MBDT Table of Contents

Here is a list of all the chapters of the Master Ballroom Dance Technique, Volume One: Individual Technique.

Aside from the individual chapters listed below, the book also includes a Preface, List of Diagrams, and a comprehensive index.

Chapter 01: Mastery

For dancers who wish to become good dancers, or at least better dancers, understanding the destination helps us form the journey we undertake. This chapter examines what it means to be a “master” of ballroom dancing. The chapter introduces key concepts useful along the path to becoming a better dancer, such as focus on details, mastery, training, and technique.

Chapter 02: Technical Foundation

Concepts of technique and what the term means in ballroom dance. The chapter introduces the concept of ascending levels of technique in terms of granularity: General, Specific, and Artistic (and how these can be learned by social dancers, medalists, and competitors. Introduction of Magnitude of Movement).

Chapter 03: The Walk

The Walk is THE foundation of dance technique; it is, without question, the most important skill. THIS is the chapter to read (and the next three that follow), over and over until the concepts it discusses are embedded into muscle memory. 

Learn about Foot Paths, Foot Tracks, Tempo Rubato, and Segmentation, a method of learning ballroom movement more efficiently. To have “beautiful,” accurate feet that travel over long steps: memorize this invaluable chapter.

[Staff note: This is a general overview of the Walk. Details of each movement in the forward, sideward, diagonal, and backward directions are given full treatment in separate chapters.]

Chapter 04: The Forward Walk

The mechanics of forward motion in ballroom dance is amazingly complex. This chapter discusses what it takes to move our body forward within the continuous cycle of imbalance to balanced states, and how to do it while in constant contact with a partner. We explore alignment of centers and weight placement. Emphasis on accurate foot travel.

Chapter 05: The Backward Walk

The technique for the Backward Walk can be quite deceptive since it is not as simple as reversing the direction of a Forward Walk. The aspects of balance and momentum differ from that of the Forward Walk in subtle yet very significant ways—invaluable things that dramatically improve how we dance. Accuracy, foot technique, alignment of centers, and weight management are discussed.

Chapter 06: Side and Diagonal Walk

The third and fourth types of Walk are so similar that they are bundled into one chapter. Here the chapter explores the technical aspects of stepping Diagonally and to the Side. We examine the footwork, how they differ, and the variations of each. We also discuss the different phases of these two Walks.

Chapter 07: Rise and Fall

This skill is one of the primary keys in developing Metronomic and Pendular movement, the
two symbiotic skills responsible for Body Flight. This chapter explains the skill, footwork, how, and when Rise and Fall should happen, and the effect Rise and Fall has on Body Flight, Body Sway, and the Chassé. Also, the relationship of Rise and Fall to Segments.

[Staff Note: The author describes this as the Second of the Four Dimensions of Movement. He discusses these dimensions in great detail in Volume Two: Partner Technique]

Chapter 08: The Chassé

The Chassé is one of the most important and versatile figures in ballroom dance. It is not a skill in the strict sense of the word (it is more of a figure). Nonetheless, it helps us understand dance technique better since it serves as the structural and mechanical basis of many formal standard figures. In this chapter, we learn how changing bits of the Chassé transforms it into many standard figures we are familiar with.
 

Chapter 09: The Heel Pull

Mechanically, we can derive the Heel Pull from the Turning Chassé. It is notable that the Heel Pull is often seen as a gentleman’s step only. It is not, of course. In this chapter, we learn the details and mechanics of this fascinating figure. We use the Heel Pull to introduce the Pivot. Or, more specifically, the Heel Pivot.

Chapter 10: The Lock

The Lock is a position wherein one leg is crossed behind the other. It is also a multi-step standard syllabus figure. Concepts on multiple locks, the employment of Tempo Rubato with this figure, and other fascinating technical details of the position and the figure are explored.

Chapter 11: The Heel Turn

The Heel Turn is the more popular sibling of the Heel Pull. The Heel Pivot is the action that is used in Heel Turn movement, which is the focal component of the Waltz Double Reverse Spin (DRS). In this chapter, we explore the Heel Turn through the DRS lens. A useful skill, particularly in the Foxtrot, where Heel Pivots inhabit common figures like the Telemark and the Natural Turn.

Chapter 12: Difference In Technique

How different are the techniques for gentlemen and ladies? In the beginning, it turns out, not so much. As we advance, however, the skills diverge quite radically. In this chapter, we learn how and why.
 

[Staff Note: This book was started in the early 2016, reflecting the terminologies of that time. Amendments to the manuscript are underway and will be added in the future. 

The author notes that he is reluctant use the terms Lead and Follow as it pertains to a method within partner dancing. This reticence has nothing to do we today's cultural debate over gender identity, but rather has its roots in the mechanics of higher dance technique. He theorizes that dance can evolve beyond this philosophy of leading and following—roles traditionally assigned to men and women, respectively, but now almost largely irrelevant. He hopes for a future when we can achieve an equality or equilibrium in how a couple manages a dance. However, he acknowledges that it serves a vital purpose for beginning and intermediate students. 

He has written about this hypothesis where he explores the reciprocal concept of "Causality in Dance: Creating Space and Taking Space," which he presents for the first time in Volume Two: Partner Technique. It is not meant to be directly contradictory to Lead and Follow, but rather an enhancement to the concept. This advanced idea is sufficiently different to merit the minimal use of the terms Lead and Follow within the MBDT]

Chapter 13: The Frame

The term FRAME applies to the individual where the term SILHOUETTE applies to the couple. In ballroom dancing, Frame is often conflated with Shape. They are two sides of the same coin. The Frame describes a dancer’s posture, the alignment of the Head, Topline, and torso. The Shape describes the manner in which these are aligned or held. In this chapter, we present a clear delineation between Frame and Shape and an overview of what is required to produce a good frame.

Chapter 14: The Head

The Head, arguably, is the most straightforward technique in ballroom dance, probably easier than CBMP in OP (see chapter 17). Very few skills can match the expressiveness of the head. Concepts on the alignment of the chin, the line of the eye, and head technique for beginners and advanced dancers in Closed Position and Promenade. Also, how the head is held while traversing the room.
 

Chapter 15: The Topline

Topline topography may be straight, angular, or rounded. The Topline is actually a compromise between partners. Therefore, dancers should learn to adapt their combined toplines to create the ideal Silhouette. 

The Topline is also very dynamic, it should be flexible. It can be challenging to form a good Topline— there are many possible adjustments in its topography, and different schools of thought favor one topography over another. This chapter helps us understand how to form the Topline.

[Staff Note: This chapter serves as an introduction to the topography of the Silhouette. Since it involves the mechanics of coordinating two bodies structurally, the subject of the Topline merits further discussion well beyond that of an individual dancer's technique. 

The author is including an expanded discussion on the Topline, its formation and deformation during dance, in in Volume Two: Partner Technique]

Chapter 16: Body Sway

Sway is an expressive element in ballroom dance used to manage momentum and create artistic expression. Like driving a motorcycle fast on a curve requires banking, performing a traveling turn in ballrom dance with momentum requires Sway. Sway usually follows CBM and Pendular movement, and is one of the keys to Body Flight development.

[Staff Notes: The Sway is the FOURTH dimension of movement. In Volume One, only three dimensions are presented. Body Sway is given a fully expanded discussion in Volumes Two and Three of the MBDT]

Chapter 17: CBM and CBMP

CBM and CBMP are only mildly related. Contrary Body Movement (CBM) is a Rotational movement. It is critical to the formation of high-level movement during turns. CBM is essential in Body Sway and the development of momentum. Contrary Body Movement Position (CBMP) is a foot position, usually used when in Outside Partner (OP) position.

Chapter 18: Bits and Pieces

This chapter is a collection of fragments of information—no less important to the avid dancer—but not quite suited to a full chapter. 

These are valuable bits of information that have resisted our best efforts to organize them under a cohesive topic. Instead, we had to compromise and make this into an informal glossary of sorts.
 

Chapter 19: Poise and Posture

An advanced topic that any novice dancer should understand early. Instead of a specific skill, we give definition to what beautiful dancing can be. Poise is beautiful movement, the confluence of the correct use of technique and artistic expression. Posture is a snapshot of a movement; it is the alignment of the body taken at a moment in time. The adage: “Beauty is the sum of its parts” best describes the focus of this chapter. Learn what it takes to craft beautiful dancing.

[Staff Note: The author considers Poise and Posture as advanced topics, and had originally planned to put this chapter in Volume Three: Artistic Technique. However, he thought that a good understanding—early on—of the subject can be advantageous and beneficial to the keen student; especially one who is looking for a better understanding of good movement.]

Chapter 20: Exercises

Mastery of the parts makes mastery over the whole inevitable. Unlike ballet, there are no “official” exercises in ballroom dance to help us train and improve our movement. In this chapter, we compiled a list of exercises, selected for their efficacy, simplicity, and impact over a wide range of movements.

Coming Soon to this Website:

Underway are the following, which will be given separate pages due to their length. Listed here for your advance information.

List of Figures [PDF ONLY]
This is a list describing the many diagrams and figures included in the Master Ballroom Dance Technique, Volume One. Note that these PDF pages come direct from the current edition.

Index [PDF ONLY]
Every book, to be of any significant utility must include a thorough index. Master Ballroom Dance Technique, Volume One is no exception. These PDF pages come direct from the current edition.

Parts of this list appears in the Table of Contents of the current edition of Master Ballroom Dance Technique, Volume One: Individual Technique. Some parts have been modified for clarity and context.