You may have noticed on the dance floor that
some dancers are able to perform moves which
match changes in the flow of the music. These
dancers haven't necessarily memorized the music
-- most swing music actually has a regular and
predictable structure. The chorus of most swing
songs consists of 32 bars which as a whole
follow an AABA structure. Each individual
letter consists of four 8-count sections and
the B letter has a different melody. The fourth
8-count section of each letter is often an
ideal time to execute a break.
If you have swing music available, try
listening to it now and see if you can notice
Musicality in Salsa
Musicality - THE ABSOLUTE BEST STYLE!!!
Dip at the finale. hit the hits, pause on the
pauses, bodywave to the waves, jump to the
jumps - interpret the music!!! Go back to the
One or the Two in between the breaks, but focus
and interpret the MUSIC - not just the beat.
~ Musicality ~
The quality or condition of being musical.
How the STORY of the music is INTERPRETED by
the body or bodies in motion.
What Edie, The Salsa FREAK refers to as a
dancer to interprets the story of the music by
his/her body in motion while partner dancing.
Awesome male lead who hits the breaks, and ends
the song with an amazing dip or dramatic pose
at the finale of the song, EXACTLY on time with
how the artist of the music originally intended
Awesome female follower who respects hitting
the breaks and obeys his every command, even if
he asks her to hijack a move in a certain
section to compliment the drama of his
choreography of the song.
Bad-ass, amazing feeling Salsero who practices
Musicality and takes her to places she's never
been...(on the dance floor)
Most women refer to him as "oh my God" after
dancing with him.
When you develop dancing or "talking" on the
One or the Two, don't develop an attitude about
it, and just dance THAT. Do both. Speak both
languages with a smile and excitement, while
DANCING MUSICALLY, Styling to the Hits in
between is nothing short of Heaven on earth!!
God has given you TWO SKILLS now, so use them
both. Some the top Musicalists in the world
with a full description of Musicality are
listed on Edie's website at:
Musicality (Thoughts from Waltz
Dance teachers like to emphasize the wide
potential application of a dance step,
especially when teaching beginners: "You can
dance swing to all kinds of music!" etc. This
is valuable coaching for a beginner who may
need lots of encouragement to venture out to
those first few dances. Unfortunately, some
dancers get stuck in that stage, and dance
their solitary step/style to whatever music
comes on. Similarly, some ballroom instructors
seemingly teach students to ignore the music
beyond using the beat as a guide for stepping;
at least that's the impression some dancers
give, showing little stylistic variation from
one dance to another.
At Waltz etcetera, we like to emphasize the
differences of style and rhythm that different
songs demand, and we teach our students to
really pay attention and dance to the music.
While we occasionally teach a separate
musicality class, we mostly just work it into
all of our classes, encouraging students to
listen to and be guided by the music, not just
in rhythm but in mood and attitude. The music
we play is very spirited; we love to see
dancers infuse a little of that spirit into
their dance. Let the spirit of the music move
ya! (not just the beat
Dancing to music involves listening both with your
body and your partner. This listening can imagined
as a conversation, a playful interaction, a
competition, a meditation, a way of relaxing in
movement with another. The music we play is
selected because it has a rhythmic energy that
makes us want to move and an overall musical
structure where the passions within the music can
be released through our movement. Below are some
thoughts by others on dancing to the music.