There is very little if any difference in style between Latin and Rhythm Cha-Cha. Theoretically, as Waynelee mentioned the knee should be I softer in Rhythm-CC, probably, to imitate real or imagined authenticity. It appears to me that this difference is hardly detectable in competitions. The steps are pretty much the same as well. I heard that judges look for the bent-knee style in Rhythm-CC, but I could not verify that. Maybe a judge can comment.

With regard to counting, the main thing to keep in mind that there are 5 steps in the four-beat-measure (except if syncopated). The 2, 3 Cha, Cha, 1 is probably the most common teaching count. Because it reminds the dancer to the beats and also that the 1 is often accented. But it really does not matter how it is counted as long as full and the half-beats are danced at the correct time.

With regard to: The dance begins on the second beat. Does it really matter where you start as long as the full and half beats in the measure are correctly timed? I think not. Usually it is easier recognize 1 in the music than 2, so I find nothing wrong, even for advanced dancers, to take a step on 1. Would you get a penalty for that in a competition? I dont think so, but someone could correct me if I am wrong.

To make the point, one of our local instructors insists that the dance should be called "Cha-Cha," not "Cha-Cha-Cha." Why? Because one measure is counted 1, 2, 3, 4-&. The 4-& is "Cha-Cha." The third "Cha" would actually fall on the first beat of the next measure, so she just calls it "1," not "Cha." A little pedantic, but it makes the point.

She is right. Cha Cha Cha sounds like each 'cha' is a full beat. You see beginners dance like this and it is horrible. I think it is best to use the count and leave cha cha out of it completely.

nloftofan1 & ladydance

You are 100% correct the name Cha-cha-cha is misleading. Cha-cha would be a better name, and it often used in the USA. The UK is more traditional, and when announcing the dance it is usually Cha-cha-cha.

This is one of the mysteries of the dance related names. Occasionally, very confusing, especially in Standard where the same word is used to describe totally different movements. One teacher said he thought that those who gave the names were drunk.

And.. the reason its counted 4= 1, is because its paying homage to the conga slap (4-1) .

As to similarities, all the styles have the same root, hence basics are crossovers in many cases.

Hi Terence2,

Could you elaborate on the conga slap timing? I am not sure if I hear it properly, at least not always. What about in Rumba? Where is the conga slap? Thanks.

ALL latin being Son based, the Conga ( Tumbao )creates a dominant 4 beat usually on the 4th beat 2nd bar. Immediately after, there is a "slap " ( and "1" )which may be used for syncopations The "2" that follows is the beat on which we break..

The "Son " style music ,from which Danzon /Rumba evolved ,has a more dominant beat than most other dance styles of latin, BUT.. Its always implied, even by Piano.

Often,The major problem with non latin bands that play latin songs for dancing/teaching, is, they often do not have all the instrument "makeup " of traditional latin bands, hence, the stressed beats one is listening for may not always be as clear.. but.. this also is evident in traditional style music on occasion .

Having said that, one still can be guided by knowing how the structure of the music , is written. Pretty much all is in 2 bar sequence .Identify that, and Presto ! you know where emphasis lies

Hi Terence2,

Thanks for the reply. Very interesting. I would like to study your suggestion.

Would you please refer me to a C-C and a R song where the phenomenon you describe is easily recognizable? (YouTube address or just the name of the song and artist, if not on YouTube). That would be good starting point for me. I have no problems recognizing the 1 in any Standard dances, or in Jive, Passo and Samba, but I use only intuition for R & C-C, and I am occasionally embarrassingly wrong, and often have to trust the partner with the counting. Your method would help me to use more than intuition. Thanks.

Slight correction: In cha cha music, the "slap" sound is actually played by the conga on count 2. It's played by slapping the fingertips on the surface of the drum and momentarily retaining tension, which results in a snappier sound with a higher pitch.

The sound played on 4& is known as a "tone", which is played with a larger surface area of the hand rebounding instantly off of the drum, resulting in an open ringing tone of generally lower pitch.

For right-handed percussionists, these two sounds are played by the right hand, and provide the accents in the music.

There are two other more subtle subtle sounds, played by alternating the heel and fingertips of the left hand, which fill in the rest of the half-beats and provide a steady pulse. With these four sounds -- heel, tip, slap and tone, the most basic cha cha rhythm played on the conga goes like this:

Heel, tip, SLAP, tip, heel, tip, TONE, TONE.

If each of those sounds constitutes a half-beat (eighth note), then you can see that the three accented beats are 2, 4, and the "and" of 4.

When the conga drum is played solo, you can clearly hear each of those sounds. You might find it difficult to distinguish between heel and tip, but the important accents, slap and tone, stand out and are clearly identified. Heel and tip are just the subtle pulse in between.

Once you layer in other instruments, heel and tip get drowned out, and all that's really left are the accented beats, "... SLAP ...... TONE TONE ....... SLAP ....... TONE TONE". They give you as a dancer the cues for your break on 2, and your cha cha on 4&.

The best way to teach this sound to your ears is to start with a solo conga drum. Listen over and over until you are well aware of what this sounds like, then put on a more authentic cha cha song and listen for those sounds. They should be in exactly the same spot -- 2, and 4&.

The closest I've found so far on YouTube is a video of a guy named Jorge Santo teaching a slight variation of the basic rhythm, heel tip SLAP TONE heel tip TONE TONE, which adds an extra tone accent on the "and" of 2. It should be close enough that you get the basic idea:

https://www.youtube.com/watch?v=_EKKoPJvLUA

I hope this helps!

Regards,
Jonathan

Yep, there is a "slap " on 2.. BUT ..the sequence of 4 and 1 is set up by a dominant 4.. followed by "and" 1,2. This is prevalent in both the Guajira and Cha cha recordings, where as in Guajira a double syncopation is frequently heard..

Here's a good ex. of a strong dominant 4slap setting up the sequence
LA Maximas Lapiz Y Papel .

Even the Piano, as you probably know, also in the Son rhythms, which is the basis for ALL latin (and the Cha chas origin ) plays a dominant 4 in its 2 bars.

The 2nd bar in the 2 bar structure ,is where the Congas slap is most evident .
Ironically, there are many songs being used for Cha cha that are Guajiras ( this is danced with the syncope 1,2 3and4 ).