Adams American Style Ballroom
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Adams Dance Lessons in Kansas City Area

• I. Timing: When to step (in time with the music)
  • Music has various timing, with accents on various counts (see Article)
    • Most music is 4/4 time, counting 1, 2, 3, 4:
      • Accent on 1 & 3 for Fox Trot and East Coast Swing
      • Accent on 1, 3, 4 for Rumba (double timed with off beats, omit or triple time [1 &-uh 2] count 2)
      • Accent every beat for Polka & West Coast Swing
      • Double timed (half beats) with accent on every count for Cha Cha and much Rock (count 1 & 2 & 3 & 4 &)
      • Accent on half beat before count 1 for Tango;
    • Waltz is 3/4 time with accent on count 1;
    • Samba and Meringue are 2/4 double time with accents on every count (count 1 & 2, 1 & 2).
  • A measure of music is one count of 4 (or 3 or 2).
  • Steps do not necessarily fit a measure of music; they may require a varying number of counts.
    • A quick step takes 1 count;
    • A slow step takes 2 counts;
    • A balance step (Waltz only) takes 3 counts
    • A triple step has three steps in 2 counts (1&2, or 4&1);
      • Even time in Cha Cha, West Coast Swing, Polka (two eighth notes and a quarter note);
      • Syncopated in East Coast Swing, Samba (dotted eighth note, sixteenth note, and a quarter note).
• II. Patterns: Where to step (direction & feet positions)
  • Five main foot positions:
    • 1st Position: Feet together
    • 2nd Position: Step to side (left or right), toes forward
    • 3rd Position: Step to side, toes of moving foot pointing in direction of the step (example, promenade)
    • 4th Position: Step forward or back, toes pointed forward
    • 5th Position: Ball of (either) foot behind heel of other
  • B. Some other foot positions:
    • Diagonal 2nd: step diagonal, toes pointed forward
    • Diagonal 3rd: step diagonal, toes pointed on the diagonal;
    • Lock Position: Feet crossed, slightly apart, back of knee touching kneecap of other leg.
• III. Techniques: How two people step together as one
  • A. Direction of Movement
    • Line of Dance (LOD): Traffic moves counterclockwise
    • Passing on outside toward wall, spot steps toward center
    • Dancers' Compass (see diagram below)
      • Line of Dance (LOD)
      • Counter Line of Dance (Rear)
      • Center (left when facing LOD)
      • Wall (right when facing LOD; "face the wall" means back toward the center)
      • Diagonal Wall (half way between LOD and Wall)
      • Diagonal Center (half way between LOD and Center)
      • Diagonal Wall Rear (half way between Rear and Wall)
      • Diagonal Center Rear (half way between Rear and Center)
  • B. Guys lead, Gals follow
  • C. Body positions
    • Closed (see Fox Trot Lesson)
    • Promenade (conversation)
    • Right and Left Parallel
    • Wrap (cuddle)
    • Two Hand Hold
      • Swing (waist high, two fingers in gal's palms)
      • Latin (shoulder high, palm to palm)
    • Right or Left Open
    • Shine (apart, no hands)
    • Arch (guy lifts gal's hand, she turns forward under)
    • Loop (guy draws gal's hand between them and up around her head)
• IV. Styling
  • Posture: Erect, rib cage tilts up where ribs meet spine;
  • Head Position: "Where the toes go, the nose goes";
  • Eyes Upward: Do not watch your feet;
  • Follow Through: Brush feet together on even numbered counts in steps taking more than one count in smooth dances and Waltz Balance steps;
  • Arm and Leg Positions: Vary with the step; elbows up;
  • Making a Line: Individual or couple pose, hold positions;
  • Tracing a Line: Arm/leg moves through the air or along floor
• V. Animation
• Facial expression should be pleasant;
• Dress and general appearance should be appropriate;
• Attitude: Look like you are having a good time;
• Courtesy: To partner and other couples. Dance etiquette:
  • Guy may ask any gal to dance;
  • She may refuse, but if so, she may not accept another during the same piece of music;
  • On ladies' choice dance, gal may ask any guy;
  • On ladies' choice dance, guy may not refuse;
  • Guy may cut in on any couple, may not be refused;
  • Cut guy may not re-cut on same guy, but may enlist 2nd guy