Scientific research on Timing
A specific scientific study involving a number of couples from different DanceSport schools conﬁrmed the principle of Shuffle Timing.
The time used (beat value) of several basic ﬁgures of Waltz and Quickstep were analysed and in many cases differed from the theoretical value given.
Hereunder are some of the tables which show the execution of the basic figures by athletes of extremely high technical calibre.
WALTZ 7 QUICK STEP
Time signature: 3/4
Time signature: 4/4
Beats per minute: 85
Beat per minute: 200
Duration of each beat in milliseconds: 706 (60 seconds / 85 beat per minute)
Duration of each beat in ms: 300
Coefficient: 88,235 (706 milliseconds X 1/s) Coefficient: 37,5
Coefficient : this coefficient is used to express the time used in 8ths of a beat rather than milliseconds (e.g., the ﬁrst step of the
Backward Lock takes 7,03 eights of a beat = 620 milliseconds/coefficient)
Final results: based on the lowest table (Couples' Average) expressing the medium value danced by each couple, and more speciﬁcally the numbers highlighted in yellow show the real beat value used by dancers in each figure.
For example the Chasse from PP is shown on the right:
CHASSE FROM PP (FINAL RESULT)
Steps Timing Beat Value (Theory) Beat Value (Real)
Step 1 1 1 Beat 7/8 Beat
Step 2 2 1/2 Beat 4/8 Beat or 1/2 Beat
Step 3 2° 1/2 Beat 8/8 Beat or 1 Beat
Step 4 UJ 1 Beat 8/8 Beat or 1 Beat
TOT: 3 Beats+3/8
- Due to syncopations, a figure which normally takes up one theoretical bar may actually use much more than a bar. See for example Table "x". In this case it is evident that a Chasse from PP uses 1 bar and 3/8 of the ﬁrst beat in the successive bar. Obviously the following figure will use 2 beats and 5/8 and not a whole bar.
vthe value of the ”&" and ”a" counts are not constant values but variable.
- the values of these counts depend on many different factors, for example the interpretation used by the dancers, the style of the couple and the characteristics of the choreography.
- the quantity of time used in the "and" or "a" counts are not always stolen from the preceding beat but changes depending on the figure, type and style of the dancer and the interpretation used.