They disect and analyze the natural turn in Viennese waltz and explain each part carefully and in detail so that we understand fully how we should do the forward 1-2-3 and backward 1-2-3 correctly. It is not only the steps, but also the correctly positioned body frame and posture. And they also show how our body and arms swing up in forward 1-2-3 (with full energy) and swings down in backward 1-2-3 (with less energy). My God.. I thought I knew how to waltz. I didn't. Now, I know how I should do. Mind you. This is only the beginners' steps.. I must try with my wife and see if we can follow the correct way to dance Viennese waltz.
Excellent demonstration and teaching techniques . Your instructions on Viennese Natural Turn is very helpful for beginners. It is great if you mention a little bit about dancers connection and posture. Many thanks.
I'm at the beginning point of putting together a Viennese Waltz performance/demonstration for our cities social (Ballroom Style) dance that they have once per month in our large community hall. Although my partner and I have not set a actual date for the performance yet, after watching this and other videos that show properly executed body actions that can be used in the Viennese Waltz or the slow Waltz, it will only make our dance look and feel so much better (I especially liked the power up in the first three steps and cool down a bit in the final 3 steps of the natural turn)......Very helpful. Anyhow, I want to thank the folks that put this little video together because it allows me see (in detail) how to use these body actions to spice up our dance. Thank you very much and keep them coming if you can:)
Thanks for this wonderful lecture! the following is just my notes: Swing hip actively is a must for man and lady in forward step. L hand (and head and the whole body) is extreamly important in forward swing of Natural turn--CBM, it draws back and swing underneath the lday--down then up like thowing a ball. Keep the L elbow forward, don't think of turn, the feet(ball) swival at the end of swing because of the man (or lady) stays in fix point and turning in inside of the turn.
+dancevisionlasvegas *Thanks for this primer on the Viennese turns.* One situation from the Romantic era that would require absolute coordination across multiple couples is a racetrack pattern around a raised central stage for a piece that uses English waltz tempo for the intro and accelerates to Viennese for, essentially the balance of the movement: *VALSE DES FLEURS, Op. 71 No. 13 / de CASSE-NOISETTE: BALLET-FEÉRIE* (Pjotr Il'ich Chaikovskiy) P. Jürgenſon, VOIS alternately citable as: *МАМАША ГИГОНЬ (ЖИГОНЬ) И ПАЯЦЫ, Ч. 14 С. 3,3,6 / в ЩЕЛКУНЧИК: ВАЛЕТ-ФЕЕРИЯ* (Чайковский Пётр Ильич) П. И. Юргенсон, ВОИС Two columns of waltzers with alternating natural and reverse turns on the racetrack would give the impression of meshed gears; a theatrical-dance set separate from the waltzers (e.g. consistent with the source Ballet) could be enacted on the stage this scenario.
Should the 123 steps be evenly timed? They are excellent dancers, but at 20:10 etc it seems their step 2 takes only 1/3 of one beat - they treat it like a chasse. Is that how Viennese Waltz should be? (I know regular a.k.a. slow waltz more than Viennese.) I'm not trying to point out flaws - I'm trying to understand if I should aim for equally-timed steps (as I presume), or if it's okay to dance with this chasse-like timing. Would I still be effectively connecting with the music?
