Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1901-01-26

tanned by following closely the descrip-
ton of both of which l hope Won arc an
familiar, but | wish to draw attention
to the most pronounced errors in the
style of waltzing Of today in COMPARE
son to the correct style. What | deem
most characteristic in the waltz is the
"a and 9Th movements When the foot
describes Il graceful circular movement.
termed more correctly. a cycloid move
nent. which is entirely lost in the
present style. Then another point is
bringing the foot in closed position on
Sd and 9Th counts In the present styic
the foot is brought into closed position
on % and 9Th counts and thereby finish
ing dance in opened position instead Of
closed position. as ii should be. These
two important points are sufficient to
Illustrate that by the different rhythm
and ascent the graceful swaying motion
Of the one is lost by the stiff action of
the other. | have observed that when
the music of the waltz is played some
what faster. it is almost impossible to
dance the present style, as it is pecu-
iarly jerky in appearance. 1t is en-
tircly different with correct waltz.
which can be danced almost as fast as
the music is played. | noticed in Ger
many that the music was sometimes
played 50 fast that the dancers actually
executed only four steps and pivoted on
the 81 and 9Th counts. 1t is true they
did describe a sort of Semi-circe on
the I'd and 9Th counts, but they brought
the foot into closed position Immediate
ly, and as | said before. pivoted on the
Cd and also 9Th counts
The musicians there also observed
carefully the accelerandoes and also the
ritenutoes, thereby giving to the dance
a variety charming. Here in our
country the waltz is played entirely too
mechanical, too much of a sing song
sort Of a style. There are certain
melodies in almost every waltz which
would be more effective if played a
shade faster. and again. other melodies
OF q legato nature, which would sound
better slower.
This I know would be rather difficult
to Introduce here. as the majority Of
dancers are utterly ignorant of rhythm.
which comes from improper training. of
course. nothing else. These dancers
can only dance when the music is played
in the time they are accustomed To
dancing. In speaking of rhythm and
music, would you believe it, there are
a number of teachers in this city who
are only able to teach the waltz to one
certain old waltz played with it's pro-
nounccd tempo. \ friend OF mine. Il
doctor by profession. who has an office
III the same building with a teacher of
a. Il.
inGly. if there was only one waltz ana
one polka which could be danced to.
| said. why do you ask? He replied.
actually do YOU know. | have heard for
some three or four hours al a time for
the last five years the same waltz ana
the same polka played. that now it
CRATES 50 on my nerves that have been
prompted 10 buy some new music and
present to the teacher in question
with my compliments. and with the re-
quest for the sake of the other tenants
III the building, to have it played. |
am in favor, understand me, of using; a
waltz for teaching purposes which has
n melody consisting. if possible of the
three quarter notes to the measure, but
after the second or third lesson change
the music 50 that the pupils can dance
to any waltz that may be played thcre
after. 1t is difficult TO say how this
present style Of Waiting became pop
ular Some say on account of the two
step. and | think 50 myself, although it
is more like a redowa than the two step.
Yet I noticed with the Introduction of
the latter. the old waltz has been dis
regarded, and the present style seemed
more easy to master. | do not think
we ought to despair entirely as there
is yet spark of hope. l notice the
two step is losing favor. Thanks, to
the musicians. They are killing it by
PLAYING it so fast that one is liable to
drop dead. if they try to keep up with
them. Consequently. a greater ma