modern waltz for a wedding ?

Question

My fiancé and I are not found of waltz but still would like to dance one at our wedding but we don't want anything like Strauss but rather a modern song that would have the tempo of a waltz.

And not too fast of course because we haven't practiced a lot :-)

thank you for any suggestion

Answer 1

I love the song 'Under the bridges of Paris' by Randy Spendlove. You can find many different versions of the song. It's also used in the movie soundtrack for 'Shall We Dance?'.

It's not too fast and I'm using it for Beginner's Ballroom. =))

Answer 2

Of course, apparently, I don't uhh, understand, the other answers.
Modern? What about:

If you like world music, klezmer, etc:
Ginkobiloba "De l'autre coté"
Klezroym "Ersther valse"
Rona Kenan & Gidi Gov "Ha'rikud Ha'muzar Shel Ha'lev"

What I call simple happy "French" walz:

Yann Tiersen "La valse d'Amélie"
Bariolage "Valse"
Bevano Est "Fandango" (after the 0:55 "intro")

More pop music like:

Cranberries "Will you remember"

And then, of course, if you like a party, all by the same German band "17 Hippies":
"Saint Behind The Glass"
"Marlene"
"Jolie blonde" (a Cajun style waltz)
"Time has left me, ma belle" (Lirics might be unsuitable for a wedding :-)
"Was bleibt" (funny in a dark way, but since the lirics are about the horrible degeneration of a relationship maybe not the best for a wedding ;-) a bit fast too if your not an experienced dancer...

Answer 3

thats cool i really like retro dancing with a new spin.

i dont have any ideas per say,

but you can google that. type of stuff,
are you having a DJ for the wedding? ask him/her

also maybe do the waltz for "your song" its classeir than
just hanging all over each other, ya know?

either way, good luck::)

Answer 4

Why not try Dana Glover - Its you I have loved.

Answer 5

try any of these:

ALEGRIAS: The Alegrias is one of the oldest of Spanish Gypsy dances and is often called the "Queen" of Flamenco dances. It is the purest and more refined of the repertoire. It suggests the movements of the bullfight and is usually danced by a woman alone.

ALLEMANDE: An 18th century dance. Also a figure used in our present day Barn dances.

APACHE: A dance created in Paris by the people of the underworld. It portrayed their uninhibited passions. The woman was flung about, kicked or embraced with equal fervor. This style was later imitated in Tangos or Waltzes.

ARGENTINIAN TANGO: Originated in the West Indies where it was danced only by the lowest classes. The name is from the African Tanganya. The dance found its way into Argentina and then to France and finally into the United States in a modified form about 1914. Latin American ballroom Tango is danced in 4/4 time. NOTE: See also Continental Tango, English Tango, and Tango.

ARKANSAS TRAVELER: An old time Barn dance depicting a salesman of tin ware who came from Arkansas.

BAION: A type of slow Samba rhythm from Brazil that became popular in North America during the 50's.

BALBOA: A form of Swing popularized during the 50's in California.

BAMBA: An old Mexican air from the province of Vera Cruz, Mexico, to which a charming folk dance depicts two lovers who throwing a narrow sash on the floor manage to tie it into a knot with their dancing feet.

BAMBUCA: The national dance of Colombia, South America. It is characterized by cross accents in the music. It was formerly danced only by the natives but became a ballroom dance to be added to the gentle Pasillo, a favourite with Colombian society.

BARN DANCES: Barn dances are the product of our colonial ancestors who recreated them from England's Country Dances. They were performed in halls and barns as get-togethers among America's first social gatherings.

BATUQUE: Afro-Brazilian jam sessions. In the Batuque the dancers form a circle around one performer. This solo dancer chooses his successor for the exhibition spot while shouting the word "Sama."

BEGUINE: A type of Rumba in which the accent is on the second eighth note of the first beat. Origins spring from Martinique and Cuba.

BIG APPLE: This dance originated in a church in South Carolina which had been turned into a black nightclub called the "Big Apple." Mr. Arthur Murray did the choreography as we know it. The dance includes all the earlier Swing steps and requires a caller. The caller shouts "Shine" and asks for one of the swing steps. A single couple steps into the centre and takes the initiative by performing an exhibition of that popular step. This dance was very popular in the 1930's.

BLACK BOTTOM: Created in New York, circa 1926. This dance succeeded the Charleston. It may have originally come from New Orleans as did jazz music. The stomping steps, the knee sway and the shuffling are definitely African American in origin. It was the black solo or couple dance about 1925.

BOLERO: Originally a Spanish dance in 3/4 time, it was changed in Cuba initially into 2/4 time then eventually into 4/4. It is now present as a very slow type of Rumba rhythm. The music is frequently arranged with Spanish vocals and a subtle percussion effect, usually implemented with Conga or Bongos.

BOLERO SON: Just what the name implies. It starts as a Bolero and finished as a Son. The Son is faster, with sharper percussion and is less subtle than the Bolero.

BOOGIE WOOGIE: African American jazz dance. The knees are held close together and the hips sway from side-to-side as the dancer travels forward. This figure is now seen in a variety of rhythm dances including Mambo, Cha Cha and Swing.

BOOMPS-A-DAISY: A dance similar to the Lambeth Walk. The dancers bump hips at regular intervals. It is performed in Waltz time to one special tune. 1940.

BOSTON JIVE: This is a form of Swing similar to basic Lindy but with kicks added.



BOSSA NOVA: The music was born of a marriage of Brazilian rhythms and American Jazz. The dance, which is said to have originated at Carnegie Hall in 1961, is based on the slower, more subtle Salon Samba and features either type of Clave Beat or a Jazz Samba in 4/4 time.

BOTECITA: The "Little Boat." It is Cuban dancing with a very exaggerated swaying of the shoulders.

BULERIAS: A Spanish Gypsy dance. Livelier and more spirited than most of the repertoire. It's usually danced by a whole group and could be called a Flamenco jam-session.

BUNNY HOP: This dance resembles the Conga line but has three jumps instead of a kick at the end of the phrase. The music is Ray Anthony. 1953.

CAKE WALK: The Cake Walk is said to have originated in Florida about 1880. The style of walking was practiced by the African Americans as an art. The dignity of the promenade was rewarded by a prize, usually a cake. The winner cut the cake and shared it with the others.

CALUPSO: The music of the typical ballads in England sung by the natives of Trinidad. There was no real dance but because of the extreme popularity of the music, in 1956, possibly due to the singer Harry Bellafonte, many steps were created. Most of them resemble the Cuban Bolero or the Martinique Beguine or even Swing.

CAN CAN: In Paris about 1890 a dance caused quite a stir. It was the Can Can. Women kicked their black silk stocking legs high into the air - a most daring feat for the time. The Can Can may have been an off-shoot of the Polka or even the Quadrille, or both. Today it is a music hall routine danced only by women.

CARIOCA: A native of Rio de Janeiro. Also the abbreviation of the Brazilian dance, the Samba Carioca. At the Carioca Carnival, from the moment the music starts until it dies off, people get together in cordoes (chains or cues). Holding hands in this fashion they sing and sway their bodies to the Samba-Carioca and the Marchas.

CAROLINA SHAG: A very popular Swing style from Virginia down through the Carolinas into areas of Georgia. Most often danced to "Beach Music" performed by such groups as the Tams, The Embers, The Drifters and a wide range of "Motown" recording artists. The dance showcases the man and resembles West Coast Swing with the same slot movement, shuffles, coaster steps and pronounced lean resulting in role of the partner movement. The music tempo is slow to medium and can be danced comfortably by all ages.

CASTLE WALK: The Castle Walk was first greeted and demonstrated at the Cafe de Paris in France by Irene & Vernon Castle in 1913 and introduced to New York society by then in 1914. The dance was characterized by a series of walking steps on the toes, executed with an elegant type of swagger - frequently punctuated with a light hop in attitude at an appropriate point in the musical phase.

CHA CHA: From the less inhibited night clubs and dance halls the Mambo underwent subtle changes. It was triple mambo, and then peculiar scraping and shuffling sounds during the "tripling" produced the imitative sound of Cha Cha Cha. This then became a dance in itself. Mambo or triple Mambo or Cha Cha as it is now called, is but an advanced stage in interpretive social dancing born of the fusion of progressive American and Latin music.

CHIPANECAS: A Mexican Folk dance from the province of Chiapas. Its popularity is due to the charming air plus the audience participation during the time the dancers request the audience to clap hands with them. It is in 3/4 time and based on Spanish patterns.

CHARLESTON: Originated in the early 20's in illegal drinking places during the time of prohibition. The combination of a particular type of jazz music and the highly polished, slippery floors of the Speakeasies gave rise to an in and out flicking of the feet which essentially characterized the dance. It was theatricized and embellished with typical vaudeville moves in a Ziegfield Follies production in 1921. It has since been featured in many films and theater productions, its most platant revival being its utilization within the Broadway musical "The Boy Friend."

CLOGGING: A freestyle dance style originating in the Blue Ridge Mountains characterized by double time stomping and tap steps resembling a tap dance with the upper body held straight and upright.

COMPARSA: Afro-Cuban dance play.

CONGA: An African-Cuban dance characterized by the extreme violence of accents on the strong beats in 2/4 time. The Conga beat thus used has a rhythmic anticipation of the second beat in every other measure. The Conga was very popular in the late thirties. It was performed in a formation known as the Conga chain. The steps are simple, one, two, and three, kick at which time the partners move away from each other.


CONTINENTAL OR INTERNATIONAL TANGO: A refined, technical version of the Argentine Tango. It is probably the most demanding of all smooth dances to execute. It calls for perfect control, phrasing and musicianship. The subtle movements, changes of weight and the design of the steps are never stilted but follow the melodic phrasing and are created anew with each new piece.

CONTRE DANSE: A French square dance in double time, introduced into the court about 1600. Forerunner of the Country Dance.

CORRIDOS: The musical ballads called the Corridos play a very important part in Latin American musical life. The words are often topical and relate to political events. It has been suggested that the word Corrido is derived from the word correr, to run, because the singer has to run for his life when caught in the process of reciting a subversive ditty. Corridos are particularly popular in Mexico.

COTTON-EYED-JOE: A Country & Western dance enjoyed throughout the United States and elsewhere for its enthusiastic music and energetic movements. Characteristic movements include kicks, stomps, shuffles, and turns in place or traveling around the room. The man and the lady generally begin in shadow position with the left foot and they use the same foot on the same beat of music throughout their patterns.

COUNTRY DANCE: English Folk dances as opposed to the court dances of bygone times. During the Colonial days of America these Country dances became our present day square dance, jig reels, as well as our Virginia reel, Arkansas Traveller and Paul Jones.

COUNTRY WESTERN TWO-STEP: The Two-Step originated in the 1800's by people who arrived here from Europe. It was an offspring of the minuet and they danced it as QQSS. In the old Western days when women were not allowed to dance with men, men danced together and that is the reason for the hard on the shoulder holding a can of beer and the other hand to the side. The only women who eventually danced with these men were Indian Squaws and that is where all the turns came about, because Indian women loved to spin. Two-step is a Western dance whose popularity has spread all over the United States.

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