Returning once again to my short series on some of the more useful waltz variations published by M.B. Gilbert in his 1890 manual, Round Dancing, here's a third simple variation for the late nineteenth century waltz. The first and second posts in the series may be found here and here.
Le Metropole uses the same simple sliding and waltzing steps of the Gavotte Glide but mixes them in a different way. Gilbert attributes it to H. Fletcher Rivers.
Like the Gavotte Glide, this variation will work either leaping or simply gliding. And as with the Gavotte Glide, its gliding feel makes me lean toward the latter for the sake of smoother transitions.
Le Metropole rearranges the "slide, slide, waltz, waltz" sequence of the Gavotte Glide into "slide, waltz, slide, waltz." This is no harder to remember but is somewhat harder to dance, since close attention must be paid to the amount of turn in each bar and the gentleman must lead effectively to make the change every bar from sliding to turning and vice-versa.
The variation begins with the gentleman facing the wall and the lady the center, with him starting on the left foot and her on the right as usual.
Bar 1: Take a long sliding step sideways along the line of dance (1-2); close the second foot with weight (3)
Bar 2: Half a natural (right) turn of waltz, ending with the gentleman facing into the center.
Bar 3: Repeat the slide and close starting on the other foot, going "over elbows" along line of dance.
Bar 4: Another half natural (right) turn, ending once again with the gentleman facing the wall.
Repeat as many times as desired.
As with the Gavotte Glide, this is a very useful practice sequence. The transitions into the second and fourth bars require quarter-turns at the very beginning of the bar so that the first step may be along the line of dance rather than across it (new waltz-style rather than the older rotary waltz style). The lead for bar three must be especially clear, as once the lady starts to turn she will continue to turn unless given an effective signal to slide instead. The gentleman should make sure to cease all turning momentum at the end of each half-turn. Once the alternating pattern is established, however, the sequence is very easy to perform.
Le Metropole is identical in everything but name to the Five-Step Boston described by Philadelphia dancing master Albert W. Newman in 1914, and discussed here.
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