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Produced by David E. Brown and The Online Distributed | |
Proofreading Team at http://www.pgdp.net (This file was | |
produced from images generously made available by the | |
Library of Congress) | |
[Illustration] | |
THE FASCINATING | |
BOSTON | |
How to Dance and How to Teach the | |
Popular New Social Favorite | |
_By_ | |
ALFONSO JOSEPHS SHEAFE | |
Master of Dancing | |
_Translator and Editor of | |
Zorn's Grammar of the Art of Dancing_ | |
Boston, Mass. | |
THE BOSTON MUSIC COMPANY | |
New York: G. Schirmer, Incorporated | |
Copyright, 1913, by | |
THE BOSTON MUSIC CO. | |
For all countries | |
B. M. Co. 3366 | |
Table of Contents | |
Page | |
FOREWORD 1 | |
THE BOSTON | |
THE FUNDAMENTAL POSITIONS 5 | |
THE POSITION OF THE PARTNERS 8 | |
THE STEP OF THE BOSTON 12 | |
THE LONG BOSTON 22 | |
THE SHORT BOSTON 23 | |
THE OPEN BOSTON 24 | |
THE BOSTON DIP 25 | |
THE TURKEY TROT 27 | |
THE AEROPLANE GLIDE 28 | |
THE TANGO 29 | |
THE FASCINATING BOSTON | |
FOREWORD | |
Since the introduction of the waltz, more than a hundred years ago, it | |
has held the first place in the esteem of dancers throughout the | |
civilized world. There has appeared, however, a new claimant for the | |
place--one that possesses all the qualities that go to make a social | |
favorite, and has the additional advantages of greater ease of | |
execution, and wider possibilities of adaptation. | |
This is the BOSTON--not, as many persons suppose, a new creation nor | |
indeed is it a novelty even to the American public, for it was | |
introduced here more than a generation ago; but the great popularity of | |
the Two-Step, which had just then come into vogue, and was fast gaining | |
favor under the influence of such brilliant compositions as the | |
quick-step marches by Sousa, operated against its immediate acceptance. | |
One of the reasons why the Boston should prove today a more attractive | |
dance than any other, is the fact that now there are more captivating | |
airs written for this particular form of dance than for any other, and | |
as the Two-Step, in its time, found its most powerful ally in the music | |
to which it was adapted, the Boston has today the persuasive | |
intercession of such languorous and haunting melodies as "Love's | |
Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's | |
"Thrill," and others. | |
General taste has gradually found out the superior charm of the Boston; | |
the pendulum of public favor has again swung in the direction of skilful | |
dancing. | |
The recent revival of the Waltz in its proper form, has brought with it | |
a larger appreciation of the more worthy and graceful social dances, | |
and the entire world now recognizes the wonderful beauty of the Boston, | |
and has welcomed it as a real competitor. | |
The Boston is not a Waltz, yet it is the perfection of it. It is one of | |
those paradoxical things which, while it is impossible to be classified, | |
contains all that is to be found in almost any other dance. Even the | |
persons who have so long and so loyally clung to other forms of dancing, | |
and have abated none in their zeal for their favorites, have been | |
unconsciously, and perhaps unwillingly, charmed by the seductiveness of | |
the Boston, until they now freely declare the new dance to be the | |
superior of the Waltz. Therefore it is safe to say that the Boston will, | |
eventually, supersede the Waltz altogether. | |
We demand a dance which combines ease of execution with attractive | |
movement. That is just what the Boston does, and perhaps more. It is so | |
simple in construction that, when acquired, it becomes natural, and its | |
perfect adaptability assures it lasting popularity. | |
Owing to the urgent request of many of his pupils and colleagues, the | |
author has undertaken this little book in the hope that it will meet the | |
requirements of both teachers and students, and help to assure the | |
proper appreciation of what is in reality the most delightful and | |
artistic social dance since the Minuet. | |
THE FIVE FUNDAMENTAL POSITIONS | |
In order that the reader may the more readily understand the | |
descriptions given in this book, we will explain the five fundamental | |
positions upon which the art of dancing rests. | |
In the 1st position, the feet are together, heel against heel. | |
[Illustration] | |
In the 2nd position, the heels are separated sidewise, and on the same | |
line. | |
[Illustration] | |
In the 3rd position, the heel of one foot touches the middle of the | |
other. | |
[Illustration] | |
In the 4th position, the feet are separated as in walking, either | |
directly forward or directly backward. | |
[Illustration] | |
In the 5th position, the heel of one foot touches the point of the | |
other. | |
[Illustration] | |
In all these positions the feet must be turned outward to form not less | |
than a right angle. | |
THE POSITIONS OF THE PARTNERS | |
Much, if not all, of the adverse criticism of the Boston which has been | |
offered by educators, parents and other responsible objectors, has been | |
directed at the relative positions of the partners. This is, in fact, no | |
more than the general rule as regards the Social Round Dance, with the | |
possible exception that the positions have been sometimes distorted by | |
attempts to copy the freer forms of dancing that have been presented | |
upon the stage. | |
The Round Dance demands that a certain fixed grouping of the partners be | |
maintained in order that the rotation around a common moving centre may | |
be accomplished, and it is here that the most serious problem is to be | |
found. | |
The dancing profession long ago undertook to settle upon arbitrary | |
groupings satisfactory to the needs of the dancers, and conforming to | |
all the requirements of propriety and hygienic exercise. | |
[Illustration] | |
Acting upon this basis, the reputable teachers of dancing throughout the | |
world have adopted and promulgated three fundamental groupings for the | |
Round Dance which are so constructed as to provide the greatest ease of | |
execution and freedom of action. They are known as the Waltz Position, | |
the Open Position, and the Side Position of the Waltz. All round dances | |
are executed in one or another of these groupings, which are not only | |
accepted by all good teachers, but, with the exception of certain minor | |
and unimportant variations, rigidly adhered to in all their work. | |
In the Waltz Position the partners stand facing one another, with | |
shoulders parallel, and looking over one another's right shoulder. | |
Special attention must be paid to the parallel position of the | |
shoulders, in order to fit the individual movements of the partners | |
along the line of direction. | |
The gentleman places his right hand lightly upon the lady's back, at a | |
point about half-way across, between the waist-line and the | |
shoulder-blades. The fingers are so rounded as to permit the free | |
circulation of air between the palm of the hand and the lady's back, and | |
should not be spread. | |
The lady places her left hand lightly upon the gentleman's arm, allowing | |
her fore-arm to rest gently upon his arm. The partners stand at an easy | |
distance from one another, inclining toward the common centre very | |
slightly. The free hands are lightly joined at the side. This is merely | |
to provide occupation for the disengaged arms, and the gentleman holds | |
the tip of the lady's hand lightly in the bended fingers of his own. | |
Guiding is accomplished by the gentleman through a slight lifting of his | |
right elbow. | |
[Illustration] | |
THE OPEN POSITION | |
The Open Position needs no explanation, and can be readily understood | |
from the illustration facing page 8. | |
THE SIDE POSITION OF THE WALTZ | |
The side position of the Waltz differs from the Waltz Position only in | |
the fact that the partners stand side by side and with the engaged arms | |
more widely extended. The free arms are held as in the frontispiece. In | |
the actual rotation this position naturally resolves itself into the | |
regular Waltz Position. | |
THE STEP OF THE BOSTON | |
The preparatory step of the Boston differs materially from that of any | |
other Social Dance. There is _only one position_ of the feet in the | |
Boston--the 4th. That is to say, the feet are separated one from the | |
other as in walking. | |
On the first count of the measure the whole leg swings freely, and as a | |
unit, from the hip, and the foot is put down practically flat upon the | |
floor, where it immediately receives the entire weight of the body | |
_perpendicularly_. The weight is held entirely upon this foot during the | |
remainder of the measure, whether it be in 3/4 or 2/4 time. | |
The following preparatory exercises must be practiced forward and | |
backward until the movements become natural, before proceeding. | |
In going backward, the foot must be carried to the rear as far as | |
possible, and the weight must always be perpendicular to the supporting | |
foot. | |
These movements are identical with walking, and except the particular | |
care which must be bestowed upon the placing of the foot on the first | |
count of the measure, they require no special degree of attention. | |
On the second count the free leg swings forward until the knee has | |
become entirely straightened, and is held, suspended, during the third | |
count of the measure. This should be practiced, first with the weight | |
resting upon the entire sole of the supporting foot, and then, when this | |
has been perfectly accomplished, the same exercise may be supplemented | |
by raising the heel (of the supporting foot) on the second count and | |
lowering it on the third count. _Great care must be taken not to divide | |
the weight._ | |
For the purpose of instruction, it is well to practice these steps to | |
Mazurka music, because of the clearness of the count. | |
[Illustration] | |
When the foregoing exercises have been so fully mastered as to become, | |
in a sense, muscular habits, we may, with safety, add the next feature. | |
This consists in touching the floor with the point of the free foot, at | |
a point as far forward or backward as can be done without dividing the | |
weight, on the second count of the measure. Thus, we have accomplished, | |
as it were, an interrupted, or, at least, an arrested step, and this is | |
the true essence of the Boston. | |
Too great care cannot be expended upon this phase of the step, and it | |
must be practiced over and over again, both forward and backward, until | |
the movement has become second nature. All this must precede any attempt | |
to turn. | |
The turning of the Boston is simplicity itself, but it is, nevertheless, | |
the one point in the instruction which is most bothersome to | |
learners. The turn is executed upon the ball of _the supporting foot_, | |
and consists in twisting half round without lifting either foot from the | |
ground. In this, the weight is held altogether upon the supporting foot, | |
and there is no crossing. | |
In carrying the foot forward for the second movement, the knees must | |
pass close to one another, and care must be taken that _the entire half | |
turn comes upon the last count of the measure_. | |
To sum up:-- | |
Starting with the weight upon the left foot, step forward, placing the | |
entire weight upon the right foot, as in the illustration facing page 14 | |
(count 1); swing left leg quickly forward, straightening the left knee | |
and raising the right heel, and touch the floor with the extended left | |
foot as in the illustration facing page 16, but without placing any | |
weight upon that foot (count 2); execute a half-turn to the left, | |
backward, upon the ball of the supporting (right) foot, at the same time | |
lowering the right heel, and finish as in the illustration opposite page | |
18 (count 3). One measure. | |
[Illustration] | |
Starting again, this time with the weight wholly upon the right foot, | |
and with the left leg extended backward, and the point of the left foot | |
lightly touching the floor, step backward, throwing the weight entirely | |
upon the left foot which sinks to a position flat upon the floor, as | |
shown in the illustration facing page 21, (count 4); carry the right | |
foot quickly backward, and touch with the point as far back as possible | |
upon the line of direction without dividing the weight, at the same time | |
raising the left heel as in the illustration facing page 22, (count 5); | |
and complete the rotation by executing a half-turn to the right, | |
forward, upon the ball of the left foot, simultaneously lowering the | |
left heel, and finishing as in the illustration facing page 24, (count | |
6). | |
THE REVERSE | |
The reverse of the step should be acquired at the same time as the | |
rotation to the right, and it is, therefore, of great importance to | |
alternate from the right to the left rotation from the beginning of the | |
turning exercise. The reverse itself, that is to say, the act of | |
alternating is effected in a single measure without turning (see | |
preparatory exercise, page 13) which may be taken backward by the | |
gentleman and forward by the lady, whenever they have completed a whole | |
turn. | |
The mechanism of the reverse turn is exactly the same as that of the | |
turn to the right, except that it is accomplished with the other foot, | |
and in the opposite direction. | |
There is no better or more efficacious exercise to perfect the Boston, | |
than that which is made up of one complete turn to the right, a measure | |
to reverse, and a complete turn to the left. This should be practised | |
until one has entirely mastered the motion and rhythm of the dance. The | |
writer has used this exercise in all his work, and finds it not only | |
helpful and interesting to the pupil, but of special advantage in | |
obviating the possibility of dizziness, and the consequent | |
unpleasantness and loss of time. | |
[Illustration] | |
After acquiring a degree of ease in the execution of these movements to | |
Mazurka music, it is advisable to vary the rhythm by the introduction of | |
Spanish or other clearly accented Waltz music, before using the more | |
liquid compositions of Strauss or such modern song waltzes as those of | |
Danglas, Sinibaldi, etc. | |
It is one of the remarkable features of the Boston that the weight is | |
always opposite the line of direction--that is to say, in going forward, | |
the weight is retained upon the rear foot, and in going backward, the | |
weight is always upon the front foot (direction always radiates from the | |
dancer). Thus, in proceeding around the room, the weight must always be | |
held back, instead of inclining slightly forward as in the other round | |
dances. This seeming contradiction of forces lends to the Boston a | |
unique charm which is to be found in no other dance. | |
As the dancer becomes more familiar with the Boston, the movement | |
becomes so natural that little or no thought need be paid to technique, | |
in order to develop the peculiar grace of it. | |
The fact of its being a dance altogether in one position calls for | |
greater skill in the execution of the Boston, than would be the case if | |
there were other changes and contrasts possible, just as it is more | |
difficult to play a melody upon a violin of only one string. | |
The Boston, in its completed form, resolves itself into a sort of | |
walking movement, so natural and easy that it may be enjoyed for a | |
whole evening without more fatigue than would be the result of a single | |
hour of the Waltz and Two-Step. | |
Aside from the attractiveness of the Boston as a social dance, its | |
physical benefits are more positive than those of any other Round Dance | |
that we have ever had. The action is so adjusted as to provide the | |
maximum of muscular exercise and the minimum of physical effort. This | |
tends towards the conservation of energy, and produces and maintains, at | |
the same time an evenness of blood pressure and circulation. The | |
movements also necessitate a constant exercise of the ankles and insteps | |
which is very strengthening to those parts, and cannot fail to raise and | |
support the arch of the foot. | |
Taken from any standpoint, the Boston is one of the most worthy forms of | |
the social dance ever devised, and the distortions of position which | |
are now occasionally practiced must soon give way to the genuinely | |
refining influence of the action. | |
[Illustration] | |
Of the various forms of the Boston, there is little to be said beyond | |
the description of the manner of their execution, which will be treated | |
in the following pages. | |
It is hoped that this book will help toward a more complete | |
understanding of the beauties and attractions of the Boston, and further | |
the proper appreciation of it. | |
_All descriptions of dances given in this book relate to the lady's | |
part. The gentleman's is exactly the same, but in the countermotion._ | |
THE LONG BOSTON | |
The ordinary form of the Boston as described in the foregoing pages is | |
commonly known as the "Long" Boston to distinguish it from other forms | |
and variations. It is danced in 3/4 time, either Waltz or Mazurka, and | |
at any tempo desired. As this is the fundamental form of the Boston, it | |
should be thoroughly acquired before undertaking any other. | |
[Illustration] | |
THE SHORT BOSTON | |
The "Short" Boston differs from the "Long" Boston only in measure. It is | |
danced in either 2/4 or 6/8 time, and the first movement (in 2/4 time) | |
occupies the duration of a quarter-note. The second and third movements | |
each occupy the duration of an eighth-note. Thus, there exists between | |
the "Long" and the "Short" Boston the same difference as between the | |
Waltz and the Galop. In the more rapid forms of the "Short" Boston, the | |
rising and sinking upon the second and third movements naturally take | |
the form of a hop or skip. The dance is more enjoyable and less | |
fatiguing in moderate tempo. | |
THE OPEN BOSTON | |
The "Open" Boston contains two parts of eight measures each. The first | |
part is danced in the positions shown in the illustrations facing pages | |
8 and 10, and the second part consists of 8 measures of the "Long" | |
Boston. | |
In the first part, the dancers execute three Boston steps forward, | |
without turning, and one Boston step turning (towards the partner) to | |
face directly backward (1/2 turn). 4 measures. | |
This is followed by three Boston steps backward (without turning) in the | |
position shown in the illustration facing page 10, followed by one | |
Boston step turning (toward the partner) and finishing in regular Waltz | |
Position for the execution of the second part. | |
[Illustration] | |
THE BOSTON DIP | |
The "Dip" is a combination dance in 3/4 or 3/8 time, and contains 4 | |
measures of the "Long" Boston, preceded by 4 measures, as follows: | |
Standing upon the left foot, step directly to the side, and transfer the | |
weight to the right foot (count 1); swing the left leg to the right in | |
front of the right, at the same time raising the right heel (count 2); | |
lower the right heel (count 3); return the left foot to its original | |
place where it receives the weight (count 4); swing the right leg across | |
in front of the left, raising the left heel (count 5); and lower the | |
left heel (count 6). 2 measures. | |
Swing the right foot to the right, and put it down directly at the side | |
of the left (count 1); hop on the right foot and swing the left across | |
in front (count 2); fall back upon the right foot (count 3); put down | |
the left foot, crossing in front of the right, and transfer weight to it | |
(count 4); with right foot step a whole step to the right (count 5); and | |
finish by bringing the left foot against the right, where it receives | |
the weight (count 6). 2 measures. | |
In executing the hop upon counts 2 and 3 of the third measure, the | |
movement must be so far delayed that the falling back will exactly | |
coincide with the third count of the music. | |
[Illustration] | |
THE TURKEY TROT | |
_Preparation:--Side Position of the Waltz._ | |
During the first four measures take four Boston steps without turning | |
(lady forward, gentleman backward), and bending the supporting knee, | |
stretch the free foot backward, (lady's left, gentleman's right) as | |
shown in the illustration opposite. 4 meas. | |
Repeat in opposite direction. 4 meas. | |
Execute four drawing steps to the side (lady's right, gentleman's left) | |
swaying the shoulders and body in the direction of the drawn foot, and | |
pointing with the free foot upon the fourth, as shown in figure. | |
4 meas. | |
Repeat in opposite direction. 4 meas. | |
Eight whole turns, Short Boston or Two-Step. 16 meas. | |
Repeat at will. | |
* * * * * | |
A splendid specimen for this dance will be found in "The Gobbler" by | |
J. Monroe. | |
THE AEROPLANE GLIDE | |
The "Aeroplane Glide" is very similar to the Boston Dip. It is supposed | |
to represent the start of the flight of an aeroplane, and derives its | |
name from that fact. | |
The sole difference between the "Dip" and "Aeroplane" consists in the | |
six running steps which make up the first two measures. Of these running | |
steps, which are executed sidewise and with alternate crossings, before | |
and behind, only the fourth, at the beginning of the second measure | |
requires special description. Upon this step, the supporting knee is | |
noticeably bended to coincide with the accent of the music. | |
The rest of the dance is identical with the "Dip". (See page 25.) | |
[Illustration] | |
THE TANGO | |
The Tango is a Spanish American dance which contains much of the | |
peculiar charm of the other Spanish dances, and its execution depends | |
largely upon the ability of the dancers so to grasp the rhythm of the | |
music as to interpret it by their movements. The steps are all simple, | |
and the dancers are permitted to vary or improvise the figures at will. | |
Of these figures the two which follow are most common, and lend | |
themselves most readily to verbal description. | |
TANGO No. 1 | |
The partners face one another as in Waltz Position. The gentleman takes | |
the lady's right hand in his left, and, stretching the arms to the full | |
extent, holding them at the shoulder height, he places her right hand | |
upon his left shoulder, and holds it there, as in the illustration | |
opposite page 30. | |
In starting, the gentleman throws his right shoulder slightly back and | |
steps directly backward with his left foot, while the lady follows | |
forward with her right. In this manner both continue two steps, crossing | |
one foot over the other and then execute a half-turn in the same | |
direction. This is followed by four measures of the Two-Step and the | |
whole is repeated at will. 8 measures. | |
[Illustration] | |
TANGO No. 2 | |
This variant starts from the same position as Tango No. 1. The gentleman | |
takes two steps backward with the lady following forward, and then two | |
steps to the side (the lady's right and the gentleman's left) and two | |
steps in the opposite direction to the original position. | |
8 measures. | |
These steps to the side should be marked by the swaying of the bodies as | |
the feet are drawn together on the second count of the measure, and the | |
whole is followed by 8 measures of the Two-Step. Repeat all as desired. | |
IDEAL MUSIC FOR THE "BOSTON" | |
PIANO SOLO | |
(_Also to be had for Full or Small Orchestra_) | |
LOVE'S AWAKENING _J. Danglas_ .60 | |
ON THE WINGS OF DREAM _J. Danglas_ .60 | |
FRISSON (Thrill!) _S. Sinibaldi_ .50 | |
LOVE'S TRIUMPH _A. Daniele_ .60 | |
DOUCEMENT _G. Robert_ .60 | |
VIENNOISE _A. Duval_ .60 | |
These selected numbers have attained success, not alone for their | |
attractions of melody and rich harmony, but for their rhythmical | |
flexibility and perfect adaptedness to the "Boston." | |
FOR THE TURKEY TROT | |
Especially recommended | |
THE GOBBLER _J. Monroe_ .50 | |
Any of the foregoing compositions will be supplied on receipt of | |
one-half the list price. Postage two cents extra for each copy. | |
PUBLISHED BY | |
THE BOSTON MUSIC COMPANY 26 & 28 WEST ST., BOSTON, MASS. | |
TRANSCRIBER'S NOTES: | |
Text in italics is surrounded with underscores: _italics_. | |
Punctuation has been corrected without note. | |
Obvious typographical errors have been corrected as follows: | |
Page 8: duplicate word "the" removed | |
Page 23: duplicate word "and" removed | |
End of Project Gutenberg's The Fascinating Boston, by Alfonso Josephs Sheafe | |
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