Dancing for Fun - Elementary for Home Schooling
Group Dancing for All Ages
Book One
Piano Compositions by
Mark L. Greathouse
Choreography Transcriptions by
Helena Greathouse
DEDICATION
We wish to dedicate this book to the following people:
- To Mark’s father, Alfred Greathouse, who gave him the gift of music,
- To Marilyn Olson, who inspired us to create this book, edited and recorded the piano score and gave us invaluable advice throughout.
TABLE OF CONTENTS
1. Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 012. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 023. Riverflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 · Riverflow choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .054. Spring Rain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 · Spring Rain choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 085. Just Gettin’ By . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09 · Just Gettin’ By choreography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116. Soul Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 · Soul Song choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157. Rainbow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 · Rainbow choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188. Fall Calypso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 · Fall Calypso choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229. Mourek Saunter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 · Mourek Saunter choreography. . . . . . . . . . . . . . . . . . . . . . . . . . . 2510. Macek Rag .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 · Macek Rag choreography.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2811. Awakening. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 · Awakening choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3212. Stepping Along . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 · Stepping Along choreography. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3613. Waltz in Eb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 · Waltz in Eb choreography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4014. Scrambling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 · Scrambling choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4415. Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
PREFACE
- We all have the urge to move and dance to music and rhythm. We find ourselves and see others tapping their feet and moving their bodies to rhythms that touch each of us in positive ways. We may not even be aware that our bodies are moving. It’s really magical when you think about it. This book taps into the universal, primal human desire for expression in the form of dance.
- If you want to dance in a group of any size at any age, you can easily do it using this book. No experience is required. A glossary at the back of the book tells you exactly how to do a particular move.
- When we prepared this book, we wanted to make sure that you could learn the dance as easily as possible and have fun at the same time. Now, give it a try! We especially wish to thank:
- Angelle Hebert and Phillip Kraft. Angelle created the choreography, and Philip greatly helped in the creation of both audio and video.
- Renee Adams for her professional dancing to each composition for the instructional online video.
- Elizabeth Berg for her artistic talent in creating the cover of the book.
- Gail Watson for her skills in designing the book.
- Jim Starr for his technical knowledge skills and generosity in helping us with various computer hardware and software issues.
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Introduction
THE BOOK: This book was written for people of all ages who would like to dance. This includes homeschoolers all the way to seniors who live in independent living facilities. The dances can perhaps be best described as folk-inspired contemporary dances. Each selection of music and each dance is completely original. Best of all, you can watch each dance performed by one dancer in the group. At the beginning of each written choreography, you will find the link to YouTube to see the dance performed. The written choreography for each dance is there for reference to match the dance exactly with the music. These dances are meant to be done in a group, which just invites having a lot of fun with other dancers. The dances are not in any particular order, so just pick a dance and start learning it. Check the Glossary at the back of the book to learn the meaning of the underlined words.
THE AUTHORS: Mark and Helena Greathouse are a musical duo and live in Portland, Oregon. Mark plays the accordion and Helena sings and dances. They call themselves The Greathouse of Music. Mark’s introduction to music began at the age of five when his father, a music teacher in Portland, Oregon, introduced him to the accordion. During his teenage years, Mark won several awards for his accordion performances before going to Europe to study German, where he met his future wife, Helena, from Prague.
Since age seven, Helena sang on the Czechoslovak National Radio. Throughout her childhood, Helena performed in musicals on both the Czechoslovak National TV and live theater in her native Czechoslovakia. Her dance teacher was a direct pupil of Isadora Duncan. In her teenage years, Helena turned to competitive sports, competing in rhythmic gymnastics for 12 years in Europe on the advanced level. That led to pursuing an international judging career later in her life (including three World Championships, Pan Am and Goodwill Games, and two Olympics). Mark loves to compose melodies, especially on the piano. It turns out that they actually lend themselves quite well to dance. This combination of melody and dance has led to the writing “Dancing for Fun”, Books 1 and 2. The dances have been professionally choreographed and Helena’s extensive rhythmic gymnastics background has helped immensely in capturing the exact movement in written form.
Since age seven, Helena sang on the Czechoslovak National Radio. Throughout her childhood, Helena performed in musicals on both the Czechoslovak National TV and live theater in her native Czechoslovakia. Her dance teacher was a direct pupil of Isadora Duncan. In her teenage years, Helena turned to competitive sports, competing in rhythmic gymnastics for 12 years in Europe on the advanced level. That led to pursuing an international judging career later in her life (including three World Championships, Pan Am and Goodwill Games, and two Olympics). Mark loves to compose melodies, especially on the piano. It turns out that they actually lend themselves quite well to dance. This combination of melody and dance has led to the writing “Dancing for Fun”, Books 1 and 2. The dances have been professionally choreographed and Helena’s extensive rhythmic gymnastics background has helped immensely in capturing the exact movement in written form.
Each Song Package is $5
Riverflow
What better way to experience peace of mind than to float down a river at a leisurely pace in a small boat.
Spring Rain
April showers do bring May flowers. Sometimes the showers grow into deafening thunderstorms.
Just Gettin’ By
Are some of our brothers and sisters struggling in life just to survive? I know some people just gettin’ by. Do you? What are you doing about it?
Soul Song
Listen to your voice within and let it inspire you to become your true potential.
Rainbow
The symbol of God’s promise is one of the gems of nature. When you see one, you are witnessing one of nature’s jewels.
Fall Calypso
In the fall, the days become shorter. It’s time to dance and celebrate life and the pleasant days of the past summer.
Mourek Saunter
Mourek is one of our kitties with a Czech name. She is a bit heavy and sometimes slow on her feet – therefore, she saunters. Take a look at her. She is beautiful.
Macek Rag
Macek is our other kitty. She is smart, although her name in Czech implies heaviness. She is not that, as you can see.
Awakening
Just as we awaken to a new day, so we may awaken anytime to a new dimension or a new direction in our life.
Stepping Along
Life is moving along. Try something new, take a risk, and follow the opportunities that come your way. Stay out of the rocking chair.
Waltz in Eb
Doesn’t the waltz invite you to dance? Three steps per measure may support the notion that all good things come in threes.
Scrambling
Schedules to meet, deadlines to make? Don’t we all sometimes find ourselves scrambling to stay afloat?
GLOSSARY
Airplane Arms: Circle arms in a frontal plane close to the front of the body; Start movement by lowering arms sideways towards torso; cross arms low in front nearly touching torso; continue movement upward in frontal plane until hands overhead, palms facing down – look upwards towards palms; continue movement downward in frontal plane, arms opening to sides, palms up until reaching horizontal; palms turn down and continue movement downward in frontal plane until closing arms to torso on sides.
Arabesque: The position of the body supported on one leg, with the other leg extended behind the body, both knees straight, torso vertical.
Arm sequence: Arms straight out to the side in one line, palms facing down, tilt the torso sideways, keeping arms straight.
Arms port de bra: In ballet terms, it is a movement of the arms through different positions.
Attitude: A position in which the dancer stands (or jumps) on one leg (known as the supporting leg) while the other leg (working leg) is lifted and well turned out with the knee bent at approximately 90-degree angle. The lifted or working leg can be behind (derrière), in front (devant), or on the side (à la seconde) of the body.
Balance step forward on R: Rock step crossing R foot in front of L, lift L foot behind with demi plie on R, then step back on L and finish feet together. Presentational arms on the cross step, then move arms to hips on the back step.
Canon: Dancers perform the same movement in succession, one dancer after the other (each dancer on an assigned beat in the music).
Chaines: A series of turns (Each 180 degrees) as if in a “chain,” alternating feet with progression along a straight line or circle. Head spotting. Usually done in very small steps with straight knees, all steps on toes; it can also be executed on flat feet or in demi plie.
Chasse step on R: A sliding step in which one foot "chases" and displaces the other. It is a traveling step. Literally "to chase". Slide R forwards, backward, or sideways, followed by sliding L to meet R. First, bend both legs during the slide, and then straighten both legs while L closes to R. It can be done either by springing into the air (when legs meet and straighten) or with relieve (without springing when legs meet and straighten). It is similar to a gallop (like children pretending to ride a horse).
Demi plie: The standing dancer bends the knee(s) halfway, keeping heel(s) securely on the floor and torso upright.
Develope: A movement in which the working leg is first lifted, then fully extended, passing through the attitude position. It can be done in front (en avant), to the side (à la seconde), or to the back (derrière). This also applies to the movement of arms.
Dorsal bend: Movement that occurs in the upper torso. It can be done by arching back, curving forward, or bending sideways.
Explode arms: Both arms shoot out from the body's center to an upper “V” shape with palms facing forward and fingers stretched and apart. This action is performed quickly and with surprising energy.
First position of arms: Position arms in front of the waistline parallel to the navel, arms are slightly curved, and fingertips are pointing towards one another.
Frontal plane: Refers to the space or action occurring in the vertical plane in the front of/or behind the body.
Gallop: Chasse with springing into the air.
Grapevine step to R: Side step R, step L across in front of R (in front of support foot), side step R, step L across behind R (behind the support foot); repeat the sequence.
Heel Drag Backwards R: R Step back R on diagonal to demi plie shifting R hip out and dragging L heel on the floor towards the body (R hip leading the movement), L knee straight, L foot flexed. Hands in fists are placed on hips. Straight torso tilts forward with each step, head in line with the torso.
Hop with wiggles: Spring into the air on both legs while stretching the legs towards the floor. Land on both legs with knees bent and feet slightly apart. Move the shoulders alternating front and back while the arms hang down loose. Allow the arms to react freely & naturally to the shoulders moving, causing them to “wiggle” in the air. Lunge: The leading foot is thrust forward, side, or back, with the knee bent, while the other leg is straightened on the pique back, side, or front. The weight of the body is on the leading foot. On pique: This means that a leg (bent or straight), without the weight of the body on it, has pointed toes touching the floor, back, side, or front. Parallel attitude: Attitude when the working leg is not turned out. Parallel demi plie: Demi plie on both legs or on one leg, feet/foot pointed straight ahead. If on both legs, it can be done either with legs together or apart. Parallel passe: Passe forward when the working leg is pointed straight ahead (not turned out). Pas de basque to R: Start in demi plie on L, with R leg bent in front, R toes touching the floor; circle R toes on the floor to R, do a small leap onto R foot, turning head slightly to R, cross L in front of R on releve, shift weight onto L, then back to R into demi plie. Passe: Standing on the supporting leg, the working leg is bent so that the thigh is horizontal, and the foot is placed at the knee level of the supporting leg. Pivot on R to R: Step forward R into demi plie, shifting weight on it and leaving L foot in place on the floor. By quickly straightening the R knee, simultaneously doing releve on R and spotting, rotate to R on the ball of R foot to the desired degree of rotation. Pivot Step on R: Maintaining L leg in the same place the whole time, step with R forward and turn 180 degrees to L –weight is on the R leg. Switch the weight of the body to the L leg, step R forward, pass beyond the L leg, put weight on the R, and turn to the L 180 degrees. Repeat. Port de Bras: Carriage of the arms. A movement or series of movements made by passing the arm or arms through various positions. Prancing: Hop onto R and put weight on R foot, simultaneously lift L knee in parallel front attitude, then repeat to L. Legs are sharp, and toes point as soon as they leave the floor. While prancing, the torso remains straight, elbows are bent at sharp angles, elbows and upper arms touching the body, forearms front, wrists bent down, and hands hanging. Presentational arms: Starting from first position arms, gesture the arms open to the sides in the horizontal plane with palms facing up. Rainbow step to R: Side step together R with windmill arms to R. Rainbow turn: Do windmill arms while executing a pivot step. Relevé: Commonly used in Ballet, relevé is a movement in which the dancer rises on the tips of the toes or on the balls of the feet. This movement can be performed on both legs simultaneously or on one leg (with the other foot not touching the floor). Sagittal plane: Refers to the space or action occurring in the vertical plane on the sides of the body. Second position (of arms): Arms out to the sides. Second (II) position (of legs): Legs turned out and in a wider stance (wider than shoulder-width apart). Side Body Wave (R): Standing on the L leg, the R leg is stretched to the side toes, touching the floor. Bend the L knee to demi plie, shift the L hip to the side so the torso bends to R. Gradually shift the weight of the body on the R leg so both legs are in the second (II) position demi plie. Push the R hip to the R side so the torso bends to L and shift the weight onto the R leg in demi plie. Straighten R knee, finishing standing on R leg with L leg stretched to the side and toes touching the floor. During the whole sequence, keep the torso in the vertical plane (no movement forward or backward). This movement is performed smoothly and sequentially. Spotting: A term given to the movement of the head and focusing of the eyes while turning. The dancer chooses a spot in front at eye level, and as the turn is made toward the spot, the head is the last to leave and the first to arrive at the spot as the body completes the turn. This rapid movement or snap of the head gives the impression that the face is always turned forward and prevents the dancer from becoming dizzy. Step hop on R: Step on R (front, side, or back) and immediately hop on R leg. Step together with R: Step R to the side, or forward or backward, and close L leg to R leg. Support leg or Standing Leg: The leg on which full body weight is being supported. Waltz Step: This is a traveling step based on three counts: Count 1: Slide Right leg forward, bending both knees. Put weight on right leg. Count 2: Step left front passing right leg. Finish standing on left on toestand, both legs straight, weight on left. Count 3: Repeat count 2 to opposite side. Windmill arms R – Starting with both arms down on the L side of the body, torso turned to L, R arm leads in the frontal plane, reaching high and to the R side, L follows in the same plane. Finish with both arms down on the R side of the body; torso turned to R. Head/focus follows arm movements.
Hop with wiggles: Spring into the air on both legs while stretching the legs towards the floor. Land on both legs with knees bent and feet slightly apart. Move the shoulders alternating front and back while the arms hang down loose. Allow the arms to react freely & naturally to the shoulders moving, causing them to “wiggle” in the air. Lunge: The leading foot is thrust forward, side, or back, with the knee bent, while the other leg is straightened on the pique back, side, or front. The weight of the body is on the leading foot. On pique: This means that a leg (bent or straight), without the weight of the body on it, has pointed toes touching the floor, back, side, or front. Parallel attitude: Attitude when the working leg is not turned out. Parallel demi plie: Demi plie on both legs or on one leg, feet/foot pointed straight ahead. If on both legs, it can be done either with legs together or apart. Parallel passe: Passe forward when the working leg is pointed straight ahead (not turned out). Pas de basque to R: Start in demi plie on L, with R leg bent in front, R toes touching the floor; circle R toes on the floor to R, do a small leap onto R foot, turning head slightly to R, cross L in front of R on releve, shift weight onto L, then back to R into demi plie. Passe: Standing on the supporting leg, the working leg is bent so that the thigh is horizontal, and the foot is placed at the knee level of the supporting leg. Pivot on R to R: Step forward R into demi plie, shifting weight on it and leaving L foot in place on the floor. By quickly straightening the R knee, simultaneously doing releve on R and spotting, rotate to R on the ball of R foot to the desired degree of rotation. Pivot Step on R: Maintaining L leg in the same place the whole time, step with R forward and turn 180 degrees to L –weight is on the R leg. Switch the weight of the body to the L leg, step R forward, pass beyond the L leg, put weight on the R, and turn to the L 180 degrees. Repeat. Port de Bras: Carriage of the arms. A movement or series of movements made by passing the arm or arms through various positions. Prancing: Hop onto R and put weight on R foot, simultaneously lift L knee in parallel front attitude, then repeat to L. Legs are sharp, and toes point as soon as they leave the floor. While prancing, the torso remains straight, elbows are bent at sharp angles, elbows and upper arms touching the body, forearms front, wrists bent down, and hands hanging. Presentational arms: Starting from first position arms, gesture the arms open to the sides in the horizontal plane with palms facing up. Rainbow step to R: Side step together R with windmill arms to R. Rainbow turn: Do windmill arms while executing a pivot step. Relevé: Commonly used in Ballet, relevé is a movement in which the dancer rises on the tips of the toes or on the balls of the feet. This movement can be performed on both legs simultaneously or on one leg (with the other foot not touching the floor). Sagittal plane: Refers to the space or action occurring in the vertical plane on the sides of the body. Second position (of arms): Arms out to the sides. Second (II) position (of legs): Legs turned out and in a wider stance (wider than shoulder-width apart). Side Body Wave (R): Standing on the L leg, the R leg is stretched to the side toes, touching the floor. Bend the L knee to demi plie, shift the L hip to the side so the torso bends to R. Gradually shift the weight of the body on the R leg so both legs are in the second (II) position demi plie. Push the R hip to the R side so the torso bends to L and shift the weight onto the R leg in demi plie. Straighten R knee, finishing standing on R leg with L leg stretched to the side and toes touching the floor. During the whole sequence, keep the torso in the vertical plane (no movement forward or backward). This movement is performed smoothly and sequentially. Spotting: A term given to the movement of the head and focusing of the eyes while turning. The dancer chooses a spot in front at eye level, and as the turn is made toward the spot, the head is the last to leave and the first to arrive at the spot as the body completes the turn. This rapid movement or snap of the head gives the impression that the face is always turned forward and prevents the dancer from becoming dizzy. Step hop on R: Step on R (front, side, or back) and immediately hop on R leg. Step together with R: Step R to the side, or forward or backward, and close L leg to R leg. Support leg or Standing Leg: The leg on which full body weight is being supported. Waltz Step: This is a traveling step based on three counts: Count 1: Slide Right leg forward, bending both knees. Put weight on right leg. Count 2: Step left front passing right leg. Finish standing on left on toestand, both legs straight, weight on left. Count 3: Repeat count 2 to opposite side. Windmill arms R – Starting with both arms down on the L side of the body, torso turned to L, R arm leads in the frontal plane, reaching high and to the R side, L follows in the same plane. Finish with both arms down on the R side of the body; torso turned to R. Head/focus follows arm movements.
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Links to Dances
Dance | Links to YouTube |
Riverflow | |
Spring Rain | |
Just Gettin’ By | |
Soul Song | |
Rainbow | |
Fall Calypso | |
Mourek Saunter | |
Macek Rag | |
Awakening | |
Stepping Along | |
Waltz in Eb | |
Scrambling |