The Feel and Look of Sounds. Musicality

The way you hear, feel, then interpret music is so personal that it definitely sets you apart. This collection will help you get in tune with your musicality and start to fully express it.

 

Recommended study time for this collection is 9 weeks.

Rhythmical Plays - Basics and Insights

You'll learn how to communicate in the couple through rhythm. The first step in reaching this is getting familiar with the common timing by acknowledging the components of the rhythm.
Music: Guapeando (orquesta Anibal Troilo).

17.37 min Musicality

Rhythmical Walks 1

A lesson on how to interpret the music while changing the direction and managing the space. Focus on the posture, elegance and fluidity of the couple. Music: Paciencia (Juan D'Arienzo orchesta and singer Alberto Echagüe).

17.52 min Musicality Walk

Rhythmical Walks 2

On how to manage the space in the milonga, with rhythm, using body technique to keep the embrace and change the level. Music: Music: Paciencia (Juan D'Arienzo orchesta and singer Alberto Echagüe).

12.36 min Musicality Walk

Rhythmical Play. Extreme Close Embrace

You'll play with rhythm, double time steps but moreover, you'll learn a lot of details about the close embrace within the milonguero style.
Music: Volvamos a empezar (Alfredo De Angelis y su Orquesta Típica, singer Oscar Larroca).

18.29 min Musicality Embrace

Musicality – Sometimes Choosing Melody Instead of Rhythm

You are free to choose either the rhythm or the melody, when your body and ears are prepared. This class is part of that preparation process.
Music: Bajo el cono azul (Orquesta Alfredo de Angelis, singer Roberto Florio).

14.25 min Musicality

Extensive Rhythmical Play 1

A lesson on how to play with the intention, down and up beat, assuming that the rhythmical play is possible for both. Music: Mi Dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

12.59 min Musicality

Extensive Rhythmical Play 2

Be aware of the timing in order to breake it in the right moment. You will also see how to lead/follow faster changes of weight in a certain direction. Music: Mi Dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

12.30 min Musicality

Extensive Rhythmical Play 3

A lessons about how to perform double around the follower and tips regarding the exit from this exercise. Music: Mi Dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

10.30 min Musicality

Extensive Rhythmical Play 4

About the release of the double time in a backwards step for the man, the challenge for the follower being to keep a very good connection. Music: Mi Dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

12.08 min Musicality

Traspie in Tango Rhythm

A lesson about a fundamental element, used by both men and women to interpret music. It creates quite a nice feeling.
Music: Mi dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

18.47 min Musicality

Double, Double, Double Time

The maestros are giving a full lesson on different ways to interpret music within your dance, because having a constant rhythm in tango is quite boring.
Music: Paciencia (Juan D'Arienzo's Orchesta, singer Alberto Echagüe).

31.30 min Musicality

Rhythm. Mixing Double Time

In tango you have at least two types of pivots – one that starts from your upper body and another that starts from the lower one… You'll find a playful class on rhythm.
Music: Paciencia (Juan D'Arienzo's Orchesta, singer Alberto Echagüe).

15.16 min Musicality

Changes in Rhythm, Directions, Shapes

The role of these exercises is to understand how beautifully they “dress-up” structures like volcadas, enrosques and so on, in a performance or in a regular milonga.
Music: Porteño y Bailarín (Orquesta Carlos Di Sarli, singer Jorge Durán).

21.14 min Musicality

Rhythmical Play and Footwork

About elements that involve constant switching of the speed and body position. Practice is required but once done, performing it will be a pleasure.
Music: Volvamos a empezar (Alfredo De Angelis y su Orquesta Típica, singer Oscar Larroca).

15.39 min Musicality

Double Time and Front Sacada for the Follower

This class will teach you how a good embrace will help both of you pivot around your own center, even when you are moving one around each other.
Music: Tenia que suceder (Orquesta Carlos Di Sarli, singer Mario Pomar).

18.31 min Musicality Sacada

Musicality – Steps and Decorations Within One Phrase using Different Beats

Stretch, cross, decorate, change the weight, bend a little bit your knees… Now you can feel the musicality in your body which is floating on the beats of Cuatro compases of Orquesta: Miguel Calo, singer Raul Beron.

10.55 min Musicality Decorations

Rhythmical Plays with Boleo Alike Movement 1

A lesson on the differences between moving rhythmically, stepping rhythmically and keeping a rhythmical intention while you are dancing.
Music: Mi Dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

13.31 min Musicality

Rhythmical Plays with Boleo Alike Movement 2

A lesson that proposes an exercise in which the follower gets surprised by the movement and releases the tension created in the couple in a beautiful rhytmical play.

Music: Mi Dolor (orchesta Juan D'Arienzo, singer Osvaldo Ramos).

13.02 min