For example, the salsa rhythm from the last chapter, double—single—double—single, does not step on the count-4 or the count-8 of the music so the pattern count looks like this:

    Musical Count:                    1       2         3        4           5       6         7      8

    Salsa Pattern Count:           1       2         3    HOLD-4     5       6        7  HOLD-8

Advanced Info Alert   There are some 8-count patterns, like salsa and rumba, that are often taught as 4-count patterns. Don’t sweat, a 4-count salsa pattern is just one half of the 8-count pattern so, honestly, it’s the same dance. Treating the salsa as an 8-count pattern makes it easier to naturally phrase to the sets of 8 in the music. For example, if you count in 8’s, the count-7 in the rhythm pattern occurs on the 7th beat of the music, which is logical. If you count the salsa in 4’s, a count-3 in the rhythm pattern would occur on the 7th beat of the music. Technically, the rule I go by is that a pattern is not finished until the same foot is free again. The merengue, double—double, and the samba, triple—triple, are examples of true 4-count patterns because the leader’s left foot is free again on count-4.

The pattern count for the fox trot from the last chapter, double—single—single, looks like this:

    Musical Count:                      1       2          3       4          5       6        

    Fox Trot Pattern Count:         1       2          3   HOLD-4    5    HOLD-6

If the pattern count is used correctly, it’s really that simple…well, not so fast. First, some teachers do not call out a number for a beat with no weight change. For example, the salsa may get called like this: ONE TWO—THREEEE—FIVE SIX—SEEVENNN, where the extended THREEEE and SEEVENNN account for the HOLD-4 and HOLD-8, respectively. While that call works for folks who know the beat well, I think it’s important for students struggling with the beat to hear a number or word called out on a beat with no weight change, otherwise it’s easy to lose track of the beat.

Second, syncopations, stepping between beats of music, add a little complexity. Let’s revisit the triple rhythm, which steps between two beats of music on the &-count.

Oh, the pain, the agony—the &-count! That demure, innocent-looking “&” was a concept that tormented me. I should call it the “sneaky and diabolical ‘&-count’” because it seemed like teachers pulled it out of thin air whenever they wanted. Sometimes they’d slip it in between numbers, sometimes they didn’t; I didn’t get it and it always threw me into a tailspin. Tailspins I didn’t need.

Recalling that the beat marks time, the & identifies a point around half way between two beats of music. Technically, every beat in a set of 8 has an &-count like this:

    Musical Count:   & 1   & 2        & 3    & 4        & 5    & 6        & 7     & 8

But, when counting a step pattern, the &-count is vocalized only if there’s a step or action on that particular &-count. Contrast this to a beat of music; if there’s no step on a beat, I encourage you to still vocalize it. For example, note the vocalizing of the HOLD-4 and HOLD-8 above for the salsa count.

Getting back to the triple rhythm, it’s counted like this: 1&2, with weight changes on the 1, the & and the 2. Additionally, like singles and doubles, triple rhythm can start on any downbeat (1, 3, 5 and 7) so it can be danced in all of these locations: 1&2, 3&4, 5&6 and 7&8. Can you step between the 2 and the 3? Yes, but it’s not called triple rhythm and it’s not something a beginner will encounter with the exception of the cha cha (Chapter 16) and the hustle (Chapter 17, see the box, The Nightclub Dances). 

Revisiting the swing rhythm from the last chapter, double—triple—triple, the count is 1 2—3&4—5&6. Adding a verbal call and rhythm pattern, it looks like this:

    Musical Count:         1         2             3          4          5           6

    Pattern Count:          1         2            3    &    4          5     &    6

    Verbal Call:            STEP   STEP     STEP-THREE-TIMES    STEP-THREE-TIMES

    Rhythm Pattern:         double                 triple                    triple

Remember, triples are “faster” than singles and doubles, which means the verbal call comes at you quicker so your feet have to move faster to stay on time. Any dance with triples is harder than a dance without triples.

Once I learned how to count the &-count, it was easy to embrace and dance it. It’s important to get a grip on the &-count because it plays a critical role in the technique of both movement and timing (Chapter 12) and leading (Chapter 13).

Lingo Alert   Musicians use the &-count differently than dancers so don’t be confused if you hear the &-count discussed in musical terms. The &-count for dancers pertains to steps and other body movements, which are moot issues for musicians.

Let’s put all this to use. Whenever I learn a new dance figure, I first try to establish the correct pattern count. The count creates a logical and direct relationship between the step and the music and that makes it easier for me to learn and remember. If the teacher uses the count correctly I’m all set. If a verbal call is used instead of the pattern count (i.e., if words are used instead of numbers), or if an unfamiliar system of counting is used, I scramble to identify the correct pattern count:

1. 1) I listen for the downbeat-upbeat and sets of 8 to make sure I’m on the beat and connected to the music.
   

2. 2) If the teacher doesn’t announce it, I figure out how many beats are in the pattern, which is usually six or eight (sometimes four).
   

3. 3) I note which beats have weight changes, which beats have no weight changes and if there are any steps between beats of music.
   

4. 4)  I piece together the pattern count by correlating the weight changes to the beat.
   

5. 5)  I also identify the basic rhythms (single, double and triple) and piece together a rhythm pattern (e.g., double—single—double—single) so the pattern will be easier to remember and to see how similar it is to other steps that I know.
   

Identifying the count is not easy at first but it’s probably easier than it sounds. Of course, sometimes the easiest way to do it is just yell out in class, “What’s the count on that move?”

TRY THIS: Calling Rhythms. I find it particularly helpful to be able to translate between options when identifying patterns. In class, depending how a new figure is presented, translate the pattern count into a verbal call or vice versa. When creating verbal calls, see if you can use words that best describe the action (for example, instead of STEP, use words like FORWARD, BACK and SIDE to show direction). When you get a teacher who uses scat—improvised, meaningless syllables, like “bee” and “bop,” common with jazz singers—try to turn off the analytical side of your brain and just feel the rhythm. Also, using the basic rhythms, see if you can identify rhythm patterns.

So what’s so great about using the count? Whether a teacher says, STEP STEP, or, WALK WALK, or, STEP TWICE, or, LEFT RIGHT, or, QUICK QUICK, or, 1  2, or, 5  6, or, BEE BOP, or, ROCK STEP, or, SIDE TOGETHER, or, FORWARD BACK, they all have one thing in common: two steps that are timed to occur precisely as each word or number is spoken. But note that only, 1  2, and, 5  6, tell where you are in the rhythm pattern, which is what you need to know to break a pattern down and learn it. That’s the beauty of knowing how to count a rhythm pattern.

For a beginner, that’s all there is to counting dance patterns. I entered dance-heaven when I finally learned the count. Rhythmic and musical structures didn’t come naturally to me so I needed the pattern count to lay a structural foundation in my brain—only then could I connect to the non-counting methods and begin to feel the music.

Guys, beware: When you’re trying to learn a new pattern and are hopelessly lost, you may be surrounded, like I was, by great dancers who don’t use the count and you’ll hear them say: “I just feel it” or, “I don’t know how I do it, it’s in the music, just listen.” It’ll make you feel inferior. Remember, they probably have talent; thankfully, we can count. If you get stuck, try using the count. I still use the count to break down moves.