We are indebted to the mirth-loving capital of Austria for this
brilliant Valse, which was, as we have observed elsewhere, introduced
to our notice shortly before the Polka appeared in England, and owed
its popularity to the revolution in public taste effected by that
dance.
Although the Polka has gone out of fashion, the _Valse à Deux Temps_
still reigns supreme; but within the last two years a dangerous rival
has arisen, which may perhaps drive it in its turn from the prominent
position which, for more than twenty seasons, it has maintained. This
rival is the New Valse, of which we shall speak in its place; but we
must now describe the step of the _Valse à Deux Temps_.
We have already remarked that this Valse is incorrect in time. Two
steps can never properly be made to occupy the space of three beats
in the music. The ear requires that each beat shall have its step;
unless, as in the Cellarius, an express pause be made on one beat.
This inaccuracy in the measure has exposed the _Valse à Deux Temps_
to the just censure of musicians, but has never interfered with its
success among dancers. We must caution our readers, however, against
one mistake often made by the inexperienced. They imagine that it
is unnecessary to observe any rule of time in this dance, and are
perfectly careless whether they begin the step at the beginning,
end, or middle of the bar. This is quite inadmissible. Every bar must
contain within its three beats two steps. These steps must begin
and end strictly with the beginning and end of each bar; otherwise a
hopeless confusion of the measure will ensue. Precision in this matter
is the more requisite, because of the peculiarity in the measure. If
the first step in each bar be not strongly marked, the valse measure
has no chance of making itself apparent; and the dance becomes a
meaningless _galop_.
The step contains two movements, a _glissade_ and a _chassez_,
following each other quickly in the same direction. Gentleman begins
as usual with his left foot; lady with her right.
_1st beat_.--_Glissade_ to the left with left foot.
_2nd and 3rd beats_.--_Chassez_ in the same direction with right foot;
do not turn in this first bar.
_2nd bar, 1st beat_.--Slide right foot backwards, turning half round.
_2nd and 3rd beat_.--Pass left foot behind right, and _chassez_
forward with it, turning half round to complete the _figure en
tournant_. Finish with right foot in front, and begin over again with
left foot.
There is no variation in this step; but you can vary the movement by
going backwards or forwards at pleasure, instead of continuing the
rotatory motion. The _Valse à Deux Temps_, like the Polka, admits of
a reverse step; but it is difficult, and looks awkward unless executed
to perfection. The first requisite in this Valse is to avoid all
jumping movements. The feet must glide smoothly and swiftly over the
floor, and be raised from it as little as possible. Being so very
quick a dance, it must be performed quietly, otherwise it is liable to
become ungraceful and vulgar. The steps should be short, and the knees
slightly bent.
As the movement is necessarily very rapid, the danger of collisions is
proportionately increased; and gentlemen will do well to remember and
act upon the cautions contained in the previous pages of this book,
under the head of "The Polka".
They should also be scrupulous not to attempt to conduct a lady
through this Valse until they have thoroughly mastered the step and
well practised the _figure en tournant_. Awkwardness or inexperience
doubles the risks of a collision; which, in this extremely rapid
dance, might be attended with serious consequences.
The _Deux Temps_ is a somewhat fatiguing valse, and after two or three
turns round the room, the gentleman should pause to allow his partner
to rest. He should be careful to select a lady whose height does not
present too striking a contrast to his own; for it looks ridiculous
to see a tall man dancing with a short woman, or _vice versâ_. This
observation applies to all round dances, but especially to the valse,
in any of its forms.
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