Been seeing questions like this pop up in various dance subs and realized I actually don't have a guide on it here so here we go.
How to connect to the music more. Bachata Musicality. Coming up with your own combos. I think all of it is related.
Match the energy
To start, I think basic musicality revolves around the energy (texture) of the song and the section you're dancing to. Match the vibe. Slow, intimate, sensual part (usually the intro or bridge)? Your moves should match that essence. Sensual moves, of course, fit well here. But it isn't only sensual that works here.
The key is timing, rhythm, and "shape".
- Dancing to the core beats (1, 3, 5, 7)
- Extending moves to take up the entire phrase (a full 8-count)
- Continuous movement rather than noticeable breaks in between (ex: wave vs body roll + reverse)
- Preferring "smooth" movements over "sharp" ones (think chest circles vs chest pops)
- Close position (some of you will know it as semi-closed or social position but I'm actually referring to both closed positions here) plays to the vibe here as well
Verses are actually very similar energy/vibe wise to the sensual parts of songs so many of the same ideas work. If we put the sections on an energy scale, the intro would be a 1 and the verse would be a 2. Personally, during sensual parts I like to stay on the spot as much as possible, while adding a bit of movement (travel) during verses but that isn't a rule you need to follow.
The chorus is where the song comes alive. If the intro and verse both ask for low energy and smooth movements, the chorus is begging for you to come alive. In my opinion, most of the stuff you learn in class (and see in demos) belongs here. The crazy turn patterns, the BachaZouk stuff, etc.
- Dancing basic rhythm and adding syncopations (1, 2, 3, 4, etc or 1&2&3&4&, etc or any combination of those)
- Sharp movements (chest pops, body isolations, majao hips)
- Turn patterns (Bachata Moderna, BachaZouk)
- Playful movements (Double prep turn/turn on 3, rotating hip rolls)
Sensual movements can also be done in this section. Just "change the energy". In other words, more blocks, redirections, and noticeable separations between moves (i.e. make the movements sharper)
And then we have the instrumental section. The highest energy section of the song. To many people, this is the section for footwork and/or more Traditional Bachata movements in songs that are otherwise heavily influenced by pop and r&b music. And frankly, it makes sense if you think about it. Your feet are the only things that come close to keeping up with the rhythms being played in this section.
However, there are also many people who choose to do body isolations during this section. In my opinion, this is an advanced skill as matching the high energy of the section with body isolations means doing them fast which means having excellent body control (and a connection to your partner) to be able to do them small compact enough to even be capable of doing them at that speed.
Match the rhythm
Next, we have dancing to the instruments and vocals. This one is conceptually simple. Hear something, match its rhythm. The best example is the bass. It often plays 1, &3, 4. Slow... quick, quick, slow. Or we can take the guira or bongos during the chorus as an example. The rhythm they both play (called the majao) is the basic rhythm: 1, 2, 3, 4.
The concept applies to any instrument and vocals though. If there's a rhythm you can match, do it. And it also brings us to another concept: contrast.
If you were to match the rhythm played by the guira during the verse (this rhythm is called derecho; eighth notes or 1&2&3&4&) you would actually be contrasting the energy of that section. This is neither a good nor bad thing. Its simply a choice you can make. You, as a dancer, are another instrument. Sometimes, you may want to blend in with the other instruments. Sometimes you may want to stand out.
Another example of this is during a pause/break in the song. Matching the rhythm (or rather the absence of one) is this case means doing nothing. Stillness. Contrast would mean doing something opposing like a double spin.
And, yet again, that brings us to another concept: complementing. Technically, we can say any movement at all would contrast with a break in the song. However, if we think of it as a spectrum, contrast sits on the far end. Complementing (something like a head roll during this break; smooth and connected and yet not stillness) would sit somewhere in the middle.
And going even further, we can say we are always doing multiple things. Ex: matching the rhythm and contrasting the energy.
Going back, I want to bring special attention to the vocals for a second, because I think they get overlooked. Using one of my favorite songs as an example (Morena by Roman), part of the chorus goes, "Mo-mo. Mo-re-na". We can match this (or any other lyric) rhythm just like any other instrument. Body isolations are your friend here.
How to actually practice this
Probably the most important part of all of this. How do you actually practice this and get better? "Just listen to a lot of music" Put on your favorite song at home and just listen to it start to finish the first time. Don't dance. Don't do other things while you listen. Actively listen to it and notice what sticks out to you. Does it sound sad? Happy? Does it feel energetic? Is an instrument doing something cool? Was there a break you never noticed before dancing to it?
Next, you're going to dance to it. Restart it. Pick one thing, one part, something. Anything. That could be the intro. That could be an 8-count leading up to a break. That could be a part where the guitar or vocals really stand out to you. And now, you're going to experiment. Match, complement, or contrast it. Matching is going to be easiest and probably where you want to start. Try one movement and see if you like it there. Then replay this part again and try something else. A different movement. And then pick a different part of the song. And experiment with it the same way.
The goal is never to memorize the song or inadvertently create a choreography for it. Music is not random. Breaks happen in many songs (and they usually aren't random either; there's almost always a tell that one is coming). Every song has sections. Every song will use, if not the exact same rhythms at some point, very similar rhythms. Every song has a "theme".
You dance to one specific portion of the song and experiment with it to build sound association, creativity, and drill movements into your muscle memory.
You can do all of this with YouTube or Spotify or Apple Music or whatever you use, of course, and it will work fine. If you want something made specifically for dancers to dive deeper into music and practice efficiently and effectively, my brainchild Show Me the Counts (SMTC) is also available.