dances one requires a slow tempo. A fast tune means rapid dancing and a lack of ease that robs the dances of their grace and makes them as rompish as the Two Step or the swift Turkey Trot. What is more, the time must be marked, a slight accentuation on the first note of every bar being a great aid to the dancer who is just learning, since it beats time for him. In some dances, notably the Innovation, where a man cannot lead his partner as he may in a dance where he holds her, it is necessary for the two dancers to keep perfect time, or else the entire effect of the dance is lost.
In many respects this dancing alone is a splendid way to learn—if the dancer will count under her breath every beat of the music and keep her steps exact. For the lady who is not sure of the tempo of a dance this is an excellent method of learning the rhythm. The 1, 2, 3, 4 of the One Step is very marked in the better music for this dancing, while the 1, 2, 3 of the Waltz is easily caught and can be counted under the breath, no matter how elaborate the tune. The bass almost always marks the time.
I might, of course, give you a long list of the music of to-day which I consider best for dancing, but in a month or two the list would be passé. There is always in every shop a man to play
selections for you. You can tell in an instant
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