Part 34

We have already seen how complete was the revolution effected by the Polka in these old-fashioned ideas. But, although we cannot regret the introduction of a more animated style of dancing, we are sorry that the old Waltz has been so entirely given up. When restored to its original temps, the Valse à Trois Temps is nearly as spirited as the Valse à Deux; and twice as graceful. It has the additional advantage over the latter, that it contains in each bar three steps to three beats of the time; whereas the Deux Temps, as its name implies, numbers only two steps in a bar of three notes; and is thus incorrect in time. We venture to predict that the old Waltz will, at no distant day, be restored to public favour. We shall be heartily glad to welcome it once more, but on the condition that it shall be danced in the only manner which does justice to all its attractions; that is, as it is danced by the German peasants under the wide-spreading oaks of its own fatherland. We proceed to describe the step for the gentleman: the same, beginning with right foot instead of left, will apply to the lady.

Gentleman takes his partner round the waist with his right arm; his left hand holds hers, as in the Polka. Lady places left hand on his shoulder, and right hand in his left hand. Begin at once with the figure en tournant. Time 3/4; one step to each beat. First beat in each bar should be slightly marked by the dancers.

1st beat.--Slide left foot backwards, towards the left.

2nd beat.--Slide your right foot past your left in same direction, keeping right foot behind left, and turning slightly to the right.

3rd beat.--Bring left foot up behind right (one bar).

1st beat.--Slide right foot forward towards the right.

2nd beat.--Slide left foot forward, still turning towards right.

3rd beat.--Bring right foot up to right, turning on both feet, so as to complete the circle (two bars). Remember to finish with right foot in front. Repeat from first beat of first bar. Gentleman always turns from left to right; lady from right to left.

The step of the old Waltz is simple enough; nevertheless some practice is required to dance it really well. Remember always to slide, not to step, forward; for the beauty of this valse consists in its gliding motion. It is not at first easy to dance swiftly and quietly at the same time; but a little patience will soon enable you to conquer that difficulty, and to do full justice to what is, in our opinion, the most perfectly graceful of all the round dances, without a single exception.

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XVIII.--THE VALSE À DEUX TEMPS.

We are indebted to the mirth-loving capital of Austria for this brilliant Valse, which was, as we have observed elsewhere, introduced to our notice shortly before the Polka appeared in England, and owed its popularity to the revolution in public taste effected by that dance.

Although the Polka has gone out of fashion, the Valse à Deux Temps still reigns supreme; but within the last two years a dangerous rival has arisen, which may perhaps drive it in its turn from the prominent position which, for more than twenty seasons, it has maintained. This rival is the New Valse, of which we shall speak in its place; but we must now describe the step of the Valse à Deux Temps.

We have already remarked that this Valse is incorrect in time. Two steps can never properly be made to occupy the space of three beats in the music. The ear requires that each beat shall have its step; unless, as in the Cellarius, an express pause be made on one beat. This inaccuracy in the measure has exposed the Valse à Deux Temps to the just censure of musicians, but has never interfered with its success among dancers. We must caution our readers, however, against one mistake often made by the inexperienced. They imagine that it is unnecessary to observe any rule of time in this dance, and are perfectly careless whether they begin the step at the beginning, end, or middle of the bar. This is quite inadmissible. Every bar must contain within its three beats two steps. These steps must begin and end strictly with the beginning and end of each bar; otherwise a hopeless confusion of the measure will ensue. Precision in this matter is the more requisite, because of the peculiarity in the measure. If the first step in each bar be not strongly marked, the valse measure has no chance of making itself apparent; and the dance becomes a meaningless galop.

The step contains two movements, a glissade and a chassez, following each other quickly in the same direction. Gentleman begins as usual with his left foot; lady with her right.

1st beat.--Glissade to the left with left foot.

2nd and 3rd beats.--Chassez in the same direction with right foot; do not turn in this first bar.

2nd bar, 1st beat.--Slide right foot backwards, turning half round.

2nd and 3rd beat.--Pass left foot behind right, and chassez forward with it, turning half round to complete the figure en tournant. Finish with right foot in front, and begin over again with left foot.

There is no variation in this step; but you can vary the movement by going backwards or forwards at pleasure, instead of continuing the rotatory motion. The Valse à Deux Temps, like the Polka, admits of a reverse step; but it is difficult, and looks awkward unless executed to perfection. The first requisite in this Valse is to avoid all jumping movements. The feet must glide smoothly and swiftly over the floor, and be raised from it as little as possible. Being so very quick a dance, it must be performed quietly, otherwise it is liable to become ungraceful and vulgar. The steps should be short, and the knees slightly bent.

As the movement is necessarily very rapid, the danger of collisions is proportionately increased; and gentlemen will do well to remember and act upon the cautions contained in the previous pages of this book, under the head of "The Polka".

They should also be scrupulous not to attempt to conduct a lady through this Valse until they have thoroughly mastered the step and well practised the figure en tournant. Awkwardness or inexperience doubles the risks of a collision; which, in this extremely rapid dance, might be attended with serious consequences.

The Deux Temps is a somewhat fatiguing valse, and after two or three turns round the room, the gentleman should pause to allow his partner to rest. He should be careful to select a lady whose height does not present too striking a contrast to his own; for it looks ridiculous to see a tall man dancing with a short woman, or vice versâ. This observation applies to all round dances, but especially to the valse, in any of its forms.

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XIX.--THE NEW VALSE.

This graceful variation of the valse movement has not long been introduced into England, and is not yet so universally popular as it promises to become. It was, however, much danced in London last year, and there is reason to believe that it will be the favourite dance this season. It is more elegant than the Valse à Deux Temps, and more spirited than the Cellarius. The tempo is slower than that of the ordinary valse. The step is extremely simple.

Gentleman takes his partner as for the Valse à Deux Temps. Fall on the left foot, and make two glissades with the right (1st bar). Repeat, reversing order of feet (2nd bar). Lady begins with her right foot as usual. The step is the same throughout. Figure en tournant.

The peculiarity of this Valse lies in its accent, which cannot be properly explained in words, but must be seen to be understood. We recommend our readers to lose no time in acquiring a correct knowledge of the New Valse. It is unquestionably the most easy and most graceful dance which has appeared of late years, and we are told on first-rate authority that it is destined to a long career of triumphs.