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There are hundreds of dancers who have a good floor appearance, correct technique and reasonable good movement, and yet do not achieve greatness. What do they lack? Perhaps the most important difference between the good dancer and the outstanding dancer are in Softness and Expression.
有許多舞者，雖然有良好的臨場外觀，正確的技術和適度好的動作，但迄未能達到登峰造極之境。他們缺乏什麼？優良舞者 與傑出舞者之間 最大的不同，或許是柔和及表現法。
Most dancers know that the correct softening of the knee on a step such as the first step of any Waltz turn will give their dance a more pleasing appearance, and they strive to acquire it. Fewer competitors realize that to give their dancing better rhythmic expression means the difference between the ordinary and the great.
大多數舞者都知道，諸如華爾茲在任何轉的第一步，這樣的步子，膝的正確鬆曲，能給予他們的舞蹈有一個更令人喜愛的外觀，而且他們也努力這樣做。很少的競爭者，瞭解給予他們的舞蹈有較佳的節奏表現，能引起 (平凡) 和 (卓越) 之間的不同。
A few rather obvious examples will help to convey what is meant by expression. Watch the manner in which some dancers place the third step behind in the Whisk. It can be placed there rather quickly, dead on the beat. in which case there will most possibly be a jolt f as the weight moves on the step-or it can be almost “caressed” into position, slowly, with firm control, perhaps arriving slightly late but with good rhythmic expression.
一些相當顯然的例子，能協助傳達表現是什麼詮釋。 仔細觀察一些舞者，掃形步 (Whisk) 時，第三步放置在後面的方法，它可以相當快速的放置，或無生氣的依著拍子，這種方式在重心移至步子時，很可能有一些顛簸----或者它可以幾乎是「撫愛的」進入位置，緩慢的，伴同堅定的控制，抵目的地或許稍遲，但它具有良好的節奏表現。
The last three steps of the Natural Spin Turn in the Waltz can be danced with the strict timing of one beat for each step---or a little speeding of the movement on the fourth step can result in almost hanging on the fifth step with a rather late and light sixth step which completely alters the character of the movement.
華爾茲右旋轉步的後三步 (即拍子4,5,6,)，可按一拍一步的精確速度跳----或者在第四步時少量的增加速度，能使第五步幾乎是 (懸掛在空中) ，加上相當遲而輕的第六步，則完全的改變了步子的格調。
The Feather-step and Three-step in the Foxtrot can be given their correct technical timing; or a delayed timing of the previous step on the Left foot (last step of the Natural Turn) can be followed by a bold swing on the first step of the can be followed by a bold swing on the first step of the Feather and a slightly delayed third step, which will completely alter the expression. There are dozens of other instances where playing with the timing, achieved through the movement of the body rather than the placing of the feet, can make the dancing fascinating to watch and intensely satisfying to the dancer.
狐步的羽步和基本三步，可以按照正確的技術速度跳，或延緩前一步左足的速度 (右轉步的最後一步) ，而使下隨之羽步的第一步，有一個顯目的擺盪，再稍微延緩第三步，將完全改變了表現。有許多其他的例證，速度的變幻與其藉足的放置，不如經由身體的動作獲得，能使舞蹈看起來迷人，且使舞者非常滿足。
How is it done? Can it be acquired? It is done by stealing time from one step to give a hovering effect to the next; by softening the knees, and by appreciating that if the lady is given the correct lead she will help to create the impetus to gain this effect without obvious effort. All this can be acquired by any skilled dancer who has a strong sense of rhythm, good balance and the patience to practice so that it appears as an integral part of the dance. The eurhythmic dancer will fail at first, but there is nothing to prevent the acquisition of such rhythmic interpretation by anyone who has shown sufficient ability to become an intelligent average dancer.
它是如何做的?、它能夠得到嗎?、它的做法是竊取一個步子的時間而給予下一個步子(盤旋的效果)，藉膝的鬆曲，以及認知上如果給予女士正確的引導，她將協助產生衝力以得到這個效果，顯然的不費力。所有這些，任何有強烈節奏感、良好平衡及耐心練習的舞者，都能夠做到，如此則顯得它像是舞蹈的主體。無節奏感的舞者，起初不容易做到，但這種節奏感演出的技能，是沒有什麼真正的阻力，任何人都有充份的能力成為出色的舞者。
Possibly the best amalgamation to practice is the Natural Turn ending with the Impetus Turn in the Foxtrot. Here are some hints for the man.
或許練習這一點，最好的混合步是狐步的 右轉步，末尾以誘轉步 (the Impetus) 下接。這裏有一些給男士的提示。
Dance 1,2,3 of the Natural Turn and then continue into the Impetus Turn in the following way----
As the L.F. is taken back on the 4th step, give the lady a firm, but not too strong, lead with the R. hand so that she swings well forward against your R. side. Soften the knees still soft and count this step “Q” (not the usual “S”).
跳右轉步的一至三步，而後按下面的方法繼續進入誘轉步。 在第四步左足後退時，以右手給予女士堅定而不太強烈的引導，如此則她將適度的對著你的右側向前擺盪。雙膝鬆曲，並計
數這一步為「快」(不是通常的「慢」)。
Dance the Heel Turn without worrying whether the feet are closed tightly together, and with the knees still soft. Keep the feet parallel even though they are not closed. Count this step “S.” It will be noticed that the lady’s forward movement will make you turn. Do not try. to turn yourself. The weight should be kept well back all the time you are turning, and about half a turn should be made on the Heel Turn.
跳 跟轉，不要憂慮雙足是否緊密的拼在一起，同時膝仍是鬆曲的，雙足保持水平，既使它們沒有併攏。這一步計數為「慢」，應注意女士的前進動作將使你轉。你不要自已企圖轉。你整個轉的期間，重心應適度的保持在後面，並且跟轉時應約作半圈轉。
Still keep the weight back as the body continues to turn slightly to the R. ( not more than an eighth of a turn ) and keep a firm hold of the lady to stop her swinging away from you. Do not try to rise. The speed of the lady’s movement will cause you to rise without any effort on your part.
在身體繼續稍微向右轉時 (不要超過八分之一圈)，重心仍然保持在後面，並保持堅定的握持，使女士停止盪離開你。不要企圖上升。女士移動的速度，將成為你上升的原因，你自己沒有任何奮力。
On the 4th beat move the L.F. to the side and rather more back than in standard technique. Make sure that it is actually placed on a late count of “Q,” and placed lightly with the weight now forward, before stepping back on the R.F., diagonally to center against the L.O.D. for the normal “S” count, to continue with the Feather Finish, diagonally to center.
在第四拍時左足移向側，但寧可比標準技術較為向後，確實做到它的放置實際上是一個較遲的 「快」 計數，且是敏捷的放置，同時現在重心向前面，而後右足逆舞程線，斜對中央踏退，按常態的「慢」計數，繼之以羽步 結束，斜對中央。
Thus the timing has been altered from SQQS to QSQS. The effect will be to get early speed, then a Hover，and this expression will be found far more pleasing and attractive than the standard timing.
因而速度自 慢快快慢 變成 快慢快慢，如此則會得到速度提早，以及盤旋的效果，而這樣的表現，將遠較標準速度令人喜愛和漂亮。
If, when practicing the figure, it is noticed that the effort to quicken the movement between the first and second steps of the Impetus can be seen, you can be sure that it is bad and that you have not mastered the lead. The speed must be gained without obvious effort.
當應用這種方法時，應注意在 誘轉步 (the Impetus) 的第一和二步之間，增加移動速度的努力，如果能被人察覺的話，那麼你能夠確定它是不佳的，而且你沒有掌握引導。速度的獲得，必需沒有明顯的費力。
Another extraordinarily good amalgamation to practice is Open Impetus Turn, followed by the Weave in the Waltz. The Weave from Promenade Position is described on pages I58-I62 and is very much used by advanced dancers. Important points to watch are given below.
另一組練習這種方法格外好的混合步，是華爾茲中的 分式誘轉步 下接以 迂迥步。迂迥步自側行位置是敘述於第158至162頁，高級舞者是常常使用的。必需注意的要點提供於下面。
Dance 1,2,3 Of the Natural Turn (Waltz) and then take the 4th step back, again giving the lady a firm lead with the R. hand to swing her forward against your R. side.
跳右轉步的一至三步 (華爾茲)，而後第四步後退，再以右手給予女士一個堅定的引導，使她對著你的右側向前擺盪。
Instead of using the Heel Turn in the Open Impetus Turn, take the R.F. to the side and back, across the L.O.D. with the body facing diagonally to center. Keep the L.F flat. The R.F. is placed on the ball of foot, with the knees soft.
取代分式誘轉步中踵轉的使用，右足踏向側並後方，交叉舞程線，同時身體面向斜中央。左足保持平伏。右足是以足掌放置，雙膝鬆曲。
The lady’s impetus will now compel you to continue to turn to the R. to face the L.O.D. and rise to the toes. Do not move the L.F., but allow the L. knee to veer inwards towards the R. knee. The lady, on the outside of the turn, will allow her R.F. to brush towards the L.F. Keep firm pressure on the lady’s back to prevent her from overturning, and hover as long as possible before replacing weight on to the L.F., moving diagonally to center on a late count of “6” The body will now commence to turn to the L.
女士的分式誘轉步衝力現在將迫使你繼續向右轉至面向舞程線， 並上升至趾，左足不要移動，但允許左膝向內轉向右膝。女士是轉的外圈，將允許她的右足刷向左足。在女士的背部保持堅定的壓力，以防她轉度過大，並且在重心移換至左足，以一個遲的「六」計數，向斜中央移動之前，盡可能 (盤旋) 較長久。
The attractive Weave ending should be danced as follows. Step forward with the R.F., diagonally to center in P.P., and as this step is taken, give the lady a very firm lead to swing her well across the front of you as you step forward on the L.F. (on ball of foot), moving almost to center. On this step 92) the lady will take a long step to side with
the R.F. on the ball of foot, having turned square to the man, but with her head still turned to the R.
漂亮的迂迴步結尾，應按下面的方式跳--右足在側行位置斜對中央踏向前，而在這一步進行後，給予女士一個非常堅定的引導，使她在你以左足前進，約向中央移動時 (以足掌作)，適當的交叉在你的前面白擺盪。在這一步 (2)，女士應是用 右足掌大步踏向側，並已轉至對立向男士，但她的頭部仍然轉向右。
The swing given to the lady on the first step will cause her to continue to turn on the ball of R.F. until facing the L.O.D., when her L.F. is placed to the side (3). This swing will also result in the man and lady rising from the ball of foot on the end step, and the man will endeavor to hold this rise with a hover effect, before placing his 3rd step (R.F.) to side with the body backing the L.O.D.
由於第一步的擺盪，將使女士繼續以右足掌轉，直到她的左足放置向側 (3)，面向舞程線。這個擺盪亦將使男士和女士在第二步時自足掌上升，而男士應盡力掌握此一上升，在他的第三步 (右足) 放置向側，同時身體背向舞程線之前，達成一個 盤旋的效果(2)
The Weave is continued by the man stepping back with L.F. down the L.O.D. With the lady outside (4). On the 5th step the man takes the R.F. back rather quickly, giving
the lady a firm lead forward. Lady will step forward L.F. in line with man. Both man and lady use the ball of foot on 5.
迂迴步接下來是男士以左足順舞程線踏退，同時女士外側(4)。
在第五步時男士以右足相當迅速的後退，給予女士一個相當堅定的向前引導。女士將以左足與男士對立著踏向前。第五步男士和女士都是用足掌。
With the body turning to the L. press upwards from the ball of foot (this will be assisted by the lady’s forward swing ) and get a slight hover effect before placing the L.F. to side, with the body facing wall on 6. Take this step slightly late, and lightly.
偕同身體轉向左，迫使自足掌上升 (這應是藉女士的向前擺盪之協助)，而在第六步左足向側，同時身體面向壁之前，得到一個(輕微的盤旋效果)。第六步應稍遲，以及輕快。
The next step will be taken outside lady with the R.F., remember to lower the L. heel and release it again as the weight moves forward over the R.F. to continue into a Natural figure.
下一步將是以右足外側女士進行，在重心移換至右足，以繼續進入右轉的步子時，記住降下左跟並再次升起。
There are many other figures in which better expression can be gained by stealing time from one step and adding that time from one step and adding that time to the
next. The Hover Telemark will look infinitely better if, instead of giving it the strict S Q Q S rhythm the time is distributed to the approximate value of one and half beats, one and half beats, 1 beat, 2 beats.
有許多其他的步子，藉偷竊一步的時間，並增加至下一步，能得到較佳的表現。 盤旋滑雪形轉步 如果取代它精確的慢 快 快 慢 節奏，看起來將無限量的更加好，速度的分配大略為一又二分之一拍、一又二分之一拍、一拍、兩拍。
The really first-class dancer will know whether an unusual rhythmic interpretation is justified on artistic grounds by the feel of it. The less experienced dancer should seek the advice of a professional who can tell at once whether an unusual interpretation is advisable.
事實上第一流的舞者，藉藝術基礙的意識，應知道一種例外節奏的演出，是否被認為恰當。經驗不足的舞者，應尋求能夠立刻說出，職業者一種例外的演出是否得當的的意見。
米爾可華爾滋通往成功的新舞步-初級篇
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