In my previous foxtrot post I covered the basic walking and trotting patterns of the early foxtrot of the 1910s. These patterns are characterized by alternating series of slow (S) or quick (Q) steps, simple traveling interspersed with occasional sideways glides or half-turns, and consistently starting on the same foot (gentleman's left, lady's right). This simple foxtrot was complicated almost immediately by variations of rhythm, most notably the "quick-quick-slow" (QQS, or "one-and-two (pause)") rhythm of the 19th-century two-step and polka. This post will discuss some of the variations introduced in the pre-1920 foxtrot as described by dancing masters Maurice Mouvet (1915) and Charles Coll (1919) and demonstrated by Clay Bassett and Catherine Elliott on film (1916).
The simplest of these variations was simply to introduce the two-step into the foxtrot. The rhythm of the two-step is QQS, step-close-step, performed in a smooth glide. This can be performed along the line of dance, backing the lady or gentleman and led by the gentleman angling his body slightly to signal the step-close-step rather than a straight step-step-step trot, or as a turning move, with each two-step (step-close-step) making a half-turn, generally in a clockwise direction.
Coll describes a sequence of four walks (SS SS) followed by four bars of turning two-step (QQS x4), two complete turns. This produces a somewhat awkward six-bar sequence; repeating it for twelve bars will bring the dancers into better phrase with the music. Bassett and Elliott, not to be outdone, do six bars in a row of turning two-step, for three complete turns.
Mouvet gives a similar sequence without any actual turning - simply four bars of two-step (QQS x4) forward along the line of dance. He gives the option of starting and finishing with four walking steps and of repeating the sequence two or four times in total. Mouvet accurately describes the foxtrot as a "variation on the one-step", and indeed this two-step along the line of dance is the same as the move described by Vernon and Irene Castle as the "Polka Skip" in the one-step.
Coll also has a non-turning sequence which breaks up the two-steps: two walks (SS) backing the lady, two bars one bar of two-step done without turning (QQS QQS), and repeat from the beginning on the opposite foot. The gentleman's foot pattern is "left, right, left-right-left; right, left, right-left-right" or "walk, walk, step-together-step; walk, walk, step-together-step." (Edited 6/27/2024 to fix a mistake in the initial sequence breakdown; the verbal pattern was correct)
Another easy variation in the QQS rhythm is a simple hesitation. While backing the lady, the gentleman steps forward left, rocks back onto the right foot, then rocks forward onto the left foot. Step-rock-rock; quick-quick-slow. Repeat, starting on the other foot. Each QQS hesitation moves one step along the line of dance. Bassett & Elliott do sequences of four or six of these in their short film.
Mouvet also livens up his plain walking and trotting sequences by using the QQS rhythm in them. He suggests a sequence of eight walks (SS SS SS SS) followed by three trots (QQS) and then the eight walks again. This has the virtue of switching the feet, so that second walking sequence begins on the opposite foot from the first, but otherwise is just not that different from other walk-trot patterns except in having a considerably higher proportion of walks. But this straight trot in QQS rhythm does come up again in an interesting little sequence from Coll, which he calls the "(Turkey Trot) Turning Steps" and which I generally refer to as the Coll turn. The full sequence is an awkward five measures of music:
SS SS QQS QQS SS
Since the first two bars consist of four introductory walking steps, I generally trim off the first bar for a more musical four-bar sequence as shown below. Feet given are for the gentleman; the lady dances opposite.
[SS - Two walking steps; cut for phrasing]
SS - Two walking steps, left-right, backing the lady
QQS - One turning two-step, left-right-left, making a half turn so the gentleman is now backing up
QQS - Three short trotting steps, right-left-right, backing the gentleman. Note that these are three straight steps, as in Mouvet's walk-trot pattern given above, not a two-step (step-close-step).
SS - Reverse pivot-close; gentleman makes a very small step to his left, along the line of dance, and draws his partner counter-clockwise around him so that her step on the right foot lands outside his left in a half-turn. If her foot does not clear his on this step, he will trip her as they spin, which does not generally enhance the foxtrot experience. Each closes with the other foot to complete the sequence with the gentleman once more facing forward, ready to back the lady up again.
When leading this sequence, the gentleman needs to be very clear on last two bars, first drawing the lady firmly along so that she trots forward, then using his right arm to swing her around him on the reverse half-turn. My verbal mnemonic is "walk, walk, half-a-turn, run-run-run, pi...vot." The final reverse pivot feels wonderful for the follower if done correctly; if she says "whee!" the leader has done it well.
Coll finishes his discussion of the foxtrot with some words of advice:
It is not necessary to follow out this enchainment to any strict degree. There is no accepted or rigid rule - that is why each dancer seems to be indulging in different steps. They are dancing the Fox Trot but are varying it and adding their own expression. As you become expert, you may endeavor to do this too; as you go on you will find that your personality will enter greatly into your dancing, and it is proper that it should.
I second Coll's advice: mix and match the different moves given here and in my previous foxtrot post to create a 1910s foxtrot that satisfies you and your partner.
Comments