Musicality Cookbook - Part I: Rhythm

Add Variety And Spontaneity To Your Tango Using Rhythms, Accents, and Timing

Dance is a physical response to music.  Some would argue that it's even a physical manifestation of music.  Even if music doesn't happen to be playing when we're dancing, our movements are still based upon the elemental musical concepts of tempo, rhythm, accent, and phrasing.

An understanding of musical principles can improve the quality of our dancing.  We can alter and intensify our dance movements when we associate our movements with events in the music.

Argentine tango is ideal for experimenting with musical expression.  Unlike other dances, the steps of Argentine tango are not designed with preset rhythms in mind (the 1-2-3 of the Waltz or the Quick-Quick-Slow of Salsa, for instance).  The tango is a wide-open palette for imaginative musical interpretation.

I'll spend some time today discussing how rhythm can be used to enhance tango movements.  In a later post, I'll discuss phrasing and other musical elements.

Know Where The Beat Is

This sounds almost too trivial to mention, but it's important because a lot of people struggle with this.  We can't add rhythmic variety to our dancing if we are unaware of rhythm in the first place or if we don't move to the beat accurately.

It's critically important for all tango dancers to be able to recognize the beat and move to it accurately.  The tango music of orchestra leader Juan D'Arienzo typically has a clear, pronounced, regular rhythm.  Listen to the music of D'Arienzo.  Listen and locate the beat.  It must be very clear in your ears, in your mind, and in your body.  Keep listening until it is.

Upload some recordings of D'Arienzo to your iPhone, strap on some of those nifty little headphones and walk while his music is playing.  Step accurately on every beat (or on every other beat for some variety).  Dance simple patterns to D'Arienzo and make sure that the strongest part of each step is falling right on the beat.  Accuracy is very important.

Exercise 1: Normal tango walk on strong beats (walk on each beat)

1  2  3  4  1  2  3  4 (etc.)

These exercises, while simple, are not easy, particularly for those who haven't studied music formally at any time in their lives.  But you are working with important concepts here, and this deserves serious, focused practice time.  If you'll put in the effort, you'll be rewarded with improvement - maybe not right away, but slowly and surely it will come.  Nothing else that I'm going to suggest today will be of any value if you're still struggling to locate the beat of the music.

Accent Selected Beats

As you're listening to D'Arienzo - you are, aren't you? - you'll notice that some of the so-called strong beats are even stronger than the rest.  Typically, this happens at about once every four to eight beats and coincides with the beginning of each new musical phrase.

Just as musicians add accents to their music, dancers can add accents to their dance steps. Repeat Exercise 1 again, but this time put a bit more emphasis into beat number 1 out of each sequence of four.  The extra emphasis is a musical accent that will add variety and dimension to even the simplest tango sequence.

Note that we dancers don't need to accent the same beats that the orchestra does - more on this later - but it will help to match the orchestra's accents before applying this concept more creatively.

Slow Down

We can add drama and intensity to almost any dance step, even parallel walking, by slowing down out movements.  Instead of walking on every beat, the leader can walk on every second beat, or every fourth or sixth or eighth beat.  (That ought to keep your followers guessing, gentlemen!)

Exercise 2: Slowing Down (dance the beats in bold only)

1  2  3  4  1  2  3  4  1  2  3  4  1  2  3  4    (REPEAT)


Stretch The Time In Between Beats

To accentuate the slow pace even further, slow down every portion of your movements.  The collection of the trailing legs can be done slowly, as can the preparation of the next step.  Take that slow, stretchy time to be aware of your partner, their position and their balance.  Enjoy the extra time together.  And always, always, always listen very closely to the music.

Hurry Up And Wait

We can also accentuate a slower pace of steps by moving more quickly.  This is the opposite of stretching time (sort of - but hey, we're looking for variety, right?) and it may seem counterintuitive.  The objective is to step infrequently (perhaps on every fourth beat of a D'Arienzo piece) but to move very quickly when we do step.  Then hold your position until the next sharp move.

For this technique, we won't slow down the collection or the preparation phases of the step.  All of our actual movements will be quick and snappy.  However, while we're waiting for our next burst of movement, we'll build up tension in our bodies as though we're winding up a spring.  When we step, we release the energy of that spring and start building it back up again.  Try it.  It's fun!

Speed Up

Whereas slowing down and taking fewer steps adds drama and intensity to the tango, speeding up adds excitement.  The easiest way to "speed up" is to throw in some short quick steps here and there.  We can do this accurately by squeezing two evenly spaced steps into the time that one step used to take up.

Note: Rock steps are a low-effort means of accomplishing this if walking quickly is too challenging.

Stringing several quick steps in a row will add to the excitement, but it can be challenging. Even if you're good at stepping quickly, your partner may not be.  It's best to build up slowly to see what each person can handle before creating an embarrassing situation.

Exercise 3: Normal tango walk with some quick steps thrown in (step on the bold beats only):

1 and 2 and 3 and 4 and 1 (etc.)

Speed Up AND Slow Down

Variety is the spice of life.  Blend ingredients to inject surprise and dynamic tension into a song or a tanda.

Emphasize The Weak Beats

When you were doing your D'Arienzo timing exercises - you DID do your exercises, correct? ;-) - you were probably identifying and walking on the strong beats of the music.

(Note: Musicians recognize these strong beats are 1 and 3 of the measure, even though dancers don't count them using the same numbering system.  I'll speak more on these differences in a future post.)

We should be aware, however, that there are other beats in between.  If we break each strong beat in half, we'll hear one weak beat in the middle of two strong beats.

Exercise 4: Don't walk this time, just listen for the strong (1234) and weak (and) beats:

1 and 2 and 3 and 4 and 1 and 2 and (etc.)

These "and" beats are the ones that we begin to include when we double the pace of our steps.

Exercise 5: Emphasizing the weak beats (walk on the bold beats only)

Here is an example of emphasizing the weak beats.  

1 and 2 and 3 and 4 and 1 and 2 and 3 and 4 and (REPEAT)

This can be rather challenging to lead and to follow, but it will definitely add spice to even the simplest step.

By the way, musicians have a name for the technique of emphasizing weak beats over strong beats.  It's called syncopation and it's used in many different musical styles and traditions.


Practice! Practice! Practice!

The more that you experiment with rhythmic variation in your dancing, the more fluent you'll become in the application of this powerful musical concept.  As this becomes easier, you'll be able to add exciting creative the musical dimensions to any tango sequence, choreographed or improvised.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

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All Rights Reserved

Following Is Terrifying

How To Manage Stress, Prepare For Success, And Let Your Natural Elegance Shine

One of my teachers once asked me to share some private lessons with a less experienced follower.  The lady, whom I knew from group classes, was a pleasant person and a dedicated student.  She was also relatively tall, so height could be used to our advantage.

(For those who haven't met me in person, I'm the same height as Cary Grant.  Not that I'm bragging.)

I agreed to share some lessons, and we scheduled our first appointment for the following week.

The first time was a bit rough.  The follower seemed nervous, and it was clear that she was trying hard to avoid mistakes.  Unfortunately, she was trying too hard.  She was guessing steps instead of following the lead, and she was overcorrecting technique and posture without being directed to do so.  This led to many awkward moments, which in turn led to more tension and anxiety.

I had to figure out some way to calm her down before the next lesson.  I wanted to let her know that she wasn't under pressure and that mistakes were a part of the process.  I wanted her to relax and enjoy our time together.

The next week I met her outside of the classroom.  We exchanged our greetings, and when she was ready to go in, I said this to her.


I have a favor to ask.  Don't try to please me in the lesson.  Let me please you.


Something must have clicked, to use a colloquialism.  The lesson went much more smoothly and she actually seemed to enjoy herself instead of apologizing constantly.  She was far more relaxed and receptive to the lead.  She had made a breakthrough.


Following Is Terrifying

Or at least it should be to any rational person.  The follower has no idea what's coming next moment after moment, song after song.  To thrive in this situation requires a special state of mind and body.  Here are some tips that can help put you in the best possible position to receive the lead.  


Relax Both Body And Mind - Physical tension will slow your reaction to the lead, and anxiety will cause you to misinterpret it.

Give Up On The Guessing Game - You cannot - CANNOT - guess what the leader is going to do next.  Don't even bother.  It can only lead to miscues and misunderstandings.

Take Responsibility For Your Own Balance - Even in styles of tango where the follower leans toward the leader's torso, the follower is not hanging on the leader.  She needs to manage her balance properly to avoid feeling too "heavy."  (In open embrace, maintaining balance is self-explanatory.)

When You Take A Step, Transfer All Of Your Weight - One-hundred percent.  All or nothing.  Don't get caught in the middle (unless he leads you to stay there).

Relax The Trailing Leg - Most student followers have problem letting this leg relax.  I see this phenomenon well into the Intermediate level.  Perhaps it's counterintuitive in societies that teach young ladies to hold their thighs together from a young age.

Let the non-standing leg hang from your pelvis like a pendulum.  This improves your overall balance immediately.  It also provides the leader with an amazingly limber creative tool that he'll brag about to other leaders.  Not that he'll have to, because they're going to see it for themselves every time you take the floor.

Never Change Weight Unless He Leads You To Do So - Well, I suppose it's okay if you want the leader to kick you, trip over you, or step on you.

I think we need an acronym for this one: NCWUHLYTDS

Hmm, no that didn't work, but it would make an awesome password.

Allow Yourself To Be Led - Thankfully, self-leading followers seem to be few and far between these days.  But if you find yourself executing un-led boleos or planeos or outrageous adornments, don't be surprised when the better leaders walk right past you.


Be Sluggish - Ah, yes, I have Saved the Best for Last.

Why would a follower want to be sluggish?  It's simple.  If you're really following the leader - not just guessing where to go in advance and going there on your own - there will be a short time delay between the leader's movement and the follower's response.

Followers are not judged for instantaneous execution of steps.  They're judged for the quality and accuracy with which they interpret the lead and embody those movements.

Quality and Accuracy are more important than Speed.  And just as in the real word, Quality and Accuracy take time to produce.

You don't need to rush into the step the instant that he leads it.  It could take upwards of a full second to react to what he's trying to get you to do.  Take that time if you need it. He'll speed you up if he has to - it's always easier to speed up a follower than to slow her down.

(A certain degree of elasticity in the embrace can help to accentuate the feeling of delay.  It won't work well in a too-rigid embrace.)

If on the other hand, you're reacting very quickly, this could indicate that you're GUESSING.  (See above)

We guess when we're unsure, but unless you're dancing with a leader to does the same handful of steps over and over and over again - yes, I realize that they do exist - guessing is not helpful.  It's an accident waiting to happen.


A tango is like a date, ladies.

It's always better to arrive a little late.

It's better to let the man demonstrate his intentions clearly and convincingly before you submit to his plans.  That doesn't mean that you'll stand stubbornly on the dance floor like stone.  You're responsive, but you prefer to be smooth and measured rather than rushed or jumpy.

If he doesn't open the door, you don't get into the car.

If he doesn't pull out the chair, you don't sit at the table.

Oh, yes - sluggishness!  Being a little bit sluggish has served ladies well over the years, and it also serves the follower quite nicely.

If he doesn't lead a step, don't take a step.  And don't apologize.  If he wants a reaction, has to take his time and lead properly in order to inspire those results.

Be fully present, be well balanced, and delicately responsive, but never rush into a step or any movement.

Be calm.  Be unhurried.

And never, ever, ever come across as eager or anxious.  There's plenty of time for this dance and this evening to play itself out.

The true gentlemen will always wait.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

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All Rights Reserved

Principles Of Practice - Effectiveness and Efficiency

How To Improve Faster And Avoid Ruts


In order to improve our skills and expand our abilities we need to practice.  This is not an unfamiliar idea.  Even young children recognize the principle.  Practice for the piano recital. Practice with the soccer team.

Regardless of the endeavor - from dancing to singing to cooking to painting, from martial arts to musical instruments, from writing to shooting pistols to closing the deal - practice is the key to improvement.

But HOW should we practice?  Everyone has general ideas about practice; some of these ideas are culturally ingrained.

But how effectively has practice worked for us in the past?  Is it time to question some old perceptions?

Let's look at a few examples.  Many people take piano lessons.  How many of those students can sit down at a piano and entertain at a dinner party?

Lots of people play golf regularly.  How many of them have good putting and driving technique?

Lots of people take tango classes.  They go to milongas week after week.  But for some folks improvement comes very slowly.


What's Missing?

What's the secret?  What's missing when someone invests a lot of time on something but makes only marginal progress?  It usually comes down to one of three possibilities.

A Conscious Choice To Avoid Practice

Some people don't have time to invest in practice regardless of whether or not they'd like to improve.

Others may be satisfied at their current level.  Practice for them isn't worth the opportunity cost of time and effort.

Incomplete Awareness

In order to improve something, we first need to understand how well it's working.  Or how badly it's NOT working.  If you're driving down the road and you don't realize that your turn signal is burned out, it won't occur to you to have it replaced.

For dancers, video can highlight problem areas that we might not otherwise notice.  Until we make an honest assessment of our strengths and weaknesses, we won't understand what aspects of our dancing require focused practice.

Ineffective Practice Methods

There are almost an infinite number of ways to practice ineffectively.  Listing them would be like listing all of the ways not to drive to Chicago.

Rather than try to compile a partial list I would suggest that dancers work with a teacher to help identify their problem areas and come up with a plan for improvement.  (Any good teacher should be more than willing to do this for you.)


Effectiveness and Efficiency

Practice is Effective when it yields positive results.  Practice is Efficient when it doesn't waste time or effort.

Good practice is both efficient and effective.  It's designed to help the student improve as quickly and easily as possible (keeping in mind that everyone progresses at a different rate, and 'as easily as possible' means that you still need to do a lot of hard work, just not extra wasted effort).

Tips For Effective Practice

Understand what you're trying to improve and why. - This requires an honest assessment of our strengths and weaknesses along with an understanding of our short and long-term objectives.  A good teacher or coach can help by identifying problem areas and deficiencies and developing a plan to address them.

Do the right things in the right way. - It doesn't help to practice mistakes (self-explanatory).  If you're not sure what to do or how to do it, discuss your developmental needs with a teacher who has a track record of helping students overcome obstacles.

Work on your weaknesses. - Concentrate on the areas that need improvement.  Don't waste time on things that already come easily.  Do the hard work, and over time you'll be able to convert those weaknesses into strengths.

Focus on one issue at a time. - Do your brain and your body a favor.  Work on one problem or technique at a time.  Simplify the exercise to isolate the area that you want to improve.

Work only as long as you can engage your full concentration on the problem areas. - When we stop concentrating we become sloppy.  What happens when we repeat sloppy technique over and over again? - Right!

Strive for Near Perfection, but don't get frustrated by Absolute Perfection - It's better to do each movement as perfectly as possible for a handful of times (or even ONCE) than to do it sloppily ten-thousand times.

Just don't worry about ACHIEVING perfection.  It's enough that you STRIVE for it, that you REACH for it.  That's the secret to developing technique effectively.

Concentration is vitally important.  In order to improve we need to approach perfect form as we practice (at least to the degree that we are capable).  It's not humanly possible to maintain that level of focus for hours and hours on end.

Add variety to keep the mind and body fresh. - We can repeat the same techniques or movements only so many times before our brains go to the Bahamas and our feet hurt like crazy.  Before you approach your saturation point, switch to another topic.  Or at least to the other side.


Keep practicing.  Keep doing the right things in the right way and improvement will arrive like a check in the mail - a little late but well-earned and greatly appreciated.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved

Dancing Beyond Sexuality - Addendum

A Hockey Analogy

It's playoff time in the National Hockey League.  I've had the pleasure of enjoying a number of exciting games so far despite the fact that my beloved Pittsburgh Penguins were eliminated in the first round.  Boo!

I've also been receiving a lot of thoughtful comments about my previous post entitled, "Dancing Beyond Sexuality."

I suppose that all of the tango and hockey has been mixing in my head, because earlier this week I came up with a fun analogy.

Dancing tango primarily to enjoy a sensuous experience is like watching hockey primarily to see fights.

I accept that fighting is a part of NHL hockey.  (Whether it should be is another topic.)

I accept that hand to hand combat is fascinating to human beings.  Wrestling, boxing, and other fighting sports have been popular with spectators since the dawn of human history.

I accept that some people will watch NHL hockey matches in order to enjoy the fights that break out from time to time.

However, if someone watches hockey primarily for the fights, they may not be appreciating the many other aspects of the sport - the speed, the skill, the strategy, the athleticism, the split-second reactions of the goaltender, the history or the sport and the unique legacy of the Stanley Cup trophy.

Further, fight fans won't be able to enjoy collegiate and international hockey matches where fighting is not tolerated to the degree that it is in the NHL.

Now back to tango...

I accept that holding someone closely in our arms can be a sensuous experience, particularly if we find that person to be attractive in the first place.

I accept that human attraction is a powerful force that's encoded into our very being.  These impulses are impossible to ignore entirely as they'll always command some percentage of our attention.

I accept that there are people who dance the tango primarily for the enjoyment and closeness that they feel when they're being held in someone's arms.

However, if this is their primary focus, they may not be appreciating other aspects of the dance.

The Argentine tango provides a framework where a unique and powerful connection can exist.  This connection enables two individuals to improvise movements together in real time, movements of significant complexity and detailed nuance.

The tango connection will not happen with every partner.  In fact, one of the great joys of all partners dancing - but especially the Argentine tango - is discovering which partners best connect with us.  The amount of experience that they have doesn't matter.  I've enjoyed wonderful tandas with people how have been dancing for only a short while.  Similarly, physical attraction for the partner does not contribute much if anything to our ability to connect within the dance.

A tango connection can happen with a partner who is old or young, male or female, and of just about any size or shape.  Conversely, anyone who's spent much time at a milonga has probably danced with a highly attractive person with whom the had no tango connection whatsoever.

What is it that creates magic at the milonga?  It's clearly not physical attraction.

A partner brings many attributes to the dance floor.  Some people hear music very clearly or they've spent time developing skills in musical interpretation.  Some are highly creative.  Some are flexible, athletic, and well-balanced.  Some have a delightful sense of humor.  And of course it doesn't hurt to have reasonably well-developed technique.

Unfortunately, if we get caught up looking for a sensual experience in the arms of an attractive partner, we're bound to miss out on tango connections with partners who have all of these other wonderful qualities to share.


In closing, I'll leave you with the immortal words of legendary comedian Don Rickles: "Don't be a hockey puck!"

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved

Dancing Beyond Sexuality

Cultivating A Passion For 'The Dance'

Partners dancing and courtship are closely intertwined.  Anyone who's participated in a social dance as a teenager knows this firsthand.  Many styles of solo and ensemble dancing found throughout the world demonstrate a level of virility and suitability for mating.  Even some members of the animal kingdom use 'dance' as a courting ritual.

But despite these well-established links to sexuality, dance in its purest form is neither a means of courtship nor a surrogate for sexual activity.

Dance is art.

Dance is communication.

Dance is expression.
Dance is storytelling.
Dance is humor.

Dance is tradition.
Dance is drama.

Dance is an observable stream of thought.

Dance is athleticism.

Dance is exercise.

Dance is adventure.

Dance is a kinetic, physical manifestation of music.

Granted, dance also can be an expression of intimacy, but intimacy exists in many forms.

There is The Intimacy of Teamwork, as when athletes bond toward a common goal.

There is The Intimacy of Harmony, as when voices rise up in a joyous choir.

There is The Intimacy of Trust, as when acrobats leap toward each other on the flying trapeze.

There is The Intimacy of Discovery, as when we witness a child exploring nature for the first time.

There is The Intimacy of Companionship, as when we share food and fond memories with good friends.

The Argentine tango is an intimate dance.  It contains each of these forms of intimacy along with others.

If we find ourselves experiencing overt romantic or sensual feelings during a tango - and if we're not in the arms of our True Love at the time - it might be the very experience that we're looking for.  Adventure.  Fantasy.  Conquest.  All within the safe confines of a room full of people.

The embrace is a garden where interpersonal chemistry can blossom and flourish without much additional prompting.

On the other hand, such feelings could be an indication that we have become more focused on The Partner than on The Dance.

The Dance is a pure experience.  It is not partner-specific.

We can enjoy The Dance with someone from a vastly different age bracket.

We can enjoy The Dance with someone who is physically unattractive to us.

We, as heterosexuals, can enjoy The Dance with a partner of the same sex (ditto the equivalent circumstances for gays).

The Dance provides its own unique rewards above and beyond the pleasures of close physical contact.

In cases where The Dance becomes confused with The Partner, the positive attributes of The Dance will blur with our feelings of attraction for the other individual.  Unless there is a clear desire for courtship between the two partners, this blurring must be managed carefully.

Preferences and Desires

If you are already enjoying the artistry and creativity of tango without interpersonal distractions, then congratulations!  I commend you on your pursuit of The Dance in its purest form, and I hope that you'll benefit from its limitless rewards.


If the tango has become a primarily sensual experience, and if you find that appealing, that's entirely your business.  Feel free to share these sensations with like-minded partners.

I would just ask that you please not share these experiences with ME or with others who are looking for 'good clean fun', so to speak.  When dancers with different personal objectives mix, the potential for misunderstandings and embarrassment is significant.

My personal preference is to explore The Dance for all that it has to offer - creativity, musicality, expressiveness - dimensions of the tango that I could share with anyone, not just with an attractive woman.

In my opinion, overt romanticism distracts from the vast intellectual, spiritual, and creative potential of the Argentine tango.  However, everyone has their own objectives, and the dimension of interpersonal attraction is going to be a legitimate priority for many.

Finally, if you find that your tango experiences are clouded with sexual impulses and you would like to change that, here are some suggestions.

• Think about all of the different types of intimacy listed above.  Which would you like to cultivate in your tango life?  How can you increase your focus on these ideals?
• Realize that the embrace, while essential to the tango, is not a green light for unwanted affection.  The best embrace is a sanctuary of comfort and respect.
• Focus on the attributes of tango that you would like to explore more deeply - communication, musicality, improvisation, empathy, creativity, etc.
• Dance with some partners of the same sex (or the opposite sex if you're gay) and find what makes the tango appealing in the absence of any hint of sexual desire.
• Spend some time dancing exclusively with your life partner with whom no sexual conquest is required.
• Avoid partners who desire a primarily sensual experience on the dance floor - even if you have to find some new milongas.

The Argentine tango has much to offer (INCLUDING sensuality).  Don't limit your experience.  Explore the tango's many dimensions in order to enjoy it's endless rewards.

¡Buena suerte amigos, y muchas gracias!

Daniel

Copyright © 2012 The Exploring Tango Blog

exploringtango.blogspot.com

All Rights Reserved