Wednesday, October 16, 2013

Musical Forms in Preludes 20-24 of the Well-Tempered Clavier Book I (J.S. Bach)

The Well-Tempered Clavier Book I--Prelude Forms (J.S. Bach)

Prelude no. 20 in A minor--2-part invention

Prelude no. 21 in Bb major--toccata

Prelude no. 22 in Bb minor--in a style of an organ/harpsichord prelude

Prelude no. 23 in B major--3-part invention


Prelude no. 24 in B minor--binary form

The Basso Continuo

Basso Continuo (or Thorough-Bass)

 It is one of the most distinct and consistent features of the Baroque as a whole.

Functioning as both melodic and harmonic bass, it was played by a combination of 2 kinds of movements....

1. One or more melodic instruments (viola da gamba, or bassoon)

2. A keyboard instrument (organ or harpsichord), or lute.

Tuesday, October 15, 2013

What Would Hector Berlioz Say in the "Marche Au Supplice" from "Fantastic Symphony" if He Did This in Poetic Form?

Now suppose Berlioz made an opera of the "Symphonie Fantastique", and made the 4th movement ("March To The Scaffold") with a libretto to add to the symphony orchestra version of this poetic symphony he wrote.

Berlioz writes in his program notes in that 4th movement that he was high on opium, and in his hallucinogenic dreams, he dreams that he murdered his lover and he himself is condemned to the guillotine. On the chopping block, just before the blade cuts his head off, Berlioz thinks about his last thoughts of her dead lover before he dies of decapitation.

Sure, Berlioz did write his opera called "The Damnation of Faust", but the Fantastic Symphony was of course, a large piece made out of 5 symphonic poems or "movements."

The libretto, in my guess, will likely involve a character that would play Hector Berlioz, and an opera chorus, and will likely have a scene similar to the end of the Francis Poulenc opera, "Dialogue of the Carmelites", where the Carmelites are beheaded--the guillotine scene. In addition, the libretto, would be written, in Berlioz's way, something like this:

SOLO:
Now I'm condemned to be cut off....
Forced to march on, I cannot scoff;
Gallows, execution...
O, that blade I see...is no fun!

O, that gulliotine stands,
As are fettered my hands,
O, guards push me to that supplice!

O, I cannot stand that thing of death,
It makes me tense with every breath,
Now let me die upon that platform please!

O, drums, sound that frightful roll
That precedes the blade's fall
Which sends a legal sign to all!

CHORUS:
Oh, that supplice!

SOLO:
O, drums, sound that frightful roll;
And now, I will not fail
Though I don't die in jail---
O, I am crying a terrible wail!!

I have memories of a lady that I killed...
And my awful arrest for this....
There was no more bliss....
For that dame I miss, I miss, I miss.....

Guillotine, cut off my own head, for I am ever tarnished!
Life now has no more meaning anymore, for murder's end that I can never mend!

CHORUS:
He'll die!!!

SOLO:
Guillotine, now cut off my very life as if I'm wood not varnished...
I can't bear it anymore; I want my life to end because I have no more to send.

CHORUS:
He'll die!!!
SOLO:
Oh, guillotine, fall!!

CHORUS:
Dah duh duh duh duh duh, dah duh duh duh duh duh!

SOLO:
Oh, fall, blade of awe!!!

CHORUS:
Dah duh duh duh duh duh, dah duh duh duh duh duh!

SOLO:
O, my God, pray for me right now...
With praise as my head I bow...

O, give me mercy when I go to heaven......

O, Jesus, I'm goin' to face a punishment of me beheaded...
I can't repent, for it's too late and I have did the sin that caused her to be dead!
O Jesus, cry, weep for me, for my own capital chastisement.....
I'd die like you, as if I'm goin' to be crucified and die without a hint!

Lord, cry for that dame!

CHORUS:
Dah duh duh duh duh duh, dah duh duh duh duh duh!

SOLO:
Cry, for she is slain!

CHORUS:
Dah duh duh duh duh duh, dah duh duh duh duh duh!

SOLO:
O, guillotine descend,

Come on, fall down and let my life come to an end....

(Note, this covers only the first two-thirds of the 4th movement)

Monday, October 14, 2013

Schumann's "Kreisleriana"--An Outline

Here, I give the tempo indications in German, the beginning key center of the pieces, and the beginning time signature of the pieces.

1. Aüsserst bewegt (D minor), 4/4

An agitated triplet section in the RH (A section) with a contrasting B section, softer than the first section, in B-flat major.  When the A section returns, it is the same as before--agitated.

2. Sehr innig und nicht zu rasch (Bb major), 3/4

Quasi poetic, quite nocturnal, and like a Lied.

   A. Intermezzo I--Sehr lebhaft (F major)--2/4
   Almost in the style of Papillons (from Carnaval, op. 9);
   a moto perpetuo piece with foci on syncopations of eighth
   notes.

   B. Return to Sehr innig (Bb major)--3/4
   Back to the nocturne-like them again.

   C. Intermezzo II--Etwas bewegter (G minor)--3/4
   Running, flowing 16th notes in arpeggi, punctuated by
   inner-note melodies, over a bass line in legato octaves in
   dotted rhythms and long notes. Main theme looks like a
   circle of 5ths.

   D. Langsamer--Adagio (Bb major)--3/4
   Starts of as a transitional episode to the return of
   almost the whole nocturne theme, and ends with a brief
   coda.
  
3. Sehr aufgeregt (G minor)--2/4

This is a precursor to the Schnell und spielend (or "Fast and
Playful") scherzo of the no. 8 piece in Kriesleriana. Sprightly, humorous triplets dominate the r.h., against slower-going notes in the L.H.

   A. Etwas langsamer
   Breaks off slightly slower into 16th notes, both rising     
   and falling scalar melodies are present.
  
   B. Erstes tempo
   As before--a return to the Sehr aufgeregt in the original
   G minor key.

   C. Noch schneller
   This is the coda of the piece, more agitated, and with
   more triplets. The final measures have notes crossing
    paths over each other in eighth notes.

4. Sehr langsam (Bb Major)--4/4

Nocturne-like, almost Eusebius-style, almost in the style of a Bach prelude.

   Bewegter (G minor)
  Change to G minor, with 3-part texture (upper part has
  slower melody; inner part has 16th notes; bass line has
   quarter notes)

   Erstes tempo (Bb major)
   Reprise of the A theme; ends in a mediant (D major)

5. Sehr lebhaft (G minor) 3/8

A fast movement/scherzo form, focusing on rests and dotted rhythms. Later in the piece, it goes into a waltz/mazurka bent, with a developing climax on hemiolas. Then, there is a reprise of the waltz/mazurka theme (B part) and goes back to the A section to finish.

6. Sehr langsam (Bb major)--12/8

Almost pastoral-like as in the beginning, and then, later on, it turns into a style imitating a C.P.E. Bach free fantasia.

   Etwas bewegter
   Now, the key still goes in B-flat major and goes into a
   siciliana-like form--like a dance.

   Erstes tempo (slower)
   Back to the A form, as a coda.

7. Sehr rasch (C minor)--2/4

Very agitated and quite frightening moto perpetuo in the A section; B section is only slightly calmer with its still
agitated 3-part texture. Return of A section has the same
violent agitation, but ending in G minor.

The C section is almost in a style of a fast Bach prelude, or a little fugato.

   Noch schneller
   As before in the B section, and it returns eventually to
   the opening measures of the piece---frightening as before,
   and suddenly, everything drops into....

   Etwas langsamer
   ...a calmer mood, that ends the seventh piece for good.

8. Schnell und Spielend (G minor)--6/8

The final piece in the Kreisleriana seems like a 'scherzo in 3'. In the B section, the left hand octaves go into 2/4 against the r.h. in 6/8 doing call and response leaps.

   A. Mit aller Kraft (D minor)--6/8
   A stronger Florestan-like scherzo almost characteristic of     the music of Wagner.

   B. Return (G minor)
   Back to C minor, and then to G minor, with the same
   scherzo theme, and with time, it fades out at the end to

   almost nothing.

My Favorite All-Time Oldies Hits

This came especially when I listened to Oldies 92 (an FM Station) in Champaign-Urbana while I was in college.

I know all of you have other oldie favorites not on my list...

"All Shook Up" (Elvis Presley)
"Aquarius", from "Hair" (The Fifth Dimension)
"At the Hop" (Danny and the Juniors)
"Barbara Ann" (The Beach Boys)
"Crazy" (Patsy Cline)
"Don't Be Cruel" (Elvis Presley)
"Duke of Earl" (Gene Chandler)
"Everybody Get Together" (The Youngbloods)
"Everyday People" (Sly and the Family Stone)
"Evil Ways" (Santana)
"Get A Job" (The Silhouettes)
"Go Nowhere, Man" (Fab Four)
"Good Golly, Miss Molly (Little Richard)
"Good Vibrations" (The Beach Boys)
"Great Balls of Fire" (Jerry Lee Lewis)
"Hound Dog" (Elvis Presley)
"Hawaii Five-O--TV Theme" (The Ventures)
"I Feel Good" (James Brown)
"I'm Walking'" (Fats Domino)
"Johnny B. Goode" (Chuck Berry)
"La Bamba" (Ritchie Valens)
"Last Kiss" (The Cavaliers)
"Let The Sunshine In", from "Hair" (The Fifth Dimension)
"Let's Twist Again" (Chubby Checker)
"Light My Fire" (The Doors)
"Locomotion" (Little Eva)
"Love and Happiness" (Al Green)
"Love Potion no. 9" (The Searchers)
"Mack The Knife" (Bobby Darin)
"Mambo no. 5" (Perez Prado and His Orchestra)
"Moon River" (Henry Mancini and His Orchestra)
"Mr. Sandman" (The Chordettes)
"On Broadway" (The Drifters)
"Oye como va" (Tito Puente and the Latin All-Stars)
"Papa's Got a Brand New Bag" (James Brown)
"Proud Mary" (Credence Clearwater Revival)
"Ran Kan Kan" (Tito Puente and the Latin All-Stars)
"Respect" (Aretha Franklin)
"Rock and Roll Is Here To Stay" (Danny And The Juniors)
"So Happy Together" (The Turtles)
"Soul Man" (Sam and Dave)
"Spinning Wheel" (Blood, Sweat and Tears)
"Splish, Splash" (Bobby Darin)
"Stand By Me" (Ben E. King)
"Sugar Shack" (Tommy Gilbert and the Fireballs)
"Summertime Blues" (Eddie Cochran)
"Tanga" (Machito and His Orchestra)
"Tequila" (The Champs)
"The Lion Sleeps Tonight" (The Tokens)
"The Twist" (Chubby Checker)
"Twist and Shout" (The Isley Brothers)
"Walk Don't Run" (The Ventures)

"You Can't Hurry Love" (Diana Ross and the Supremes)

Monday, June 3, 2013

Musical Humor

Here, I give some funny meanings to some of the wide array of musical terms (from dynamics, to tempo, to even names of classical music pieces!!).

I hope all of you enjoy this humor.......

a tempo (It. "back to (regular) time")

Going toward temporary work ("a tempo" actually means "back to tempo" in Italian.)

accent

Happiness.

adagio (It. "leisurely")

A type of Alzheimer's disease.

alla breve

In a style of a short play.

allegro (It. "lively")

A condition where weeds grow too fast.

amplifier

A firestarter.

appoggiatura

A type of absorbent sponge or towel.

arpeggiation

The act of jumping while playing the harp.

arpeggio

Jumping while playing the harp.

augmentation

The act of using an auger.

bagatelle

A type of notation.

bar line

An imaginary horizontal line that goes about chest level.

baroque

A type of barometer.

bass clef

Having long hair on one's back.

baton

A large baseball bat or a baseball bat in general.

bebop

A jail by way of electric shock.

blind octave

A type of octave played by those pianists who are blindfolded.

blue note

A note that triggers depression.

blues

Music that requires a blue-colored background.

bolero (Sp. "a slow type of 3/4 dance with triplets")

Overt sex.

bop

A pop of a large bubble.

bracket

Quiet, gentle type of kiss.

canon

A small cannon.

chord

A long string made out of wire.

clarinet

A sharp brightness.

classic rock

A rock that is at least a billion years old.

con espressione (It. "with expression")

Another way of saying "I want espresso coffee."

contrabass

Going against the bottom.

contrabassoon

Going against the grain.

contrary motion

A second regular ballroom dance position.

count-off

The act of not counting.

crash cymbal

The ultimate sex symbol.

cross-staff

A type of Kali or Escrima technique or techniques.

cut-off

A cul-de-sac.

cymbal

An instrument that triggers sexual arousal.

damper

A high-moisture environment.

damper pedal

A moisture producer.

diminution

The act of not using an auger.

distortion

The end of harmony.

dodecaphony

A type of dijeridoo technique.

dodecatuplet

12 babies.

doo-wop

A sound effect of someone slipping.

dotted whole note

Open space in the city.

down-bow

A regular recital bowing technique.

duplet

A clone.

étude (Fr. "study")

Having a French attitude.

Eighteen-Twelve (1812) Overture

A type of fireworks salute.

English horn

A trumpet that is often used in sad blues music.

espressivo (It. "expressive")

A teeny bit of espresso coffee.

extended beaming

Used on a ship to tie certain different knots altogether.

false octave

A form of schizophrenia.

fermata (It. "paused")

A maze.

Flutterzunge (Ger. "flutter-tongue")

A type of temporomandibular joint (or "TMJ") condition.

flute

A flop.

gavotte (Fr. "a type of 4/4 dance in a Baroque suite")

A type of veto.

glissando (It. "sliding")

A strong feeling for Latin music.

grace note

A type of note derived particularly by God's faith.Also: A note from Ms. Manners.

half-step

The first basic move in ballroom dancing.

harpsichord

A harp which has electronic chord symbols on it.

hi-hat

One wearing a hat that is at least 12 inches high.

ictus

A type of eczema.

imitation

A bad item.

impromptu (Fr. "capricious", "unexpected")

An important new ballet.

intro

The entrance.

jarabe

A Japanese jacket.

kick drum

A drum that is often used to treat impotence or erectile dysfunction.

lead-in

The inner part of the pencil.

legato (It. "binded", "smooth")

A hiccup sound.

major scale

Morbid obesity.

malagueña (Sp. "a type of fast 3/4 dance from Málaga")

A bad woman.

mambo (Cub. Sp. "a type of dance related to cha-cha")

A type of Cuban voodoo.

marimba

A place in India that had been known for good karma.

martellato (It. "hammered")

A billiard artist executing a "massé" shot.

matrix

A random musical generator.

measure

A type of rhythmic torture.

MIDI (Music Instrument Digital Interface)

A dwarf.

midi-note

A very long note.

minor scale

Underweight.

Moonlight Sonata (op. 27, no. 2, for piano, by Beethoven)

A type of music which would be perfect for a honeymoon.

movement

A new type of mint candy.

music therapy

A type of rhythmic massage.

musical

A type of musical.

new wave

A type of dance move inspired by James Brown.

nonet

Celebrating Tet New Year 9 times.

octave

A condition where a person is moved into action.

octet

Celebrating Tet New Year 8 times.

orchestra

A series of voices.

organ

An important part of a musical body.

outro

A walk-off.

overture

An oversized partition.

Pan flute

A flute that is in a shape of a circle.

parallel motion

A regular ballroom dance pattern.

parallel octave

Steel beams that are 8 feet across and are stacked 8 feet vertically.

passepied

A French flute.

piano (It. "soft"; "pianoforte")

A martian sound.

poco a poco (It. "litlte by little")

A stalker's movement.

polonaise (Fr. "in the Polish style")

A water polo person.

power ballad

Having two microphones to your hand to tell a story.

prestissimo (It. "as fast as possible")

A teeny fruit fly.

prima donna (It. "first lady")

A song about the Virgin Mary.

pyromusical

An event involving a musician or musicians being set on fire.

quadruplet

4 babies.

quarter rest

Moderate bit of utopia.

quartet

Celebrating Tet New Year 4 times a year.

quintuplet

5 babies.

rest

Utopia.

retrograde

A hippie.

retrograde-inversion

A hippie who looks to the future.

rhapsody

A jump in response to a balloon burst.

ride cymbal

The near-ultimate sex symbol.

rock

A musical instrument where you use two rocks to hit together to make a sound.

scherzo (It. "joke"; a fast 3rd movement from a sonata)

A polka galop turn in closed position.

serialism

The act of socialism.

serialistic

Being socialist.

septuplet

7 babies.

sextet

Celebrating Tet New Year 6 times.

sextuplet

6 babies.

shuffle

A blowing technique.

sixteenth rest

Extreme bit of utopia.

smooth jazz

Jazz played while someone is massaging or on ice.

solo

The sun.

soloist

One who makes the sun.

sound note

Having unorthodox instruments ready to play in drawers.

space note

A letter in a bottle that flies through the solar system.

spring song

A type of rhythm done by a jumping grasshopper.

staff

A strong Moses fan.

straight eighths

A person who is not gay.

subdivision

Dancing underground.

suite

A musical apartment.

swing eighths

A person who is gay.

symphony

A state of balanced happiness.

synthesizer

A type of skin lesion.

tarantella (It. "fast dance in 6/8 meter")

A type of twisting spaghetti.

tempo (It. "time")

A temporary worker.

tirade

A mortar shot.

tom-tom

An irregular line-drawing design.

tone row

A type of Basilica column.

treble clef

Having long hair on one's shoulders.

triplet

A small object that causes people to trip.

trio

A type of Morse code.

turnaround

A type of concerto cadenza.

twelve-bar blues

A short form of depression.

twelve-tone

A series of twelve tones used in a piece, usually used in a doorbell.

up-bow

Another recital bowing technique.

vaudeville

Derived from a certain French town known for vaults.

waltz

A gentler form of saying "watts".

whole-step

The second basic move in ballroom dancing.

xylophone

A microphone that is shaped either like the letter "Y".

Sunday, June 2, 2013

Basic Social Samba (for U.S. Rhythm and International Styles)

THE SAMBA

The samba came from the South American counry of Brazil, known for the famous Amazon river.

It started out from its ancient days of capoeira, a play-fight dance by Brazilian slaves which is now still popular today. An offshoot of capoeira was a type of dance called the samba da roda (or "samba in the round"), where dancing movements usually focus on circular movements and part of the moves led to the famous conga line. The samba came from the South American counry of Brazil, known for the famous Amazon river.

Later on, the other Brazilian dances, like the bataque, maxixe (a type of move where there is a side-step on the free foot, then a close on the trail foot, and then a side-step and point on the free foot again), and the semba, and its modern but slower version of the samba, the bossa nova (thanks to composer Antonio Carlos Jobim), all of this completed the circle of what is now the modern samba. The samba came from the South American counry of Brazil, known for the famous Amazon river.

Carmen Miranda's dancing videos and the yearly Rio de Janeiro carnival parades added some more excitement to the samba dance. The samba came from the South American counry of Brazil, known for the famous Amazon river.

Samba's Technique The samba came from the South American counry of Brazil, known for the famous Amazon river.

One of the techniques used in modern samba that will allow for the common hip movements used in this dance is the bouncing action. The samba came from the South American counry of Brazil, known for the famous Amazon river.

This bouncing action is used by way of the flexing and straightening of the knees in certain samba steps....but not all of them. The samba came from the South American counry of Brazil, known for the famous Amazon river.

1. Start with feet together.
2. Now, go down slightly with upper body still straight,
and flex knees
3. Go up back to normal position, straightening knees.
The samba came from the South American counry of Brazil, known for the famous Amazon river.

This will introduce you to the Rhythm Bounce, a samba figure that often sets you up to dance the basic steps of samba. Note that in this figure, you dance in place; you don't travel yet. Moreover, the leader and follower do exactly the same body actions so there are no natural opposite movements. The samba came from the South American counry of Brazil, known for the famous Amazon river.

Rhythm Bounce

Leader and Follower
1. Go down to flex knees at about a 1/4 squat 1
2. Go up into normal standing position, and
straightening knees
3. Go down to flex knees at about a 1/4 squat 2
4. Go up into normal standing position, and
straightening knees

Repeat steps 1-4 if needed.

Rhythm Bounce Rotating to L

You will do the same steps but you rotate a 1/4 turn or 1/2 turn to the L on the 4 steps.

Leader and Follower
1. Go down to flex knees at about a 1/4 squat 1
2. Go up into normal standing position, and
straightening knees
3. Go down to flex knees at about a 1/4 squat 2
4. Go up into normal standing position, and
straightening knees

Repeat steps 1-4 if needed.

Rhythm Bounce Rotating to R

You will do the same steps but you rotate a 1/4 turn or 1/2 turn to the R on the 4 steps.

Leader and Follower
1. Go down to flex knees at about a 1/4 squat 1
2. Go up into normal standing position, and
straightening knees
3. Go down to flex knees at about a 1/4 squat 2
4. Go up into normal standing position, and
straightening knees

Repeat steps 1-4 if needed.

Samba Basic

This had been used in both American and International Samba. In International Samba is known as the Alternate Basic Movement.

The whole effect of the Samba basic is almost like the Forward and Back Hesitation steps in Waltz, but with a weight change forward and back, each of them in place.

Start and end in Closed Position.

Leader
1. Forward LF, slightly flexing knees 1
2. Close up RF to LF, slightly straightening knees a
3. Step LF in place, slightly flexing knees 2
4. Slightly straighten knees and
5. Back RF, slightly flexing knees 1
6. Close up LF to RF, slightly straightenig knees a
7. Step RF in place, slightly flexing knees 2
8. Slightly straighten knees and

Follower
1. Forward RF, slightly flexing knees 1
2. Close up LF to RF, slightly straightening knees a
3. Step RF in place, slightly flexing knees 2
4. Slightly straighten knees and
5. Back LF, slightly flexing knees 1
6. Close up RF to LF, slightly straightenig knees a
7. Step LF in place, slightly flexing knees 2
8. Slightly straighten knees and

Repeat ad lib.

Samba Basic Rotating To Left

This has the same movements as the Samba Basic, but you rotate a 1/2 turn to L on the 8 steps. If the 8 steps are repeated, you rotate another 1/2 turn to the L.

Start and end in Closed Position.

Leader
1. Forward LF, slightly flexing knees 1
2. Close up RF to LF, slightly straightening knees a
3. Step LF in place, slightly flexing knees 2
4. Slightly straighten knees and
5. Back RF, slightly flexing knees 1
6. Close up LF to RF, slightly straightenig knees a
7. Step RF in place, slightly flexing knees 2
8. Slightly straighten knees and

Follower
1. Forward RF, slightly flexing knees 1
2. Close up LF to RF, slightly straightening knees a
3. Step RF in place, slightly flexing knees 2
4. Slightly straighten knees and
5. Back LF, slightly flexing knees 1
6. Close up RF to LF, slightly straightenig knees a
7. Step LF in place, slightly flexing knees 2
8. Slightly straighten knees and

Repeat ad lib.

Samba Basic Rotating To Right

This has the same movements as the Samba Basic, but you rotate a 1/2 turn to R on the 8 steps. If the 8 steps are repeated, you rotate another 1/2 turn to the R

Start and end in Closed Position.

Leader
1. Forward LF, slightly flexing knees 1
2. Close up RF to LF, slightly straightening knees a
3. Step LF in place, slightly flexing knees 2
4. Slightly straighten knees and
5. Back RF, slightly flexing knees 1
6. Close up LF to RF, slightly straightenig knees a
7. Step RF in place, slightly flexing knees 2
8. Slightly straighten knees and

Follower
1. Forward RF, slightly flexing knees 1
2. Close up LF to RF, slightly straightening knees a
3. Step RF in place, slightly flexing knees 2
4. Slightly straighten knees and
5. Back LF, slightly flexing knees 1
6. Close up RF to LF, slightly straightenig knees a
7. Step LF in place, slightly flexing knees 2
8. Slightly straighten knees and

Repeat ad lib.

Promenade Walks

Oh, yeah! Now here's a move that will travel a little bit on the floor. Modern samba had been known for
advanced travel movements like the Promenade Runs, but this move is much easier.

Start and end in Promenade Position.

Leader
1. Forward LF, slightly flexing the knees 1
2. Rock back in place RF, slightly straightening knees a
3. Rock forward in place LF, flexing knees again 2
4 Slightly straighten knees and
5. Forward and across RF, slightly flexing the knees 1
6. Rock back in place LF, slightly straightening knees a
7. Rock forward in place RF, flexing knees again 2
8. Slightly straighten knees and

Follower
1. Forward RF, slightly flexing the knees 1
2. Rock back in place LF, slightly straightening knees a
3. Rock forward in place RF, flexing knees again 2
4 Slightly straighten knees and
5. Forward and across LF, slightly flexing the knees 1
6. Rock back in place LF, slightly straightening knees a
7. Rock forward in place RF, flexing knees again 2
8. Slightly straighten knees and

Repeat ad lib.

Note: On every fourth step (on every "1" count), the free foot will always step across the trail foot.

The reason for the description of the knee actions in the steps is to create that samba bounce action.

Promenade Walks---Alternate Version

Start and end in Promenade Position. This move gives a little bit more of an International Samba feeling.

Leader
1. Forward LF, slightly flexing the knees 1
2. Rock back in place RF, slightly straightening knees a
3. Draw LF back to RF, flexing knees again 2
4 Slightly straighten knees and
5. Forward and across RF, slightly flexing the knees 1
6. Rock back in place LF, slightly straightening knees a
7. Draw RF back to LF, flexing knees again 2
8. Slightly straighten knees and

Follower
1. Forward RF, slightly flexing the knees 1
2. Rock back in place LF, slightly straightening knees a
3. Draw RF back ot LF, flexing knees again 2
4 Slightly straighten knees and
5. Forward and across LF, slightly flexing the knees 1
6. Rock back in place LF, slightly straightening knees a
7. Draw LF back to RF, flexing knees again 2
8. Slightly straighten knees and

As before in the regular Promenade Walks, the knee actions are described also to create the samba bounce action.

To "draw" means to pull back the lead foot to close up to the trail foot.