Here and there also, a dance or a few dance melodies in triple meter have been found that may or may not be remnants of dances that the polska could have swallowed up.

In the prevalent 3 / 4 time form, polska dances were most common in Norway, Sweden and Swedish-speaking Finland, but with versions seen in Finnish-speaking Finland and in Denmark.

Rhythms can also become asymmetrical, as for example, the early two seen in polska dances from western Dalarna danced in Älvdalen and Transtrand or the late third in the south of Dalarna.

The dance traditions show strong cross-border influences with many dances that combine phrase-matching sequences of elaborated promenading, bakmes ( slower counterclockwise turning ) and polska ( faster clockwise turning ) that are similar to those seen with Norwegian pols.

In Swedish folk music, the quaver or eight-note polska has a similar rhythm to the mazurka, and the two dances have a common origin.

The polonaise had a rhythm quite close to that of the Swedish semiquaver or sixteenth-note polska, and the two dances have a common origin.

Common dances in the pelimanni traditions include the polska, polka, mazurka, schottische, quadrille, waltz, and minuet.

Both in midwest and north Sweden there are examples of dances which can both be danced as a slower " polska " and as a faster " slängpolska " with retention of the basic steps.

* Poland: kielbasa krakowska ( Kraków-style ), toruńska ( Toruń ), żywiecka ( Żywiec ), bydgoska ( Bydgoszcz ), krotoszyńska ( Krotoszyn ), podwawelska ( literally: " from under Wawel "), zielonogórska ( Zielona Góra ), rzeszowska ( Rzeszów ), śląska ( Silesia ), swojska, wiejska, jałowcowa, zwyczajna, polska, krajańska, szynkowa, parówkowa, ..

For example, all three styles of polska music form the historical traditions of Jämtland ; sixteenth note polskas can also be found in virtually all areas of Sweden ; and the placement of the second beat can be controversial even among fiddlers from the same community.

* Hambo-3 / 4-beat " national dance of Sweden ", derived from the polska tradition

They focused on instrumental polska music, with vocals and influences from other traditional genres becoming more prominent since the 1990s.

* Jan Zygmunt Jakubowski, ed., Literatura polska od średniowiecza do pozytywizmu ( Polish Literature from the Middle Ages to Positivism ), Warsaw, Państwowe Wydawnictwo Naukowe, 1979, ISBN 83-01-00201-8.

* Jan Zygmunt Jakubowski, ed., Literatura polska od średniowiecza do pozytywizmu ( Polish Literature from the Middle Ages to Positivism ), Warsaw, Państwowe Wydawnictwo Naukowe, 1979.

As suggested by the name, the roots of the polska are often traced back to the influence of the Polish court throughout the northern countries during the early 17th century.

There is an extensive traditional repertoire of fiddle tunes, in forms such as the 3 / 4 polska and the 4 / 4 gånglåt.

The polska is almost always seen as a partner dance in, although variants in 2 / 4 time and for two or more couples exist.

The polska is a family of music and dance forms shared by the Nordic countries: called polsk in Denmark, polska in Sweden and Finland and by several names in Norway in different regions and / or for different variants-including pols, rundom, springleik, and springar.

The parts played in 3 / 4 were the ones evolving to the modern polska.

* polska 3 / 4-beat Nordic folk dance

* Pirun Polska / Devil's polska, 1992

The first type is for two or four people, and is one of the sixteenth-note versions of the polska.

It should not be confused with the polska, a Swedish dance with Polish roots ( cf.

In Scandinavian folk dance ( e. g. the polska, pols, and hambo ) there are variations on shoulder-waist position in which the leader's left hand is on the follower's shoulder, upper arm, or elbow, and in the latter case the follower's right arm is outstretched with the hand just above the leader's sharply bent elbow.

The lavolta is more similar to the polska, though there again the differences remain large.

The most that might reasonably be assumed is that the development of either the waltz or the polska might have been influenced in some way by the lavolta.

In these, the dance starts with a large set of dancers dancing a slower formal section and ends with couples or foursomes dancing a faster, more energetic polska section.

* The semiquaver or sixteenth-note polska, typically played and danced in a smooth character and even rhythm.

* The quaver or eighth-note polska.

* The tuplet polska.

This dance style is also seen with eighth note polska in the border areas.

A typical tune in the Swedish polska tradition shows a common structure, with two related eight-measure phrases, each repeated ( a total of 32 bars constituting a single complete rendition of the tune ) and the whole structure repeated two or more times.

However, there are longer tunes ( a storpolska or big polska has three or occasionally even four phrases ) and there exist many tunes with odd numbers of measures per phrase and phrases that vary in length between parts.

* Swedish dance videos, including but not limited to polska.

Sunday afternoons and weekday nights ( especially Tuesday and Wednesday ) are common times for sessions to be scheduled, on the theory that these are the least likely times for dances and concerts to be held, and therefore the times that professional musicians will be most able to show.

It is likely that the women performing these dances did not do so in an indigenous context, but rather, responded to the commercial climate for this type of entertainment.

The typical folk song heard at Obon festival dances will most likely be an ondo.

Tchaikovsky likely had some form of instruction in composing Swan Lake, as he had to know what sort of dances would be required.

the Ensemble Georgika was formed in Tbilisi in 1989, the thirteen members of Ensemble Georgika, likely the first group of their kind to exist without government funding or support, grew up among a variety of Georgian folk music and ritual dances.

Music for neither of these dances is extant, and it seems likely that Purcell did not compose them, but rather left them to be improvised by the guitarist.

Due to the nature of the dances they are much easier to pick up by beginners than, say, Latin dances ( which have numerous types of steps that are combined into custom routines ) and as such, beginner dancers are less likely to feel overwhelmed when learning them and can perform the dances to a respectable level within a short time of learning.

It is likely that the women performing these dances did not do so in an indigenous context, but rather, responded to the commercial climate for this type of entertainment.

While the lead role was retained by male performers, structural elements began to be added in, such as circle forms and pairs moving together in formation ; these developments most likely were derived from the choreographic history of ritual dances in the area.

Among the dances Burgundy has produced is the elegant, energetic basse danse and the bransle which was associated with the lower-classes in the Middle Ages while the upper-class likely danced pavanes and galliards.