Country and Western > Do you use pre-leads in C/W two-step?

Discussion in 'Country and Western' started by discovery, Jun 18, 2005.

  1. discovery

    discovery New Member

    Do you use pre-leads in leading (or, do people use them with you if you are following) for inside and/or outside underarm turns? Although I use them, I get the impression that a lot of people don't.

    Just for frame of reference I dance two-step basic pattern as:

    (1) quick
    (2) quick
    (3) slow
    (5) slow

    all forward steps with the feet passing on each step.

    Outside turn for lady:
    I pre-lead the lady on 5 (the 2nd slow) by bringing my left hand a little bit back before leading her to turn.

    Inside turn for lady:
    I pre-lead the lady on 3 (the 1st slow) by extending my left hand a little bit forward and to the side before leading her to turn.

    So how about you? Do you use pre-leads like these?
  2. Vince A

    Vince A Active Member

    Since most dancers count straight numbers or combinations of straight numbers with maybe an "&" in between . . . you may want to explain that count. By the way, I count two-step the same way, 1,2,3,5 or I do Q-Q-S-"I'm done" to make me settle on the last slow.

    In two-step, "preps" are a must, and your are correct and on the correct count, especially if they work for you and the follow gets the idea that you are going to do something. On the inside turn, I go out with my hand, but forward will also work. Might wanna try both ways to see what your follow does.

    But I would like to make a suggestion for the lady's outside turn for you.

    Try this: stand up, hold your arms in frame position - like someone just stuck a gun in your back, and said, "Hands up." Now, holding that position, and instead of bringing your L hand back, try twisting at your waist counter-clockwise, or drive your R shoulder forward. Notice how your left arm goes back? Same thing, but looks smoother, and feels much more solid to the follow.

    Get back to me if this sounds confusing.
  3. discovery

    discovery New Member

    Thanks for the confirmation!

    Actually I had noticed that this does seem to work better but I wasn't sure.

    I'll try this and see how it feels.
  4. Vince A

    Vince A Active Member

    Let me know . . . driving your R shoulder forward will make your left arm/hand always be in the same place, in regards to "how far to take it back." Taking it back is actaully eliminated when you drive forward with your R shoulder while slightly twisting your upper body!

    I almost forgot . . . on that last slow, as your shoulder is driven forward, make sure your weight is forward (over) your right foot.

    One more thing . . . on your inside turn, is your body parallel to the slotwith your right shoulder facing downline?
  5. discovery

    discovery New Member

    Just re-reading this post and I realized I missed this. Not sure what you mean though. Can you please explain? Using ballroom terminology I am facing Line of Dance when I lead the inside turn. That is, I am facing the same direction as when I just do a normal basic or an outside turn. Using your terminology I would say I am perpendicular to the slot (although I'm not sure if I know what you mean by this)

    It sounds like you are asking if I'm facing the center of the room. Is that right?
  6. Vince A

    Vince A Active Member

    Yes, I am asking that - even though I did use the term parallel above . . . sorry!
  7. discovery

    discovery New Member

    Well, my answer is I'm not. Should I be? I face line of dance. I have to say that I've always noticed the inside turn from a basic doesn't feel quite right. I have heard from some people that it should only be lead from a promenade position, but then I have this tape where they clearly demonstrate it from a basic.
  8. Vince A

    Vince A Active Member

    My answer is. . . I think you should be, but it is your call.

    It can be done from the basic position as we discussed in the very first posts on this. My only concern is the prep has to executed SO perfectly, and if she doesn't get . . . she will get out of whack . . .

    The "only" way that I do and inside turn for the follow is from a basic - I don't do it from a promenade position. When I do it, it takes at least three sets of Q-Q-S-S to execute it and one back to basic position, as you call it.

    Make sure you read my signature line, as what I do may not expressly work for you.
  9. discovery

    discovery New Member

    I'm confused about which way you are suggesting I face. I guess the part that I am confused about is when you said:

    Which way are you suggesting I face?
  10. Vince A

    Vince A Active Member

    You start out with you facing downline - normal basic - Q Q S S - on that last slow, prep (lead) the follow with your body (R foot forward, body is shaped to your follow, L ribs pointing downline) . . . now, while stepping straight through and past the follow by holding the follow back somewhat/or taking larger steps - Q Q - releasing your R hand from her back, and bringing your L hand up to indicate you are going to turn her . . . step - S - you should have your back to downline of dance (or somewhere around there - we're all different) . . . still holding her R hand with your L, do a quarter turn (pivot R) - S - your R shoulder and head should be pointing/looking downline telling the follow where to go. Now bring her through turning her here - Q Q S S - you should be stepping, very tiny, almost in place, the same steps.

    As she goes around in her turn, place your fingertips on her back as she comes out of the turn indicating that you are finished turning her.

    It is really difficult to put this into words . . . I tried to, but if you get tied up in knots - J/K . . . let me know if any part of this is unclear?

Share This Page