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Show $ tt s a A Detailed Description of tlie Latest Xerpsickorean Novelty y. witk Many of Its Steps Illus trated ,ty Miss Frances Wkite THE Jazz, the most nervous of music, is wedded to one of the most erratic dances of the season. Eccentric as is' the fickle, changeable, erratic er-ratic dance it has the approval of the Inner In-ner Circle, the body of dancing teachers that stands for progress in the terpsichorean art in America. At its convention, helfl in New York in September, it recommended the Jazz as a kind of paprika of the evening's programme. pro-gramme. The Jazz is the evening's romp. The convention selected four dances as the leaders of the season. They were the Chinese Toddle, the fascinating drawing room dance previously described and pictured pic-tured in this newspaper; the Ramble, a - pleasing combination of the one-step, the fox trot and the waltz; the Inner Circle Tango, for which the enthusiastic convention conven-tion claimed the honor of being the aristocrat aristo-crat of all ballroom dances. As a gay little fillip for an evening's dance medley the convention con-vention also suggested "Hello, Pal," a one-step one-step accompanied by the pledge of fellowship. fellow-ship. But the convention laid special stress upon the Jazz. The dance was created by Oscar Duryea, 1 who further on, on this page, gives a correct, r technical description of it. The Jazz, Mr. Duryea, a prominent originator of dances and instructor in dancing, characterizes as the "latest American fox trot idea." The music is by Ted Eastwood and G. Hepburn Wilson, the founder and Supreme Master of the Inner Circle. Mr. Duryea is the author of the parable of "I, Myself and Me," in which ho scolds per-sons, per-sons, dancers and non-dancers, of limited and selfish ideas. He wrote : "Suburbanites is a disease peculiar unto itself. Many people have this though they dwell surrounded in all directions by definite knowledge. They might, if they, would, reach out, take unto themselves, enjoy it and exceedingly profit thereby. But, alas and alack! The eternal hallucination, 'I, myself and me,' is constantly before me in this exceeding ex-ceeding strange malady. It prevents them from in any way touching or assimilating this knowledge. "They dwell within themselves. They live, but they live little, no matter how long they may have been here among ye. They are small, no matter how large in fleshly proportions. propor-tions. "When they walk out they do not hold converse with their fellow mortals. If they do perchance accost them, 'I, myself and me' is the limitation of their speech. "I say to ail ye who that suffer this af- Miction, take 'I, myself and me' gently by the hand and lead them forth. Meet this, j (i X , ''x CZ f 1 i ; t r A i 1 sw &f 1 s- .? - . v:A )escnption of ike 1 - r ( , t t ''" ' psickorean Novelty , ' , I I - my of Its Steps Illus- :" . ' ' l by Miss Frances White ' ''A - ' ' : "Tis J , " ' ' Emerging from the "Crazy agle jd&x v:A -. ;J - - .-. - K.S . ?.A t . . . ' i-.-f -.-' 4 Cadenza," m Joyous ' Rock," . ' ' f , " 4 Mood Syncopated n , , , '. j ' i , I ) i , Lullaby i. y . t ., . ' r ' ' 4 : 1 v. I ,'-'"', - ; A r-r f -,A. i ' - , J 1 "n , . - - " - 1 1 ( . -: - ' - ' .. j ' " " ' - - ' J 5 - ' , ' , . - x-r ; ' - - - ; ' r ' ' . - - y ' A. " ' - ? t - -y ' - ' ; Y f ' ' : ' V A V j ' m x":;-j'-!;;.;!;: rss.i'i'.v;-;:: h J f - 1 Beginning to Dance tne ' :- , ..;..' . . r , I "Crazy Cadenza," En- - v ' ' ' - ' 1 tcri"g in Good that and the other fellow for through fel- Possibly it was to jolt the sufferers from "' '" :i ' ' -'.v. A vi'Vy' T'vv';, : ; ' lowship comes great understanding, and "I, myself and me" that, he originated the ? v X--.-;.,.. ; - ' knowledge, which is power." bounding, dizzying, awakening Jazz, with - t :;. : :'.-.. ; . ... - vi This lay sermon, from the text, "Get thee its long sustained, quivering strain which .' '; -; tiv;. ' " '' -' ?'"''',''. -- wider horizons," established Oscar , 'Duryea musicians have named "The crazy cadenza." i V.v.,;.'.-' .V 1 : A ' ' ' '" ' - ; :;-.':J'. : ' '.-') as a philosopher and prophet among danc- This is Mr. Duryea 's description of the .. ': V '' : '- ' ing instructors. - Jazz: '-" f 'V . : . .. - ' ".. ' . I'- ' ' ' . ide Easy for Anybody to Uederstand ' vivy'ri '- -. -W U-X hesitate. (3) Close left to meet right step back on the right foot, turn to ,.v-: ' ...;-'n ; ' "'. ; '. ' ' ' ' - y ' ' ' : quickly, advance the right and transfer the left facing in line of direction (half :- ' "' . i , ' ' ' weight to it (and 4) 2 turn) (and 8) 2 '.v.: ...... ' ;;,;-. ' ,'v . . ---V . 'i Repeat preceding two measures 2 , ' - : ; i" :'' ., : - '- A Repeat from beginning, walking 3 steps Part 2- j 1 . i ' ' ' V' forward, commencing with the left foot Walk 3 steps forward, commencing with " ' ' ' V ' ' ' as before, hesitate on the left fool the left foot, hesitate on the 3d step f -' ... ' . .' . . .. J ' ' ' : . 11.2,3). Close right quicklv to meet forward, count 1, 2, 3 (6 musical f :, 1 .... . . : , . ''( S .l : . - -""r' o left, step forward on the left transfer- counts). Close right foot to meet left .. ,: .' '' ring weight to left foot (and 4) 2 foot quietly, step forward on left foot f ; . . . ! .- , '- .. j Repeat commencing with, right foot-3 again putting the weight on It. Count f , , steps forward, hesitating on the 3d and 4 (2 musical counts) tf ' I , ' step (1, 2, 3). Close left to meet right. Step on the right foot diagonally forward v , . . j V , . f i transferring weight to right foot and and to the side, close left foot to meet - ' ' " ' S ' ' m as the step is taken forward on the it. Count and 1. Step on the Riant J '" ' i V ' I '' - ' ? right, turn one-quarter to the right foot diagonally to the side again, clos- j I V,.k - V :, t V (and 4) 2 ing left foot to meet it. Count and 2. ' ' '". ' 1 ' fcilv ; 'X li , Step on the right foot, forward and to v- - V J ,., A flic cirlo r-minf 9 Plcn loff ff id V tliat and the other fellow for through fellowship fel-lowship comes great understanding, and knowledge, which is power." This lay sermon, from the text, "Get thee wider horizons," established Oscar, Duryea as a philosopher and prophet among dancing danc-ing instructors. 2 2 4 S 2 2 4 2 Possibly it was to jolt the sufferers from "I, myself and me" that he originated the bounding, dizzying, awakening Jazz, with its long sustained, quivering strain which musicians have named "The crazy cadenza." This is Mr. Duryea 's description of the Jazz : "The Jazz" Made Easy for Anybody to Understand THIS dance is a Fox Trot, but with a peculiar rhythm some-what different from the usual Fox Trot it is much lower. The original Dixie Land "Jazz" Band Consists of a piano, cornet, trombone, claironet and trap drums. The peculiar, somewhat discordant dis-cordant melody is said to be produced by tuning "each of the instruments at a different pitch;-and to end some of the strains they occasionally plsy what we have termecfa "crazy cadenza." Music Is 4-4 tempo, but for convenience in teaching the dance, the count of "one" has the value of 2 musical counts. Description for gentleman-partner counterpart Waltz position throughout. Measures. Meas-ures. Walk forward 3 slow steps in line of direction, di-rection, commencing with the left. foot. On the 3d step forward, hesitate with weight on left foot (count 1. 2, 3) (6 musical counts). Close right to left quickly, move left forward and transfer trans-fer weight to the left foot. (Count 2 and 4 musical counts) 9 Repeat preceding 2 measures, commencing commenc-ing with right foot, hesitating on the right on the 3d step forward 2 4 Steo on the left forward and hesitate. (!) Cross the right behind the left, closing it quickly to meet left step forward for-ward on left, and transfer weight to it . (and 2) step on the right forward and hesitate. (3) Close left to meet right quickly, advance the right and transfer weight to it (and 4) Repeat preceding two measures Repeat from beginning, walking 3 steps forward, commencing with the left foot as before, hesitate on the left fool It. 2, S). Close right quickly to meet left, step forward on the left transferring transfer-ring weight to left foot (and 4) Repeat commencing with, right foot 3 steps forward, hesitating on the 3d step (1. 2, 3). Close left to meet right, transferring weight to right foot and as the step is taken forward on the right, turn one-quarter to the right (and 4) Step on the left backward and turn one-quarter one-quarter to the right, which will make the man face backward to the line of direction (partner facing forward). (1) Close right to meet left quickly and step backward on the left, putting the weight on the left (and 2) step "back on the right and hesitate. (") Close left to meet right and step fcack on the right foot, putting weight on the right (and 4) Step back on the left foot and hesitate. (5) Close right to meet left, and step backward on left foot, putting weight on it; (and 6) step back on the riaht and hesitate, turning slightly to the left (7) Close left to meet right and step back on the right foot, turn to the left facing in line of direction (half turn) (and 8) 2 4 8 Part 2. Walk 3 steps forward, commencing with the left foot, hesitate on the 3d step forward, count 1, 2, 3 (6 musical counts). Close right foot to meet left foot quickly, step forward on left foot again, putting the weight on it. Count and 4 (2 musical counts) Step on the right foot diagonally forward and to the side, close left foot to meet it. Count and 1. Step on the Rifht foot diagonally to the side again, closing clos-ing left foot to meet It. Count and 2. Step on the right foot, forward and to the side. Count 3. Close left foot to meet it slowly, transferring weight to the left foot. Count 4 2 4 Repent rreceding 4 measures, commencing commenc-ing with the right foot 4 8 Walk forward 2 steps, commencing with the left foot. Count 1. 2. Turn half to the left with one waltz step, 1. e., step on left foot forward and turn to left. Count 3. Stop on right foot to the side and close left foot to meet it quickly. Count and 4 2 Step on right foot backward and continue to turn to the left. Count 5. Con- The Military Turn "That Fascinating Jazz Twist." tinue to turn to left with one walta, step, i. e-. step oo letl fvot forward and turn to left as before. Count G. Step on right foot to the sde and close left to meet It quickly. Count and 7. Step back on right foot as before and turn to the left, the ir..;: r.ow facing for-, for-, ward in the lice of direction. Count 8 Wfilk forward 3 eir-r.s, oom-nn'-!n!; with the left foot. Count 1, 2, 3 (6 musical counts). iiOD on risht foot to the side "Tromboning"' with the Feet and close left foot to mret it r;uic.ly. Count and 4. Turn half to the right with one waltz step, I. e., step on tiio right foot, forward and turn to tho right. Count 5. Step on left foot to tlia side and continue to turn to the ri'.'ht and close right foot to meet left quickly. Count and R. Finish the turn by stepping backward on the left foot and forward on the right foot Count 7, S T Coryrlght, 1917, by the Star Company. Great Britain Elshts F.eservea. |
