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The following information is published with ROUNDALAB's permission from the ROUNDALAB Reference Manual compiled by Richard & Jo Ann Lawson, 1987.

Cueing Seminar

Presented by Jack & Ione Kern

Purpose of Cueing

To direct dancers through a routine allowing them the maximum opportunity to concentrate on their dancing.

Difference Between Timing & Rhythm

Timing
Selecting the best time for the cue. In which measure do we cue and at what point within the selected measure do we start the cue?
Rhythm
A uniform or patterned recurrence of cues. What ever timing is selected (where the cue begins in a measure) will continue at the same place in every measure.

What we most like to see in a cuer is both good timing and good rhythm. However, it is possible to have good timing and bad rhythm; bad timing and good rhythm, or worst of all, bad timing and bad rhythm.

Good timing is the number one priority, but it is difficult to separate it from good rhythm if a person is to be a good cuer. Good rhythm allows the cues to flow better with the music and helps the dancer to maintain good timing.

What We Cue

  • Figures and/or Footwork
  • Position
  • Direction
  • Timing (By what we say or how we say it)
  • Warnings ("ending coming up", "be ready for", etc.)

Often we need to cue more than one thing. The woman may be doing something different from the man: we may want to cue a figure and an ending position, or a figure, position and direction, etc. Of course, we should only cue what is necessary without a lot of extraneous words or comments, but different skill levels require different amounts of help.

The question is: how can we give ourselves the best opportunity to be able to use a combination of single and multiple cues within a routine and maintain good timing, as well as good rhythm?

To answer this, we must go back to what we teach our beginners. During the very first session, we explain how cues work — that they are usually given ahead of the figure that is to be executed and that the figure is to be completed before they respond to the next cue.

When to Cue

Using the above logic, the cuer should start the cue between the first and second beat of the measure preceding the measure of execution, or, just after the first step is committed in the figure prior to the one being cued.

For an example: in quickstep, where you have a lot of 1½ measure figures, you may want to cue after the first step of a figure is committed and for the most part, ignore the measures. In foxtrot or waltz, you could be guided by either the first beat of the measure or the first step of the figure. In triple swing, (1½ measure figures) it might be too early to cue after the triple (assuming Q&Q Q&Q QQ timing) which would mean the cue is actually starting between beat 1 and 2 of the preceding measure and you are actually using a combination of the techniques. Again, the basic purpose is to achieve good timing and good rhythm.

The benefit of this much lead time is the dancer has the maximum time to think and prepare for the next figure, allowing the opportunity to concentrate more on dancing than worrying about what they have to do next. The cuer has more time to give the cue, particularly if it is a multiple one, and can deliver in a smoother, less hurried manner. Also, there is more time for the cuer to recover in case of a memory lapse, infrequently as they may happen.

Additional Comments

  1. Dual measure cues - some cuers like to use a technique of cueing two measures at a time. This can be a very acceptable technique as long as you maintain timing and rhythm.
  2. Two measure figures - take advantage of the time when dancers are in the process of dancing a two measure figure, if the figure following needs a multiple cue. Start the cues in the first measure rather than waiting until the second.
  3. Be Prepared! Construct your cues ahead - what, when, how (special problems).
  4. You cue best when you know the dance well, especially if you have taught it.
  5. New cuers should not use cue cards. It is important to learn to watch the floor and since we are probably talking about easier dances, it is a good time to start to train the memory. Good timing and rhythm are easier to maintain when you don't use cueing aids.
  6. Don't clip cues. Make them blend and flow with the music.
  7. Maintain concentration. Look away from dancers having problems and concentrate on those doing well.
  8. Work on mike technique. Develop good diction, projection, and don't be boring.
  9. Give the dancers enough information before you drop the needle to get them started. Warn them of trouble spots in the dance.
  10. Record your own cues occasionally, then take some time to get out on a floor and dance to them. You will quickly become aware of any flaws that have crept into your cueing (heaven forbid).