DE2620565A1 - Printed instruction for dancing step sequence - uses basic foot-shaped symbol with additional enclosed line figure illustrating step - Google Patents

Abstract

The representation of dance steps on printed instruction sheets uses a basic hexagon approximately foot-shaped symbol. The position and orientation of these symbols, relative to each other, indicates the foot movement during a sequence of dance steps. In order to convey additional information without using text, each symbol is also provided with a line or figure marking. In this way, each type of dance step can be represented by an individual marking. This method is easier to follow than a description of steps in text form.

Description

Object:

Representation of movement processes and foot loads during dance - especially with tap dancing - using symbols and passwords.

Description: It is common to use the movements and step sequences for Describe the dance lesson in more or less detail using words and writing and to explain it occasionally by means of graphic representations (sketches or photos) and to supplement-. For example, the characters according to Fig. 1 are used for step sequences. However, it has been shown that when describing steps and sequences of steps with a very fast rhythm, this previously usual representation is not sufficient. For a type of dance, such as the tap dance, in which the parts of the movement are reduced to very small Bar parts up to I / 20 are related to full bar, the result is a lot of text, to describe even a single measure in its sequence. These long pieces of text but cause interruptions that are too long in class and in self-study by reading, which makes the connection with the movements difficult to maintain and thus the result of the lesson will not be optimal.

These disadvantages led to the invention described below: It has proven to be advantageous to keep the description as short and precise as possible by means of verbal writing and to supplement it with memorable characters. A foot technique or sequence of movements shown with these symbols is described safely and clearly and can currently be read at a glance. In this way, both the instructor and the learner receive a method that is considerably better than before for the rapid development of the subject matter.

The newly introduced signs not only indicate the position of the feet an - this has also been used occasionally - they actually still contain distinctive parts of the surface, which can be combined with lines, through which the distribution of body weight on the feet and the type and direction of movement of the individual feet are sensibly marked. For example, the loaded part becomes of a foot marked by an additional colored area, resp. become the foot movements gentriches introduced, which indicate in which way - whether sliding or without contact with the floor - with which foot part and in which direction the movement should be made and where it begins or ends relative to the other foot.

In Figure 2, all of these characters are grouped together and with the Numbers numbered 2.1 to 2.37.

Another innovation is the use of different colors for right and left. This makes the visual language even more expressive and the effect of easy and quick reading and memorizing is enhanced.

In this way, exercise parts of 1/20 of a measure become up to a total of 2 full bars.

A further subject matter of the invention is the summary of such Exercise sections in groups of 2 to 8 bars form a complete exercise and dance component and the naming of each of these groups with a characterizing their respective content Name. This is permitted during lessons, only by naming such a person Name to clearly outline a limited scope of exercise, thereby facilitating communication between teacher and student is faster and clearer. These imprinted Terms allow the automatic sequence of movements for a whole group of bars to be announced only by mentioning the name.

Likewise, it is of course also intended to add larger exercises or a whole dance from such groups.

Explanation 17 Designation, short form in brackets flat-step with weight on the whole foot (flat) 2 slam the whole foot flat with no weight 3 stamp placing the whole foot flat, emphasizing the weight clap-hands t clap your hands A2 Hop the loaded foot briefly up and down again s ball-step ball attachment with weight (ball) ball-beat t ball attachment without weight (b.beat) A5 brush Swing the leg forwards or backwards from the knee. At deepest in front of the place, next to the standing leg, the ball briefly touches the t back ground. The thighs remain as next to one «: Held each other. (Spring leg) brush Brush back and forth in one sign. forward and back brush-step Brush followed by a ball-step. Springy leg. (forwards, backwards, since) See sketch A5. brush-flat j The same as brush-step, but with a flat attachment. flap Small brush-step. Brush and step become scarce and executed in quick succession. The term flap or brush-flat appears next to the Characters indicated, otherwise it means brush-step. , A6 ball-tap Ball hit: hit the ball briefly on the floor and then back up again tap-step 1 ball-tap and ball-step = tap-step The ball-step character appears next to the ball-tap character set. 14, 15, 16 A7 shuffle the front and back brush quickly and at the end of the forward swing before, since, diag. loosely executed. The supporting leg remains bent, but relaxed. shuffle-step The same thing followed by a ball-step. Comparison of shufflee and brush-step, see A 8.

A8 toe-tap I hit the ground with the tip of my foot and up again. The "arrow" sign indicates where to do the toe-tap. 49 A9 ball-beat put the ball on without weight, see A 3. heel-drop lowering the heel of the ball-beat with weight. strut ball-beat and heel-drop, united in one sign, are placed one after the other. heel-beat put on the heel without weight. 19 A10 stomp Short slide, push, with both feet not off Coming ground. Ends with an accent on heels theel-drop), ao All directions. Sisonne jump from both legs to one leg. Swing your free leg to the side. Alles pick-up heel is placed unloaded. Raise bales, reverse peel off and end in air position. pick-up-step ^ The same thing followed by a ball-step. The sign "ball" is placed next door. 21 A12 leap jump from one leg to the other. 22nd jump: jump from both legs to both legs. : F2 scuff 1 heel edge on the floor forwards or sideways and swing in the air. Reinforced foot from ankle Press 24 'upwards. heel-tap tap the heel briefly on the floor and then back up again. 25th heel-dig Reinforced attachment on the heel edge (opposite heel-beat A9) with or without weight, foot from ankle hold up. 26 heel-stand = heel-dig li u re. (r- t 7) heel-dig pick-up-step I The character pick-up step is used in the preceding severely separated. F3 ball-drop lowering from heel-dig, at F3 "negro-triple" with weight, at F9 "tuck-tuck" without weight. - The sign is to be read from bottom to top. (With "negro-triple" the character is separated.) Lowering from heel-beat, see Jazzwalks F11 / 12.

F5 slide - sliding, dragging, sliding on a loaded foot, not coming from the floor. Sign forward, backward diagonally.

Outside-slide slide outwards with weight inside-slide inwards gliding with weight 1S chug pre-gliding with weighted foot, more on ball of the foot and ending with an accent on the heel, heel-drop.

pull-back sliding back on a loaded foot more with heels, and ends with an accent on bale, ball-drop.

toe-beat Hit the ground with the tip of your foot and stay there (as opposed to toe-tap) Same character as toe-tap F7 riff Brush and scuff become executed immediately one after the other.

F9 cramproll 2 ball-step and 2 heel-drop are performed one after the other, but without changing the order can be different. The cramproll sign shows therefore start the course with a hyphen and end with an arrow.

with a change Cramproll starts again without a change ii.

Cramproll with change of foot then begins right.

F 11/12 Jazz-Walks walk ul, 2 small, shuffling brush, ball-beat and heel-drop. Brush indicates the direction; before, since or back. Ball beat will endured longer, which is indicated by the underlined number (cf. u (cf. Description of the walks).

heel-beat and heel-beat and ball-drop (weight on the ball of the foot). See F. 12 beat-walk.

ball-drop 1 This 2-sound technique is also called ball-drop jazz-walk called. (The sign is to be read from bottom to top) triple-walk is no good new character. It consists of a heel-beat ball-drop and a u e 1 set on the outside heel-drop, which creates a small movement, like the "walking-turn" in F 11 shows.

35 cramproll-walk This symbol only indicates a different order of the cramproll and is performed with sideways movement.

F13 parallels Continuous sideways movement. The feet turn up once heels, then 1/8 or 1/4 turn on the ball of the foot. Legs up to hips in the Coordinated movement to the feet. The knees are bent. The curved line that extends beyond the sign indicates the direction.

Rubberlegs Side movement to the right or left with twist technique (foot and leg twist). Alternating turning of foot with leg in and out. The knees are strongly bent and touch inside at 1, while at 2 they are bent outward.

L e r s e i t e

Claims (5)

Claims: 4 Representation of movement and foot technique for dance, especially Steptsnz, by writing and, or, symbols, where the symbols always raised the same basic form, characterized in that the basic form complements and is extended by different markings in areas or lines or in both forms, so that a greater number of movement and stress parts of a dance process result in clear statements. 2. Claim according to 1) characterized in that the markings inside and or outside of the basic form for the symbols are attached. 3. Claim according to 1) and 2) characterized in that the symbols are shown in 2 different colors to differentiate between right and left. 4. Claim according to 1), 2) and 3) characterized in that there are groups of symbols for 2 to 8 bars each under one, only for this respective one Group valid names can be summarized as a PC handle. 5. Claim according to 4) characterized in that a whole dance after this system, only through the naming of the groups used is described.