This sounds right to me. I've danced 1 my whole life and just looking at 2 doesn't translate well for me or my culture. It's like backwards.

123 - 567 = a tiempo 234 - 678 = contratiempo Es verdad que se baila el Son en contratiempo. ¡Pero no todos los bailes en contratiempo son automáticamente bailes del Son! It's true that the Son is danced in contratiempo timing. But not all dances that are danced on contratiempo timing are automatically Son dances.

@@mynameisray6174 1,3,5,7- tiempo.... 2,4,6,8 - contratiempo <3

@@alexsirko7881 we agree on that. My post about the sequences 123-567 and 234 - 567 referred the dance steps and timing when dancing a tiempo and contra tiempo respectively. But, for instance, one could even dance a tiempo with a 345 - 781 sequence (which I regularly do).

Pierre Troussard merci Pierre !

with on2 music the lady steps forward first

tienes razón, yo no sé bailar on2 pero prefiero aprender mambo que Eddie T style

Actually, it seems that the NY2 step which Eddie Torres teaches may have been based on a modified version of the "Power 2" stepping pattern which was used by some Classic Mambo dancers at New York's Palladium ballroom. Power 2 used "contratiempo" timing (or [2],3,4 - [6],7,8). ("Break" steps are in indicated using brackets). In this timing, the dancer takes his or her "break" step on either beat 2 or beat 6 and then returns that foot back to the center on either beat 4 or beat 8. In the modified version of this Power 2 step, the dancer apparently delayed the 4 and the 8 by half a beat (thereby stepping on,[2]3,4.5 - [6],7,8.5). It seems that Eddie Torres initially tried to teach that step, but simplified the counting of it (perhaps to make it easier to understand). And, after changing the sequence of the steps, instead of saying (8.5,[2], 3 - 4.5,[6], 7) , he simplified to 1,[2],3 - 5,[6],7 (which may have been easier than calling out an eighth note like 4.5 or 8.5). This may be why he is counting "1,[2],3 - 5,[6],7" in his famous video "Eddie Torres teaches Salsa Nightclub Style", yet he seems to actually be stepping on "8.5,[2],3 - 4.5,[6],7". However, this Eddie Torres NY2 step is not quite dancing "a tiempo" or on 1 because the break step is an important part of the timing that the dancer is using, and those break steps are on "contratiempo" timing, even though the other steps are on "a tiempo" timing. Please check out this video for an explanation: kzbin.info/www/bejne/rH7ZhnuIl6ZoitE

NY " on2 " (I ussually called NY to differentiate it from LAstyle) dancers steps on the tiempo of the music, which is the 1 and the 5 the strongest beat of the music and it goes with the piano in almost all instances. Power on2 dancers, step on the contratiempo of the music, the which is the 2 and 6, which is also a softer beat with the congas notice that LA style dancers, as well as NY style dancers step on the 2. As a note, some Palladium dancers danced on1, some on power on2, some off beat, and some even did not know on what tempo they were dancing, The brake on 2 is irrelevant. You probably think when you dance NY style that you are dancing on2 but in reality, you still dancing on1. NY style was invented by Eddie Torres, no question about that. . Now if you step on the 234, 678 then you are really dancing on 2. Breaking on2, is not the same as dancing on 2.

@@Bleyluige You are correct. Palladium dancers apparently used different timings. Some took the break step on 1, on 2, on 3, or even on 4. But reportedly, the elite dancers used on 2 "contratiempo" timing. It's also true that simply breaking on 2 is not the same as dancing "contratiempo". I personally prefer "contratiempo". And while the Eddie Torres NY2 isn't exactly the same as "contratiempo", I have to admit that the Eddie Torres style is not exactly dancing "On1" either because the "break" steps are not using "on 1" timing (even though it can be like using beat 1 in order to find beat 2). Please allow me to explain. The Salsa basic stepping pattern is commonly called either "On1" or "On2" to indicate the timing being used. That alone suggests that the "break" step is an important step since people characterize the entire timing of the stepping pattern by it. So, many people realize that there is at least some significance to the "break" step. But whether others realize that or not, there is a rhythmic basis for including the "break" step in the timing being used. And while the break step alone isn't the only step in the pattern, it is not irrelevant to the timing. It actually sets the foundation for the timing being used. That break step is one of the "dominant" steps that indicate what timing is being used. By "dominant steps", I mean the leg that moves the most (or the "break step" and then the step where you return that same foot to the center). This "dominant foot" is what others can see which indicates the timing you are on. (The other steps are more transitional in nature and not relevant to the timing being used like the more pronounced and noticeable "dominant steps" are. So even though "0n1" dancers step on 2 and 6, the foot which they are using to step on those beats is taking more of a supportive, transitional step (kind of a step-in-place) that doesn't indicate the timing. Power 2 dancers also step on 3 and 7, but those beats aren't relevant to the On2 "contratiempo" timing). In order for the Eddie Torres NY2 to truly be using "On1" timing, the "break" steps should correspond to one of the "a tiempo" or "core beats" such as 1,3,5, or 7. In other words, the 'break" steps should be on board with the timing of the other "dominant foot" steps. However, that is not the case with NY2. The problem is that all the steps of the pattern use "a tiempo" timing except for the "break" steps which use "contratiempo" timing. However, that doesn't mean that the NY2 is actually "contratiempo". The problem with this step is that it is actually using 2 different timings in one footwork pattern. So, please don't think that I am trying to say that the NY2 step is actually dancing "On2". It's not. I'm pointing out that it's not completely dancing "on1" either. It is a mix of the two timings. Perhaps it was intended as a modified version of "contratiempo". I can't speak for Eddie Torres' intention. You'd have to ask him. But, if danced literally as written, it is a mix of the two timings. Part of the footwork is "contratiempo" (On2), the other part of it is "a tiempo" (On1). This may be why it can sometimes look "off" and rhythmically disorganized to some. Personally, I prefer more of a contratiempo step that is more in harmony with the conga tumbao rhythm (like what Joel Dominguez and others teach) or even a "syncopated 2" step (where the dancer steps on 4.5 instead of 4 and 8.5 instead of 8).

Nikita M there is no big difference on the footwork. The difference is about when the weight is being redirected ! Salsa on 1 , the weight is being redirected on 1 The leader starts forward. Salsa 2: the weight is being redirect on 2 ! The leader starts backward . I hope that helps! ;-)

niki on1 folks do on2 all the time too, they just don't realize it, like in cross body lead for example the lady is invited to come forward and to pass the lead, well on2 is just that, a way to facilitate cross body lead, by inviting/drawing in the follower on the very first start of the move.

1 is..

Right turn salsa on2 timing I learned to start turning on count 2

Yes for salsa on 2 , as a leader, you would start your rotation as you step forward on 6 on your left foot for a right turn. ( since the leader starts backward on 1) For the follower right turn starts on 2 as she steps forward on her left foot.

Good point about cha-cha breaking on 2. I actually learned cha-cha breaking on 1 -- my teacher thought (and I agree) it matches modern music better because the big hit will be on 1. In fact, for almost all dance styles, having the emphasis on 1 seems to fit modern music better.

@@ftobin what is modern music, you mean pop song?

@@youtuub Includes but not exclusive to pop: easy examples are anything in the Dance/Trance and related spaces.

@@ftobin can you give examples of big hits that are on1?

@@youtuub Cry For You by September, a whole bunch after the first minute kzbin.info/www/bejne/jp_Vg4mXYsihaKs or Partysaurus Overflow kzbin.info/www/bejne/rGfGgqOXYsaDraM again after the first minute. Almost anything upbeat by Lady Gaga (Born this Way, Just Dance, etc). You can see it most prevalent in pop or EDM music after the first verse as the chorus hits, usually around the 1-minute mark.

Yes Ricardo !! Thank you for that ! Happy New Year to you with lots of dancing:-)

HelloDiego Hello Diego 234 678 is called Mambo when 123 - 567 changing direction on 2 ( or breaking on 2) is called New York Style Salsa or Salsa on 2 :-)

234-678 is mambo, not Salsa on2.

Salsa on-2 should be danced to the instrumentation, specifically the clave and the tumbao. Stepping back into your center would then be on the second part of the tumbao, so normally between the 4 and the 5, and between the 8 and the 1. This is hard. Because it's hard, it's often taught by the numbers instead. Some schools teach 234 678, when you return to the centre on 4 and 8. Some schools teach 235 671, where you return to the centre on 5 and 1. Some schools teach 'quick quick slow' 234 678 is easiest, and fits the music better, because you're still stepping back to the tumbao, but it's the same rhythm as on-1 and so you're losing that beautiful 'quick, quick, slow' feel where you're gliding through the slow, 'return to centre' step. 235 671 has that slow, gliding feel and it still feels good musically - the one is an important beat, especially for newer songs due to the prevalence of on-1, but it's missing the tumbao which is heartbeat of salsa songs. This is why some teach 'quick quick slow', with the break at 2 and 6, but ignoring the other numbers. This... kinda works, but can lead to misunderstanding where people don't know where to step. Ultimately, we all want to dance connecting to the music as much as possible, as there's no quick solution. All you can do is listen to the song, and step on the beats that call to you and that your partner can feel. I will dance on-2 with all of the above, depending on the tempo, the instruments and my follower. As for the names, I've heard lots of terminology used (and misused) by experts (and 'experts') so I don't worry about whether people want to call it New York Style, or Mambo, or just On-2.

@@cmeast from my observation, mambo is on2 way of dancing with on1 music , )

Erick BP yes, correct! You never close in the middle. The same for salsa on1. When you explain that for beginners, they tend to stop in the middle, rather to pause but still moving to next stop. They end up dancing like robots. Teachers think it is easier to teach like this, but you not doing them a favor showing something nobody does while dancing.

Beginners are often taught to step to the middle, and then when they have that down, they are taught to step past the other foot.

I like to teach feet together and then explain to my student that it depends on how much space they have to dance. You can travel the basic or keep it more on the spot depending on how much space you have. It is important to know both , and be able to adapt to your social environment. And you need to start somewhere when you teach someone novice :-) Happy New Year !

so on-2, basically you 'rock-step' on 3 and not 1, you travel on your 1 and 2. This was the way I was taught salsa on-2.

OnTwoFan yes, she omitted that information too. There are different ways to dance on2.

When you start forward on 2 as a leader it is called Mambo . There is many ways Salsa is being danced ( Columbian salsa, Portorican salsa , Cuban salsa , Mambo, salsa on 1 , on 2 ....) :-)

@@sophiedancesport Colombians and Puertoricans are coming for you once they see this comment 🤣