Try to Remember

 

A waltz written by Enid Obee Cocke of Pasadena, California.

Unfamiliar with dance cue terminology? Learn more here.

Music: "Try to Remember"

Record: LS 269/270

Position: Open, for introduction and to begin dance.

Footwork: Opposite throughout, directions given for man.

Introduction: 4 meas. Wait 2 meas, then acknowledge partner.

Measures
     1-4  STEP, SWING,  ; STEP, SWING,  ; WOMEN RF TURN;
     STEP, STEP, CLOSE
     Moving slightly in LOD, step L, swing R,  ; step R, swing
     L,  ; releasing hands, woman does a RF turn in LOD in
     front of man, backing away from him very slightly, ending
     with her back to LOD, facing man, while man steps (small
     steps) L, R, L, facing woman but keeping the slight distance
     between them; in the fourth meas, man moves fwd in one
     waltz to overtake woman who still waltzes a tiny bit away
     from him (bwd), and takes her in closed pos with her back
     to LOD.
     5-8  DIP; MANEUVER; WALTZ; WALTZ
     Dip bwd twd RLOD on man's L (woman's R); maneuver
     man's back twd LOD; two meas of RF turning waltz,
     ending in open pos, facing LOD.
     9-16 Repeat meas 1-8.
          17-20     WALTZ AWAY; WOMAN CROSSES; FWD WALTZ;
          STEP, TOUCH,  
     Waltz apart (out to arms' length); releasing hands, woman
     does a LF turn in front of man, ending on his L side, while
     man moves slightly to R (R, L, R) to facilitate her
     movement, taking her R hand in his L; in L open pos, do
     one waltz fwd in LOD; step, touch to face each other,
     woman's back to COH, man's back to wall, both hands
     momentarily joined.
          21-24     CHANGE PLACES, 2, 3; 4, 5, 6; BAL APART; BAL
          TOGETHER
     Woman turns under the lead hands (her L, man's R) to
     change pos with each other in 6 steps; bal apart to arms'
     length, with both hands joined, man twd COH, woman twd
     wall; bal together, arms out to butterfly pos.
          25-28     TWINKLE; TWINKLE; AROUND, 2, 3; WOMAN
          TURNS TO VARSOUVIANNA POS
     In butterfly pos, both crossing in front, twinkle twd RLOD,
     man stepping L, R, close; repeat twinkle twd LOD; in
     butterfly banjo pos, dance half way around in 3 steps,
     putting woman's back to COH; woman does a RF spot turn
     in 3 steps into Varsouvianna pos, while man steps in place,
     both ending facing LOD.
          29-32     WALTZ FWD, 2, 3; WOMAN LF TWIRL; WALTZ FWD;
          EASE TO OPEN POS
     In Varsouvianna pos, take one waltz step fwd in LOD;
     keeping L hands joined, woman does a LF twirl in front of
     man (man steps in place, R, L, R) ending again in
     Varsouvianna pos, facing LOD; waltz fwd; ease into open
     pos, taking woman's L hand in man's R, while stepping
     slightly back and away on inside feet, and touch   hold on
     outside feet, ready to start the dance again.

Sequence: The above routine is danced three times. On the third
time through, ease apart, and bow.

Note: This dance is designed for waltzers who are in love with
waltzing (or who would like to be).
     The music is unusual, and it does not follow the standard
8/8/16 bar format. The second part of Part A is really a 6-meas
break. This makes possible an experiment in following this
somewhat irregular tune and waltzing to it without too much
cerebration.
     In other words, you dance without thinking, even though
what you are doing looks rather difficult on the face of it!
     In this lovely music, a series of held notes occurs, instead of
a melody, in the last 8 meas of Part A and the last 16 meas of Part
B. (This trick in the music begins on meas 15 in both parts.)
During this time you waltz to the accompaniment. This semi-free
waltzing gives an open and continuing effect. It dances beautifully
and feels wonderful   even hypnotic.
     But, the sequence is long, and it is hard to remember, as it
has a sort of drifting pattern. It seems too bad to have to think
about what to do when doing it is so simple.
     There are cues available by Don Armstrong where he cues
the whole dance. In experiments with dance groups, it works
beautifully. Once you have learned the simple patterns of the first
16 meas of both parts A and B, you simply relax into the prompted
version; the sly little cues become a gentle instrument in the
orchestra   you scarcely notice them   and you dance the lovely
flowing pattern to your heart's content. You simply do what the
cues tell you to do, no sooner. Later, you will find that you can
dance it without the cues. Your feet will have learned it.
     If you really love waltzing, this dance is for you.

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