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+Project Gutenberg's The Fascinating Boston, by Alfonso Josephs Sheafe
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Fascinating Boston
+       How to Dance and How to Teach the Popular New Social Favorite
+
+Author: Alfonso Josephs Sheafe
+
+Release Date: September 15, 2011 [EBook #37443]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FASCINATING BOSTON ***
+
+
+
+
+Produced by David E. Brown and The Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by the
+Library of Congress)
+
+
+
+
+
+
+
+
+
+  [Illustration]
+
+
+
+
+  THE FASCINATING
+  BOSTON
+
+  How to Dance and How to Teach the
+  Popular New Social Favorite
+
+  _By_
+  ALFONSO JOSEPHS SHEAFE
+  Master of Dancing
+
+  _Translator and Editor of
+  Zorn's Grammar of the Art of Dancing_
+
+
+  Boston, Mass.
+  THE BOSTON MUSIC COMPANY
+  New York: G. Schirmer, Incorporated
+
+  Copyright, 1913, by
+  THE BOSTON MUSIC CO.
+  For all countries
+
+
+  B. M. Co. 3366
+
+
+
+
+Table of Contents
+
+
+                                 Page
+
+FOREWORD                            1
+
+THE BOSTON
+  THE FUNDAMENTAL POSITIONS         5
+  THE POSITION OF THE PARTNERS      8
+  THE STEP OF THE BOSTON           12
+  THE LONG BOSTON                  22
+  THE SHORT BOSTON                 23
+  THE OPEN BOSTON                  24
+  THE BOSTON DIP                   25
+
+THE TURKEY TROT                    27
+
+THE AEROPLANE GLIDE                28
+
+THE TANGO                          29
+
+
+
+
+THE FASCINATING BOSTON
+
+
+
+
+FOREWORD
+
+
+Since the introduction of the waltz, more than a hundred years ago, it
+has held the first place in the esteem of dancers throughout the
+civilized world. There has appeared, however, a new claimant for the
+place--one that possesses all the qualities that go to make a social
+favorite, and has the additional advantages of greater ease of
+execution, and wider possibilities of adaptation.
+
+This is the BOSTON--not, as many persons suppose, a new creation nor
+indeed is it a novelty even to the American public, for it was
+introduced here more than a generation ago; but the great popularity of
+the Two-Step, which had just then come into vogue, and was fast gaining
+favor under the influence of such brilliant compositions as the
+quick-step marches by Sousa, operated against its immediate acceptance.
+
+One of the reasons why the Boston should prove today a more attractive
+dance than any other, is the fact that now there are more captivating
+airs written for this particular form of dance than for any other, and
+as the Two-Step, in its time, found its most powerful ally in the music
+to which it was adapted, the Boston has today the persuasive
+intercession of such languorous and haunting melodies as "Love's
+Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's
+"Thrill," and others.
+
+General taste has gradually found out the superior charm of the Boston;
+the pendulum of public favor has again swung in the direction of skilful
+dancing.
+
+The recent revival of the Waltz in its proper form, has brought with it
+a larger appreciation of the more worthy and graceful social dances,
+and the entire world now recognizes the wonderful beauty of the Boston,
+and has welcomed it as a real competitor.
+
+The Boston is not a Waltz, yet it is the perfection of it. It is one of
+those paradoxical things which, while it is impossible to be classified,
+contains all that is to be found in almost any other dance. Even the
+persons who have so long and so loyally clung to other forms of dancing,
+and have abated none in their zeal for their favorites, have been
+unconsciously, and perhaps unwillingly, charmed by the seductiveness of
+the Boston, until they now freely declare the new dance to be the
+superior of the Waltz. Therefore it is safe to say that the Boston will,
+eventually, supersede the Waltz altogether.
+
+We demand a dance which combines ease of execution with attractive
+movement. That is just what the Boston does, and perhaps more. It is so
+simple in construction that, when acquired, it becomes natural, and its
+perfect adaptability assures it lasting popularity.
+
+Owing to the urgent request of many of his pupils and colleagues, the
+author has undertaken this little book in the hope that it will meet the
+requirements of both teachers and students, and help to assure the
+proper appreciation of what is in reality the most delightful and
+artistic social dance since the Minuet.
+
+
+THE FIVE FUNDAMENTAL POSITIONS
+
+In order that the reader may the more readily understand the
+descriptions given in this book, we will explain the five fundamental
+positions upon which the art of dancing rests.
+
+In the 1st position, the feet are together, heel against heel.
+
+  [Illustration]
+
+In the 2nd position, the heels are separated sidewise, and on the same
+line.
+
+  [Illustration]
+
+In the 3rd position, the heel of one foot touches the middle of the
+other.
+
+  [Illustration]
+
+In the 4th position, the feet are separated as in walking, either
+directly forward or directly backward.
+
+  [Illustration]
+
+In the 5th position, the heel of one foot touches the point of the
+other.
+
+  [Illustration]
+
+In all these positions the feet must be turned outward to form not less
+than a right angle.
+
+
+THE POSITIONS OF THE PARTNERS
+
+Much, if not all, of the adverse criticism of the Boston which has been
+offered by educators, parents and other responsible objectors, has been
+directed at the relative positions of the partners. This is, in fact, no
+more than the general rule as regards the Social Round Dance, with the
+possible exception that the positions have been sometimes distorted by
+attempts to copy the freer forms of dancing that have been presented
+upon the stage.
+
+The Round Dance demands that a certain fixed grouping of the partners be
+maintained in order that the rotation around a common moving centre may
+be accomplished, and it is here that the most serious problem is to be
+found.
+
+The dancing profession long ago undertook to settle upon arbitrary
+groupings satisfactory to the needs of the dancers, and conforming to
+all the requirements of propriety and hygienic exercise.
+
+  [Illustration]
+
+Acting upon this basis, the reputable teachers of dancing throughout the
+world have adopted and promulgated three fundamental groupings for the
+Round Dance which are so constructed as to provide the greatest ease of
+execution and freedom of action. They are known as the Waltz Position,
+the Open Position, and the Side Position of the Waltz. All round dances
+are executed in one or another of these groupings, which are not only
+accepted by all good teachers, but, with the exception of certain minor
+and unimportant variations, rigidly adhered to in all their work.
+
+In the Waltz Position the partners stand facing one another, with
+shoulders parallel, and looking over one another's right shoulder.
+Special attention must be paid to the parallel position of the
+shoulders, in order to fit the individual movements of the partners
+along the line of direction.
+
+The gentleman places his right hand lightly upon the lady's back, at a
+point about half-way across, between the waist-line and the
+shoulder-blades. The fingers are so rounded as to permit the free
+circulation of air between the palm of the hand and the lady's back, and
+should not be spread.
+
+The lady places her left hand lightly upon the gentleman's arm, allowing
+her fore-arm to rest gently upon his arm. The partners stand at an easy
+distance from one another, inclining toward the common centre very
+slightly. The free hands are lightly joined at the side. This is merely
+to provide occupation for the disengaged arms, and the gentleman holds
+the tip of the lady's hand lightly in the bended fingers of his own.
+Guiding is accomplished by the gentleman through a slight lifting of his
+right elbow.
+
+  [Illustration]
+
+
+THE OPEN POSITION
+
+The Open Position needs no explanation, and can be readily understood
+from the illustration facing page 8.
+
+
+THE SIDE POSITION OF THE WALTZ
+
+The side position of the Waltz differs from the Waltz Position only in
+the fact that the partners stand side by side and with the engaged arms
+more widely extended. The free arms are held as in the frontispiece. In
+the actual rotation this position naturally resolves itself into the
+regular Waltz Position.
+
+
+THE STEP OF THE BOSTON
+
+The preparatory step of the Boston differs materially from that of any
+other Social Dance. There is _only one position_ of the feet in the
+Boston--the 4th. That is to say, the feet are separated one from the
+other as in walking.
+
+On the first count of the measure the whole leg swings freely, and as a
+unit, from the hip, and the foot is put down practically flat upon the
+floor, where it immediately receives the entire weight of the body
+_perpendicularly_. The weight is held entirely upon this foot during the
+remainder of the measure, whether it be in 3/4 or 2/4 time.
+
+The following preparatory exercises must be practiced forward and
+backward until the movements become natural, before proceeding.
+
+In going backward, the foot must be carried to the rear as far as
+possible, and the weight must always be perpendicular to the supporting
+foot.
+
+These movements are identical with walking, and except the particular
+care which must be bestowed upon the placing of the foot on the first
+count of the measure, they require no special degree of attention.
+
+On the second count the free leg swings forward until the knee has
+become entirely straightened, and is held, suspended, during the third
+count of the measure. This should be practiced, first with the weight
+resting upon the entire sole of the supporting foot, and then, when this
+has been perfectly accomplished, the same exercise may be supplemented
+by raising the heel (of the supporting foot) on the second count and
+lowering it on the third count. _Great care must be taken not to divide
+the weight._
+
+For the purpose of instruction, it is well to practice these steps to
+Mazurka music, because of the clearness of the count.
+
+  [Illustration]
+
+When the foregoing exercises have been so fully mastered as to become,
+in a sense, muscular habits, we may, with safety, add the next feature.
+This consists in touching the floor with the point of the free foot, at
+a point as far forward or backward as can be done without dividing the
+weight, on the second count of the measure. Thus, we have accomplished,
+as it were, an interrupted, or, at least, an arrested step, and this is
+the true essence of the Boston.
+
+Too great care cannot be expended upon this phase of the step, and it
+must be practiced over and over again, both forward and backward, until
+the movement has become second nature. All this must precede any attempt
+to turn.
+
+The turning of the Boston is simplicity itself, but it is, nevertheless,
+the one point in the instruction which is most bothersome to
+learners. The turn is executed upon the ball of _the supporting foot_,
+and consists in twisting half round without lifting either foot from the
+ground. In this, the weight is held altogether upon the supporting foot,
+and there is no crossing.
+
+In carrying the foot forward for the second movement, the knees must
+pass close to one another, and care must be taken that _the entire half
+turn comes upon the last count of the measure_.
+
+To sum up:--
+
+Starting with the weight upon the left foot, step forward, placing the
+entire weight upon the right foot, as in the illustration facing page 14
+(count 1); swing left leg quickly forward, straightening the left knee
+and raising the right heel, and touch the floor with the extended left
+foot as in the illustration facing page 16, but without placing any
+weight upon that foot (count 2); execute a half-turn to the left,
+backward, upon the ball of the supporting (right) foot, at the same time
+lowering the right heel, and finish as in the illustration opposite page
+18 (count 3).      One measure.
+
+  [Illustration]
+
+Starting again, this time with the weight wholly upon the right foot,
+and with the left leg extended backward, and the point of the left foot
+lightly touching the floor, step backward, throwing the weight entirely
+upon the left foot which sinks to a position flat upon the floor, as
+shown in the illustration facing page 21, (count 4); carry the right
+foot quickly backward, and touch with the point as far back as possible
+upon the line of direction without dividing the weight, at the same time
+raising the left heel as in the illustration facing page 22, (count 5);
+and complete the rotation by executing a half-turn to the right,
+forward, upon the ball of the left foot, simultaneously lowering the
+left heel, and finishing as in the illustration facing page 24, (count
+6).
+
+
+THE REVERSE
+
+The reverse of the step should be acquired at the same time as the
+rotation to the right, and it is, therefore, of great importance to
+alternate from the right to the left rotation from the beginning of the
+turning exercise. The reverse itself, that is to say, the act of
+alternating is effected in a single measure without turning (see
+preparatory exercise, page 13) which may be taken backward by the
+gentleman and forward by the lady, whenever they have completed a whole
+turn.
+
+The mechanism of the reverse turn is exactly the same as that of the
+turn to the right, except that it is accomplished with the other foot,
+and in the opposite direction.
+
+There is no better or more efficacious exercise to perfect the Boston,
+than that which is made up of one complete turn to the right, a measure
+to reverse, and a complete turn to the left. This should be practised
+until one has entirely mastered the motion and rhythm of the dance. The
+writer has used this exercise in all his work, and finds it not only
+helpful and interesting to the pupil, but of special advantage in
+obviating the possibility of dizziness, and the consequent
+unpleasantness and loss of time.
+
+  [Illustration]
+
+After acquiring a degree of ease in the execution of these movements to
+Mazurka music, it is advisable to vary the rhythm by the introduction of
+Spanish or other clearly accented Waltz music, before using the more
+liquid compositions of Strauss or such modern song waltzes as those of
+Danglas, Sinibaldi, etc.
+
+It is one of the remarkable features of the Boston that the weight is
+always opposite the line of direction--that is to say, in going forward,
+the weight is retained upon the rear foot, and in going backward, the
+weight is always upon the front foot (direction always radiates from the
+dancer). Thus, in proceeding around the room, the weight must always be
+held back, instead of inclining slightly forward as in the other round
+dances. This seeming contradiction of forces lends to the Boston a
+unique charm which is to be found in no other dance.
+
+As the dancer becomes more familiar with the Boston, the movement
+becomes so natural that little or no thought need be paid to technique,
+in order to develop the peculiar grace of it.
+
+The fact of its being a dance altogether in one position calls for
+greater skill in the execution of the Boston, than would be the case if
+there were other changes and contrasts possible, just as it is more
+difficult to play a melody upon a violin of only one string.
+
+The Boston, in its completed form, resolves itself into a sort of
+walking movement, so natural and easy that it may be enjoyed for a
+whole evening without more fatigue than would be the result of a single
+hour of the Waltz and Two-Step.
+
+Aside from the attractiveness of the Boston as a social dance, its
+physical benefits are more positive than those of any other Round Dance
+that we have ever had. The action is so adjusted as to provide the
+maximum of muscular exercise and the minimum of physical effort. This
+tends towards the conservation of energy, and produces and maintains, at
+the same time an evenness of blood pressure and circulation. The
+movements also necessitate a constant exercise of the ankles and insteps
+which is very strengthening to those parts, and cannot fail to raise and
+support the arch of the foot.
+
+Taken from any standpoint, the Boston is one of the most worthy forms of
+the social dance ever devised, and the distortions of position which
+are now occasionally practiced must soon give way to the genuinely
+refining influence of the action.
+
+  [Illustration]
+
+Of the various forms of the Boston, there is little to be said beyond
+the description of the manner of their execution, which will be treated
+in the following pages.
+
+It is hoped that this book will help toward a more complete
+understanding of the beauties and attractions of the Boston, and further
+the proper appreciation of it.
+
+
+_All descriptions of dances given in this book relate to the lady's
+part. The gentleman's is exactly the same, but in the countermotion._
+
+
+THE LONG BOSTON
+
+The ordinary form of the Boston as described in the foregoing pages is
+commonly known as the "Long" Boston to distinguish it from other forms
+and variations. It is danced in 3/4 time, either Waltz or Mazurka, and
+at any tempo desired. As this is the fundamental form of the Boston, it
+should be thoroughly acquired before undertaking any other.
+
+  [Illustration]
+
+
+THE SHORT BOSTON
+
+The "Short" Boston differs from the "Long" Boston only in measure. It is
+danced in either 2/4 or 6/8 time, and the first movement (in 2/4 time)
+occupies the duration of a quarter-note. The second and third movements
+each occupy the duration of an eighth-note. Thus, there exists between
+the "Long" and the "Short" Boston the same difference as between the
+Waltz and the Galop. In the more rapid forms of the "Short" Boston, the
+rising and sinking upon the second and third movements naturally take
+the form of a hop or skip. The dance is more enjoyable and less
+fatiguing in moderate tempo.
+
+
+THE OPEN BOSTON
+
+The "Open" Boston contains two parts of eight measures each. The first
+part is danced in the positions shown in the illustrations facing pages
+8 and 10, and the second part consists of 8 measures of the "Long"
+Boston.
+
+In the first part, the dancers execute three Boston steps forward,
+without turning, and one Boston step turning (towards the partner) to
+face directly backward (1/2 turn).      4 measures.
+
+This is followed by three Boston steps backward (without turning) in the
+position shown in the illustration facing page 10, followed by one
+Boston step turning (toward the partner) and finishing in regular Waltz
+Position for the execution of the second part.
+
+  [Illustration]
+
+
+THE BOSTON DIP
+
+The "Dip" is a combination dance in 3/4 or 3/8 time, and contains 4
+measures of the "Long" Boston, preceded by 4 measures, as follows:
+
+Standing upon the left foot, step directly to the side, and transfer the
+weight to the right foot (count 1); swing the left leg to the right in
+front of the right, at the same time raising the right heel (count 2);
+lower the right heel (count 3); return the left foot to its original
+place where it receives the weight (count 4); swing the right leg across
+in front of the left, raising the left heel (count 5); and lower the
+left heel (count 6).      2 measures.
+
+Swing the right foot to the right, and put it down directly at the side
+of the left (count 1); hop on the right foot and swing the left across
+in front (count 2); fall back upon the right foot (count 3); put down
+the left foot, crossing in front of the right, and transfer weight to it
+(count 4); with right foot step a whole step to the right (count 5); and
+finish by bringing the left foot against the right, where it receives
+the weight (count 6).      2 measures.
+
+In executing the hop upon counts 2 and 3 of the third measure, the
+movement must be so far delayed that the falling back will exactly
+coincide with the third count of the music.
+
+  [Illustration]
+
+
+
+
+THE TURKEY TROT
+
+_Preparation:--Side Position of the Waltz._
+
+
+During the first four measures take four Boston steps without turning
+(lady forward, gentleman backward), and bending the supporting knee,
+stretch the free foot backward, (lady's left, gentleman's right) as
+shown in the illustration opposite.      4 meas.
+
+Repeat in opposite direction.      4 meas.
+
+Execute four drawing steps to the side (lady's right, gentleman's left)
+swaying the shoulders and body in the direction of the drawn foot, and
+pointing with the free foot upon the fourth, as shown in figure.
+4 meas.
+
+Repeat in opposite direction.      4 meas.
+
+Eight whole turns, Short Boston or Two-Step.      16 meas.
+
+Repeat at will.
+
+      *       *       *       *       *
+
+  A splendid specimen for this dance will be found in "The Gobbler" by
+  J. Monroe.
+
+
+
+
+THE AEROPLANE GLIDE
+
+
+The "Aeroplane Glide" is very similar to the Boston Dip. It is supposed
+to represent the start of the flight of an aeroplane, and derives its
+name from that fact.
+
+The sole difference between the "Dip" and "Aeroplane" consists in the
+six running steps which make up the first two measures. Of these running
+steps, which are executed sidewise and with alternate crossings, before
+and behind, only the fourth, at the beginning of the second measure
+requires special description. Upon this step, the supporting knee is
+noticeably bended to coincide with the accent of the music.
+
+The rest of the dance is identical with the "Dip". (See page 25.)
+
+  [Illustration]
+
+
+
+
+THE TANGO
+
+
+The Tango is a Spanish American dance which contains much of the
+peculiar charm of the other Spanish dances, and its execution depends
+largely upon the ability of the dancers so to grasp the rhythm of the
+music as to interpret it by their movements. The steps are all simple,
+and the dancers are permitted to vary or improvise the figures at will.
+
+Of these figures the two which follow are most common, and lend
+themselves most readily to verbal description.
+
+
+TANGO No. 1
+
+The partners face one another as in Waltz Position. The gentleman takes
+the lady's right hand in his left, and, stretching the arms to the full
+extent, holding them at the shoulder height, he places her right hand
+upon his left shoulder, and holds it there, as in the illustration
+opposite page 30.
+
+In starting, the gentleman throws his right shoulder slightly back and
+steps directly backward with his left foot, while the lady follows
+forward with her right. In this manner both continue two steps, crossing
+one foot over the other and then execute a half-turn in the same
+direction. This is followed by four measures of the Two-Step and the
+whole is repeated at will.      8 measures.
+
+  [Illustration]
+
+
+TANGO No. 2
+
+This variant starts from the same position as Tango No. 1. The gentleman
+takes two steps backward with the lady following forward, and then two
+steps to the side (the lady's right and the gentleman's left) and two
+steps in the opposite direction to the original position.
+8 measures.
+
+These steps to the side should be marked by the swaying of the bodies as
+the feet are drawn together on the second count of the measure, and the
+whole is followed by 8 measures of the Two-Step. Repeat all as desired.
+
+
+
+
+IDEAL MUSIC FOR THE "BOSTON"
+
+
+PIANO SOLO
+
+(_Also to be had for Full or Small Orchestra_)
+
+LOVE'S AWAKENING           _J. Danglas_        .60
+ON THE WINGS OF DREAM      _J. Danglas_        .60
+FRISSON (Thrill!)          _S. Sinibaldi_      .50
+LOVE'S TRIUMPH             _A. Daniele_        .60
+DOUCEMENT                  _G. Robert_         .60
+VIENNOISE                  _A. Duval_          .60
+
+These selected numbers have attained success, not alone for their
+attractions of melody and rich harmony, but for their rhythmical
+flexibility and perfect adaptedness to the "Boston."
+
+
+FOR THE TURKEY TROT
+
+Especially recommended
+
+THE GOBBLER                _J. Monroe_         .50
+
+
+Any of the foregoing compositions will be supplied on receipt of
+one-half the list price. Postage two cents extra for each copy.
+
+
+PUBLISHED BY
+
+THE BOSTON MUSIC COMPANY 26 & 28 WEST ST., BOSTON, MASS.
+
+
+
+
+TRANSCRIBER'S NOTES:
+
+
+  Text in italics is surrounded with underscores: _italics_.
+
+  Punctuation has been corrected without note.
+
+  Obvious typographical errors have been corrected as follows:
+    Page  8: duplicate word "the" removed
+    Page 23: duplicate word "and" removed
+
+
+
+
+
+End of Project Gutenberg's The Fascinating Boston, by Alfonso Josephs Sheafe
+
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