Sergio
I agree with you. I was also taught the main reason for standing and
talking for a few seconds before the dancing starts is for the man to listen
to
the music and "mark the beat" to determine how he's going to dance that
song.
David
In a message dated 1/16/2010 2:31:22 A.M. Pacifi
"Not to argue, Sergio, but more interesting to me than nuevo, nuevo, nuevo."
John said.
I fail to see what "Nuevo" has to do with anything I said.
"Amenabar lives and works in Buenos Aires too Sergio," John Said.
Amenabar is primarily a musician and a bandoneon player, who also dances
> I find this music interesting
It's "Milonga para una armonica" played by Hugo Díaz.
> any info. on where I might find more of the same??
That track is on the album "Hugo Díaz en Buenos Aires" which is AFAICT now
out of print, but similar stuff is available on "Tangos"
http://www.tango.in
I find this music interestingany info. on where I might find more of the
same??
The dance seems to fit it also...I was wondering, do you thing a close embrace
demo could work with this or is it strictly Chi Chi?
http://www.youtube.com/watch?v=tYI37RvN2oc
On Fri, 2 May 2008 19:06:11 +, you wrote:
>
>People dance from their environment. Besides our obvious cultural disadvantage
>we simply don't set up the situational environment or the collective conscious
>mental state that produces this kind of dancing.
>
>We need smaller more crowded floors
> We need to give followers the ability to say no to leads who don't feel
> good.
The ability to say no to guys is something girls start out with. So
perhaps you should consider what it is about your method that has taken it
away from them, rather than looking to invent a method to restore it.
Thanks for an enlightening post Heather.
Makes me feel that I'm not the only one outside of BA living on a
different Tango planet.
Anton
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People dance from their environment. Besides our obvious cultural disadvantage
we simply don't set up the situational environment or the collective conscious
mental state that produces this kind of dancing.
We need smaller more crowded floors. The kind of creativity this produces is
superiour
I don't recall if this has been posted before, but there is a good
article on musicality with this Rebecca Shulman video.
At the About this video section on the upper right, click on "more"
for the full page of text.
http://www.youtube.com/watch?v=P--FX2tA0JQ&feature=related
Marty Waxman
_
Chris, UK wrote:
> I'm surprised that knowing the name of the orchestra is either necessary
> or sufficient to decide whether you'll enjoy the music.
And I can pride myself into making even the most staunch of traditionalist
dance to *more than one* orchestra in a tanda (even though most would
h
I agree that Tango starts with the music. My impression is that those who can
hear the richness, texture, and variety of the music of the golden age and the
decades thereafter, and can dance to it, can also dance to the less strict and
structured modern music.
However, the opposite does not
er, was there a question?
The Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music
> Date: Fri, 7 Dec 2007 14:06:03 -0800
> From: [EMAIL PROTECTED]
> To: tango-l@mit.edu
> Subject: Re: [Tango-L] Musicality quotie
Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music
> Date: Fri, 7 Dec 2007 14:06:03 -0800
> From: [EMAIL PROTECTED]
> To: tango-l@mit.edu
> Subject: Re: [Tango-L] Musicality quotient P.S.
>
> Tai Chi ... Ta
Kushi_bushi The Tangonista wrote:
> i see both answers in the proximate causation definition
The "moves, customs, and behaviors" are proximate causes. They would not
exist but for the ultimate cause - the music.
> i think it is the interpretation and feeling that make it "your
> dance" and the
it tango.
The Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music
> From: [EMAIL PROTECTED]
> To: tango-l@mit.edu
> Date: Fri, 7 Dec 2007 16:42:42 -0800
> Subject: [Tango-L] Musicality and dancing tango to non-tango
Talking about musicality and dancing tango to non-tango music.
Dancers agree, and it was said here that musicality is an art of "matching
dancing to music".
Of course, a ballerina can dance to pop-music. No problem.
But would it be INTERESTING to her?
Would it be MUSICAL ? In terms of matching h
where that is that we are "on" (NIRVANA)
and of course, it is all about her, was there a question?
The Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music
> Date: Fri, 7 Dec 2007 14:06:03 -0800
> From: [EMAIL
both answers in the proximate causation definition
The Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music
> Date: Fri, 7 Dec 2007 23:47:00 +
> From: [EMAIL PROTECTED]
> To: Tango-L@mit.edu
> CC: [EMAIL PROTECTED]
&g
Can I say something?
Deep down, I'm not really a fan of dancing tango
to non-tango music.
Having said that, if the Michigan Tango Club is
the same lauded Ann Arbor group, and they're
using this approach, then something MUST be
working right. Seriously, I haven't met a single
Ann Arbor leader w
Oops. I meant it was a Pugliese (not Piazzola) class. - t
--- "Trini y Sean (PATangoS)" <[EMAIL PROTECTED]> wrote:
>
> --- meaning of life <[EMAIL PROTECTED]> wrote:
>
> > i think that tango is about spirit and intent, there
> are
> > identifiable moves, customs and behaviors. it is these
> >
> there are identifiable moves, customs and behaviors. it is these things
> that make it tango, not necessarily the music.
http://en.wikipedia.org/wiki/Proximate_causation
--
Chris
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--- meaning of life <[EMAIL PROTECTED]> wrote:
> i think that tango is about spirit and intent, there are
> identifiable moves, customs and behaviors. it is these
> things that make it tango, not necessarily the music.
Suppose there is no music at all? Just you and your
partner, the lights dimm
rse, it is all about her, was there a question?
The Tangonista
Sponsered by P.E.T.A. (People Expressing Tango Attitude)
NOTICE - no cats were injured in the making of our music
> Date: Fri, 7 Dec 2007 14:06:03 -0800
> From: [EMAIL PROTECTED]
> To: tango-l@mit.edu
> Subject: Re: [
please, no flame war!
why do some believe that you are only "doing tango" if it is done to "tango
music"?
first, what is "tango music"? does it have to be pre 50's music from argentina
that includes a bandeon? what if the music comes from another country? what if
it is "post 50's"? what if i
Tai Chi ... Tai Chien, if I have spelled that correctly, is the center of the
body. Dance to the center of your follower's body and you will experience the
ultimate connection. Then, the woman will truly feel your musicality.
It isn't about your feet, your chest, your head or your finge
On 12/7/07, Tom English <[EMAIL PROTECTED]> wrote:
>
> Some people have the aptitude to be able to memorize things. Myself, I
> don't have that ability to a great extent. However, I do feel the emotion
> between each beat and THAT is worth much more than memorizing a song! A
> leader definitely
Some people have the aptitude to be able to memorize things. Myself, I don't
have that ability to a great extent. However, I do feel the emotion between
each beat and THAT is worth much more than memorizing a song! A leader
definitely does not have to memorize a song, or know the orchestra, t
> when the Michigan Tango Club plays a tanda of popular music with a
> rhythm conducive to tango steps, the beginner leaders all of a sudden
> get major amounts of musicality.
> So, it's a great exercise in learning tango.
No. It is a great exercise in learning non-tango. And a deception to any
> I won't dance a tanda until I identify the orchestra and decide if it
> is one to which I enjoy dancing.
> I decided to test myself at a milonga yesterday. I sat at the table
> with pen and paper, making a note of the orchestra for each tanda.
Pen and paper, Janis???
I'm surprised that knowi
Some say the musicality should be expressed in feet,
Some say that in chest.
Dear associates,
what would you say about a person who can express musicality in feet and in
chest ( or "with" )
Would you Adore him, or Condemn him?
Igor Polk
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Tango-L ma
Those of you who have been around a while might understand why earlier I
wanted to make it clear that I had not said musicality was about the feet.
I was talking about weight (where it is is what your partner needs to
know); moving with the lower body and keeping the upper body clean and
clear for
On 12/6/07, Keith Elshaw <[EMAIL PROTECTED]> wrote:
> > Ron wrote:
> >>I understand you as saying musicality is expressed in your feet.
> Well, that would be a pretty dumb thing to say.
>
> I said it comes from feeling and the body and then named practically all
> it's major parts.
Keith,
Thank
> Ron wrote:
>>I understand you as saying musicality is expressed in your feet.
Well, that would be a pretty dumb thing to say.
I said it comes from feeling and the body and then named practically all
it's major parts.
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Keith,
While I agree that tango musicality should not emanate from the head, I
understand you as saying musicality is expressed in your feet. I see it
differently. In my opinion, musicality is expressed mainly in the chest,
emanating from the heartbeat and breathing.
A man leads from the chest, n
> Perhaps rhetorical questions.
> What is average number of years you critics of musicality classes have been
> dancing tango? Number of hours you have spent listening to tango?
I doubt that numbers matter. Not the numbers of years and not the
number of classes. I guess it is all individual.
Sorry - pushed send to fast.
Musicality is never going to come from the head. Gotta come out from the
body.
I can play drums, so I can move all my limbs and parts of my trunk
independently. This is a big part of my style.
For anyone feeling un-musical with no music playing background,
frustratio
I agree, I would much rather dance with a man who knows a song by heart!
Because he
has internalized the music, not only is he freer to actually dance and
spontaneously
express himself with more variety, depth of feeling and sensuality, but he is
also
freer and better prepared to pay some quali
Hi Huck,
I have taken only one tango "musicality" class. It went over different
composers/eras, as well how they differently convey different feelings
and emotions, even using the same song. Then we explored a bit how
different dance approaches will produce different emotions, such as
creating ten
Perhaps rhetorical questions.
What is average number of years you critics of musicality classes have been
dancing tango? Number of hours you have spent listening to tango? Might it
be helpful to someone dancing maybe 6 months or less to be taught about
tango structure? Someone who has yet to
Hello Tango Aficionados,
There seems to be a consensus that musicality is matching movement to music
much as scatting is matching vocal sound to music.? Indeed, I believe that
dancing in general is much like scatting.
Does one need to be familiar with the music to scat?? Not really, since musi
OK, I wasn't gonna but I'm gonna jump in.
1.
There is a WORLD of difference between XYZ "musicality" class and ABC
"musicality" class.
Some people need 2 + 2 = 4 because they do not understand basic rhythm
and phrases in music. Don't mock that That's just mean, people.
They probably hav
Bruno Afonso <[EMAIL PROTECTED]> writes:
> I find interesting people here saying that classes on musicality are
> worthless when even top musicians in schools like berklee school of
> music have them from others. And those are soon to be professional
> musicians. But hey, I'm sure a tango aficiona
> unconscious, straight from the
> heart without thinking musicality you can dance with if
> you know the song intimately.
musicality, straight from the heart, thank you, Huck. As a follower it is
wonderful to feel the intimacy with the music AND the embrace AND to feel the
intimacy of the lead
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
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
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
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,
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
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
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
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
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
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,
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
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
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
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
Victor Bennetts <[EMAIL PROTECTED]> writes:
>
> The tango embrace is intimate so a follower can tell a lot
> about a leader, [...]
> One of the things they can tell is if the leader is actually
> listening to and enjoying the music. To me that is musicality.
> I don't think lessons help all that
Hi Nancy,
When I DJ, I use a similar pattern. I love the valses and I also like milongas.
But I find that the tandas of tango need to outnumber the vals & milongas
because of the energy flow. As you say, there is a need to rest sometimes
between tandas. Here in the US, the milongas then to be
On 03.12.07, at 17:34, NANCY wrote:
> Actually, most DJs in BsAs play three tango sets, then
> a milonga set, three more tango sets, then a vals set.
> ...
Dear Nancy,
just out of curiosity, which milongas in Bs As are you referring to?
I only know of other... ehm, let's call them "cycles":
Can
--- [EMAIL PROTECTED] wrote:
. Recently I was at a milonga when a set
> started with Fresedo tangos, then
> went to DiAngelis tangos, played a cortina then went
> to Pugliese tangos, all
> before changing to a milonga set.
>
Actually, most DJs in BsAs play three tango sets, then
a milonga s
Sherrie wrote:
Sherrie brings up a very good point about the flow of music. Having three or
more similar songs from a particular artistic style such as D'Arienzo or
Canaro, or at least mixed songs that have a similar tempo or cadence helps
create a
consistent mood and can help one f
To me, musicality is like punctuation in a sentence. I feel
commas, semicolons, and sometimes excalmation points. There
are some figures are good for commas, others for semicolons,
and some for excalmation points. A nice sexy pose, such as a
leg wraparound is wonderful for an excalmation point. An
You can really learn what musicality isn't when you listen to the types of
songs DJ's outside of Argentina
juxtapose during a tanda. Part of musicality is the finely tuned blending of
one song practically melting seamlessly into the next so that the leads can
move with the same rhythm and maint
The tango embrace is intimate so a follower can tell a lot about a leader, are
they nervous, are they angry, tired, have bad indigestion, etc. One of the
things they can tell is if the leader is actually listening to and enjoying the
music. To me that is musicality. I don't think lessons help a
Hey,
On 11/30/07, Floyd Baker <[EMAIL PROTECTED]> wrote:
> I'm not a musician as such, you're right. Do I need to be? Freud did
Here's Mark Sabatella's intro on his jazz primer:
"For the purposes of this primer, we are all musicians. Some of us may
be performing musicians, while most of us ar
Just for the record.., here's my response to a private email.
Excluding the sender.
Good morning...
I understand there's a whole lot more than the one point I wanted to
make. That of silent counts being most important..
I'm not a musician as such, you're right. Do I need to be? Fr
Steve,
I'm sure you haven't just realised this, but you're absolutely right.
The way top professionals can always make their dancing fit in perfectly
with the musical phrasing is often what separates them from the rest of us.
I just wish I knew the secret, but I don't think there is one - some
Hi Igor,
For me musicality as it applies to dancing requires the synchronicity of the
movements of the dancers to the accents or to the tempo of the music. There are
of course, many different ways to do this so in my opinion, musicality cannot
be too narrowly defined. Moving in concert with
I have a simple description. Admittedly, you can find more complicated
explanations:
Musicality is when Movement Energy Corresponds to Musical Energy.
Energy is still a fuzzy, undefined concept, but it includes various
aspects of movement such as speed, force, size, suspension,
acceleration
Following Steve's thoughts,
I have deepen more into that, and to my surprise have found that I can not
really define what people understand under the term "Musicality".
I can not say what it is. I know that dancing supposed to be with music. (
And I believe I myself dance musically too ) But on a l
At the recent Fandango de Tango in Austin, I had the pleasure of watching
seven teaching couples perform during the Saturday evening milonga: Fabian
Salas & Carolina del Rivero,Julio Balmaceda & Corina de la Rosa, Guillermo
Merlo & Fernanda Ghi, Diego di Falco & Carolina Zokalski, Nito & Elba
G
I have received several private answers to my post, and I'd like to answer
it publicly.
>>> Gorgeous woman, sexy moves...BUT tango has NOTHING to do with twitching
hips...right ?
No. If you notice, she does not move her hips much. But body moves a lot in
tango.
If you are up to that level.
Besid
Great musicality lesson:
http://www.youtube.com/watch?v=hLCKEvfLR6g
Imagined dancing tango with her? Yum...
Igor Polk
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