Natural Turn in Slow Waltz
Posted on April 13, 2010
Filed Under Articles
In the following some time discussing issues and dynamic body lines of a pair in the first three steps of a turn right (Natural Turn) of the waltz. Use this figure as a basis for standard dances want to emphasize certain principles underlying the technique, irrespective of the figure, hoping to wake up to this approach interesting. The explanations are accompanied by frames, photo images that were taken from a video file, from time to time. I want to thank Mr. Andrew began Barcaru - Sporting Hobby Sports Dance Club Dance, which I provided the pictures for this article.
frame 1
In Figure 1 we see the position of bodies on the second half of the previous three times. I prefer to start with the end of the previous measure because, dynamically speaking, here starts figure (so-called down-swing). I prefer not to use the word "descent" for the move (although often they do in ballroom dancing, like many coaches or instructors: D), but the expression "create pressure command" or "push the floor". Basically knees flex partners, gaining energy in the same way as a compressed spring, sat on a hard surface that we push with force. As of the joint angle is sharper even accumulated energy is higher - the spring is compressed to a greater degree. Position dancers columns we reveal lines, including stretching the left face. Note also the boy's weight placed on the pad, heel leaves the floor immediately - call this leg standing leg (leg on which we stand). Girl's left leg - moving leg (leg moving) starts its movement on the floor before the boy easily create leeway for partner. This moves the cushion, heel always indicating direction of travel. Finally the most advanced is to note a slight tendency towards the boy left with a more advanced position of the boy's right side - all to emphasize swing rotation.
frame 2
In Figure 2 pair depaseaza the beginning of time one of the Natural Turn. We see knee-pool-shoulder alignment perpendicular to the floor for the boy. Boys often break this alignment is to be unveiled the chest pushing back basin. Initiates movement back towards the pool, also aligned with the top. The angle between pelvis and femur-column is very important, is the space that can move partner. Many times guys say "no place to move" just because of that. Note that rotation to easily enter inside, the boy keeps to the left position. Will ask partners to track the distance between your feet.
frame 3
In Figure 3 we are currently in the middle of a time, position called the split-weight, that weight is equally distributed on both feet. Note that the standing-leg worked within (is spread almost all). Bate column line and observe that unlike the front and held its head at the same fixed point. Partner continues to move towards the interior rotation. An interesting aspect is the speed with which the girl he "pulls" the right foot - feet distance between partners has increased.
frame 4
Figure 4. Weight changes slightly on the other foot. If until now we used predominantly verb "push" to describe the "engine" movement, now use "pull" - I pushed in the leg, pull the leg. Distance between the feet increases, to continue moving towards the interior rotation, top is seeing the boy. Notice the diagonal represented by the dashed line that lift and push the left side of the boy. Left foot is on top.
frame 5
Figure 5. We are at the end of time 1. Position is a boy who looks a lot like the beginning (but change legs). Weight is still on the pillow, only the left side is now in front. Position but interesting face is called pointing. The right leg shows the direction of subsequent movement, and her head column and follow the same direction. Position is characteristic rotation pointing her lower right side of the face to the right, so obviously if you are careful to position sole - important again created space for proper partner.
frame 6
In Figure 6 we see at time 2 and move the left foot keeping the partner on the same line right leg slightly flexed. This principle I think is interesting because we often see couples that rises too quickly, reducing travel time and manhandling 2. Continue stretching the dotted diagonal. Slow movement with its Girls from superiors in order to allow the boy to "overcome". Left side stood still, looking boy is in fist (outlet).
frame 7
In Figure 7 we see the end of time 2 - position we find split-weight, high angle of the legs defining the distance between tapli principle. Boy "obsolete" partner. It clearly shows the sway (lean) pair, column and diagonal boy perpendicular to the floor face defined by the body.
frame 8
frame 9
frame 10
Images 9 and 10. Pool boy picorul and aligns with the left shoulder by a pushing motion of the right foot. Continue lifting and closing legs.
frame 11
frame 12
Images 11 and 12. We are the middle three times. Feet close together with the end roatatiei, stretching your face is up. Observe weight in front projection in both partners and knees flexed easily.
Here's the result when restore movement by joining the 12 images.
I hope this visual model to be useful, without any claim that is perfect. If you consider it useful we will continue with other figures of interest to athletes, trainers and coaches.
Justin Istrate - Coach CDS HobbyDance
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7 Responses to "Slow Waltz Natural Turn in"
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Good, good, want. Very well done - a small lesson summary for some fundamental principles. Beautiful.
super! we want
very good job!
The opposition cried out: we want a picture of "left"
very much ... jus really need to write a book with as many figures of all the dances, a bible for both dance ;) and for Latin ... st time and patience to you as inspiration I do not think I'll go no
Very nicely explained!
Jus Bravo! Cool made article. I liked the nutrition. Increase in continurare to work!