Show PART WITH A i tr george dod dodworth worth on terpsichorean sich orean melody THE NEW AMSTERDAM DANCE description of its various posit long and X ve ments with tho the drug buelo to that I 1 goes with dances and thor their popularity aim afro that are ara in a small party with suggestions to players Pla copyright by johnson the editor of oc a a widely read periodical i bt bf fashion thought it necessary to state that everything that ono one does docs to music la is nol list dancing inversely all the music that thai Is danced to Is not list dance music although many persons who think they can d dance nee beem baem unaware of tho fact yot not that dance music la Is of so BO distinctive a character caf racier that it Is Kula habl nt at once for it liaa ban a practically unlimited 1 range ranee and some borne waltzes st lind copular io pular waltzes 1 that arc am oil all a maze mare to many good dancers dan cera danco dance lc therefore should bo be hulled to the ear car rather then than to to the iha of dancers it must sometimes ie regular bular rc measured and totally devoid dod ded d of nourishes flourishes this is because so any dancers cra are not nol endowed v lib ith an aa ear ar for music and if their movements be by a I timed beat they ahey cannot follow it this Is why certain compositions excellent in themselves hern selves and prefect as specimens of a L isales ate aie unsuited uns to a promiscuous there la Is sure to be somo some 1 iscia pres eill upon whom the com are arc lost and and who falls fails his movements to ill iho 0 mui 1 the awkward awkwardness nes of some dancers 10 holcli duo to this flourishing tendency en dency in dam damo o tangle it follows Col lowa that the iho simpler pieces will alwart itt iipp bo be the afeie to adopt put nut there is ft also in ills iho simpler pieces al ts a difficulty Ko koutze utne out of the mo 1 oua u both bolh of moNer rient and cound the tha lov mo eaf nt so PO con in a pal of dancers la Is one Pon quen or of tile the p preference rence for mm tile la music ausle the hest best course therefore would seem to bf be to accustom oneself 1 ill of f ianuale T that t ihl la 0 o 1 hwn by the fact lb in it to io kird kind or of musical marical composition pei tion ha orne to lo be considered anci mou thu the fa illum than another US as dance music the th are morely merely merit melody and aid measure variety lit Is indispensable nothing Is more earl some than to boar bear the ilie same tune time bird again it should bo be remembered I 1 that the sanctions ot 61 dance music are arc nit n t delely to insure uniformity of r nov niovi IT ment I 1 s nt a and na to blend the musical ard the he arts ans thc jhc music prove no BO to lo eueal elc ik a rest v aho vho on aro arc able abc to dance hour after houi sel lom consider that uey were 1 belph by the quality lua llly aria tempo of the music which enabled them to be on j their ft feet so long lon it Is not so much continuous movement increment US OB music itris and disgusts many dan ore erit un I 1 may be wall before in indicating d the h i which have come in into 0 vogue among parties or dancers and at balls to lo out that thai some ome klon prevails as aa to the position of the piano or the orchestra in a union salon A grand braid bra id piano should be jn in na an alcove but not pushed plump against the wall as Is so orten often doni done for that deadens the music or it least imparts a wooden lone an Ln cpr upright h panno is most advantageously toNu to sly r situated d along the side aide wall of the apartment and lit in its exact center As for nil an orchestra they tire are usually stationed in a a bay window but may bo be in another room entirely memo ti the hall according to size of the orchestra jt it might seem to point out that the position of the musician has much to do with effect of his interpretation yet dancers seem never to take this into account for the they are often squeezed into inlo the smallest possible space As for the compositions in faor at this time it is 19 a difficult thing to make selections elections from tin the embarrassment of riches waltz voltz melodies were never more availed than now the pieces do salons fa lons coming lit in the form ot of caprice etude and a nd scherzo Offen bachs belles america Amerle alnee n es is highly effective and its popularity would be even greater than it Is were it not that it requires an essentially senti sent ally lally musical ear car to appreciate it and a musical ear Is not a common than g mong people who danco dance wald boutel tu seems the most perennially fa borod I of oc composers in tha matter of dance rn uvil hit in tho the clouds la 13 both melodious and comprehensible his other compositions ore are likewise much used among easy and ca catchy teby pieces that la IN places pieces of value in gulding eming dancers whose movements require enuch much md from the music Is 13 fe rols a waves of joy many persons persona who want to dance prefer compositions by 11 II J strauss it Is advisable for nil all who wish to excel in the waltz to i zary ary the music munte as far as practicable some of the mannerisms of dancers are arc duo due to a tendency to dine cling to a bartic particular u prade grade of music it would be well to become habituated to 10 such melodies na as mayors illusions Illus iona de jeunesse Se unesse for instance which Is an acceptable valse ill da sal sain n and as aa adapted for the illano Is arpeggio with runs in tile the right hand yet not too ton full of 0 meaningless flourishes indeed nothing is more cm can barr assing to many dancers tile than n tho the flourishes hillh ill which so many pieces of 0 dance music are arc filled the development of the two step has given elven an impetus to marches some of these compositions are arc very effective on the piano notably BUCCA losses Ily inor mors colors a polka marril marr h meyers jolly jolly rover march la Is als di tivo for ita int well marked ni irkel time A spirited and quickstep bulc la Is iros gros lit in I n promenade solomons marchu marche line haa staccato octavos t r von and arpeggio and has won deserved d e served favor faver still at al the present t time me 24 housa it iw li lending in popularity with bj lilo belle of cotaco Ch taco liberty belt bell etc tho the desirable qualities in oil huch h compa lions and particularly at th thin time when the two step la in sty a 1 prevalent re valent are arc well marked time lime slid and adaptability the favorite fAvor lle forms dormi con unite to be bravura brillante brillan tc para poc tique and tri all the compositions I 1 have named are equally it v in the iho salon and the parlor moreover they can in the majority of 0 instances lio be readily mastered by must ceans of average ability very elaborate on the contrary conti ary 1 ii Ilu ellers cra unc trot fete Centenna noire lre which Is in real ty a grando randa ff marcec mahebe nil au bra bravura vurn octaves and for FOP exacting dancers and to ja Mull cra torchlight pro r ilon which contains contain many arll I 1 t linger finger gex it il should not be i I 1 I 1 I 1 beginners for eve rood good I 1 cers may be disconcerted by a sell ea or of flouris liea and fingerings ehleb tt alch however faultless ault lesa ns as musical compositions nrc are not nol cast easily I 1 fa followed I 1 owed by kerpl devotees of course experience will always be tle the best gulde in the selection beien uon of piano music tho the difficulty Is IR that so many dance ts get into the habit of following 1 the mile ndell of a few find tire thus thu culp when they hear anything new nc w this fact will always operate against the adoption of ct a few as in III dance music but it will prove beric anc nd il in out talent that might otherwise lie dormant for want or of sit cn one fault in which of danes are apt to ba I 1 misled Is the alteration of a line fine weak ii here e re and there by the introduction of oc nourishes flourishes or interpolation terpo lation or of t their he I 1 r own instead of the dancers with carefully selected music and rend rendering pring the same truly and lu aruti eany not only ii this but it destroys the composition poal llon and 14 most moat trying tr ang to music loving dancers tills this lit 18 particularly evident when persons dance in a parlor or 0 r a calon to 10 the music of a piano forte those who feel no sura ot of their to improve upon tile the compositions poal tlona of tiny any composer should at least be willing to lo spare dancers the of adapting their amov L menu ment 1 I to a mangled I 1 altz itz blochut I 1 on bit do not usually id of their own into poes I li laven aven or C alfew shall not of fling tonight to night but there are arc piano players and esc csc esi i IK of dance who loom it IL a duty to ull fill IL a composition with their own flo flouria nourishes or mako make what ill thy consider improvements in the lime here unit and there the usual result lit is to make a pleasurable dance a thing of hillar conlous mut forna blott dancers do not detect those interpolations and it if they have eve had the advantage of oc Is a competent master they can acquit themselves with credit but other dancers are arc made to appear very awkward as aa the timo time IK I 1 a not usually well marked daneo catl ce music 0 course dol does nol noi neca ear rily call for dancers in atud ang nto a position piano rano players player should we see that tt it Is 18 calculated to please in fit itself if nd they will thus attain the til double abject of being useful when among hose who wish to danco dance rod and of bing b ing itle ihle to give pleasure plen aure while with ith those 1110 ito do not as aa Is in the case lit in listening j dance music at concerts and be dicing that everything should he bo done annu to encourage the appreciation of refined rc nned motions with music I 1 have arranged arr Aneed it a new dance tile the am amsterdam riter dam it la is in two tem tempos one in ti avotte ani ami tile other in ka the grand stately anti and graceful movements its as in the music of the sixteenth con century and the vivacious or of the nineteenth century T GEORGE |