

[GJB]

& - .5
s - 1.5
s - 2.0

I don't actually count the numbers this way when I dance; I use the words & S S. The numbers remind me that the second slow is a longer more sustained movement than the first slow corresponding to the accent of the music.

[wooh]

Generally I think "feeling words" may be a better way to communicate the idea of foxtrot timing, but please don't use actual numbers that way... it makes my head hurt.

Haha, welcome to my world of head pain when I try to turn your posts into my language.:p
:cheers:

[Angel HI]

Quote:
Originally Posted by waltzguy http://www.dance-forums.com/images/buttons/viewpost.gif (http://www.dance-forums.com/showthread.php?p=701454#post701454)
I see most world top couples dance Standard slow foxtrot off-time

This is not off time, rather the opposite - it's showing a more musically mature understanding of timing. Foxtrot is a swing dance not a rhythm one, we don't time the footfalls to match the percussion, we time the swings to match the harmonic meter.


Quote:
In my opinion, this is the best way to show the grace and continuity of steps like Feather Step and Three Step.
That it is.


Quote:
Question for you competitors or judges out there: At a closed-syllabus level, should us competitors stick to strict timing, or show the grace of slow steps but be off-music?
For SQQ figures you should dance the music, not the percussion. For certain types of syncopations you might want to hit more rhythmic accents.

The only setting in which you might want to do otherwise would be an exam, and even then I hope you would have an examiner who would like to see musical dancing rather than mechanical dancing.

The above dialogue between WG and CS, actually describes this perfectly. It, and TT's post about dancing "slightly behind the beat" are spot-on. Here is my take...a wee radical, but saying the same thing.

1. Swinging dances dance on the music; rhythm dances dance on the beats. Yes, there are times in each where one hits the other for accentuation, artistic emphasis, etc.
2. For God's sake, get rid of slows and quicks. This will kill your dancing "quicker" than everything else. As one poster said, count rather than using SS or QQ (esp. this one b/c QQ doesn't truly exist...but, that's another thread).
3. If you must use slows/quicks, dance everything as a slow, allowing the occasional quick to just happen only as a necessary weight shift into another movement/direction change. When this does occur, return immediately to dancing slows.

I love this dance. It's my absolute fav (fighting profusely on a daily basis w/ AT) :)

[GJB]

What does "dance on the music" mean?

[waltzguy]

And what will a judge think of a silver-gold-level dancer dancing "all slows", will he/she mark you down for not dancing to the music? (Perhaps this is similar to GJB's question.)

[pruthe]

What I was trying to convey in my previous posts was a general guideline that could be followed to stay in basic time with the FT music. I was thinking that was one of the things the OP might be asking about. Once you are in basic time with the music, then you can modify your timing to flow with the music. I think I understand what is being said by moving with the music. It's like once you get going, you start feeling the music and that influences how you move. I can even understand how you could be slightly behind with the music. I'm starting to get these feelings now when I dance FT.

I do admit that I don't understand yet about the &SS timing. Maybe someone could point to a youtube video that showed this timing so I could see what that looks like.

[waltzguy]

Maybe someone could point to a youtube video that showed this timing so I could see what that looks like.

Ha, I've been doing exactly that. And here's what I found. Notice how Luca/Lorraine really step on count 2 and maintain a steady step count, like someone previously posted.

http://www.youtube.com/watch?v=-HEIf2yP_P8

[samina]

& - .5
s - 1.5
s - 2.0
Yes, and maybe with the 1st S more like 1.4 and the 2nd S 2.25... :)

By feel, not by intellectual counting...

[samina]

That doesn't add up to anything plausible.

Generally I think "feeling words" may be a better way to communicate the idea of foxtrot timing, but please don't use actual numbers that way... it makes my head hurt.
Actually, nybyz asked about the timing of the &SS and GJB's response was quite a precise response breaking down the duration of the &SS components in the timing of the measure.

For me, it is a starting point, as I've mentioned...not to be adhered to precisely in that way. Bringing in the feeling aspect really helped me.

[samina]

I'm thinking it was meant as,
& .5
S 1.5
S 2
Q 3
Q 4
GJB's example showed timing and included all 4 beats to a measure. There are two things going on, *steps*, of which there are three in the &-S-S of a Feather for example, and the *duration of the timing of those steps* across the 4 beats in a measure.

(By comparison, your example would give 11 beats to the measure. :))

[j_alexandra]

<snip>
2. For God's sake, get rid of slows and quicks. This will kill your dancing "quicker" than everything else. As one poster said, count rather than using SS or QQ (esp. this one b/c QQ doesn't truly exist...but, that's another thread).

When my teacher was trying to get me to understand the lingering nature of standard foxtrot, he bemoaned the way the words "slow" and "quick" made it difficult to teach. For many people, the word "slow" subliminally acts on them to, well, stop. I am among them. We tried substituting all kinds of language for those words, including, at one point, counting in French. :smile:

I love this dance. It's my absolute fav (fighting profusely on a daily basis w/ AT) :)

I'm truly terrible at it, but I love it, too. To watch, at any rate; I can't do a heel turn to save my life. I take pity on men at socials who ask me to dance foxtrot; I tell them I'm a Smooth dancer, so they can bow out gracefully and enjoy the dance with someone else, rather than suffering through it with me. My great love, foxtrot, but Smooth, not Standard. Maybe someday.

[waltzguy]

I love the Standard slow foxtrot, but have issues with the timing. Even my teacher have told me before that there are more than one way to time the steps. Arrrgh!

Which is why I keep asking... will judges dock you for what he/she perceives as dancing off-time?

[samina]

WG, find a good coach who can give you a feeling for the &-S-S approach. It feels both good and logical to the music & the mechancs of the swing...

[pruthe]

I love the Standard slow foxtrot, but have issues with the timing. Even my teacher have told me before that there are more than one way to time the steps. Arrrgh!

Which is why I keep asking... will judges dock you for what he/she perceives as dancing off-time?

I would guess that most judges are looking for timing that is similar to Lorraine and Luca's. Maybe you could ask some top judges/coach's for their opinions. You could also look around and get a feeling of other FT timings and then make your own conclusion as to what is best for you.

[Chris Stratton]

Actually, I don't think you want to look at either Luca or Andrew Sinkinson as an example to copy when trying to understand this, because both are outliers in a way that sets them apart from others. Luca exaggerates a "catch" character before his final quick in a somewhat unique way, and if a less experienced dancer tried to learn this way first it would end up as stop-and-go. Sinkinson drifts the final quick substantially more than almost anyone else, but for someone just trying to learn being able to draw out the movement of that step as much as a more typical championship-caliber dancer is challenge enough. Later on you can experiment with imitating one of these unique personal styles.

The basic timing you will see on typical championship dancers is a timing in which the energy of the body swings matches the music's pattern of turnover from the end of one measure to the beginning of the next - it matches the energy of the music, not the percussive beat. And it's basically the same for any average foxtrot track - it's dancing to the idea of foxtrot music, not to the melody of a particular track (though you could eventually play with that).

We can easily document what this timing is, by taking a video and measuring the time interval between various actions, but while that lets us compare two dancer's interpretations with precision, it doesn't really instruct us in how to do it. In terms of learning how to do it, without benefit of picking it up physically from another dancer, I would say two things - probably best applied in an endlessly extended reverse wave, as that minimizes the physical challenges.

1) Try to maintain movement at all times, never stopping. The feet are going to act kind of like square wheels in that they want to make your travel bumpy or stop and go - try to even this out so you have only gentle speedup and slowdown as the swing cycles. Try never to arrive at the point where you have to take a step, before it's time to take it - someone just referred to dancing behind the music, and it's indeed preferable for a slow dance to be able to add a little more to catch up, rather than to be trying to put on the brakes to avoid getting ahead.

2) Try to keep the final quick of any figure moving for as long as possible. Don't reach the step with the leg, instead try to keep the body moving for as long as possible before the foot has to stop moving and accept weight. This will mean that you can then be playing catch-up on the next slow, effectively solving the basic "problem" of dancing with the music.

Oh, another thing - practice syllabus quickstep on a big floor, to have the freedom to experience continuity of movement by means of both body swing and rolling through the feet, without having to worry about getting ahead of the music.

[waltzguy]

Chris, do you know of a youtube video that showcases what you wrote?

[Chris Stratton]

Pretty much anything by one of the top dancers should be representative, excepting the two I mentioned who are known for their unique personal styles (and unusual physical capability that enables them).

[Josh]

waltzguy, the problem with watching videos to count the timing is that you're only seeing the resulting action, and not what produced that action. I know you know this, but it's tempting to try to mimic without knowing the "how". Get an experienced standard coach who really knows the slow foxtrot to work on this.

I think Chris' advice to keep the spine moving at all times is a pretty good general thought process to get the smooth movement desired. Counting slows and quicks in the usual way and trying to assign beat values really has no value, as your body will match the "slow" and stop moving, or the "quick" and move off of the standing leg too fast. The timing of the body and feet/legs are different, the timing of different parts of your body are different (IOW, you're not "square"), and a whole number of other issues make this dance a real challenge. As long as you're okay with it being a challenge it will be fun in the process!

[waltzguy]

Thanks Josh.

It's Slow Foxtrot on the menu for this week's private lesson. :)

[Josh]

Just don't eat too much from that menu! :-) Who knows, next week your name may be "slowfoxtrotguy" ! ;-)

[Angel HI]

I can't do a heel turn to save my life. I take pity on men at socials who ask me to dance foxtrot; .You are probably being a wee too hard on yourself. In either case, heel turns are quite undaunting if you understand proper weight placement (CPA) and foot position (inside edge). Too off-topic for this thread? Perhaps, we'll discuss it once the timing thingy is resolved.

The basic timing you will see on typical championship dancers is a timing in which the energy of the body swings matches the music's pattern of turnover from the end of one measure to the beginning of the next - it matches the energy of the music, not the percussive beat.

We can easily document what this timing is, by .....
1) Try to maintain movement at all times, never stopping. ....

Chris' point, and Josh's follow-up are really good starts. A small add, if I may.....

Again, it is paramount to forget slows/quicks. Move in 3 steps, RLR then LRL, etc., and dance in a step-swing-recover type movement. Begin at the beginning of the measure, and dance the movement aiming for the count 8. Dance as smoothly as possible (might feel choppy at first like CS said).

[White Chacha]

..., and dance in a step-swing-recover type movement...

Ah, I can hear one of my coaches' mantras in my head: "walk, reach, recover".

[tangotime]

Or as len would say.. "measure the slow and swing 2 quicks "

[waltzguy]

Who's Len?

[Chris Stratton]

Who's Len?

Len Scrivener, another great teacher and author, though his book "Just One Idea" is long out of print.

Scrivener's descriptions of actions often seem to be written in a more everyman-sensible sort of way than Moore's (adopted by ISTD) which tend to require reading the glossary to see precisely how he uses words before understanding what he means.

[tangotime]

Who's Len?

Every Tango ( Intern. style ) you see danced at Pro level ( and below ) has his imprint on it. He , along with Henry Jacques , were the 2 responsible for re structuring it to its current form in the late 30s and on thru the mid /late40s.

As a lecturer, he still stands head and shoulders above pretty much all. ( won the British 3 times ) . The 1st coach to lecture in the far east.. too many accomplishments to list. When he lectured, many of the top Pros attended, and not just those competing .

His book " Just One Idea " is revolutionary in some technical aspects, and caused some amount of friction in many areas of the prof. Soc.in the UK.. he didnt "toe " the proverbial line .Made some very controversial statements for the " time " . He subseqently was never asked to judge the " British "..

[QPO]

Never heard of Henry Jacques...I will have to google him

[Terpsichorean Clod]

Is there any difference between American continuity and International foxtrot timing?

[Josh]

Is there any difference between American continuity and International foxtrot timing?

No TC, they're essentially the same. As to whether they should be danced the same way, that's another can of worms!

[Terpsichorean Clod]

No TC, they're essentially the same.
Thanks, Josh. :)
As to whether they should be danced the same way, that's another can of worms!
LOL!

[pruthe]

No TC, they're essentially the same. As to whether they should be danced the same way, that's another can of worms!

I see a lot of people dancing American continuity FT taking their first step on the first beat of the slow and the remaining 2 steps on the QQ. I don't think Intl FT uses this approach (as discussed in previous posts of this thread). Maybe this is the can of worms you are alluding to. It seems to me that stepping the S on beat 1 does not allow for proper swing development, but again, a lot of people do this. So what's the correct approach for American continuity style? If one used an Intl style while dancing American continuity FT at a comp, would judges look at this negatively? I asked an experienced teacher at my studio and he said if use Intl style while dancing American continuity FT, judges would like it. What do other people think?

[Josh]

I see pruthe--you're referring to the lingering, 'behind the music' nature of slow foxtrot. I think perhaps the mistake is in seeing the full weight transfer happen later and thinking "I'll step on the 2", though I know that's not really what you're discussing here.

Beyond closed or maybe open silver danced in pro/am at competitions, I don't see enough pro smooth dancers dancing regular syllabus continuity style to make a comparison, as Chris was alluding to earlier. However, my belief is that it's not danced in as lingering a fashion as the slow foxtrot. As to whether judges would like it or not? Don't know, must ask them I suppose!

From what I see, high level smooth foxtrot tends to be based more on changes in speed and quick, sharp movements interlaced with slow ones to make a visual impact. Not that slow foxtrot doesn't do this, but the differences in smooth foxtrot seem to be much more pronounced, and I'm really comparing apples to oranges, that is, open standard and open smooth.

[pruthe]

Josh,

I was just looking at some of the America's Ballroom Challenge smooth FT video that I've recorded over the past few years and I think I've found some good examples of high level pros using the Intl standard FT (lingering) timing on certain figures where a recognizable swing exists. There were also many weave or grapevine like figures that were stepped on every beat. I then looked at DVIDA silver syllabus FT video (2007 version) with Marantos and if you look at segments where they are dancing to music, you can also see Intl standard FT timing on many of the steps with defined swing. So it looks like Intl standard FT timing can be used in some figures in American continuity style FT. BTW, when I dance American continuity FT at studio parties, if I use Intl standard FT timing on certain figures, it surprises many of the partners I dance with. They are probably more used to step on 1st beat of slow and probably think I'm off time. Maybe some of the other smooth dancers at DF will give their comments on this subject. What timing do you use in swing oriented figures of American continuity FT? (Hopefully this post is in range of OP's question. If not, maybe can be moved)

Thanks.

pruthe

[Chris Stratton]

I think I've found some good examples of high level pros using the Intl standard FT (lingering) timing on certain figures where a recognizable swing exists. There were also many weave or grapevine like figures that were stepped on every beat.

I think that a series of repeated quicks where the steps themselves are emphasized is quite likely to land on the beat regardless if dancing american or international style (however the last lowering quick before a slow in the next measure would ideally be drifted. American style interpretations of foxtrot may make more use of such steps that call individual attention to themselves - they occur in international style too, but it also has a lot of patterns with repeated quicks that are not intended to draw attention to themselves but just to sustain continued body movement in much the same way the SQQ ones do.

BTW, when I dance American continuity FT at studio parties, if I use Intl standard FT timing on certain figures, it surprises many of the partners I dance with. They are probably more used to step on 1st beat of slow and probably think I'm off time.

Lack of familiarity with the possibility, or likely even the physical habits to make it possible. That's not unique to american style, you will see the same thing anywhere that international foxtrot is attempted by those with a range of skills.

[pruthe]

CS,

Good points. I think I'm going to ask some questions on how timing is taught at our studio for American continuity FT (and Intl FT).

pruthe

[tangotime]

I think that a series of repeated quicks where the steps themselves are emphasized is quite likely to land on the beat regardless if dancing american or international style





As Scriv said... anyone may be off the " Slows " but only a fool would be off the Quicks "

[waltzguy]

Wanted to give everyone some feedback relative to my OP.

I took a few lessons in Slow Foxtrot with emphasis on timing and swing. I can now say I got it! It was a huge epiphany! For the first time, I fully understand how to time the foxtrot along with the swinging action. Total bliss! :D

This was only possible with a good coach who forced me through what it feels like.

[waltzguy]

As Scriv said... anyone may be off the " Slows " but only a fool would be off the Quicks "

Interesting, tangotime. Can we be slightly off the "quick" that immediately follows a "slow"?

[waltzguy]

Furthermore, I'll add that a slow foxtrot done correctly is very effortless!!! Much much less effort required than a waltz!

[Chris Stratton]

Interesting, tangotime. Can we be slightly off the "quick" that immediately follows a "slow"?

The quick following a slow is probably the most likely of any step to be on beat.

It's the final quick preceding a slow that should hardly ever be, instead it should be drifted out to continue movement.

There interesting question would be something like a weave, SQQ QQQQ - should you dance it SQQ QQQ-Q- or should each Q after the first be slightly later. I have it argued they should all be behind the beat, but in general I suspect the tendency is to settle most of the repeated quicks on the beat up to the landing of the second-to-last, and then draw out the entire process of the last one. This would also correspond with the actual (but not written) pattern of rise and fall - steady "weave height", and then a slight defacto rise on the penultimate quick before lowering through the final one.

[waltzguy]

It's the final quick preceding a slow that should hardly ever be, instead it should be drifted out to continue movement.

I have noticed this too.

[Josh]

the tendency is to settle most of the repeated quicks on the beat up to the landing of the second-to-last, and then draw out the entire process of the last one.

This is what I do.

For example, I would mentally count (approx) a weave from PP as

S QQQQQ S ... then SQQ or whatever. It's sort of like playing catch-up on the quicks, and then getting behind again on the last one, effectively turning it into more of a slooow.

[Chris Stratton]

The more I think about it, I think that for something like a weave I would be just every so slightly lazy on the repeated quicks, given them an "easy" character, but not nearly as late as I would then draw out the last one.

I think there are times when the repeated quicks should be accented on beat, and those may be more common in the character of foxtrot often chosen in american style - sharper and jazzier in effect.

Can't promise I'd time the repeated quicks the same way on two different days, or to two different tracks, but how I would handle the final one is a lot more consistent. The middle ones are an interlude and can have their own character, but the last one is a return to swing-cycle movement and for me at least needs to reflect that.

[pruthe]

Wanted to give everyone some feedback relative to my OP.

I took a few lessons in Slow Foxtrot with emphasis on timing and swing. I can now say I got it! It was a huge epiphany! For the first time, I fully understand how to time the foxtrot along with the swinging action. Total bliss! :D

This was only possible with a good coach who forced me through what it feels like.

Congrats on your breakthrough!

[tangotime]

Interesting, tangotime. Can we be slightly off the "quick" that immediately follows a "slow"?



Seeing as every one has answered for me ... the answer is no.. The " blending " action, if being used correctly, will avoid that. Being a tad behind a Q, but catching it in "time " , is part of the essence.. that anticipation that appears you wont make it.. but do... he verbally used what I would call a "squeeze" the quick count, as in" qweeek" .. a softer approach to the desired action one might use in Q.step for e.g. when sharper intonations may be more appropriate. And of course , his " measure the S and swing 2 Qs " mantra..