Re:--내가 온2를 좋아하는 이유-- 여전히 흥미로움 _추가_ 수정중_ 재미있는 영문 소스가 있어서...

shinito(서울) 5 5,324

안녕하세요?

 

http://www.bigsalsa.com/dancers/beatstut.html

 

"깐델라 필샘"님이 설명하신 클라베, 뚬바오 및 몬투노를 들을 수 있는 사이트입니다. 듣기만 해도 기분이 너무 좋아지네요. 

아래는 여기에 링크된 글 중, 시카고에서 활동하는 연주자이자 프로 댄서인 루이의 글입니다.

 

When dancing "on 2", your "basic", similar to dancing "on 1", is still 8 counts, but the difference is that your steps are as follows:

 (아마도 살세라 기준인 듯)Right-1, Left-2, Right, 3 (Pause for 1 and 1/2 counts), Left-5 (which really starts at 4 and 1/2, Right-6, Left-7. . .

Now, for the next basic pattern, when you start on your Right foot again, your 1 is really going to be started half way between 8 and 1.

To account for that 1/2 count delay, the 1 count and the 5 count get dragged and extended as the instructors count those counts.

So, as you pointed out, the "on 2" instructors will count out your basic like this:

"Ooooone, TWO, three, (short pause), Fiiiiiivve, SIX, seven, (short pause), Ooone, TWO, three. . . . and so on.

Because of the dragging of the one and the five count, the TWO and the SIX come out really sharp.

 

결국 온 2의 경우는 댄서에게 허용되는 원의 길이가 온 1보다 길다는 뜻인 것 같군요.

Ooooone, TWO, three를 보니, '깐델라 필샘"의 글 속의 "웅~ 짝짝"이 생각나는군요.

 

 

 

 

아래는 같은 웹사이트의 다른 페이지의 글입니다.  작자 미상이네요. 

Clave as a Musical Element

To really understand clave in salsa music, it is important to understand some very basic music theory. Dancers tend to think of salsa in terms of 8 beats, or a "basic", or an "8-count". Musically, however, almost all salsa music is in 4/4 time. The relevant information for a dancer is that one measure or "bar" of music contains four beats. Therefore, while a dancer is thinking "1 2 3 4 5 6 7 8", a musician is concurrently thinking " 1 2 3 4 1 2 3 4". Clave is a syncopated rhythm. Syncopation simply involves emphasis on "back beats" or beats which are normally unstressed. Another form of syncopation can involve NOT emphasizing strong beats which are normally stressed. There are endless ways to create syncopation in music. For salsa, most of the syncopation will be apparent by counting the "and's" of each beat. So in the simplest of syncopated rhythms, an 8-count would be counted "1 & 2 & 3 & 4 & 5 & 6 & 7 & 8 &". It is important to note that the numbers fall in the same places as the normal 8-count - the "and's" simply fall in between beats. Remember that in musical terms, the 8-count is really two sets of four.

The clave rhythmic pattern spans an entire 8-count, or two bars of music. The two bars can be in any order. One bar contains two strikes of the clave while the other contains three. Although the two bars are codependent, they should be examined independently. Each of the two bars in the clave pattern is called a side of the clave. There is a "two side" and a "three side". The two side involves striking the claves on the second and third beats of the bar ([1 & X & X & 4 &]). Because there are no strikes on the "&" beats, it can be determined that the two side of the clave is not syncopated. The notation can be simplified to [1 X X 4]. The three side of the clave is more complicated. The strikes fall on the first beat, between the second and third beats, and on the fourth beat ([X & 2 X 3 & X &]). This rhythmic notation cannot be simplified because there is a strike on one of the "&" beats.

The two side and the three side of clave combine to form the actual pattern. In musical terms, the two bars of four beats appear one after the other. However, recall that dancers think of the two bars as one eight-count. Therefore, if the three side were followed by the two side, we would have [X & 2 X 3 & X & 5 & X & X & 8 &].

 

Dancing on Clave

Now that the mechanics of the son clave have been demystified, dancing can be considered. Dancers have as much rhythmic responsibility as any musician. Dance steps are meant to occur at specific points in the music. First, recall that clave is a syncopated rhythm. Dancing on1 involves stepping to the following rhythm: [X X X 4 X X X 8]. This is not a syncopated dance. Dancing "on2", in contrast, involves stepping to the following rhythm: [1 & X & X & 4 X 5 & X & X & 8 X]. This is a bit tricky because on2 dancers say "1" when they are actually hitting the & of 8; and they say "5" when they are actually hitting the & of 4. Indeed, this is a syncopated dance.

COMMON MISCONCEPTION: Dancing on clave means that your steps coincide with each beat of the clave. This is not true. To understand why, remember that "dancing on clave", "dancing with clave", and "dancing to clave" are all the same. Also, clave is not meant to provide a rhythmic pulse to the music. The basic step of salsa involves six steps while the clave only contains FIVE beats (3+2).

On1 dance steps will coincide with one beat (out of three) on the 3 side of the clave, and both beats on the 2 side of the clave. This means that if a dancer is dancing to 3-2 clave, the "1" and "6 7" steps will be in unison with clave. When dancing 2-3, the "2 3" and "5" steps will be in unison with the clave.

On2 dance steps will coincide with the two side of the clave only. On the three side of the clave, the dancer is actually dancing "around" clave. This means that if a dancer is dancing to 3-2 clave, the "6 7" steps will be in unison with clave. When dancing 2-3, the "2 3" steps will be in unison with clave. No strikes of the clave on the three side correspond to on2 dance steps.

Having fun with Clave

Dancers are visual musicians. Understanding clave is fundamental to dancing salsa. There's no better way to "feel" the music than to get down to its roots - clave. The only rhythmic patterns in this document which remain constant are those of the clave. The derivative rhythms (cascara, montuno, tumbao, etc) are frequently changed to make the music more interesting. As a dancer, it's perfectly ok to change the rules and make variations as needed. Just remember that it's best to know the rules before you break them!

spacer.gifVIVA salsa,

 

shinito

Comments

꿈신
해석판도 올려주세요
shinito(서울)
온 1 댄서가 온 2를 해석하는 게 부적절해 보여서..... 그냥 올렸습니다.
미안자주오마(홍대)
"1과 5를, 8과 4에서 당겨오므로 길다" 라고 하는 건가요?.. 스텝 카운터가 체중이 실린 박자에 있느냐?  발이 바닥에서 떨어지는 박자에 있느냐?의 관점의 차이인 것 같습니다. 발이 바닥에서 떨어지는 박자를 카운터로 본다면, 온1을 웅-짝짝 카운터로 춘다고 한들 전혀 어색하지 않을텐데요. 아니 실제 대부분 그렇게 추고 있지 않나요? 초급 때나 "퀵퀵퀵스탑"이지 어느 순간부터는 "퀵퀵퀵-슬로우퀵퀵-슬로우퀵퀵"(발이 박닥에서 떨어지는 박자를 카운터로 봤을때) 이렇게 춰왔잖아요... 나만 그런가? ㅋㅋㅋ
아로나(서울)
네 저도 그렇게 생각합니다,  구체적으로 연구는 잘 못해봤지만 좀더 허용되는 길이가 길다고 몸이 느끼고 있죠 ^^
오동(서울)
좋은 내용이라 라틴속으로(서울) 게시판으로 스크랩 합니다. ^^
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