The Waltz is the oldest of the ballroom dances still danced today, and has evolved so much from its original form since its was first noticed at about the year 1780. 

HISTORY
     In those days, there had been contentions on how and where the dance originated. The French trace it back from the Volta, a turning dance in triple time which was introduced to Provence from Italy in the mid-1500s. However, the dance as described by the French priest Thoinot-Arbeau and Shakespeare utilized the method in which the man swung his partner round in the Volta which rendered an improper dance for the sophisticated courtiers. It just did not seem plausible that a somewhat indelicate dance would be acceptable to both Mary, Queen of Scots, and Queen Elizabeth.
     Most dance masters today believe that the Waltz actually originated from the Ländler people of Southern Germany. A leading English dance master from the King’s Theater, wrote in 1816: “Waltzing is a species of Dancing that owes its origin to the Germans, having been first introduced in Swabia, one of the nine circles of Germany; and from its introduction thence into the neighboring provinces, and afterwards, throughout the European Continent, its original manner of performance has been greatly improved, but with such considerable additions upon its primitive principles have been made to it, so as to render it the most fashionable and agreeable Species of Dancing.”
     In the late 18th century to the early years of the 19th century, the Waltz  was a set dance, executed to tunes in three-eight time. The couples were positioned in a circle; partners held one another by the hands only. The dance itself consisted of several different figures.
     By the year 1812, the modern hold was introduced where the man wrapped his arms around the lady’s back. After a brief period of protest from the more conservative members of society, the new technique was finally accepted when the Russian Emperor Alexander danced the ‘new’ Waltz in the highly exclusive assembly rooms.
     The Waltz continued to maintain its popularity even as new dances like the Polka, the Mazurka, and the Schottische made their appearance in the 1840s.
 The new type of dance -- the Boston -- appeared in 1902, was danced to fast waltz music and enabled the dancers to move at a more leisurely speed. It greatly differed from the Waltz, except that both dances were danced in triple time. Otherwise, they had little else in common.
     “The basic movements of the Boston were known as the Zigzag, the Turn (both Natural and Reverse) and the Crab, and there was something extraordinarily fascinating in doing them to a good swinging Waltz tune.”
     A well-known teacher of the day wrote: “It is to the melody one dances in the Boston, the steps and the movements are absolutely one with it, and that being so there is an independence of the exact attention to the beat required by the old Waltz.”
     The Boston faded and eventually died after a short yet meteoric career in 1914. Many agree that since the Boston needed too much space, it was almost impossible to dance it proper in the crowded floors of the then smart ballroom places.
     By then the Tango was flourishing with its countless steps. A combination of the Tango corté with the Boston gave rise to the ‘Tango Waltz’ and the beginnings of the ‘Hesitation Waltz’.
     The ‘Rotary Waltz’ with a Hesitation movement danced to slow tunes were still danced at the exclusive assemblies and clubs during the first World War, as ballrooms closed down.
     In December 1922, the modern Waltz, as it is danced by professional couples today, was born.
     The Waltz is considered one of the easiest dances to do, but a good execution of the dance requires a mastery of not only the most basic patterns.

BASIC MOVEMENT
     The basic Waltz movement is the ‘fall and rise’. On the first beat of every forward measure, the step is made with the heel first, rolling onto the ball of the foot. At the end of the beat, the body rises for step 2 by pressing the ball of the foot on the floor. The rise reaches its peak on step 3. Upon completion of the third beat, the body is lowered to normal position as the heel is lowered to carry the body weight. The other foot is then ready to step on the next beat.
     On the first beat of the backward measure, the toes touches the floor first and ‘melts’ to the heel. Again the body rises on beat 2, and reaches its peak on beat 3.  The rule is down on beat 1, two-thirds of the way up on beat 2, and all the way up on beat 3. This gives the semblance of the couple ‘floating’ as they dance. 

THE HOLD
     The Waltz dance starts off in the Closed Position .
     The back is held straight and tall, with the shoulders leaning slightly back of the center of balance. One partner ‘balances’ the other. Note that the shoulders do not do the leaning. Think into your solar plexus. 

RHTYHM AND COUNTING
     The Waltz is danced to 3/4 time music. Each step takes one beat of the music. The Modern Waltz, in the English or International style, is danced to slow waltz music of about 29-34 bars per minute. The American Waltz has a medium tempo of 35-43 bars per minute. Faster waltz is known as the Viennese Waltz danced to music of  44-64 bars.
     Waltz steps are evenly counted in threes, though each pattern of 3 steps to the left and 3 steps to the right are counted as “1 2 3 - 4 5 6”. In extended patterns with turns and changes, the counting is “1 2 3 - 4 5 6 - 7 8 9”. This manner of counting  makes it easier to remember which foot to use on each bar of music, and when to turn or change. 

BODY SWAY
     A body sway softens the look of the dance figures and  helps the dancer maintain good balance during the turns.

CONTRARY BODY MOVEMENT
    A Contrary Body Movement enables the amateur Waltz dancer to project  a professional look. In a rigodon or a cotillion where  several couples of dancers perform all at the same time, the use  of  the CBM will heighten the excitement of  the dance and ensure full audience attention. (Contrary Body Movement).