"CRITICAL TIMING"
© Skippy Blair - 6/02 - Rev. 11/02, 3/03  12/04

Critical timing and the "2-Beat" Rhythms:    I do believe in "Staying within the Rules" - but there are  times when I momentarily find exceptions to those rules.  I say "momentarily" because when I stop - step back - and take a second look  - I find that the rule was correct.  So far, each experience has proven that  RULES are more important than any momentary "shortcut".   Many times we only think we are breaking a rule - when we are simply not fully understanding the depth of the rule. I marvel at how rules unfold gradually, revealing their secrets to us, one at a time. 

When we count out a pattern - create a new pattern - or even teach an old pattern, it saves time and effort when we stick to "Rules of Timing" and "Rules of Movement".  Every pattern - in every dance that is danced to 4/4 time music - is composed of a series of "2-Beat" Rhythms. There are no exceptions.  On occasion, I have found myself breaking down a pattern - stopping on count "3" to explain a foot position, a move, a lead, or a styling - and then continuing on, starting with count "4".  In every instance, without exception - when I went back and took the same pattern apart in the correct, "2-Beat" increments, I found a tiny "gem" that made the difference between a good performance and an exceptional one.  That "gem" always turns out to be the almost imperceptible "breath" that separates the "2-Beat" rhythms.  Separating the rhythms in any dance encourages the dancer to discover "Pulsing."    Accenting the Downbeat or the Upbeat - according to the dance being done, leads to the discovery of the  "Heartbeat" of the dance.

Select a favorite Swing dance pattern.   Determine what kind of an action is taking place on the "&a" before count "3" - as well as the action on the "&a" before count "4".   I guarantee that  you will make another important discovery.  Do I always catch the "discovery" on the first try?  Of course not!   When we truly embark on the "learning path" - we learn something new with each new journey.  A  journey requires a destination.  Our destination is always a new level of dance performance. However, much of our joy is in the journey.   

When working on "Critical count" it is amazing how much clarification and excitement is added, simply by adhering to the "2-Beat" rhythm rule.  Break down each pattern by stopping on every Upbeat (2, 4, 6, 8).   Practice each individual rhythm.   Start each rhythm on the "&a" prior to the Downbeat and END each rhythm precisely on the Upbeat.  You will be rewarded by the things you discover about each individual Dance Rhythm.  You will be even MORE rewarded by the improvement it will make in your dance performance.

Yo Yo Ma, world-famous cellist, made an eye opening statement in a television interview.    When asked:  "What is it about the notes you play - that makes you such a fantastic musician?"   He answered  that it was not how he played the notes - but rather the quality of the spaces between the notes that made the difference.  What a statement and what a fantastic observation!  To me, that is a great description of "Critical Timing."   Critical Timing is created by controlling the rhythmic flow of uneven, although precisely placed, spaces between weight changes.  Sometimes this is accomplished through a natural "inborn talent" - but more frequently it is acquired by the studied practice and development of  "Rolling Count."   The ability to manipulate the spaces between the Dance Rhythms - and the spaces between the weight changes WITHIN those rhythms, always creates an exciting performance.

If you found this article interesting, you might also enjoy reading the article on "Rolling Count".  This amazing discovery has solved timing problems for many dancers - and has given teachers a new tool for training those who have difficulty with "feeling" the pulse of the music.

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