HINTS ON SALSA AND MERENGUE CHOREOGRAPHY

SALSA

         

* Understanding the montuno (upper line of displacing

  beats, often done by the piano) and the tumbao (which

  is usually the two-measure pattern in the bass, as well

  as the basic salsa percussion patterns, is very impe-

  rative in understanding how to dance salsa exactly in

  rhythm, especially in basic steps.

* Salsa often uses the 4/4 meter.

 

* In Colombian-style salsa (like Oiga, mire, vea of

  Orquesta Guayacan), the congas often accent beats

  1 and 3 to get a 'cumbia' effect. In such salsas,

  you can incorporate cumbia movements (such as the

  pachanga crosses or swivels) to your salsa routine.

* In old-time Cuban salsa (like Vámonos pal monte of

  Eddie Palmieri), you will often hear the flute doing

  riffs or solos, but only if the singers don't sing.

* In the salsa en guajira or salsa en guaracha songs

  (like Volver a verte of Oscar d'León), there is a

  Cuban-style cha-cha and the tempo is usually moderate

  (and in a few cases, rather slow). In such songs,

  you can add cha-cha and/or mambo movements in your

  salsa.

* When the congas, bongos, timbales, etc., do a solo

  without the other instruments coming in, it is suggested

  that the couple do exciting moves in shine position,

  such as the full chase.

 

* The 'mainstay' salsa figure, is usually the waist-silde

  turn to the lady's UAT.

* Putting several cross-body leads in succession is

  also exciting. To add some flair, make each cross-

  body lead different (for example, one regular cross-

  body lead followed by another one ending with the

  lady's free spin with catch finish)

* In the introduction to a salsa song, just before the

  lead singer or montuno-section (background) singers

  come in, it may be customary to dance in place in closed

  position.

* When the brass instruments (trumpets, trombones,

  etc.) blast away in instrumental breaks, it is also

  possible to do some exciting salsa moves at this point,

  such as a death drop or the lady's crucifix dip in

  back-to-back position.

* If a salsa song ends with syncopated, short, mambo style

  chords, it is possible for both to do some syncopated

  hip swivels, pelvic rolls, or side-by-side arm movements;

  or, they can syncopate the rhythm with their lower

  bodies by flicks or kicks.

* If a salsa song ends on a long, sustained chord (usu.

  with a tremolo in the drums), it is possible to do the

  continuous lady's spin as many times as she can do until

  the music stops (where you can end the spins with a lift,

  a dip, or a drop).

* Common measure structures in salsa include the 4-measure,

  8-measure, and the 16-measure patterns.

* My top ten salsas for choreographing a salsa routine are:

Cali pachangero (Grupo Niche)

Candela (Fania All-Stars)

Juliana (DLG)

Lloraras (Oscar d'León)

Me voy pa' Cali (Oscar d'León)

Mi tierra (Gloria Estefan)

No me acostumbro (Rey Ruíz)

Quítate la mascara (Hansel "El Gato" Martínez).

Salsa con Coco (The Coco Band)

Volveré--Remix of the Wilfrido Vargas' merengue hit (DLG)

MERENGUE

* The basic count in merengue can be either 1-2-1-2 or

  1-2-3-4. It depends on how many measures you count to

  execute any merengue figure.

* Usually, there is a repetitive 4-measure section in the

  choruses of most merengues, with only 2 chord changes

  for each 2 measures of music.

* Especially in the 1990s, the 'techno-merengue' was en

  vogue. These merengue have a strong bass-beat as well

  as the traditional Latin percussion. The bass beat

  demands some shine positions moves as hip bumps and

  even waving at the crowd. Look for the great merengue  

  'remixes' like Chasum Latinos (a remix of the original

  samba song, Chasumba).

* Merengue-rap had become popular through groups like

  Proyecto Uno (El tiburón, Está pegao), which is highly

  recommended if you want a merengue routine with some

  rap in it.

 

* In the verses of the merengue, there will usually be

  8 measures of music plus another 8 measures usually

  repeated in closed structure and bass line. (16-measure

  structures are also possible.)

* When a merengue song ends in a "coup de grace" chord

  (that is, the chord that brings the song to a surprising

  end, it is sometimes necessary to end in a styling pose

  or static line, usually with arms outstretched and to the

  side.

* When only drums and percussion are playing, you can

  dance merengue in shine position and do such flashy

  moves such as the 'lead-and-follow' chase.

* When the brass comes out over the band playing the

   merengue, make the moves exciting (for instance, use

   a body-wrap combination or hammerlock combination).

* Basket-whip turns and regular-whip turns (often called

  carousel turns in closed position or semi-open position)

  are good substitues to the regular natural top spins.

* If you love merengue in very fast tempo, use such

  merengues where the baritone or bass saxophone does

  a montuno riff while the rest of the band accompanies.

  The saxophone beckons you to incorporated lambada moves

  in your merengue.

* My top ten merengues for dancing a routine are:

A mover la colita (Wilfrido Vargas)

Corazón de melao (Emmanuel)

Dame un beso (Giselle)

El rey de mambo (La Banda Gorda)

El sapito (Doble Fila)

Give It Up (The Goodmen)

La morena (Grupo Kontrol)

La Niagara en bicicleta (Juan Luís Guerra)

Mentrioso (Olga Tañón)

Suavemente (Elvis Crespo)

Salsa Steps For Crowded Dance Floors

1. Basic Steps in Place

(Start and end in closed position.)

Man

1. Step in place LF                                             Q

2. Step in place RF                                             Q

3. Step in place LF                                             S

4. Step in place RF                                             Q

5. Step in place LF                                             Q

6. Step in place RF                                             S

Lady

1. Step in place RF                                             Q

2. Step in place LF                                             Q
3. Step in place RF                                             S

4. Step in place LF                                             Q

 5. Step in place RF                                             Q

6. Step in place LF                                             S

 (Repeat ad lib.)

 2. Contra-Lunges

(Start and end in closed position)

Man

1. Lunge RF diagonally to the L, turning lady 1/4 L             S

2. Put RF back to close with LF, turning lady l/4 R             S

3. Lunge LF diagonally to the R, turning lady 1/4 R             S  

4. Put RF back to close with LF, turning lady 1/4 L             S

Lady

1. Lunge LF diagonally to the R, turning 1/4 L                           S

 2. Put LF back to close with RF, turning 1/4 R to face partner  S

3. Lunge RF diagonally to the L, turning 1/4 R                          S

4. Put LF back to close with RF, turning 1/4 L to face partner  S

(Repeat ad lib.)

The lead for the man in the contra lunges is that on step 2 the

man will let the lady's R arm go closer to his chest then her L

arm(which he pushes back). Steps 3 and 4 are the reverse of the

process.

3. The Lambada Special

 (This was borrowed from the lambada, the sexy dirty dance style

from Brazil, where man and woman maintain very close contact.

Begin and end this figure in lambada position; that is, with

chests touching each other, and heads very close to one another.)

Man

1. Lean front body forward, leading lady to dip slightly back    S

2. Return to straight position                                                  S  

3. Lean front body back, leading lady to dip slightly forward    S

4. Return to straignt position                                                   S

 Lady

1. Lean front body backward                                      S

2. Return to straight position                                       S

3. Lean front body forward                                        S

4. Return to straight position                                       S

 (Repeat ad lib.)

 Note: No footwork here; all of the movement is mainly in their

 upper bodies.

4. The Lambada Special(Variation)

(For this variation, the man's hands are behind the lady's back.)

Man

1. Squeeze lady's back with both arms                                    Q

2. Release squeeze but both arms are still behind lady's back    Q

3. Squeeze lady's back with both arms                                    Q

4. Release squeeze but both arms are still behind lady's back    Q

Lady

1-4. Lady stays put throughout figure with no foot movement. Hence

     timing here is not applicable.

(Repeat ad lib.)

 5. The Lambada-Style Reverse Turn

 (Start and end in lambada position, and make a continuous turn L

throughout. The turns should be almost on the spot.)

Man

1. Step in place LF                                              Q

2. Slightly to the side RF                                       Q

3. Close LF to RF                                                S

4. Slightly to the side RF                                       Q

5. Close LF to RF                                                Q

6. Slightly to the side RF                                       S      

Lady

1. Step in place RF                                              Q

2. Slightly to the side LF                                       Q

3. Close LF to RF                                                S

 4. Slightly to the side LF                                       Q

5. Close LF to RF                                                Q

6. Slightly to the side RF                                       S              

(Repeat ad lib. You can make a half reverse turn by turning a

little slowly, or you can make a full reverse turn by leading the

lady more to create a bigger amount of turn.)

6. The Lambada-Style Natural Turn

 (Start and end in lambada position, and make a continous turn R

throughout. Like the Lambada-Style Reverse Turn, this should be

done almost on the spot.)

Man

 1. Step in place RF                                              Q

 2. Slightly to the side LF                                       Q

3. Close LF to RF                                                S

4. Slightly to the side LF                                       Q

5. Close LF to RF                                                Q

 6. Slightly to the side RF                                       S              

Woman 

1. Step in place LF                                               Q

 2. Slightly to the side RF                                       Q

3. Close LF to RF                                                S

4. Slightly to the side RF                                       Q

5. Close LF to RF                                                Q

6. Slightly to the side RF                                       S      

(Repeat ad lib. You can make a half natural turn by turning a

little slowly, or you can make a full natural turn by leading the

lady more to create a bigger amount of turn.)

Note: This would be best if it is preceded by the first three

      steps of the Basic Steps in Place.

7. The Lunging Sides

(Start and end in regular closed position.)

Man

1. Lunge a little to the left, fully bending L knee                       Q

2. Hold position                                                                     Q

3. Straighten L knee, recover from lunge to normal position      S

4. Lunge a little to the right, fully bending R knee                     Q

5. Hold position                                                                      Q

6. Straighten R knee, recover from lunge to normal position      S

Woman

1. Lunge a little to the right, fully bending R knee                     Q

2. Hold position                                                                     Q 

3. Straighten R knee, recover from lunge to normal position      S

4. Lunge a little to the left, fully bending L knee                       Q

5. Hold position                                                                     Q

6. Straighten L knee, recover from lunge to normal position      S

(Repeat ad lib.)

Merengue Dancing---The Iboes and Three Great Variations on Them

Iboes L and R (regular) 
 My guess that this move came from the Mexican cumbia step as well as the conga dance where there is a tap or kick on every 4th step.

LEADER
1. Side LF............... 1
 2. Close RF to LF.............. 2
3. Side LF............. 3
4. Tap RF to LF with no weight on RF............. 4
5. Side RF............. 5
6. Close LF to RF............. 6
7. Side RF............. 7
8. Tap LF to RF with no weight on LF............. 8

FOLLOWER
1. Side RF.......................... 1
2. Close LF to RF............. 2
3. Side RF............. 3
4. Tap LF to RF with no weight on LF...........4
5. Side LF............. 5
6. Close RF to LF............. 6
7. Side LF............. 7
8. Tap RF to LF with no weight on RF.............8

Iboes L to R With Swivel Taps
Start and end in either closed dance hold, 2-handed open, or shine hold.

 LEADER
1. Side LF...................1
2. Close RF to LF................... 2
3. Side LF ...................3
4. Swivel RF 1/4 to the L as it taps at the same time ................... 4
 (keep RF only with part weight, full weight should still be on the LF)
 5. Side RF................... 5
6. Close LF to RF................... 6
7. Side RF................... 7
8. Swivel LF 1/4 to R as it taps at the same time................... 8
 (keep LF only with part weight, full weight should still be on the RF)

 FOLLOWER
1. Side RF ................... 1
2. Close LF to RF................... 2
3. Side RF ...................3
4. Swivel LF 1/4 to the R as it taps at the same time ................... 4
(keep LF only with part weight, full weight should still be on the RF)
5. Side LF................... 5
6. Close RF to LF................... 6
7. Side LF................... 7
8. Swivel LF 1/4 to the R as it taps at the same time...................8

 NOTE: All of the swivels are in place.

Iboes L to R With Points

Start and end in either closed dance hold, 2-handed open, or shine hold.
Note: The "tendu" had been heavily used in ballet and jazz dance, and it describes the free foot having a fully straightened leg out to the side with weight only on the toes...while the supporting foot has full weight. So from this...in the "tendu", you fully straighten your leg all the way to the toe, so the result is that you create a point on your feet...as if the feet are sharpened pencil ends on the floor, ready to write.

LEADER

1. Side LF..........                                                                                                 1

2. Close RF to LF..........                                                                                         2

3. Side LF..........                                                                                                     3

4. Put the RF in a tap in a tendu but put full weight on LF..........                          4

5. Side RF..........                                                                                                     5

6. Close LF to RF..........                                                                                         6

7. Side RF..........                                                                                                     7

8. Put the LF in tap in a tendu but put full weight on RF..........                            8

FOLLOWER

1. Side RF..........                                                                                                    1

2. Close LF to RF..........                                                                                        2

3. Side RF..........                                                                                                   3

4. Put the LF in tap in a tendu but put full weight on RF..........                           4

5. Side LF..........                                                                                                    5

6. Close RF to LF..........                                                                                        6

7. Side LF..........                                                                                                    7

8. Put the RF in a tap in a tendu but put full weight on LF..........                         8

Iboes L to R With Flicks

Start and end in either closed dance hold, 2-handed open, or shine hold.

I like this move--the flicks put a bit of "swing" into your merengue.

LEADER

1. Side LF..........                                                                                                    1

2. Close RF to LF..........                                                                                        2

3. Side LF..........                                                                                                    3

4. Flick RF behind LF (keeping weight on LF)..........                                           4

5. Side RF..........                                                                                                    5

6. Close LF to RF..........                                                                                        6

7. Side RF..........                                                                                                    7

8. Flick LF behind RF (keeping weight on RF)..........                                           8

FOLLOWER

1. Side RF..........                                                                                                    1

2. Close LF to RF..........                                                                                        2

3. Side RF..........                                                                                                   3

4. Flick LF behind RF (keeping weight on RF)..........                                           4

5. Side LF..........                                                                                                    5

6. Close RF to LF..........                                                                                        6

7. Side LF..........                                                                                                    7

8. Flick RF behind LF (keeping weight on LF) ..........                                          8

Some Pointers in Man's Leads On Several Beginning Level and Intermediate Level Salsa Figures

1. The Cross-Body Lead(Regular) The man will, in the 3rd step of the Forward-Backward salsa basic, pull the lady’s R arm toward her on his left side, and at the same time, he will use the pressure of his right hand on the lady’s back to lead her to go more forward. On the second quick of the basic, he will his L arm to steer the lady’s body to finish the half-turn to the L on the last slow(the second slow). Remember that the cross-body lead has the same timing as the Forward- Backward basic--QQS, QQS.

2. The Cross-Body Lead(Man Using Both Hands The man will, on the 3rd step of the Forward-Backward salsa basic, pull both the lady’s arms towards you on your(the man’s)left side, but unlike the previous cross-body lead above, the lady’s L arm will come more in front of her than her R arm. Then, on step 4 of the Forward-Backward basic, the man will bring both of her hands towards him on his L side as he turns her arms about halfway in a counterclockwise on steps 5-6 of the salsa basic to face the partner again(because the cross-body resembles the forward-backward basic despite the half turn to the left).

3. The Cross-Body Lead With a Throwout Spin The man will do the leading as in the initial part of the regular cross-body lead but he will create more pressure on the lady’s sides after step 3 of the baisc to lead her to turn a full counterclockwise rotation as you throw her out. The man catches her hands if he wants to get her back into closed position to restart the Forward-Backward basic. Advanced salsa dancers would usually come up with other moves besides the basic when the throwout spin from the cross-body lead is done.

4. Fifth Side Basic(from Forward-Backward Basic) Here, the man leads her usually after she closes back her LF to the RF after the Forward-Backward basic. He then puts a grip on the lady’s R arm, going clockwise, and at the same time, he moves the lady’ss back clockwise with his R hand.

5. Side Step From The Forward-Backward Basic Here’s soon as the left foot of the lady closes with the RF(back), the man pushes the lady’s back to the L side and also pushes the lady’s R arm to the left side. When the man wants to move the lady to the R(in the second part of the side step), this leading process is reversed.

6. The Lady’s Underarm Turn(Outside)From The Fifth Break As soon as the lady crosses the RF in the Fifth Break, the man lifts the lady’s R arm to the L side and then turns the raised arm slightly counterclockwise to help the lady to follow and complete the turn.

7. The Lady’s Inside Underarm Turn and Outside Underarm Turn Making a dance position change from closed to open, the man will will start raising the lady’s R arm at the end of any very basic salsa figure(forward-backward, side step, fifth break), and bring it counterclockwise and to his R side for the inside underarm turn. Then, in almost a continuous motion, the man will raise the lady’s R arm again in a clockwise fashion to make her underarm turn from the outside. If both of those underarm turns are done with the man’s R hand on the lady’s L hand, the leading will be in an inverse; the lady’s inside underarm turn will be done clockwise with the lady’s L hand; on the inside underarm turn, it will be counterclockwise.

8. Spot Turns From The Fifth Break This is more of a push lead. This usually comes on the first 3 steps of the Fifth Break, with the man turning to the R and L and the lady to the L and R(both one-quarter). The push comes when the dancers face their partners, and the man will push with both hands almost 1/4 to the R counterclockwise(with more pressure on the lady’s L hand on his R hand)to lead the lady to do the spot turn. If another spot turn in inverse directions immediately follows the regular spot turn, the lead is in an inverse--more pressure on the lady’s R hand on his L hand(still using both hands)will be done almost 1/4 to the L clockwise.

9. The New York From The Forward-Backward Basic This happens when the man leads the lady to the side at the end of the Forward-Backward Basic, by pulling her R arm to the right (his right)in such a way that the lady will turn to her left halfway. The New York can also be started(and led)by pulling the lady’s L arm to the left(his left)from the same Forward-Backward figure.

10. The Lady’s Sweetheart Wrap To The Left of Man Here, the man will lead in a manner resembling the entry to the lady’s inside underarm turn, using a 2-handed open hold. With his L hand, he will raise the lady’s R arm, turning it counterclockwise and put it down. Then the man’s R hand will be on the R side of the lady for the wrap.

11. The Lady’s Sweetheart Wrap To The Right of Man Using a 2-handed hold, the man will use his L arm to raise the lady’s R arm clockwise and then go down again, and the L arm will be on the lady’s L side for the wrap.

Favorite Latin Hits by Category (covering the subgenres of Salsa and Merengue)

Latin Club/Techno
"Octavo Dia" (Shakira)


Bachata
"Eres mi vida" (DLG)


Techno cha-cha
"Let's Get Loud (Jennifer Lopez)
"Boom, Boom (Chayanne)

Guaracha/Slow cha-cha/Guajira
"Volver a verte" (Oscar d'Leon)
"Micaela" (Pete Rodriguez)


Cumbia
"La Gota Fria" (Carlos Vives)
"Amor a la mexicana (Thalia)
"Piel morena" (Thalia)


Cuban salsa
"Vamonos pa'l Monte" (Eddie Palmieri)
"Que humanidad" (Manny Oquendo)


Colombian salsa
"Cali pachanguero" (Grupo Niche)
"Me voy a Cali" (Oscar d'Leon)


Puerto Rican salsa
"Micaela" (Pete Rodriguez)


Romantic salsa
"Idllio" (Willie Colon) "A puro dolor" (Son by 4)


Fast-tempo merengue
"El rey de mambo" (La Banda Gorda)


Medium-tempo merengue
"Mentiroso" (Olga Tanon)
"No quiero morir" (DLG)

Charles Joseph Smith's Top Eleven Favorite Salsa Hits For Dancing

Que humanidad (Manny Oquendo y Libre)

Arrenpetida (Los Adoloscentes)

Volvere--Salsa Remix (DLG)

Oiga, mire, vea (Orquesta Guayacan)

Idilio (Willie Colon)

Micaela--Salsa Version (Pete Rodriguez)

Micaela--Cha-Cha Version (Pete Rodriguez)

Me' voy pa Cali (Oscar d'Leon)

Candela (Fania All-Stars)

Vamonos pa'l monte (Eddie Palmieri)

Juliana (DLG)

The "Esa Morena" Line Dance

"Esa morena" Line Dance (devised by: Charles Joseph Smith)
I adored Latin dancing because of its syncopated rhythms. Especially from the Latin hip-hop hit, "Esa morena" (DJ Laz). It has the best of both words--syncopated rhythms from Latin hip-hop as well as the merengue. This is why I choreographed a little line dance based on the famous Latin club hit that was requested a lot in the late 1990s. This line dance is especially for the chorus of the song, but it can be done during the verses and bridges too.
The whole line dance takes up 8 measures. The first 12 steps are actually syncopated side chassés--syncopated to react to the music of the song. Then a 1/4 L turn changes the steps to forward-backward motion, and then, it wouldn't be Latin dancing without hip rolls, so I added them in at the last part of the dancing. Like most line dances, this is a 4-wall dance. You start at the original wall, and you change walls on steps 25-36 every time.
1. Side LF 1 and
2. Close RF to LF first half of 2
3. Side LF and 3
4. Close RF to LF and
5. Side LF 4 and
6. Close RF to LF, no weight on RF (tap) first half on 1
7. Side RF and
8. Close LF to RF 2
9. Side RF and
10.Close LF to RF 3
11.Side RF and
12.Close LF to RF, with LF tap (weight still on RF) 4
13.Side LF 1 and
14.Close RF to LF first half of 2
15.Side LF and 3
16.Close RF to RF and
17.Side LF 4 and
18.Close RF to RF, no weight on LF (tap) first half on 1
19.Side RF and
20.Close LF to RF 2
21.Side RF and
22.Close LF to RF 3
23.Side RF and
24.Close LF to RF, with LF tap (weight still on RF) 4

Note: Turn 1/4 to the L on the next 12 steps. From step 37 onward, dance the rest of the dance facing the new wall.
25.Forward LF 1 and
26.Close forward RF to LF first half of 2
27.Forward LF and 3
28.Close forward RF to LF and
29.Forward LF 4 (and)
30.Close forward RF to LF, part weight on RF (tap) first half of 1
31.Rock forward LF in place and
32.Rock back RF in place 2
33.Rock forward LF in place and
34.Rock back RF in place 3
35.Rock back LF in place and
36.Rock back RF in place 4


Notice the syncopated counts on this last part of this line dance. And also note that the parenthesis on the counts mean you hold that count. On steps 40-43, you can accent the swivels with knees going down and up 3 times (2 and 3 and 4 and), but this is optional.

37.Roll hips from L to R (counterclockwise circle) 1 (and 2)
38.Roll hips from L to R (counterclockwise circle) and (3 and)
39.Roll hips from L to R (counterclockwise circle) 4 (and 1)
40.Swivel feet together 1/8 turn to L and
41.Swivel feet together 1/8 turn to R 2
42.Swivel feet together 1/8 turn to L 3
43.Swivel feet together 1/8 turn to R 4

Repeat dance starting from step 1.

I hope you really this new dance.....

Charles Smith choreographer

My Favorite Salsa and Merengue Songs--Short List

Charles Smith's Favorite Merengue Songs

1. Mentiroso
2. Abusadora
3. A Mover La Colita (the regular and dance-mix versions)
4. Esta Pegao
5. El Tiburon
6. La Cuca
7. Las Mujeres Que Quieran Bailar
8. Y Que Lo Que Tu Mama Se Cree?
9. Amor Fingido
10.Tu Volveras
11.Maria Se Fue
12.(La) Morena
13.Maria (dance mix version)
14.Dale Pa'lla, Dale Pa'aca
15.El Venao
16.Le Guste Mueve
17.Fiesta(Latin Spice Band version and others)
18.Que Te La Pongo
19.A Palo Con Ella
20.Una Noche Mas
21. Elena(a plena/merengue)
22.Fuiste Tu
23.La Duena del Swing
24.El Africano
25.Luna
26.Wilfrido, Dame Un Consejo
27.El Hombre Divertido
28.La Costa de la Vida

Charles Smith's Favorite Salsa Songs

1. Ahora Que Estoy Solo
2. Como Lo Hace
3. Lluvia
4. Como Podre Disimular
5. Vivir Lo Nuestro
6. Mi Tierra
7. Pa' Bravo Yo
8. Solo
9. Acabo de Llegar
10.Escuche Una Voz Latina
11.Que Humanidad
12.Bailala Pronto
13.Bailando
14.Jamas Nadie Sabra
15.Estoy Muerto de Amor
16.Ran Can Can(mambo)
17.Volver a verte(cha-cha)
18.Descarga Criolla
19.Linda Chicana(cha-cha)
20.Oye Como Va(cha-cha)
21.Bomba Carambomba(cha-cha)
22.Ven Enamorame Otra Vez
23.I Like It Like That
24.Adelante

Salsa Amaglamations in 8 Groups (Groups A to H)

Group A
1.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.Cross Body Lead(QQS, QQS)
3.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
4.Half a Basic to Lady's Vertical Outside Underarm Turn(QQS, QQS)
5.Forward-Backward Basic(QQS, QQS)
6.Half a Basic to Lady's Vertical Inside Underarm Turn(QQS, QQS)
7.Forward-Backward Basic(QQS, QQS)
Group B
1.Stationary Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.Opening out to 2-handed Open Hold, Still in Basic(QQS, QQS)
3.Lady's Sweetheart Wrap to Man's R and Walkout(QQS, QQS)
4.Lady's Sweetheart Wrap to Man's L and Walkout(QQS, QQS)
5.New York Side Breaks(QQS, QQS or QQS, QQS, QQS, QQS)
Group C
1.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.Reverse Wheel(QQS, QQS, QQS, QQS, QQS, QQS, QQS, QQS)
3.Fifth Side Breaks(QQS, QQS or QQS, QQS, QQS, QQS)
4.Man's Behind-The-Back CCW Turn from Basic(QQS, QQS)
5.Lady's Vertical Outside Underarm Turn From Basic(QQS, QQS)
6.Side Cucarachas(QQS, QQS or QQS, QQS, QQS, QQS)
7.Alternating Underarm Turns L and R, 2X (QQS, QQS, QQS, QQS)
Group D
1.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.Forward-Backward Basic with Rondes(QQS, QQS, QQS, QQS)
3. The Wheel-Turn Variation no. 1--Forward Cruzado, Back Cruzado (QQS, QQS, QQS, QQS)
Group E
1.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.The CCW Corkscrew(QQS, QQS)
3.The CW Corkscrew(QQS, QQS)
4.Sweetheart Wrap To Reverse Hammerlock Check to Sweetheart Wrap Again(QQS, QQS, QQS)
Group F
1.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.Variation 1 or 2 of the Toe-Heel Swivels(QQS, QQS, QQS, QQS, QQS, QQS, QQS, QQS)
3.The Wheel Turn Variation no. 2--Ronde To a Cruzado(QQS, QQS, QQS, QQS)
Group G
1.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
2.Mirror Turns L and R, Lady Turning Only(QQS, QQS, QQS, QQS)
3.Mirror Turns L and R, Both Turning(QQS, QQS, QQS, QQS)
4.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
5.Cross-Body Lead in Closed Position, With a Turn(QQS, QQS)
6.Forward-Backward Basic(QQS, QQS or QQS, QQS, QQS, QQS)
7.Plies from the Basic(QQS, QQS, QQS, QQS)
Group H
1.The Natural Wheel(QQS, QQS, QQS, QQS, QQS, QQS, QQS, QQS)
2.The Forward-Reverse Basic(QQS, QQS, QQS, QQS)
3.The Natural Wheel(QQS, QQS, QQS, QQS, QQS, QQS, QQS, QQS)
4.2-Handed Open Hold Cross-Body Lead(QQS, QQS)

THE LITTLE LILY OF SALSA (EL LITTLE LILY DE SALSA)

Now suppose I am living in Puerto Rico and I am asked to write a salsa music lyric completely in Spanish.

What would happen then?

The title is "The Little Lily It Will Be" (translated in English). Other Spanish words....

Líricos - lyrics

Música - music

Sonero - lead singer

Coro - chorus

I give the translations of the Spanish wherever necessary.

Líricos: Charles Joseph Smith Música: Charles Joseph Smith

Coro: El Lily seré, el Lily, el Lily, el Lily seré. El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: Este nombre significa mucho más que antes;

Me hace el día mucho más feliz y mucho más famoso que Cervantes. [This name means much more than before; it makes the day much more happy and famous than Cervantes.]

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: El Little Lily tiene amore de ahí en adelante;

Esto es salsa y merengue que yo amo, y será costante.

[This name has more love from now on...this is the salsa and merengue that I love, and it will be constant.]

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: A lo largo del sonido de música latina, voy a bailar,

Y la pasión en la música me cubre en la via de mi gozar. [Along the sound of Latin music, I will dance. And the passion in the music covers me in the way of my enjoying.]

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: Mis pies me abrazan y me invocan; y mis maneras me envocan;

El Little Lily de Salsa es mi casa y mis damas ya me tocan. [My feet embrace me and invoke me; and my ways evoke me; The Little Lily of Salsa is my house and the ladies now touch me.]

Coro: El Lily seré, el Lily, el Lily, el Lily seré. El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: Este nombre significa mucho más que antes;

Me hace el día mucho más feliz y mucho más famoso que Cervantes.

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: El Little Lily tiene amore de ahí en adelante;

Esto es salsa y merengue que yo amo, y será costante.

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: A lo largo del sonido de música latina, voy a bailar,

Y la pasión en la música me cubre en la via de mi gozar.

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: Mis pies me abrazan y me invocan; y mis maneras me envocan;

El Little Lily de Salsa es mi casa y mis damas ya me tocan.

Coro: El Lily seré, el Lily, el Lily, el Lily seré.

Sonero: Mis pies me abrazan y me invocan...

[Note: This part where the tension tightens up in the lead singer and chorus is known as the "pregon" (outcry) section, focusing more on the lead singer and less on the chorus....You can learn that from Marc Anthony's salsa song called "Mi cantante", or "My Song".]

Coro: El Lily seré....

Sonero: Y mis maneras me envocan.

Coro: El Lily seré....

Sonero: El Little Lily de salsa es mi casa....

Coro: El Lily seré...

Sonero: Y mis damas y me tocan.

Coro: El Lily seré.

Sonero: Mis pies me abrazan y me invocan...

Coro: El Lily seré....

Sonero: Y mis maneras me envocan.

Coro: El Lily seré....

Sonero: El Little Lily de salsa es mi casa....

Coro: El Lily seré...

Sonero: Y mis damas y me tocan.

Coro: El Lily seré.