As I perceived inconsistencies on the part of various instructors, I would ask them to explain how they were counting. That often led to further confusion, as they tended not to be able to explain it very well, or they would try to gloss over their inconsistencies.

Different Systems - During that early learning period, I purchased several Salsa and Rueda videos. In studying them, I was struck by the fact that instructors on these videotapes also used a number of different counting systems. What was even more amazing was that individual instructors on these videos were often very inconsistent in how they used their own counting systems! I didn't expect that. The inconsistencies are really annoying on some of the videos, and actually hilarious in some of the Rueda videos.

Inconsistencies... it's the Norm - The more I studied the videos, the more I realized they were full of counting inconsistencies and inaccuracies. Furthermore, I soon realized that this was actually the norm, not the exception. That was an important revelation to me! As a student, I assumed that instructors would always be correct in how they counted out the 8-beat structure of salsa music, and that they would do so in a consistent manner. That, however, is not the case, not by a long shot!!

The Switchers - One of the most confusing things instructors do in their counting is to switch from one counting system to another seemingly without thought. There are teachers that switch counting systems quite often and, what is worse, they often count incorrectly in the various counting systems they use. That really sucks. This has to be very confusing, especially to beginners.

What I have observed most often is that instructors will switch back and forth between the 1-2-3- - - 4-5-6 and the 1-2-3 - - 5-6-7 counting systems as though it didn't make any difference. It does make a difference, especially to analytical students. I think instructors switch back and forth between these two systems because of the prevalence of both systems. In particular, I believe that instructors who count 1-2-3 - - 4-5-6 are aware that the 1-2-3 - - 5-6-7 system is more widely used, and they slip over to it without much thought (these two counting systems are discussed below in greater depth).

Total Reversal - The most widespread fault committed by instructors is to call 1-2-3 when they are on the 5th, 6th and 7th beats. Or, to call 5-6-7 when they are on the 1st, 2nd and 3rd beats. That happens a LOT! Like I said at the beginning of this article, instructors are often inconsistent in their counting.

Guidance For Students - Don't assume that your instructor uses a counting system that he or she fully understands. Don't assume that your instructor is going to use that system in a consistent manner. Don't assume that he or she is going to be able to explain it to you. And, don't be surprised if you get the feeling that your questions about counting are either not fully understood or are not really appreciated by your instructor. If you find an instructor that has a clear counting system, uses it consistently, and can explain it to you, consider yourself fortunate!

Many Counting Systems - As I continued my own development in Salsa and Rueda, I bought other videos and studied them intently. I observed that a number of counting systems were being used by instructors to count out the 8-beat structure of Salsa. Some instructors counted: 1-2-3 - - 1-2-3. Others counted: Quick-Quick-Slow - - Quick-Quick-Slow. Others counted: 1-2-3 - - 4-5-6. Some, oddly enough, counted: One-&-Two-&-Three-&-Four (for the eight-count). Others counted: 1-2-3 - - 5-6-7. Some counted: Back-2-3 - - Forward-2-3 (for Rueda). There are other counting systems.

Two Main Systems - It gradually became apparent to me that instructors most often used one of two systems to count out the 8-beat structure of Salsa:

1) There were instructors who counted: 1-2-3 - - 4-5-6

2) There were instructors who counted: 1-2-3 - - 5-6-7

Here's the difference. In the first system, instructors are counting the steps being taken in the eight-beat structure. In the second system, instructors are counting the beats in the eight-beat structure. BIG difference!! If you understand this difference, you are off to a good start. Read on.

Counting the Steps - As I studied how the instructors were counting, I came to realize that instructors who counted 1-2-3 - - 4-5-6 were counting the actual steps being taken in executing a Salsa or Rueda move (for this analysis, we're not taking into consideration the taps on the 4th and 8th beats that characterize Miami/Cuban style Salsa).

When this 1-2-3 - - 4-5-6 counting system is used, students who know that Salsa is an 8-beat structure, are often left wondering what happened to the 7th & 8th beats... Believe it or not, what happened to the 7th & 8th beats in this counting system is not easy to explain (try it and see how well you can explain it!).

When you ask instructors why they use the 1-2-3 - - 4-5-6 counting system, you get all kinds of fumbled explanations. Many of them have simply not thought it through carefully. Sometimes instructors actually resent students' questions about counting and take a "that's just the way it is" attitude. This, of course, is neither helpful nor professional.

Counting the Beats - On the other hand, instructors who count 1-2-3 - - 5-6-7 are counting the actual beats in the 8-beat structure of Salsa where the steps are taking place (again, we are not including the Miami/Cuban taps on the 4th and 8th beats in this discussion). This approach often leaves beginner students wondering what happened to the 4th and 8th beats? That explanation is actually quite simple. The 4th and 8th beats are the beats where the pauses take place in the eight-beat structure of Salsa, and they are not normally counted out loud.

Both Approaches Work - Actually, both of these counting systems work fine once the student figures out the differences between them, and identifies which system the instructor is using. It's actually very beneficial for students to grapple with the issue of counting systems because it forces them to carefully analyze the 8-beat structure of Salsa music. Those students who can figure out the different ways various instructors count the 8-beat structure of Salsa music, and those students who can identify inconsistencies in the manner in which their instructors use their counting systems, will be miles ahead in the process of learning Salsa and Rueda.

One System Is Better - I believe the 1-2-3 - - 5-6-7 method of counting is the better system, especially for leaders. Leaders, in particular, need to know exactly where they are in the 8-beat structure at all times (it's probably less important for followers, as they simply need to stay on the correct beat and follow the lead). The 1-2-3 - - 5-6-7 counting method gives leaders/dancers precise feedback as to where they are in the 8-beat structure. After overcoming the initial confusion in this counting method (i.e., what happened to the 4th and 8th beats), students soon realize that they can more readily determine what beat they are on in the 8-beat structure of the Salsa music. I believe this method of counting leads to accelerated learning and better dancing.

Serious Confusion - The other counting method (1-2-3 - - 4-5-6) can cause serious confusion. For example, an instructor can be calling out 1-2-3 - - 4-5-6 (indicating the steps the students are to be taking), yet the 4th, 5th and 6th steps that the instructor is calling out are actually taking place on the 5th, 6th and 7th beats of the salsa 8-beat structure. How's that for confusion?

Yep, that's right. Read that again, and make sure you understand it, especially if your teacher uses the 1-2-3 - - 4-5-6 counting system. The 1-2-3 - - 4-5-6 counting system is particularly confusing to analytical students that are diligently trying to understand the 8-beat structure of Salsa and follow the instructor's counting system. For an instructor to be calling out "4-5-6" on the 5th, 6th and 7th beats just seems to fly in the face of logic.

Note For Instructors - Most instructors don't realize the magnitude of students' confusion regarding counting the 8-beat structure. They tend to do an inadequate job of explaining it to their students.

Furthermore, they don't realize that they themselves are sometimes (or often) inconsistent in using their preferred counting system. They fail to appreciate that intelligent students get frustrated by these inconsistencies as they struggle to understand how they are supposed to execute the moves the instructor is teaching them.

So, dear fellow instructors, think through the counting system you are using. Adopt a system that you fully understand and can explain, one that you feel will be most helpful to your students. Use it with consistency. Explain it to your students from time to time.

If you switch over to another counting system, tell your students what you are doing and why. The "Quick-Quick-Slow" counting method, for example, sometimes gives students a more intuitive feel as to where the pauses are supposed to take place, so it is helpful to switch to that system from time to time. But, tell the students what you are doing.

Be receptive to your students' questions about counting. Help them sort out confusion they may be experiencing with counting. And, when you have applied your counting system incorrectly (as we all do from time to time), acknowledge it with humor and a smile, and move on!

¡¡Y, por Dios, que viva la Salsa!!

Estiven

RuedaUSA.com

2. Finding and Dancing on the 1st Beat

© 01/01/03 - By Stephen Denlinger - RuedaUSA.com

A String of 8-beat Segments - Salsa is based on an 8-beat structure that repeats over and over throughout a song (well... duh!). One can think of a Salsa song as consisting of many 8-beat segments strung together, like pearls on a necklace, for the duration of the song.

A four-minute Salsa song that moves along at 180 beats per minute will contain 720 beats. That equals 90 (ninety) 8-beat segments (or 90 pearls on the salsa necklace). That means the leader has 90 (ninety) 8-beat segments to fill up with something. That will most likely be a combination of basics, cross-body leads, turn patterns, shines, and whatever else the leader wants to put into that particular dance.

Assess Your Repertoire - As a leader, if your dancing consists of basics, cross-body leads, and two or three turn patterns, it's easy to see why the person you are dancing with will become bored, especially if you dance with her more than a couple times. Actually, if that is the extent of your Salsa repertoire, your dancing should be boring to you too. That should be your signal to take some Salsa lessons, buy some Salsa videos, get a practice partner, or join a local performance group so as to broaden your Salsa repertoire.

Make the Investment - Over the past several years, I've seen a number of Salsa dancers (especially leaders) at the clubs who are making very little progress in their dancing. They haven't made the investments needed to improve their dancing and expand their Salsa repertoire (lessons, videos, practice partner, etc.). That's always puzzling to me as it's obvious that they really like Salsa and would like to dance it well. So, leaders, listen up: expand your salsa repertoire, take some salsa lessons, buy some salsa videos, get a practice partner, or join a local performance group so as to enhance your dancing.

Now then... Getting on the Right Beat - Dancers who are new to Salsa often wonder how to get on the right beat. As I said earlier, Salsa is based on an 8-beat structure that repeats over and over throughout a song. You might think you could start dancing on any one of those eight beats. If you do, however, you will soon discover that you don't feel like you are on the beat. That's because, musically, each 8-beat segment has a very defined beginning and end, and that 8-beat cycle repeats over and over throughout the entire song.

Sometimes Hard to Find - Keep in mind that there are Salsa songs with a beat structure that is not easy to figure out. In addition, there may be several places in a particular song when the 8-beat structure becomes muddled and hard to identify. Or, there may be rhythm breaks in a song wherein the 8-beat structure does not follow along sequentially.

(By the way, these breaks in the 8-beat structure are annoying to the dancer. Why would a band play music that does not maintain the 8-beat structure throughout the song? It's hard to say but, perhaps the band members are not dancers and don't fully appreciate the need for consistency throughout the song.)

Find the 1st Beat - So, the bottom line is this: you have to train your ear to find the 1st beat in the 8-beat structure. (For this discussion, we are talking about dancing on-one, not dancing on-two - dancing on-two is long topic for a separate article.) In a written article like this, it's almost impossible to convey what it is that the aspiring salsero has to listen for to identify the 1st beat. Suffice it to say that the first beat is normally quite pronounced, either by the trumpets, drums, clave, or other instruments, or by the singer.

Study the Dancers - As you start dancing Salsa at the clubs, it's a good idea occasionally to just sit at your table and study the dancers to see if you can identify those that are dancing on the beat and those that are not. If you do this over a period of time, this is the pattern you are probably going to discover:

There are dancers that are almost always on the beat

There are dancers that are almost never on the beat

There are dancers that phase in and out of being on the beat

There are dancers that have lots and lots of moves, but don't execute them very well - their mechanics are poor and they are not on the beat most of the time

There are dancers that have lots of terrific moves, dips and tricks, and seem to be on the beat all the time

There are dancers that seem to be dancing really well, but you have difficulty figuring out which beat they are dancing on

Develop Your Skill - If you are really new to Salsa, this exercise of identifying who is dancing on the beat and who is not, will take you a little while. But, it is very worthwhile in your development as a Salsa dancer. You will soon find yourself watching those couples that dance precisely on the beat. Even if they are not real flashy dancers, it's very pleasant to watch dancers who dance on the beat. It has a completeness to it that is gratifying.

On the Beat, with Style - Of course, your eye will be drawn to the flashy dancers that do lots of spins, tricks, shines and so forth. If they are dancing on the beat, it's a joy to watch. These are the dancers you'll want to emulate. Introduce yourself and get to know them. Find out if they give lessons. If they don't, find out where they took lessons. Follow up and take some lessons.

Flash in the Pan - Not all that glitters is gold. As you develop your skills of observation, you will notice flashy dancers that seem to have a bag full of tricks but who don't often dance on the beat. Once you appreciate the beauty of dancing on the beat, you'll find these dancers annoying to look at.

It's hard to figure out why these dancers think that dancing in this manner is good Salsa. It is my belief that some of them actually use a flashy style to disguise the fact that they can't quite dance on the beat. Others simply don't pay a lot of attention to the beat. It's as though the beat is of secondary importance. That's unfortunate, as their dancing just never looks quite polished and/or complete.

Never on the Beat - With respect to those that never seem to dance on the beat... well, sad to say, there are people that love to dance but who just don't feel the beat. Some of these dancers can improve, but they have to work at it pretty hard. They should do so, of course, as dancing on the beat is the highest priority in dancing. If you are not on the beat, it's like a piano that's out of tune (it never sounds quite right). Salsa that is not danced on the beat never looks quite right and is unsatisfying.

Look at Me, I've got a Ton of Moves - Ah... the dancers with tons of moves, none of which they do well. A couple years ago, I met a guy that loved Salsa and took tons of lessons. He really wanted to impress people with his dancing. He ended up with lots of intermediate and advanced moves, most of which he executed poorly, rarely on the beat. He danced under such strain that his dancing always looked forced and awkward. You could readily see that the ladies were not enjoying dancing with him.

You don't want to look like that on the dance floor. No one watching you is fooled into thinking that complex moves, poorly executed, is good dancing. It's not. And don't be fooled into thinking nobody is watching. Everybody is watching. No move, good or bad, escapes the eagle eyes of your fellow salseros.

My Rule of Thumb: Don't take a move out onto the dance floor at a club that you can't already perform fairly well. The place to practice is during your lessons, or at home, or with a practice partner, not at the clubs. At the clubs, you'll want to use the moves that you do reasonabaly well so that you look good on the dance floor. In particular, you'll want to dance well so that your partner feels fulfilled. A partner does not want to dance with someone who is constantly trying out new moves on the dance floor at the clubs, looking unpolished in the process.

Not on the Beat, But They Look Good!! - From time to time, you are going to spot dancers that dance really well, but they don't seem to be dancing on the 1st beat. Once you are able to identify a couple that is dancing well, but is not dancing on the 1st beat, ask yourself this question: Why can this couple look so good, yet not be dancing on the 1st beat? There are at least two possible answers for you to consider.

Dancing "On-Two" - The first possible answer is that some of these really good dancers may be dancing on-two. Basically, dancing "on-two" means that they are breaking (or starting) on the second beat in the 8-beat structure instead of the first beat. Depending on your sense of rhythm, and the rhythmic structure of the particular Salsa song that is playing, dancing on-two may look fine to you, or it may look odd. Dancing on-two tends to be a regional preference, with most of the on-two dancing centered in New York, though there are lots of on-two dancers in the DC area. Dancing "on-two" is a somewhat complicated topic and will be reserved for another article.

Starting on the 5th Beat - The second possible answer to the question as to why some couples that are not dancing on the 1st beat can look perfectly fine is this. There is a second place to start dancing in the 8-beat structure, and that's on the 5th beat.

For the most part, starting on the 5th beat will look and feel correct. That's because the 8-beat structure of Salsa is actually composed of two 4-beat segments. You can start dancing at the beginning of the first 4-beat segment (on the 1st beat), or you can start dancing at the beginning of the second 4-beat segment (on the 5th beat). For the most part, dancing on the 1st or 5th beats will both feel correct.

In fact, you can dance an entire song having started on the 5th beat. Many people do exactly that and they look just fine. Many people dance on the 5th beat, yet have no clue that they are on the 5th beat instead of the 1st beat. To lots of dancers, it just doesn't make any difference. In reality, unless you are an instructor or an advanced dancer, it really doesn't matter very much.

Blissfully on the 5th - Believe it or not, many couples dance on the 5th beat and not on the 1st beat. At any given moment in a typical Salsa club, you're likely to find almost as many couples dancing on the 5th beat as there are dancing on the 1st beat. That's actually a little bit amazing, as well as, instructive. You will find it interesting to sit at your table at your favorite club and pick out the dancers that are dancing on the 5th beat. After a while, you will find that they are easy to spot. Surprise yourself by observing just how many couples are dancing on the 5th beat at any given time.

Switching Back and Forth - There are dancers that switch back and forth between dancing on the 1st and 5th beats. They often do this, not out of any conscious knowledge that they are dancing on either the 1st or the 5th, but out of a recognition that they have gotten off beat. Without much thought, they can slip right back into dancing on the beat by getting on the 1st or the 5th beats. See how many of these "switchers" you can spot on any given club night.

Hey, You're Not on the Beat - You will find that many instructors and advanced dancers insist that dancing on the 1st beat is the only correct way to dance (again, we are not talking about dancing "on-two" here). They view dancing on the 5th beat as basically incorrect. They feel that people who dance on the 5th beat are not up to par. Sometimes, they'll make a bit of a big deal out of it, as in: "Hey, you're not on the beat."

Oops... Now I'm on the 5th - Despite this rather firm attitude, it's surprising how often you'll see an instructor or an advanced dancer doing a dip or trick that breaks the eight-beat count in half and causes them to continue their dancing on the 5th beat when they come out of the dip or trick. Many times they are not even aware that they have come out of a dip or trick dancing on the 5th beat. That's a useful perspective on just how transparent it is to dance on the 1st or 5th beats.

See how many instructors or advanced dancers you can spot that come out of a dip or trick and continue their dancing on the 5th beat. It may take you a while to spot instances of these breaks in the beat, but you'll be surprised how often it happens. That's a useful perspective to have when you hear instructors or advanced dancers insist that you have to dance on the 1st beat.

Yes, it is preferable, but, you don't have to dance on the 1st beat. You can dance blissfully away all night long on the 5th beat. You'll look fine, and you won't get a ticket from the Salsa police!

Work Toward Finding the 1st Beat - When taking lessons, if you start your dancing on the 5th beat, your instructor may tell you that you are not dancing on the beat. You may find that annoying for two reasons. The first reason is that you are already having a hard enough time trying to execute the mechanics of the move you are being taught without having to worry about starting precisely on the first beat. The second reason is that you may not be very good at finding the first beat and the instructor's admonitions that you are not on the beat will be a source of irritation.

Even if you already know that it doesn't make a whole lot of difference whether you start on the 1st or 5th beats, your best bet is to ask the instructor to help you get started on the 1st beat. You are better off accepting you instructor's guidance in finding the 1st beat because, ultimately, you want to be dancing on the 1st beat. Starting your dancing on the 5th beat, while okay, is not the preferred way to dance. You need to learn to find the 1st beat and start your dancing on the 1st beat.

Flourishes and Dips - Good Salsa dancers will not start dancing on the 5th beat because their ears are well trained and they immediately feel "off" if they start on the 5th beat. In addition, they may be interested in putting a flourish of some sort at a particular spot in the song, or they may want to end the song with a fancy dip. To do that, they need to be dancing on the correct beat within the 8-beat structure for the timing of the flourish or dip to come out just right.

Be Patient, Dance a Lot, and Develop Your Ear - For those of you who are beginners and who are not into flourishes and dips, you can start dancing on the 1st beat or the 5th beat and you'll be just fine. The more Salsa you dance, the more you will develop your ear. Gradually, it will become easier for you to identify the 1st beat. Ultimately, your goal should be to start your dancing on the 1st beat.

Summary - Okay... you've spent a lot of time observing couples dancing at the clubs. You've picked out dancers that always seem to dance on the beat. You can pick out dancers that never dance on the beat. You're able to spot couples that dance on the 1st beat and those that dance on the 5th beat. You've spotted the show-off dancers that have trouble finding the beat (or who don't seem to be concerned about dancing on the beat).

You can spot those couples that phase in and out of dancing on the beat. You've noted that lots of couples dance on the 5th beat with no fatal consequences. You're beginning to spot dancers that appear to be dancing on-two. This is great training for you. Your knowledge of Salsa, and your ability to learn and dance Salsa, will grow tremendously as a result of developing these observational skills.

On-Two Note - For those of you that dance Salsa on-two, please note that, even though you break on the second beat, you still key off of the first beat in the 8-beat structure.

¡¡Y, por Dios, que viva la Salsa!!

Estiven

RuedaUSA.com