Dennis Beach. Again I say that I only now what some studios teach in my neck of the woods. Thank goodness a couple turned up here very highly ranked Internationaly . There are some differences in timing and teaching. As an example a Volta was being counted as 1 & 2 & 3 & 4 which would be 1/2 1/2 1/2 1/2 1/2 1/2 1/2 Thats seven steps and seven half beats.Odd number. 1/2 beat missing. The count should be
3/4 1/4 3/4 1/4 3/4 1/4 1. Odd number of steps but an even number of beats. Somebody will say well lets drop a 1/2 beat at the end of the first example. Answere . Why not count it correct in the first place. Boto Fogo the same
1 & 2. It should be 3/4 1/4 1. Counting 1 & 2 encourages a half beat count. The same on the Basic Steps and also the Whisks. The final proof is have two colleages dancing a Volta. One dancing the 3/4 1/4 the other with a count of 1 & 2 and so on. Be the judge. Which looks the better. Anyway its in the book, there can be no argument there.By the way I think you are on the right track with your approach to the Samba.
Best wishes.

We are using a couple videos by Ron Montez and he seems to do a good job explaining the different samba steps. His first video shows combinations that focus on particular Samba step. That way we can get a bota fogo down, than a samba swivel etc.. Once we have the various steps down, than we should be able to combine them into more complex combinations and dance them effectively.

We have had quite a few different teachers at FADS and they do contradict each other or at least explain things in manners that seem contradictory. We had a lesson with a teacher fron Denmark on the Quickstep and found out the little we had been taught, would best be discarded and we started from scratch in Quickstep a few weeks ago. That is allready more fun and we are just getting started on doing it right.

Dennis Beach. If it can be explained what are the main changes to your Quickstep from the Danish teacher. With me, and we are all different, was to use the Slows and let them take me onto the Quicks. I was working hard on every step without very much light and shade. Also a higher body contact than in the Waltz, and lighter.. Plus very strong feet and ankles had to be worked on. Nothing looks worse than a flat Quickstep. Its very refreshing to get some constructive comments as in yours and Anonymous's. Thanks

anon3,

Samba Contrasting Rhythms
All the beats and rhythms of Samba from the ISTD manual just for the record.

Count Beat Value Alt count

1.2 1.1 SS

1a2 3/4.1/4.1 SaS

1a2a1a2 3/4.1/4.3/4.1/4
3/4.1/4.1 SaSaSaS

1.2.3 3/4.1/2.3/4 no alt

SQQ 1.1/2.1/2 1/2and

QQS 1/2.l/2.1 1and2

SSQQS 1.1.1/2.1/2.1 1.2.1and2

SQQQQQQ 1.1/2.1/2.1/2.1/2.1/2.1/2
Alternative count-
1.2 and 1 and 2 and

Slightly confusing? Then you have to apply the correct beat to the syllabus figure with the correct foot work.

For example:
Voltas and Bota Fogos--1a2a3a4
Cruzado walks--SSQQS
Promanade Runs 1.2.3 or QQS

To phrase all these patterns together one needs the correct precede and follow
to suit the phrasing.

How do you do you phrase your routines? It seems that everything needs to very precise and preplanned with choreography--and no floor craft problems. I took a lesson once from a latin teacher and we did a was a very precise routine. How do you dance socially with this dance--maybe do just very basic stuff and don't worry about phrasing? Don't see how anyone could do this dance without really studying the manual and applying all the different rhythms.

Anonymous. Very interesting . I really can't see how the average person could choreograph the Samba after getting away from the absolute basics. I danced for a long time without realizing that on two bars of Voltas before we cross over there is a whole beat of one on the seventh step if it is to be danced correctly. This opened a few doors for me. I copied a sequence from the Letter Service danced by Paul Richarson. If it is danced in time and in phrase it feels great. If not it feels lousey. In other words if I started this group on any other bar in the phrasing other than one its not good. On a teaching tape it is no accident that they consist of eight bars of music. If you get onto Michael Wentink out of Africa. The Jive is counted to an eight step count . Try a Basic Fallaway Rock. Change of places Left to Right. Then back again counting in eights. My way used to be counted 123&45&6 start again 12 not exactly right.

Anonymous. Not trying to be funny or contradictory but this as always been a debatable point with me. That is as you copied from the book on Voltas and Botofogo's. Quote 1 a 2 a 3 a 4. What count is the last step on a Volta. A pair of Botofogo's Quote 1a2(a)3a4 how can the middle (a) be explained. The 2 and the 4 have one whole beat. This might provide a clue on Voltas. If I am to count them as above they would have to read 1 a 2 a 3 a 4 a. You will notice the (a) at the end of the sequence and is that right. Who said the Samba is easy.

Counting Volta's. I am not an expert on this-- just trying to read the manual and write what I've been taught.

The count on each volta is 1 a 2
The Beat value for 1 = 3/4 beat
The Beat value for a = 1/4 beat
The Beat value for 2 = 1 beat
The Alternative way to count voltas is
S a S with the same beat value as
the 1 a 2 count.

The teaching count is 1 a 2 a 3 a 4
The volta may be extended for an additional 1 or 2 bars of music, repeating steps 2 and 3 two or four times. This is directly from the manual.

Not sure how to add an a at the end of 4? I usually do my voltos following 4 criss cross bota fogos and do 4 voltas on each side. It is a routine I got off of a dvd. I do the maypole with 4 volta's on each side just like in the dvd. They don't count with an a at the end of 4. I have been playing it safe with my counts and trasistions. I follow a sequence off of a dvd and look at the precedes and follow section in the manual. But, I usually just use a dvd amalgamation. This way I hope to get the connecting figures and the phrasing correct.

I just watched the current Slavik and Karina dvd criss cross bota fogo with criss cross figure. They don't end any of their volta's with an a count.

If we just stick to the Voltas for the minute.. As you pointed out from your Slavic DVD there is no (a) at the end of the Voltas. Neither is there at the beginning. Its easier to understand if we go to a Botofogo To count 1 a 2 will leave you with a 1/2 a beat to get rid of. If you count 3/4 1/4 1 you have used one bar of music, there are no beats left over, one Botofogo = one bar two beats .Apply the same Logic to a Volta, two bars of music, four Voltas. the last one must finish on a whole beat nothing left over.. Eight beats of music , seven steps. When putting together a group one must be aware of the music. The steps must fit the music, not the other way around. Didn't you wonder why on your Slavic DVD at the end of the Voltas there was no (a ) count, which is correct according to my book by Wally Laird and the teachers I go to. Interesting isn't

Just to be sure its understood. If you are told a thing incorrectly and do it enough times. Does one really listen, or do they switch off, thinking I know this one. Get your book out Samba Reverse Basic The whole of the two beats are taken up on the front Basic. The whole of the two beats are taken up on the back Basic. There is nothing in between. So we have 3/4 1/4 1,followed by 3/4 1/4 1. No count inbetween. If you have been taught 1 a 2 (a) 1 a 2, better to get the book out. That Basic movement is carried into Botofogos and so on. Don't go putting 1/2 beats in where they don't belong.

Another thing that's difficult when doing Samba is the speed. You don't have time to think much and you need to really have your routines or figures down. Plus the technique that goes with the dance is different than all others.

Quick step and V. Waltz are similiar with speed and not much time to think about figures. I just do some type of fixed routine in all 3 dances.