About Patricia Oplotnik’s Theory of Teaching Tap With Single Sounds
 

As a longtime teacher, I was dismayed by the confusion and arguments concerning tap terminology. Why? After more than a decade, the art of tap needed clarifications to avoid frustration by students world-wide. Why me?
 

I have been a teacher for more than 45 years and studied with as many Masters as possible. I have created world class tap champions and many successful tap dancers for stages and studios around the country. The secret is no secret. I loved the works of the amazing Steve Condos. I never got to meet the man. Nor did I get to directly benefit from his teaching. However, thanks to the Rudiments he left us, I was able to research why his sounds and works were so clean and fast. I always called the results of my research, Steve Condos’ “Single Sound Theory of Tap Dancing”. Throughout the years I have constantly tweaked the system to correctly reflect the now standard terminology of tap. The system works brilliantly and deflects student frustrations and moves the student much more quickly towards advanced tap work. Here’s a snapshot of what I have found:
 

Every tap step is constructed of single tap sounds pieced together with synergetic precision. Single sounds are the ABC’s of tap. Basics like flap ball change, cramp roll, shuffle ball change, Maxie Ford, etc. are the words which become the steps. The steps then become the paragraphs or phrases of tap dancing. These single sounds are consistent and have weight bearing options and strike zone requirements. For example: the spank must be a Middle C strike on the tap and requires a lift of the knee whereas a brush also requires a Middle C strike but is struck away from the body. Thus the shuffle consists of “brush” and “spank”. The knee is lifted so the student never over swings the sounds which can create slurring. Moreover, when the spank is weighted and followed by a step (another single sound), the pullback is created. When the same step is added to the brush, a flap is created. Note that a back slap uses a brush and dig or jab but the back flap, accurately called a spank step by the rhythm masters, is in reality a literal spank step. Why does it matter?

Knowing the single sounds allows the student to accomplish any step in tap consistently and cleanly. Teachers who profess that is doesn’t matter really don’t want to take the time to learn the proper terminology and its weight requirements. Can they still be successful? Absolutely! However, students can be advanced more quickly and are more likely to love tap when it is 100% consistent. And there really aren’t that many single sounds to learn. It simply is a new way to look at teaching tap and it works!
 

Have I opened possibilities for you as a tap teacher? I would love to pass my system on to young teachers everywhere! It has taken my lifetime to test the theories on actual students and future teachers and I have hundreds of testimonials shouting its success. Watch for more to come! Let’s put tap back at the top of desired curriculum for your school and help assure that this American gift is well cared for and preserved!!

Sincerely,

Patricia Oplotnik, aka: “Fast Pat”