SO YOU HAVE BEEN ASKED TO PLAY FOR A DANCE
| Written
by: |
| Wallace
Liggett, Author, Music Teacher, Performer |
| |
| Publication: |
| General
|
| |
| Date
written: |
| 26 June
1998 |
There are
several dances that traditionally feature accordions in their
characteristic music. These are covered in detail in this article.
Accordion reeds may be effectively augmented by electronic and
midi for all types of dance music if played in the correct style
and tempo.
For most of these dances, Spencer and Hearn of England produce
excellent dance teaching videos which also contain fine musical
examples. Some other examples (CD's) are "The Best of Ballroom
Music" and "Giants of Latin."
TEMPO
The tempo is possibly the most important aspect of music for
the dancer. Not only must it be absolutely regular, but also
at the correct speed to create the style and character of that
dance. There is an optimum tempo, above or below which the dance
becomes increasingly difficult to perform, and the characteristics
which are unique to the particular dance are lost.
A quick way to establish a tempo is to count the number of bars
in 10 seconds and multiply this by 6 to get a bars per minute
figure. As well as bars per minute, a number of crotchets or
quarter notes per minute will also be given as this can be used
to set an automatic rhythm on many electronic instruments.
Most dancing competition organisations have a stated tempo with
only a very small variance, above or below which, is not acceptable
for their competitions. While social dancers are not as demanding
as competitive dancers, they too will appreciate the correct
tempo. An approximate rule for the musician is five percent
above or below the optimum tempo. The only exception being where
the dancers are predominantly elderly and may appreciate a slightly
slower tempo.
Where dance music is being played as a solo concert item it
will usually be played at a faster tempo than when being danced
to. Be very conscious of this if you ever play one of your solo
pieces for a dance. While on the subject of time values and
tempo the question of time signatures should be considered.
Most dances are danced to 4/4 time music, with three notable
exceptions, the polka which is usually danced in 2/4, the Paso
Doble also in 2/4 time, and of course the waltz in 3/4 time.
There are a number of beautiful songs and other music written
in 6/8 time. Do not be tempted to play them for dancing. Save
them for concert items as apart from the Viennese Waltz (where
3/4 time is preferred when played at the correct tempo) and
possibly the Paso Doble (much better to use 2/4 time) and a
few sequence dances, where simple times are usually better,
it is impossible to metre dance steps into the music.
Most dances have steps that take minim, crotchet and in a few
cases quaver time. A musician should readily appreciate the
problem 6/8 time music poses to dancers. This writer has on
numerous occasions seen competent dancers sit out a dance of
6/8 time music, while less experienced dancers have vainly and
unsuccessfully attempted to move in time to the music.
Polka
The polka is a lively dance, usually in 2/4 time. It originated
in Europe but is popular in America and all over the world.
In the USA and Canada and to some extent in Europe the accordion
is so strongly identified with this type of dance music that
some people think it is the only music that can be performed
on an accordion. When playing the polka as with all other dances,
you must be aware that people are dancing and the tempo must
be comfortable for the dancers. In 2/4 time, the polka should
be 100 to 120 bars per minute.
Crotchet or quarter note = 200 to 240
The names of several famous accordionists come to mind when
thinking of the polka, Frank Yankovich is often called the Polka
King in the USA and Wolmer and Kramer are popular in Europe.
Will Glahe of Bavaria plays accordion with his orchestra and
most of the polkas he has recorded are at about 100 bars per
minute. Crotchet or quarter note = 200
Scottish
and Irish Traditional Dances
Scottish dancing is usually accompanied by the bagpipes but
the musette tuned accordion is also often used. Indeed such
artists as Jimmy Shand and John McDonald have made the accordion
very popular for Scottish dancing. The tempos Jimmy Shand uses
for the various dances are:
Reel:
72 bars per minute in 4/4 time with a strongly accented 1st
beat.
Crotchet or quarter note = 288
Jig: In 4/4 time, 28 bars
per minute with a strong accent on 1st and 3rd beats. If in 2/4
time, the number of bars per minute doubles.
Crotchet or quarter note = 112.
Strathspey: In 4/4 time, 36 bars per minute. There
is a strong accent on the 1st and 3rd beats to resemble 2/4
time. If in 2/4 time, the number of bars per minute doubles.
Crotchet or quarter note = 144.
Cajun
Dances
These traditionally use diatonic accordions as accompaniment.
The term Cajun is a colloquial shortening of the name Arcadia,
the region of Eastern North America from which many of the Cajun
people migrated. There are two main types of dances, a lively
one in 4/4 time and a slow waltz. This may have a syncopated
cross rhythm behind the main 3/4 beat. This freer style of music
makes establishing an exact tempo difficult but normally the
tempo of these dances is lively and would be around 40 to 50
bars per minute with the waltz being slower at about 30 bars
per minute.
Crotchet or quarter note = 160 to 200 for 4/4 time
Crotchet or quarter note = 90 for 3/4 time
BALLROOM
DANCES
We will now consider all the standard ballroom dances. The tempi
quoted are those used by the orchestra at the British Championships
at Blackpool. A video of this famous dancing event is sold each
year. The writers years of dancing experience and acquaintance
with a number of leading teachers and exponents of dance would
strongly affirm the validity of these tempi.
As the Tango is one of the five ballroom dances used in competition,
we will complete our comments on it first. The other four ballroom
dances are the Modern Waltz, sometimes called the slow waltz
or English Waltz, the Viennese Waltz, the Foxtrot and Quickstep.
Ballroom or Slow Foxtrot is used in competition although there
is a Rhythm or Social Foxtrot that is usually danced at social
dances.
Tango: The bandoneon, invented by the German Heinrich
Band is a square type of concertina that became very popular
in Argentina, the country where the tango originated. In December
1996 the 50th anniversary of the Tango was celebrated. It is
not surprising that the accordion sound is almost always heard
in this dance. Even when orchestras provide music for the Ballroom
Tango, an accordion is almost always included. There are two
types of Tango, the Argentine Tango and the more formalised
Ballroom Tango. The Argentine Tango can be played at 30 to 36
bars per minute in 4/4 time. Ballroom Tango is in 4/4 time,
usually about 30 to 34 bars per minute, with a steady accent
on all beats of the bar. It may be taken a little faster by
very competent dancers.
Crotchet or quarter note = 120 to 136.
Modern Waltz:
This is played in 3/4 time, tempo 30 bars per minute.
Social dancers may prefer a little faster as they do not usually
attempt rise and fall in footwork, but 32 bars per minute is
the maximum. Often, very experienced dancers performing a display
may dance at as slow a tempo as 28 bars per minute. There should
be a moderate accent on the first beat and although experienced
dancers may use a little license in the timing of their steps,
the musician should provide a regular rhythm at all times.
Crotchet or quarter note = 90
Foxtrot: The Foxtrot is played
and danced to 4/4 time music although many of the basic figures
have only three steps in them. The musician should provide a slight
accent on the first beat of the bar and keep a regular rhythm
leaving the dancers to fit in the three steps in the time they
have been taught. Tempo should be 27-28 bars per minute. The tempo
should never exceed 30 bars per minute.
Crotchet or quarter note = 108 to 120.
Social or Rhythm Foxtrot:
This has much simpler dancing figures and is usually danced
faster, about 36 bars per minute.
Crotchet or quarter note = 144 or even slightly faster.
Quickstep:
This dance has some Charlston in its origins and is a
lively and comparatively fast dance. Music is in 4/4 time with
about 48 to 54 bars per minute. A moderate 1st beat accent.
Crotchet or quarter note = 192 to 216.
Viennese Waltz:
This is the original waltz where the dancers move in circles.
It is faster than the Modern Waltz, 54 to 60 bars per minute in
3/4 time. Top dancers use a timing in their foot work like dotting
the 1st beat. The music should be almost equal value on each beat
but may tend a little towards the longer first beat.
Crotchet or quarter note = 162 to 180
LATIN
AMERICAN DANCES
The five competition Latin dances are the Cha Cha Cha, Rhumba,
Samba, Paso Doble and the Jive. All except the Paso Doble are
danced to 4/4 time, the Paso Doble usually to 2/4 time. The
Cha Cha Cha, Samba and Rhumba have somewhat distinctive rhythmic
patterns in 4/4 time.
Cha Cha Cha:
This dance may have accents on beats 1, 3 and 4, or you
may count 1 2 3 4+. Experienced and competition dancers commence
their figures on beat 2 of the bar although social dancers will
often commence on beat 1. Tempo is 30 to 32 bars per minute.
Crotchet or quarter note = 120 to 128.
Rhumba: This is a slow dance,
normally from 25 to 27 bars per minute in 4/4 time although
some authorities recommend it be as slow as 22 bars per minute.
Like the Cha Cha Cha, experienced dancers commence their figures
on the second beat of the bar. To get your accents count 1+2+3+4+
or 1+2 3 4. Play a slight accent on the first beat.
Crotchet or quarter note = 88 to 100.
Samba:
This is a lively dance in 4/4 time about 50 to 56
bars per minute. The dancing figures have several patterns which
could be represented as a dotted crotchet followed by a quaver
then either a minim or a crotchet and a crotchet rest. The figures
are commenced on the first beat.
Crotchet or quarter note = 200 to 224.
Paso Doble: This is often
danced to Espana Cani sometimes called Spanish Gypsy Dance.
The Paso Doble has a driving rhythm in 2/4 time at 58 to 62
bars per minute.
Crotchet or quarter note = 116 to 124.
Jive: This dance has quite
intricate footwork and is danced in 4/4 time with conventional
accent. Fast Jive is 40 to 46 bars per minute. Crotchet or quarter
note = 160 to 184.
Slow Jive is about 34 to 36 bars per minute. Crotchet or quarter
note = 132 to 140.
OTHER LATIN DANCES
These dances may have syncopated cross rhythms that extend for
one or two bars. They may be repeated or left out for a bar
and then repeated. There are several you may be asked to play.
They are all in 4/4 time. The next two dances are performed
largely in a limited space and have some resemblance to the
rhumba but faster and with more foot work and body movement.
Mambo: (50 to 52 bars per
minute) Crotchet or quarter note = 200 to 208
Salsa:
(about 48 bars per minute) Crotchet or quarter note =
194
Lambada:
(50 to 60 bars per minute) Crotchet or quarter note =
200 to 240
Rock and Roll:
This dance has some resemblance to Jive with less intricate
footwork and partner coordination but experienced rock and rollers
may incorporate more gymnastic type figures called lifts or
jumps into their routines. These are not permitted in Jive.
Music is 4/4 time with a fast Rock and Roll at up to 50 bars
per minute and a slow Rock and Roll 32 to 36 bars per minute.
There may be other tempos also.
Crotchet or quarter note = slow 128 to 144
Crotchet or quarter note = fast 200
Ciroc: This is a type of Rock and Roll. It has
some Latin influence in it and its music is similar to Rock
and Roll with perhaps some cross rhythms. Music is in 4/4 time,
36 to 50 bars per minute.
Crotchet or quarter note = 144 to 200
SEQUENCE
DANCES
There are two main types of sequence dances, usually called
Old Time or English Sequence dances and New Vogue dances.
Old Time or English Sequence Dances:
There are many Old Time and English Sequence dances. They are
usually based on a ballroom dance and are in 4/4, 3/4 or 2/4
time. Popular at social dances are the MAXINA and the VALETA,
the first in 4/4 time the other in 3/4 time. The Old Time are
included in competitions less often than New Vogue but are more
usually danced at clubs. A few are danced socially also. They
follow a set sequence of usually 16 or 32 bars which is repeated
once it has been danced.
A general rule for playing for these dances would be to play
at a slightly slower tempo than the ballroom dance they are
based on. As there are many old time sequence dances (hundreds
of them) and they are based on several different dances, no
attempt to state a specific tempo is made. However, the dance
they are based on provides some guidance.
Also remember that many of the dancers performing these will
be older people who may appreciate a slower tempo. Your observation
of the skill and physical fitness of the dancers should indicate
your tempo.
New Vogue Sequence Dances:
These are not so numerous, there are 12 better known ones and
a few others. Developed in Australia they are popular in that
country and in New Zealand where they are often included in
dancing competitions as well as danced at some social dances.
They are also gaining some acceptance in Europe and Asia, especially
in Japan. They can be divided into the following categories.
Those with a 32 bar sequence in 3/4 time at 52 to 54 bars per
minute. Swing Waltz, Palmer Waltz, Twilight Waltz and the Lucille
which should be played a little slower, than the others at about
48 bars per minute. Those with a 16 bar sequence based on the
slow foxtrot, in 4/4 time at approximately 28-32 bars per minute,
Barclay Blues, Merrilyn, Charmaine and Excelsior. The Evening
Three Step has 32 bars of 4/4 time at about 52 bars per minute.
The Gypsy Tap has 32 bars of 4/4 time at about 52 bars per minute.
The Tangoette and La Bomba, are 16 bar sequences, based on the
Tango so are in 4/4 time at about 30-34 bars per minute. Most
dancers appreciate 4 to 6 repetitions of the sequence so you
will have some idea of how long to keep playing, although longer
spells may be called for.
Disco:
This type of dancing (sometimes called Disco Shuffle)
has little established figures or forms and the dancers move
more or less as they please, more or less in time to the music
and with little co ordination with a partner. It may be danced
individually. Those dancing it usually like a strong rhythmic
beat and you may imply cross rhythms with straight or syncopated
effects. Tempo may vary but about 36 to 44 bars per minute is
normal. Slow tempos are usually not appreciated if people are
dancing with out any physical contact with a partner.
Line Dancing:
This dancing is done in a line, does not require a partner
and follows a set sequence of moves which are repeated a number
of times. It is usually danced to Country and Western music
in 4/4 time. Tempo should be adjusted to the dancers but about
30 bars per minute should please most. The dancing is some times
done to a slow Rock and Roll.
As most dance bands and disco groups rarely attempt music other
than rock and roll and disco types, any accordionist familiar
with the tempos and characters of the dances should make themselves
an excellent reputation among dancing circles.
NOW
YOU ARE READY, HOW DO YOU GET STARTED?
The accordion is often featured in Tango music and you can also
be successful in other ballroom and Latin dance music. Here is
some useful getting started advice.
The accordion can be used to lead a dance band or play solo. You
need to decide how you wish to perform (solo or with a group)
and if in a group, you will need to choose and find suitable instrumentalists.
Two who will be necessary are a percussionist and either a bass
guitar or double bass. In addition, some combination from among
the following: vocalist, saxaphone, trumpet, violin, xylophone
and possibly clarinet would be ideal, but availabilty may determine
your choice.
Should unavailability or financial reasons limit the number of
players you can employ for an engagement, some of the suggestions
in the following paragraph can be utilized to compensate for such
instrumentalists as a drummer, brass players etc.
Playing
on your own has the advantage of relieving you from the possible
problems of keeping a group together. The modern MIDI accordion
or even an electronic accordion with reeds when combined with
an electronic rhythm machine can produce orchestral and band
effects that enable you to perform solo. A
similar instrumental combination further augmented by pre-recorded
sequenced tracks played through a sythesizer can produce a remarkable
variety of sounds and this may all be operated by a solo accordionist.
When you feel confident with whichever combination you decide
on, contact local dance studios or any friends you know who
are part of the dance scene and you should be able to secure
a few performing engagements that could lead to a successful
career providing music for dances.
Good Luck.
References:
Casa Musica presents "The Best of Ballroom
Music, WRD Ltd, 282 Camden Road, London NW1 9AB, England.
"Giants of Latin," Dancelife Worldwide, Schaardokl 51-55,
3063 NH, Rotterdam, Netherlands.
Developing Choreography Ballroom
Developing Choreography Latin
Hearn and Spencer Limited, House of Dance, The Courtyard, Aurelia
Road, Croydon, CRO 3BF, England.
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