Page 155-156 ブルースが作られた経緯
Page 157 Amalgamations
Page 158 Side Chasse on Right Foot
Page 159 The Right (Natural) Turn
Page 160 The Reverse Turn
Page 161 Quarter Turns
Tempo 30/32. TIME 4/4
テンポ 1分間で30/32小節 4分の4拍子
This dance is included in this Text Book as for some ten years Blues music has been the slow music in 4/4 time, and although up to 1933 it has not been included in the syllabus of the ordinary ballroom examinations with the four standard dances, it is undoubtedly one of the main dances in the modern ballroom.
The feature of the Yale Blues that was responsible for much of its popularity with the dancing public was a sideways lifting step in which the man swings his Left foot forward off the floor and then back again to “Twinkle.”
This movement, however, gradually died out, as did the other set steps of the Yale, and the dance once again became Blues but showing influences of the Yale, and of the other dances in 4/4 time, such as Charleston, Black Bottom, and the (then) Quick Fox-trot.
The Blues Walk is a lilting down and up long gliding movement made by relaxing the knee of the supporting leg as the other leg goes forward and stretching up on to the Ball of Foot of that leg when it is forward and supporting.
It then, in turn, is relaxed for the next step when it has become the back leg.
Counting one Slow—two beats to each step.
This lilt must be deﬁnite and it is kept up for all steps.
This is important as this down and up movement takes the place of all “rises and drops” such as occur in other dances, and for this reason in the following tables Part IV (The Rises) of each step has been omitted.
It will be noticed that Heel Pivots are not used in Blues as the music is too slow and chasses are danced to fillin the time.
The following basic amalgamations can be learnt in the order given and it will be found that each amalgamation can follow on the previous one. The steps in the tables should be studied in the order given in the amalgamations.
The cross chassé will be found described in the step “ordinary chassé on L. ft. and cross chasse on R. ft.” (See Variation 1, page 199.)
As by this time the reader should be able to combine the “movement of the feet with the accents” and the “time” it will be noticed in the tables that Parts I and II of each step have been combined, except in the more difficult variations.
In Section III will be found a few standardised variations.