This is often one of the most debated topics i’ve heard of in West Coast Swing. or rather perhaps it’s the most questioned topic. (Not quite Why we should do it, but How to)
Since WCS is danced in 6-beat and 8-beat rhythms, it’s difficult to put that in perspective in music that is traditionally written in 8-beat measures that form 32-beat phrases. Why does this matter?
[1—2—3—4—5—6—7—8]
If this is a typical 8 beat measure. There’s a strong musical inclination for us to keep what’s called a “Strong Beat” meaning that if you told someone to clap a steady rhythm, they will probably subconsciously designate a beat just to keep them on time in the long run. For instance:
[1—2] [1—2][1—2] [1—2] …
So if we listen to most songs we can WCS to, we’ll hear some kind of “Strong beat” typically some kind of reinforcing instrument or a heavy bass beat underneath the regular beat. Whether or not it’s every 2 beats, 4, beats, or 8 beats there is usually something that singles out the beginning of each measure. We’ll get something that looks like this:
[1—2—3—4—5—6—7—8]
[1—2—3—4—5—6—7—8]
[1—2—3—4—5—6—7—8]
[1—2—3—4—5—6—7—8]
and that would conclude a “section” of a typical song.
Now how does this fit into WCS and it’s 6-beat patterns? if we do 5, 6-beat patterns this will be what it looks like in a 32 bar phrase of music. Everytime there is a D in the diagram, it is the “1” of a 6-count pattern.
[D—2—3—4—5—6—D—8]
[1—2—3—4—D—6—7—8]
[1—2—D—4—5—6—7—8]
[D—2—3—4—5—6—D—8]
or we can depict it in “Swing Time”
[1—2—3—4—5—6—1—2]
[3—4—5—6—1—2—3—4]
[5—6—1—2—3—4—5—6]
[1—2—3—4—5—6—1—2]
However, learning to count like this can be both confusing and complicated especially when we throw in more difficult patterns. but the single most revolutionary method i have for keeping “Music time” while keeping “Swing time” in my dance is the Shifting”2’s method.
For the sake of argument, let’s say we are social dancing and have no idea where in the song we are (which is often the case). We hear something happen and then we hear the popular Chorus. When we hear that, we must see where we are in the pattern.
[1–2] [3-&-4] [5-&-6]
If the Beat hit the beginning of the pattern, then if you follow it with another 6-beat pattern, it will have to hit on the middle triple step. Why? simply because if you put two 6 count patterns back to back, and subtract 8, we start in the middle of the 2nd 6 count pattern.
Similarly if we hear a heavy beat in the middle, then the next one will follow on the last triple step–we simply shift it 2 beats. Shifting “2s”.
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So That’s the Easy Part….
Now where are we when we throw in more difficult patterns with extended counts and pattern blending and spins and all the awesomeness that we can throw into a pattern.
Each pattern we ever do has several things that define it. One of which is Emphasis.
Emphasis:
Natural emphasis on 3:
Sugar Tuck
Tuck turn
Underarm Turn
Left-side Pass
Sugar Push
Natural emphasis on 5:
Inside Roll
Whip
An emphasis in motion in terms of continual motion is typically contrast. In a sugar push we begin to change direction on 3 (where we absorb) & (when we’re compressing) and then 4 (where we follow through with the motion change). thus it appears that on 3 there is an emphasis. The same is similar for most basics. However these are definitely not set in stone.
With confidence, everything in West Coast Swing can be changed and interpreted and improvised, but it is these small things that we can play with that will make us more comfortable with these changes.
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How to Practice
Put on music, or while listening to music, try and listen for what is called a “natural accent.” All songs have some sort of it, but it may be dwarfed by other types of emphasis. Often, the lyrics do this and provide some kind of passionate word or chorus line that may change the way we would want to interpret a song. The accent then may change to the 3, or the 5, or the 7, but the shifting 2 method should not fail unless the song is very very unique and asymmetrical.
Listen to music
Find the “strong beat”
Count 8 beats and watch it repeat itself
Now Count Swing time (6 counts) and nod your head every time you hear the “strong beat”
When you get used to this, try not to count, and just nod your head every time you expect the “strong beat”
Next time you Swing, try incorporating moves that emphasize certain beats, and set her up for that smile when she gets to style on time =].
Don’t just limit this to simple moves. When you get good at it, move on to more involved moves. Find out where emphasis can be placed, when it can be placed.
~SwingLead
SwingLead 