| All of the Imperial Swing clubs around the St. Louis | | | | of up to, but not including 32 beats, nor a major |
| area teach new dancers that when executing their | | | | phrase of 32 beats (or 8 measures), are divisible by 6 |
| six-count footwork, they have to take 8 steps for | | | | beats, the male dancer must subsequently add a 2, |
| every 6 beats of the music. On the first triple step | | | | 4, 6 or 8 beat combination of steps necessary to |
| count of 1 and 2, which is verbalized as "tri-ple-step," | | | | "phrase" correctly and complete his footwork at the |
| dancers learn to take 3 steps during these 2 beats | | | | end of each 32 beat chorus. To accomplish this, for |
| of the music. On the second triple step count of 3 | | | | example, he may begin his dance with an eight-count |
| and 4, which is also verbalized as "tri-ple-step," they | | | | pattern and then complete his 32 count phrase using |
| take another 3 steps during these 2 beats of the | | | | four six-count patterns. In other words, a dancer |
| music. On the concluding double step count of 5 - 6, | | | | must learn a variety of different 2, 4, 6 or 8 beat |
| which is verbalized as "rock-step," they take 2 steps | | | | moves in his classes and then incorporate them into |
| during these last 2 beats of the music. In other | | | | his patterns in order to dance in time with the music. |
| words, the male dancer and his partner have to take | | | | Timing is the structure of music and the "time |
| a total of 8 steps (making 8 distinct, foot-to-foot | | | | signatures" of different music styles tell dancers how |
| weight shifts) during the first 6 beats of the music. | | | | many beats there are to a measure and which note |
| Most swing, jazz and rock songs are divided into four | | | | is used to represent that beat. Swing music uses 4/4 |
| choruses that are played after the song's beginning | | | | timing; that is, there are 4 beats to a measure (4 /4) |
| melody called an introduction and before its ending | | | | and the quarter note gets the beat (4/ 4). Rhythm is |
| melody called an exit. These four choruses are | | | | the dancer's (and musician's) interpretation of the |
| composed of two 32-count phrases (AA) which are | | | | individual notes. There are basically two types of |
| similar in melody but different in lyrical content; a | | | | dancers. The first dancer does not interpret the |
| bridge (B) where the singer stops singing or a melody | | | | music; instead, he forces his patterns onto the music. |
| is played which gives the song contrast because it is | | | | The second dancer does interpret the music and he |
| musically and lyrically different from the other three | | | | leads his patterns so that they follow the music. To |
| choruses; and then a final 32-count phrase (A). This | | | | use a sports analogy, let's consider the football player |
| classic song form is abbreviated as: INTRO - AABA - | | | | (dancer) who is running the ball (dancing) back to the |
| EXIT. Musicality is simply an all-inclusive buzzword for | | | | opposing team's goal line (end of the song) at the |
| the description of a dancer's interaction with the | | | | end of the fourth quarter. Using the classic INTRO - |
| AABA song structure. It explains this interaction using | | | | AABA - EXIT song form that is described above, the |
| musical terminology like beats (or counts), measures | | | | kick-off and interception of the ball is the INTRO to |
| (or bars), notes and phrases; and it is very important | | | | the song. The ball carrier running down the field to |
| for a dancer to learn this vocabulary because as Jan | | | | the 25 yard line is the first 32-count phrase (A); |
| Altman, dance director of the St. Louis Imperial Swing | | | | continuing his run down the field to the 50 yard line is |
| Dance Club says: "you can choose to make dancing | | | | the second 32-count phrase (A); continuing his run |
| as easy or as challenging as you want; however, the | | | | down the field to the 75 yard line is the "bridge" |
| easier that you make it, the harder it is for you to | | | | which usually has 32 counts but it always has an |
| become very good at it." | | | | even number of beats (B); crossing the goal line with |
| Since a measure (bar) is 4 beats (counts) of the | | | | the ball is the last 32-count phrase (A); and the end |
| music and the footwork count of Imperial Swing is | | | | zone, where the player completes his run after his |
| usually 6 beats (or one and a half measures), it is | | | | winning touchdown, is the EXIT. In other words, the |
| actually more challenging for the male dancer to lead | | | | rhythmic dancer, who always interprets the structure |
| his partner smoothly using six-count footwork than if | | | | of a song and then lets the timing of the music tell |
| he uses eight-count footwork because the latter | | | | him both what to do with his feet and when to finish |
| count gives him the two additional beats that he | | | | his steps is "phrasing" correctly. He is the best of the |
| needs to seamlessly complete his footwork on the | | | | two different types of dancers mentioned above |
| second measure of the music. Because neither a mini | | | | because his understanding of musicality enables him |
| phrase of 8 beats (or 2 measures), a minor phrase | | | | to move in time with the music! |