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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: ISO-8859-1 + +*** 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) + + + + + + +</pre> + + +<div class="figcenter"><img src="images/iCover.jpg" alt="" /></div> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_i" id="Page_i"></a></span></p> +<div class="figcenter"><img src="images/i002.jpg" alt="" /></div> +<hr style="width: 65%;" /> + + +<p class="center"><span class="giant">THE FASCINATING<br/> +BOSTON</span></p> +<p> </p> +<p class="center"><span class="huge">How to Dance and How to Teach the<br/> +Popular New Social Favorite</span></p> +<p> </p> +<p class="center"><span class="big"><i>By</i></span></p> +<p class="center"><span class="huge">ALFONSO JOSEPHS SHEAFE</span></p> +<p class="center"><span class="big">Master of Dancing</span></p> +<p> </p> +<p class="center"><span class="big"><i>Translator and Editor of<br/> +Zorn's Grammar of the Art of Dancing</i></span></p> +<p> </p> + +<div class="figcenter"><img src="images/i003.jpg" alt="" /></div> + +<p class="center">Boston, Mass.<br/> +<span class="huge">THE BOSTON MUSIC COMPANY</span><br/> +<span class="big">New York: G. Schirmer, Incorporated</span></p> + +<p> </p> + + +<p class="center">Copyright, 1913, by<br /> +<span class="big">THE BOSTON MUSIC CO.</span><br /> +For all countries</p> + +<p> </p> +<p class="center">B. M. Co. 3366</p> + + + +<hr style="width: 65%;" /> +<p class="center"><span class="huge">Table of Contents</span></p> + + +<table border="0" cellpadding="5" cellspacing="5" summary="table"> +<tr><td> </td><td align="right">Page</td></tr> + +<tr><td>FOREWORD</td><td align="right"><a href="#Page_1"> 1</a></td></tr> + +<tr><td>THE BOSTON</td><td> </td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Fundamental Positions</span></span></td><td align="right"><a href="#Page_5"> 5</a></td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Position of the Partners</span></span></td><td align="right"> <a href="#Page_8"> 8</a></td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Step of the Boston</span></span></td><td align="right"> <a href="#Page_12">12</a></td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Long Boston</span></span></td><td align="right"> <a href="#Page_22">22</a></td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Short Boston</span></span></td><td align="right"> <a href="#Page_23"> 23</a></td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Open Boston</span></span></td><td align="right"><a href="#Page_24"> 24</a></td></tr> + +<tr><td><span style="margin-left: 2em;"><span class="smcap">The Boston Dip</span></span></td><td align="right"> <a href="#Page_25">25</a></td></tr> + +<tr><td>THE TURKEY TROT</td><td align="right"><a href="#Page_27"> 27</a></td></tr> + +<tr><td>THE AEROPLANE GLIDE</td><td align="right"><a href="#Page_28"> 28</a></td></tr> + +<tr><td>THE TANGO</td><td align="right"> <a href="#Page_29"> 29</a></td></tr></table> + + + +<hr style="width: 65%;" /> +<p class="center"><span class="huge">THE FASCINATING</span><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span><br/> +<span class="huge">BOSTON</span></p> + +<p> </p> +<p class="center"><span class="huge">FOREWORD</span></p> + +<p> </p> +<p class="cap">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.</p> + +<p>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 +<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>favor under the influence of such brilliant compositions as the +quick-step marches by Sousa, operated against its immediate acceptance.</p> + +<p>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.</p> + +<p>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.</p> + +<p>The recent revival of the Waltz in its proper form, has brought with it +a larger appreciation of the more worthy<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> and graceful social dances, +and the entire world now recognizes the wonderful beauty of the Boston, +and has welcomed it as a real competitor.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> in construction that, when acquired, it becomes natural, and its +perfect adaptability assures it lasting popularity.</p> + +<p>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.</p> + +<p> </p> +<p class="center"><span class="big">THE FIVE FUNDAMENTAL POSITIONS</span><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> + +<p>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.</p> + +<p>In the 1st position, the feet are together, heel against heel.</p> + +<div class="figcenter"><img src="images/i011a.jpg" alt="" /></div> + +<p>In the 2nd position, the heels are separated sidewise, and on the same +line.</p> + +<div class="figcenter"><img src="images/i011b.jpg" alt="" /></div> + +<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>In the 3rd position, the heel of one foot touches the middle of the +other.</p> + +<div class="figcenter"><img src="images/i012a.jpg" alt="" /></div> + +<p>In the 4th position, the feet are separated as in walking, either +directly forward or directly backward.</p> + +<div class="figcenter"><img src="images/i012b.jpg" alt="" /></div> + +<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>In the 5th position, the heel of one foot touches the point of the +other.</p> + +<div class="figcenter"><img src="images/i013.jpg" alt="" /></div> + +<p>In all these positions the feet must be turned outward to form not less +than a right angle.</p> + +<p> </p> +<p class="center"><span class="big">THE POSITIONS OF THE PARTNERS</span><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span></p> + +<p>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.</p> + +<p>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.</p> + +<p>The dancing profession long ago undertook to settle upon arbitrary +groupings<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> satisfactory to the needs of the dancers, and conforming to +all the requirements of propriety and hygienic exercise.</p> + +<div class="figcenter"><img src="images/i015.jpg" alt="" /></div> + +<p>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.</p> + +<p>In the Waltz Position the partners stand facing one another, with +shoulders parallel, and looking over one another's right shoulder. +Special attention<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<div class="figcenter"><img src="images/i019.jpg" alt="" /></div> + + + +<p> </p> +<p class="center"><span class="big">THE OPEN POSITION</span><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p> + +<p>The Open Position needs no explanation, and can be readily understood +from the illustration facing page <a href="#Page_8">8</a>.</p> + +<p> </p> +<p class="center"><span class="big">THE SIDE POSITION OF THE WALTZ</span></p> + +<p>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 <a href="#Page_i">frontispiece</a>. In +the actual rotation this position naturally resolves itself into the +regular Waltz Position.<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> + +<p> </p> +<p class="center"><span class="big">THE STEP OF THE BOSTON</span></p> + +<p>The preparatory step of the Boston differs materially from that of any +other Social Dance. There is <i>only one position</i> of the feet in the +Boston—the 4th. That is to say, the feet are separated one from the +other as in walking.</p> + +<p>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 +<i>perpendicularly</i>. The weight is held entirely upon this foot during the +remainder of the measure, whether it be in 3/4 or 2/4 time.</p> + +<p>The following preparatory exercises must be practiced forward and +backward until the movements become natural, before proceeding.</p> + +<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>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.</p> + +<p>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.</p> + +<p>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. <i>Great care must be taken not to divide +the weight.</i></p> + +<p><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>For the purpose of instruction, it is well to practice these steps to +Mazurka music, because of the clearness of the count.</p> + +<div class="figcenter"><img src="images/i025.jpg" alt="" /></div> + +<p>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.</p> + +<p>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.</p> + +<p>The turning of the Boston is simplicity itself, but it is, nevertheless, +the one<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> point in the instruction which is most bothersome to +learners. The turn is executed upon the ball of <i>the supporting foot</i>, +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.</p> + +<p>In carrying the foot forward for the second movement, the knees must +pass close to one another, and care must be taken that <i>the entire half +turn comes upon the last count of the measure</i>.</p> + +<p>To sum up:—</p> + +<p>Starting with the weight upon the left foot, step forward, placing the +entire weight upon the right foot, as in the illustration facing page <a href="#Page_14">14</a> +(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 <a href="#Page_16">16</a>, but without placing any +weight upon that foot (count 2); execute<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> 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 +<a href="#Page_18">18</a> (count 3). <span style="margin-left: 5em;">One measure.</span></p> + +<div class="figcenter"><img src="images/i029.jpg" alt="" /></div> + +<p>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 <a href="#Page_21">21</a>, (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 <a href="#Page_22">22</a>, (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 <a href="#Page_24">24</a>, (count +6).</p> + +<p> </p> + +<p class="center"><span class="big">THE REVERSE</span><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p> + +<p>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 <a href="#Page_13">13</a>) which may be taken backward by the +gentleman and forward by the lady, whenever they have completed a whole +turn.</p> + +<p>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.</p> + +<p>There is no better or more efficacious exercise to perfect the Boston, +than that which is made up of one complete turn<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> 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.</p> + +<div class="figcenter"><img src="images/i033.jpg" alt="" /></div> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>The Boston, in its completed form, resolves itself into a sort of +walking<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> 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.</p> + +<p>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.</p> + +<p>Taken from any standpoint, the Boston is one of the most worthy forms of +the social dance ever devised, and the<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> distortions of position which +are now occasionally practiced must soon give way to the genuinely +refining influence of the action.</p> + +<div class="figcenter"><img src="images/i038.jpg" alt="" /></div> + +<p>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.</p> + +<p>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.<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> + + +<p><i>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.</i></p> +<p> </p> + +<p class="center"><span class="big">THE LONG BOSTON</span></p> + +<p>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.</p> + +<div class="figcenter"><img src="images/i041.jpg" alt="" /></div> + + + +<p> </p> +<p class="center"><span class="big">THE SHORT BOSTON</span><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> + +<p>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.</p> + +<p> </p> +<p class="center"><span class="big">THE OPEN BOSTON</span><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> + +<p>The "Open" Boston contains two parts of eight measures each. The first +part is danced in the positions shown in the illustrations facing pages +<a href="#Page_8">8</a> and <a href="#Page_10">10</a>, and the second part consists of 8 measures of the "Long" +Boston.</p> + +<p>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). <span style="margin-left: 5em;">4 measures.</span></p> + +<p>This is followed by three Boston steps backward (without turning) in the +position shown in the illustration facing page <a href="#Page_10">10</a>, followed by one +Boston step turning (toward the partner) and finishing in regular Waltz +Position for the execution of the second part.</p> + +<div class="figcenter"><img src="images/i045.jpg" alt="" /></div> + + + +<p> </p> +<p class="center"><span class="big">THE BOSTON DIP</span><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> + +<p>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:</p> + +<p>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). <span style="margin-left: 5em;">2 measures.</span></p> + +<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>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). <span style="margin-left: 5em;">2 measures.</span></p> + +<p>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.</p> + +<div class="figcenter"><img src="images/i050.jpg" alt="" /></div> + + + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> +<p class="center"><span class="huge">THE TURKEY TROT</span></p> +<p> </p> + +<p class="center"><i>Preparation:—Side Position of the Waltz.</i></p> + + +<p>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. <span style="margin-left: 5em;">4 meas.</span></p> + +<p>Repeat in opposite direction. <span style="margin-left: 5em;">4 meas.</span></p> + +<p>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. <span style="margin-left: 5em;">4 meas.</span></p> + +<p>Repeat in opposite direction. <span style="margin-left: 5em;">4 meas.</span></p> + +<p>Eight whole turns, Short Boston or Two-Step. <span style="margin-left: 5em;">16 meas.</span></p> + +<p>Repeat at will.</p> + +<hr style="width: 45%;" /> + +<p class="center">A splendid specimen for this dance will be found in "The Gobbler" by +J. Monroe.</p> + + + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> +<p class="center"><span class="huge">THE AEROPLANE GLIDE</span></p> +<p> </p> + +<p>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.</p> + +<p>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.</p> + +<p>The rest of the dance is identical with the "Dip". (See page <a href="#Page_25">25</a>.)</p> + +<div class="figcenter"><img src="images/i054.jpg" alt="" /></div> + + + + + +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p> +<p class="center"><span class="huge">THE TANGO</span></p> +<p> </p> + +<p>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.</p> + +<p>Of these figures the two which follow are most common, and lend +themselves most readily to verbal description.</p> + +<p> </p> +<p class="center"><span class="big">TANGO No. 1</span><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> + +<p>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 <a href="#Page_30">30</a>.</p> + +<p>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. <span style="margin-left: 5em;">8 measures.</span></p> + +<div class="figcenter"><img src="images/i057.jpg" alt="" /></div> + + + +<p> </p> +<p class="center"><span class="big">TANGO No. 2</span><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> + +<p>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. <span style="margin-left: 5em;">8 measures.</span></p> + +<p>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.</p> + + + +<hr style="width: 65%;" /> +<p class="center"><span class="huge"><span class="smcap">Ideal Music for the "Boston"</span></span></p> +<p> </p> +<p class="center"><span class="big">PIANO SOLO</span></p> + +<p class="center">(<i>Also to be had for Full or Small Orchestra</i>)</p> + +<table border="0" cellpadding="5" cellspacing="5" summary="table"> +<tr><td>LOVE'S AWAKENING</td><td><i>J. Danglas</i></td><td> .60</td></tr> +<tr><td>ON THE WINGS OF DREAM</td><td><i>J. Danglas</i></td><td> .60</td></tr> +<tr><td>FRISSON (Thrill!)</td><td> <i>S. Sinibaldi</i></td><td> .50</td></tr> +<tr><td>LOVE'S TRIUMPH</td><td> <i>A. Daniele</i></td><td> .60</td></tr> +<tr><td>DOUCEMENT</td><td><i>G. Robert</i></td><td> .60</td></tr> +<tr><td>VIENNOISE</td><td><i>A. Duval</i></td><td> .60</td></tr></table> + +<p>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."</p> + + +<p class="center"><span class="huge"><span class="smcap">For the Turkey Trot</span></span></p> + +<p class="center">Especially recommended</p> + +<table border="0" cellpadding="5" cellspacing="5" summary="table"> +<tr><td>THE GOBBLER </td><td><i>J. Monroe</i> </td><td>.50</td></tr></table> + + +<p>Any of the foregoing compositions will be supplied on receipt of +one-half the list price. Postage two cents extra for each copy.</p> + +<p> </p> +<p class="center">PUBLISHED BY</p> + +<p class="center"><span class="huge">THE BOSTON MUSIC COMPANY</span></p> + +<p class="center"><span class="big">26 & 28 <span class="smcap">West St., Boston, Mass.</span></span></p> + + + +<hr style="width: 65%;" /> +<p class="center"><span class="huge">TRANSCRIBER'S NOTES:</span></p> +<p> </p> +<p>Punctuation has been corrected without note.</p> + +<p>Obvious typographical errors have been corrected as follows:<br/> +<span style="margin-left: 2em;">Page 8: duplicate word <i>the</i> removed.</span><br/> +<span style="margin-left: 2em;">Page 23: duplicate word <i>and</i> removed.</span></p> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Fascinating Boston, by Alfonso Josephs Sheafe + +*** END OF THIS PROJECT GUTENBERG EBOOK THE FASCINATING BOSTON *** + +***** This file should be named 37443-h.htm or 37443-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/4/4/37443/ + +Produced by David E. 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