Huck Kennedy: "You will be seriously handicapped unless you always know
exactly which note, phrase, etc. is coming next in the song."
You are "seriously handicapped", if you can not dance tango ( musically ! )
to an unfamiliar song !
However, your advice about the CDs is excellent. Frankly, I do
This morning (Wed), Lydia Henson goes under the knife on knee one.
I gather what she will endure is painful to recover from ... but it is to
fix what has been SO painful for a long time. And that being taken care
of, there will be the other knee next.!
Those of us who have been in her little
It's a unique opportunity for the public to enter the Congress building and
enjoy tango in the enormous hall under the dome for Dia del Tango. This
year's theme was a tribute to milongueros.
I was in line for the 7:00pm event one hour early with ten people ahead of
me. The line was a block long
Igor Polk writes:
> Huck Kennedy: "You will be seriously handicapped unless
> you always know exactly which note, phrase, etc. is coming
> next in the song."
>
> You are "seriously handicapped", if you can not dance
> tango ( musically ! ) to an unfamiliar song !
Reading is fundamental. I d
To Huck, who wrote:
"..you can't dance the song nearly as musically as you could if you did
know the music intimately."
No. I belive a musical piece has enough hints what is going on. Which are
obvious for the trained ear.
- First of all the next bar is similar to the previous. You will get the
fe
Igor Polk writes:
> Because they are slow: you have plenty of time to
> react and to interpret. IF YOU KNOW HOW !
"If you know how." Cute. :-) This totally
misses the point I was making, that no matter how
well one can process and react to unfamiliar music
(which means yes, you do know how,
Janis,
At the page you advised at the end:
www.totango.net/milongueros.html
you said: "A milonguero is a self-taught dancer who developed his own
personal style of tango. He can dance well with any woman, elegantly and
creatively".
I like that !
Igor Polk
_
mu·si·cal·i·ty
1. The quality or condition of being musical.
2. Musical sensitivity or talent.
I suppose through listening to a lot of Tango one would pick up on the
predictably of it and apply that to new Tangos.
I agree that one would dance better if you knew the song or have the aptitu
Rose, this is one of the things that could happen, not only in Salon Canning.
The eye contact for dancing is not a general guideline, men could tap you in
the shoulder from behind, or rather come in front of you and invited to dance.
If you like mysteries, I hope you have noticed there is a tree
Huck wrote:
> don't waste your money on so-called "musicality classes."
Indeed. Musicality classes are about as much use as gorgeousicality classes or
tallicality classes ;)
If you have even a modicum of feeling for the music, you're disqualified as a
musicality class student.
And as a musica
Krasimir wrote
> Same thing with the author of this book - he knows practically nothing of
> AT walking. But writes a book and wants people to pay for it.
I guess you're referring to http://www.apassionfortango.com/site/walk.asp etc.?
As one who lives near this tango community, "Market Harborou
1)In the tango, the man keeps the woman guessing, but
the music keeps the man guessing. There is no fun in
dancing day in day out to the same music: this
eventually leads to choreography, the opposite of
tango, which is based on improvisation. Anybody who
insists that the dancers dance better if th
Huck,
"If you know how" is not "cute".
It is serious!
To know dozens of ways to interpret unfamiliar melody and rhythm pattern in
your body and infuse it in your partner so that it feels totally in unison
with unfamiliar music is a very serious skill. Art, I would say.
Fortunately, none of these w
Some people can stare at a painting for 10 years and not get it.
Others only need 5 seconds. I hope you get this.
BA
On 12/5/07, Igor Polk <[EMAIL PROTECTED]> wrote:
> To Huck, who wrote:
> "..you can't dance the song nearly as musically as you could if you did
> know the music intimately."
>
> N
To Huck, Igor, Chris, Bruno, Andy and others,
I strongly underline Igor's "A musical piece has enough hints what is
going on" and I love Andy's ideal milonga with only unknown music. I
disagree completely with Huck's "We want to know precisely everything
that is coming, so we can dance with as
Random comments about recent thread on musicality:
Like many, I have taken several "musicality" classes. I have not found them as
totally worthless as some have posted. I agree an individual's amount of
musicality in dancing is limited by the musicality they hear, which is like an
innate skill,
[EMAIL PROTECTED] wrote:
...
<>
I will make a guess that you were in Salon Canning on a Tuesday night
when there are many foreigners. You were seated with your friend. In a
traditional milonga, that means you are going to dance only with him.
<>
He left you alone, unguarded. Foreign m
Huck Kennedy wrote in part:
For those of you of a certain age in countries
where the Beatles were hugely popular, do you remember
how so many people growing up at the time knew every
single one of their songs intimately, so much so that the
music was practically running through our veins?
...
Well
Musicality is essential, yet most of us learn it in a random,
intuitive process over time. It works, but it shouldn't be left to
chance. I am one who feels that musicality can be taught if the
teacher strategizes the learning sequence.
I would argue that EVERY class in tango should teach
hi Koos,
For the sake of mis-using my words (not your fault, I was ambiguous by
choice) I actually have to say don't agree that much with Igor's post
and I found offensive the way he replied. I honestly believe we must
have very different notions of what musicality and fully immersing
oneself into
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