Al ritmo del dos por cuatro
(Last modified 25 aug 2008 - scroll for videoclips)

The tango rhythm is based on the 2x4, 2 strong beats on 4:
  1   2   3   4
A way to make this 1-2 -mark visible in the act of stepping is ...
on 1 : lifting the knee and the heel of the foot, and slowly starting moving = expanding like a bandoneón.
on 2 : stretching the leg, fast like a clasp-knife, and putting the foot down like a knife-thrust, a thrusting flash, a strong stab to the heart, una puñalada with an Argentinian Facón.
  As stabbing happens fast, quick, the duration of the marking moment is extremely much shorter than the earlier lifting of the knee, the extending. That contrast gives a striking tension, a noticeable suspense.
It looks like: ________1________ ... /2\ ________3________ ... /4\ etc...
It sounds like La Yumba .... (click here for the pronunciation audio)

  This way of stepping with abrupt marking, strong and short with some time for sundering till disappearance, is like playing staccato. In staccato, notes are sounded in a detached and distinctly separate manner with their lengths shortened; that is, a short silence should be between the notes, without affecting the rhythm. Playing staccato is the opposite of playing legato which has no silence between notes, the sounds are melting naturally into each other. Baroque music has a lot of staccato and a lot of baroque can be recognized in tango. The baroque artist wishes to create constant sensation of movement. Barock rocks the spectator, touchingly and affectingly shocking the public. Dynamism is el ideal artístico del Barroco. The barok leaves the classic serenity and wants to express a world in movement and agitation of the senses. Baroque is the time of the feeling. Personages appear in very dynamic positions, with very expressive faces and gestures. The time spirit in which it grew was that of a changing society.

Click here for more online Tangolessons videoclips

The performer’s expression of music

    There is no absolute rhythm. In the course of the dramatic developments of a musical composition, the initial themes change their character, consequently rhythm changes also, and, in conformity with that character, it has to be energetic or languishing, crisp or elastic, steady or capricious. Thus for emotional expressiveness, performers frequently use Tempo Rubato (Italian: stolen time). It is a term first used by in reference to performers’ alteration of the expected rhythm of a melody within an underlying base tempo, where time was “stolen” from one note and “repaid”. Modifications of tempo occur in relation to phrase structure, as a way of marking. They speed up or slow down the tempo of a piece to make music sound expressive and natural. Rubato must emerge spontaneously from the music, it can't be calculated but must be totally free.
More on the influence of musical context on tempo rubato

Stepping the tango, YouTube illustrated tangopages:
Dance interpretations on Gallo Ciego
Tangodance interpretation on Francisco Canaro's Poema

    Artur Schnabel Quote: The notes I handle no better than many pianists. But the pauses between the notes—ah, that is where the art resides.

Body Movement

    Best is to start a tango just by walking, doing no figures. Match the steps to the music, just listen. The more you can hear and feel the music inside, the more you know the music by heart, the more you can walk it.

Tangodance_interpretation_Gallo_Ciego_Argentijnse tangodans. Site tangoevita - evita - E Vita.

  The energy and the way a body moves from A to B is the magic, not A and B. Dancing on tangovals is a good way to let your body flow on the rhythm of music, flow like walking on water. The smooth and connected legato of tangovals music, as opposed to the staccato breaks between notes in tango, asks for a more gliding movement of the feet over three-beats, instead of staccato placement, not-connected steps. This valse-gliding is stretching the body-energy over 3 steps, thus making them an unit, like a bandoneón pulsation. The "push-off" is like the jump of a cat, the landing, the last step, is always soft. This technique can also be done on classic tango and milonga music, making a 3 step-connection on 2 beats (or 5 steps on 3 beats), "entre temps" or "contretemps", so creating a traspié. In this milonga, the energy and the steps are more compact, closely united, not stretched and during dancing, the feet always glide over the floor, except in canyengue.

  In dancing, as in knife-fighting and boxing, it is nice to know that the flexibility of the body increases when the feet are in a more open \ /-position rather than close together, stiff. Putting down your foot a bit turned to the side out, through turning the hips and the leg while stepping, makes the shoulders turn in a natural way. The turning of the hips also makes the step larger which has an elegant effect, especially in the woman's backwards stepping. The important difference is to feel the difference from the inside out, does this form of expression feels more like the spirit of tango? The different inside experience can give a feeling like an aha-erlebnis, as if all the right elements come together in a subtle clash.

Tangoclip_vidio_TANGOKLIPS_KESME_KIRPMA_KESME_KIRPILAN_MIKTAR_DARBE_KLIPS, mpeg, mpg, Video, Quicktime, mov,  Clips,movieclip,vals, milonga,videoclip, 
free, videos,dance, dancing, danser, dans, visuel ,download, gratis, gratuite
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  A demonstration, besides illustrating a new tango figure, can give new, inside perspectives which increase one's awareness of normal human movement potential, so developing an effective understanding of kinematic (motion) and kinetic (force) concepts through the act of dancing. To sense, experience and examine body movements in a nearly microscopic analysis, is a central theme in dance and the method of Moshé Feldenkrais. But in the Feldenkrais Method and other techniques such as Frederick Alexander, it is not about learning to move in a limited number of "correct" ways, nor about having "the good posture", nor about "judging" or about replacing your old habit by mirroring "the image of the model", but about awareness through movement. It is about sensing and to be able to shape movements throughout experiencing the little differences which you try out. Does it intensify the inside dance ?

Walk_walking_stepping_movement_marching_psychlogy_profiles_mode_fashion_stress_Zen
Click here more walking philosophy


Tango Music

  The four representative schools of the Argentine tango are: Di Sarli, D’Arienzo, Troilo and Pugliese. They are dance orchestras, playing popular music for dancing. Summing-up the form of the tango dancemusic can be kept short: first, a strong sense of rhythm, a rhythmic force that develops strikingly the point where it dissolves into something much more soft, then everything is much sweeter, more intimate; finally, it's back to the main theme, but with a solo, maybe the violin, inside the rhythmic structure.

  Astor Piazzolla however, changed the form. He moved the tango from the dance floor to the concert stage. Even before his Tango Nuevo, he was taking conventional tangos of the 1940s and 50s and developing it into his early pieces. He stretched the classical harmony and counterpoint on which tango is built. It is known that Piazzolla was not fond of dancers, he dreamed of symphonies, a symphony orchestra. In Paris, his counterpoint teacher was Nadia Boulanger, she told him not to be ashamed of playing tango. Doing that, Piazzolla build bridges. As a great composer, he had to view and to mirror the spiritual situation of his time, his compositions tell something of our contemporary life. His tangos explore the full range of contrapuntal possibilities and have great attractiveness to young dancers, forcing them to listen even more carefully.

Music Gestures

  A dancer is like a musician, a musician makes a movement like striking the piano, and then... comes the sound. It means that, in an anticipating moment, the sound is inside him before it comes out. A dancer starts a movement and... steps at the moment that the sound appears or instantaneously following it, he is "one" with the music because he knows the music by heart. In this composition, the movement is corresponding perfectly with the music. Reacting on music is not the same as dancing with the music. When you "react" on a sound you hear, there is a time delay, as if the movement is not inside the music. However, if a dancer over-anticipates, he is predicting the music and steps just a bit too early, being just a fraction ahead of time. The timing question relates to organic consciousness. To keep one with the music - the music felt inside and the music heard outside -, a permanent sensitive awareness is required. It means being attentive to sensory signals. It is a joy you can develop, starting by matching your steps to the 2x4 beat, stepping in response to the pulse.

  A dancer is more than an organism that merely reacts to sensory information, he also makes an interpretation. For telling the story of the music, one has to catch the spririt of the music, the soul, not just to the beat. A good dancer is one who makes you see the music. For dancing the music from inside out, the senses need to become conscious and this being sensible must be combined with the ability to direct attention in a self chosen direction, consciously. To make it a living, ongoing event, there must be this, rather magical internal trigger for action.

  The magical effect of music on people seems to be related to the music's narrative content, the spirit or spacial message. All tangos have the 2x4 rhythm, yet each tango has a different narrative content which changes the dancing. Since there are many passionate tangodancers, the spirit tango seems to have a passional effect. Maybe, in analog with The Mozart Effect, one can speak of The Tango Effect.

      Online_tangolessons_lessen_tangolessen_video_clips_videoclips_mpeg_mpg_trailers_samples_dansles_dansfiguren_tangofiguren_tangostappen_basispas_salida_basics

The act of hearing

  - A musician's ear:

  A pianist says: "There’s nothing quite like learning to play a piece of music to really get inside it. Once I’m inside it, once I’m feeling through the piece with my own hands and working through its many parts with the microscope of learning, once I really start to “get it” about the music … it’s just staggering."

  There is an unique spirit to every composer and every piece of music, and it’s the spirit that counts. If an artistic performance is to reflect the true spirit, a musician must first show a respect and an affection for the music. A violinist or singer performing with real sensitivity, immediately captures the one's attention and imagination. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed, every note has its place. In a contrapunta piecel, clarity of contrapuntal line is predominant, it dictates a slow and intentional interpretation. It is very important to display the architecture of the music, a good performer will study the architecture and reflect it in performance. Balance is vital too. Tempi also are extremely important. If the tempo is too slow, the piece drags. If too fast and vital, detail is lost and the performance reflects harmful haste. Many authentic performances adopt unsteady tempi, so that the music seems to move in waves.

  - A dancer's ear:

  Saber escuchar la música... The legendary dancer Carlos Gavito, recognized milonguero and Zen philosopher of the tangodance, says : The secret of tango is in this moment of improvisation that happens between step and step. It is to make the impossible thing possible: to dance silence. First, to dance it is to know how to listen to music. For example, Julian Plaza's “Nocturna” - Nocturnal- is like listening to the street at night, it is incredible, all dance... es como escuchar la calle Corrientes de noche. Es increíble cómo escuchás los ruidos y los bocinazos. Todo eso tiene que estar cuando bailás. In the music are all the steps. The low one, marks the walk of the man with all the problems of existence. There is the violin, which sounds as the woman.. That's why, when one is dancing and a very pretty part of violin comes, he has to say to the woman: "Dance me, dance me, bailame, bailame". Later the piano, that is the moment at which both are walking together. Then there is a comunión of movements. And El Bandoneón, in which lives the spirit of tango Argentino. It is like a pomp of soap and I get there in, inside. The pomp moves inside with me, but I do not move. This is essential to learn in tangodance, the real dance, that of the silence, of following the melody.

  Carlos Gavito: The important thing is to know why we want to dance. We dance a solitude that we have inside us and cannot occupy with anything. This gap, that emptiness to which we put movement is the tango. "Lo importante es saber para qué queremos bailar. Bailamos una soledad que tenemos dentro de nosotros y no la podemos ocupar con nada. Ese vacío al que le ponemos movimiento es el tango."

  Carlos Gavito (°1942), started his career as a tango dancer in 1965 in Buenos Aires. He joined the cast Forever Tango on December 1995, dancing and choreographing two classics of the show "S.V.P" and "A EVARISTO CARRIEGO", with Marcela Duran. He was a true representative of the so-called milonguero style, very close up and passionate dance. Carlos Gavito spent half of his life looking for this moment of illumination in the dance, his choreographies astonished people of the contemporary dance. He passed away on the 1st of July 2005.

Gavito Videoclip here

Dancing is drawing

  The origin of the word dance is: F. Danser, fr. OHG. Dansn to draw; akin to dinsan to draw, the act of drawing spatially closer. Drawing can exist on two levels: action drawing and gesture drawing. Gesture drawing is related to action drawing, both involve the principle of movement, but it goes further than action drawing. Action drawing only deals with physical movement: the action line, the axis. When you do a drawing of what a figure looks like, your drawing can be correct and competent but it will only be what the figure looks like, its appearance without a deeper emotional content. Physical movement however, has a nonphysical counterpart: its essence, its movement identity. Gesture drawing involves not only physical movement, but a deeper concept of essential identity, a search for the internal, a deeper spiritual meaning of things. When you do a gesture drawing of a figure, when you strive to capture the essence, its energy of being, the figure becomes alive. Carlos Gavito's dancing is such a way of gesture drawing. The music is touching him emotionally and he puts that nonphysical content into his movements. Through use of his own sensory and perceptual experience of the music, he is telling an emotional, narrative story.

  Such inner liveliness is needed to give dance a soul. It is the active, introspective process that gives content to act of dancing together. One can only make contact if an appearance has a deeper emotional substance. Being drawn to each other, relates to a metaphysical reality: being drawn out of ourselves toward the other, goes beyond the physical act of coming closer...

Coordinated appearances

  Inside feelings and emotions are more instantaneous than simultaneous, they are present or occurring at a specific instant, spontaneous self-generated through an internal impulse, something like being drawn into the music - which is not the same as movements intentionally matched in time. In the matching approach, action timing comes into the foreground, which seems to be a more contemporary fiction. Synchronous refers to correspondence of events in time over a short period: The dancers executed a series of synchronous movements. Synchronize - Etymology: from Greek sunkhronizein, to be contemporary, from sunkhronos / synchronos / contemporaneous: be of the same time, happening at the same time. Synchronous - from Late Latin synchronus, from Greek sunkhronos : sun-, syn- + khronos, time: moving or operating at the same rate, having identical periods, having identical period and phase.



Music framed by time and image

  Counting and clicking the fingers is a way to get into the world of the living rhythm, or far away from it. Regular step time marking in measured music, thus synchronizing with the mechanic time-pitch of the metronome, allows us to predict where the next beat is going to fall. This can turn the musical pulse into a mathematical pattern. For dancers, it is a teaching drill method used for coordinating the behavior of several individuals in a synchronous joint. A regular tempo was universally accepted in baroque times when the conductor's major concern was keeping unruly players and singers together. Basically, the essence of regular step time marking is sociality, group making, team building. It's underlying base is the tendency to associate with others and to form social groups, to absorb and becoming one with the unit. One joins in because... people in group formation display more strength than not associating individuals, who are also hindering the unification, and... nobody likes to be left out. After eliminating the un-synchronized elements who spoil the shot, the end result must be a coherent, synchronized performance. A perfect picture framed by time and image.

  A group has a stronger visual and energetic impact on the public, the result is a higher pay-off. In social situations and on stage, the audience is more affected, influenced, overwhelmed. Therefore, the more the number of synchronizations, the better. Examples of synchro are marching in unison, a constantly regular stepping crowd moving counterclockwise, war dances and also synchronous sexual signalling of one group to an other, as in musicals like West Side Story.

  In synchronized performances, a group of people dance and they all execute the same dance moves individually. It allows dancers to show their technique, their precision, in addition to their ability to move as a powerful team. Between 1920 and 1930 in Germany, England and France, demonstrations were given by showteams who danced coupledances, these couples danced the same figures in a synchronized manner. Dance edited into synchronization is a virtual reality, a simulated space in which physically isolated individuals seem to dance "together". It works because people become imaginatively involved in these rigidly scripted actions. It is a pattern that acts as a matrix for energies, resulting in a heightened ritual that captures the imagination and transforms it. A group performing aesthetically pleasing and difficult movements in a synchronized way, offers a technologized image with great influence.

pulsación_pulsation, pulse-impulse-puls_beat

Sound Imaging

  Concerning active listening and the ear, it has two facets. The mechanics of hearing are straightforward and well understood, but the action of the brain in interpreting sounds is still a matter of dispute among researchers. The mechanisms of sound interpretation are poorly understood, in fact is not yet clear whether all people interpret sounds in the same way. Until recently, there has been no way to trace the wiring of the brain, no way to apply simple stimuli and see which parts of the nervous system respond, at least not in any detail. Most studies in psycho-acoustics deal with the sensitivity and accuracy of hearing. We might assume that sound of a particular waveform and frequency sets up a characteristic pattern and that the brain deals with these patterns in the same way it deals with visual patterns on the retina. If a pattern is repeated enough we learn to recognize that pattern as belonging to a certain sound, much as we learn a particular visual pattern belongs to a certain face. The absolute position of the pattern is not very important, it is the pattern itself that is learned. It does appear to be a learned ability and about sensitivity, the ability to sense something. Each time we have learned to identify a particular pattern or recognition of disability awareness, we become more one with the soul of the music.
more here

  Regarding music entering our central nervous system, there are two simultaneous streams of information: through the ears in music that is heard and in thinking music entirely in our brain. Stream 1 is the repetitive pulse (or beat). This is the unrolling canvas so to speak onto which the story of the music, Stream 2, is written or painted. The canvas - the pulse - represents who it is that is telling the story. The pulse is repetitive, the story develops, changes and contrasts. It has a beginning, a middle and an end. The pulse however goes on throughout, repetitively, and has no middle that coincides with the middle of the story. The central nervous system treats those two streams differently. The pulse will tend to go to the feet, the second stream conveys the unfolding story. Phrasing is part of the story stream. The expressive power of music emerges originally from the more open and abstract musical story stream. But a piece may be well phrased and otherwise well performed, but without the pulse it lacks vitality and presence. This pulse affects the microstructure (duration and loudness) of each note played. Within the notes of a beat, variations as small as one millisecond are sensed, and each composer has his own unique way of incorporating microdurations into their work. Similarly, variations of a few percent in the loudness of a tone also has a marked effect on the emotional meaning of the composition.
more here

electrofusion_BTC_ Bajofondo_Tangoclub_Luciano _Supervielle
Electro Tango Here !


To be or not to be sensitive

  In the matter of listening, cultural tastes and sensitivity make a difference too. Many listeners appreciate the sheer sound quality of authentic performance instruments, finding it more beautiful and filled with character than what is heard from modern instruments. The same could be said of the human voice, when it is not required to compete with modern instruments in volume. What authentic-performance participants want is not always authenticity per se, but particular benefits that come from authenticity, such as clarity, tonal vividness, and rhythmic propulsion. The instruments have a less overpowering tone, so that the playing of one note interferes less with the hearing of simultaneous or neighboring notes. Authentic performance is argued to achieve greater transparency of musical texture. Greater transparency and greater dynamic contrast lend themselves, in turn, to greater rhythmic energy. To the ear that has become attuned to authentic performance, modern "mainstream" performances often sound heavy and rhythmically dull. Paradoxically, for such listeners, the unique musical character comes through more clearly when they are performed with the lighter forces of the authentic performance movement.

  Nikolaus Harnoncourt on period instruments: Fifty years ago, nobody played old instruments, because everybody thought modern instruments were better than old instruments. Like a camera: the modern camera is better than the old. But if you find a camera from 1870, and you see the photographs of that time, they are so fantastic, you can not make the great portraits in black and white with the best modern camera. You can not make these pictures. This was the reason why we chose instruments of Mozart's time: because we found that they were better, not because they were authentic. So I never use the word authentic. It is a tool. If you use this tool, or that tool... I want to use a tool with which I can make the music best, and the expression of the music. But now, as I know the differences, and what the instruments can do, I can also work with the other instruments, which are made for later music. I can play Mozart very, very well, very close to the ideas of Mozart, because I know what is different. If I had not done this work with instruments, I would not know what is better and what is less good. But I think specialists who say, “we play only 17th century music on original instruments”, this is not good. I don't like specialists, because they loose the connection with their time, and their art is not something which has to do with history. It must have to do with our life.

  Sir John Eliot Gardiner on period instruments: Instruments make a lot if difference. If you use instruments that are really developed in a modern state-condition in the 20’th century for playing Mozart, I think in some ways you introduce a foreign element, whereas if you go back to the baroque instruments and then see how they work evolving in his lifetime - in the second half of the 18’th century - how the bows of the string instruments having been outward curved starting to straighten out to give them a little more power ... but how the sound world is much more relaxed, it’s less tense and frantic ... or turbo-charged as it is with the 20’th century-instruments.

  Christopher Hogwood on period instruments: A lot of classical music deals with understatement. You don’t overstate something but you take away, you make the line carry the minimum, and this is necessary for the effect, not the maximum. And so nearly always with modern orchestras I have to do a lot of quitening down making the effects just what you need, not more, much much less but not invisible. Just on the right level for sophisticated ears. If you play on a Steinway you are using a sort of very good translation. It’s like Shakespeare in german, or Goethe in english. You are not hearing really the sound. But you are hearing a lot of the sense, and I think you can do very musical performances on other instruments.

  Hearing music is more than listening, it is touching all of the senses simultaneously. In singing, the body's pulsations are protruded on to a stream of breath, thus revealing the singers emotions and offering a target for affective identification for the listeners. Even when listening to sounds of musical instruments, a part of the listening experience is a notion of the bodily activities that produce the sounds. A player's sense of a musical style is primarily felt in contact with the instrument, and can not be acquired through discourse. The physical effort to create sound is already part of the music. The bandoneón, originally ment as a small church organ, needs the musician's whole body to express a boundary-transcending sound. A musician is expressing himself through his instrument and connecting awareness to the whole body. He is not unpacking a digital audio format. Dancing on life music feels much different from a mp3 audio file which encodes music into a technological form. We interact through all our senses, the sensing body in movement has much more layers than its visual image, which often generates abstract images.

  Contemporary aesthetic values become a little over-polished, they are not preoccupied with sensory dimensions or introspective consciousness. Yet, senses need to become conscious to make the event real, the desire of bodily expressing the music. Corporality is an important factor that explains the extent to which a sensory experience will appear as being truly sensory. However, an organism that merely reacts to sensory information has no need for consciousness – it simply does what the environment demands. To get a coordinated representation, there must be an internal rather than external trigger for action. The ability to direct attention in a self chosen direction, so as to be state conscious of some things rather than others and to select and combine the representations needed, is the function of a second sense. Unconscious sensory representations like the body position and music changes, become conscious through concentration and focussing of attention.
click here for more on sensory consciousness

La2x4 - La radio de Tangos de Buenos Aires


Pair Dance

  In tangos, the concept of leading and following is radically different from predictable dances. The lady follows by "feeling" her partner's chest-changes. Inside the dance-hold which is a spiral, the partners feel the circular movements. The more the other is sensitive towards you, the more the experience will be intensified. Attention, awareness of the dancing experience is the focus. Inside the energetic circle of the tango's close embrace, the tanguera is aware of the tanguero's movements which must be clear and simple, giving one step-direction at the time, and he should go about it with a quiet and relaxed manner, and he has to be relaxed to be fast. The movement power is generated from the lower abdomen and legs. Upper body strength and muscle-tonus can extent the elastic guiding, especially when the tanguera is doing a boleo. There is no pushing or pulling by the man and he also must listen and respond to the way the lady moves. She has the abilities and capacities to sabotage, to delay and to dislocate the effect of leading. The ongoingness and richness of the sensation derive from the knowledge we have of the many different things we can do, but need not do. Dancing is, practicing a skill that the organism has mastery of.

  This way of guiding in tango has an intimate quality, it's almost as though your dancepartner is part of your own body. Through this bodiliness or corporeality, the twitch of a muscle produces a change in the signal coming from your partner, moving your body will immediately affect your partner. Because any change affects the sensory input, the other person is forcibly present. Bodiliness is one aspect of sensory stimulation which makes it different from other forms of stimulation, giving it an intimate quality. From this follows the realness of the ongoing experience. Ongoingness means that an experience is experienced as occurring to me, or happening to me here, now, as though I was inhabited by some ongoing process. Someone is aware of an experience because he is interacting with it in a conscious way. Unconscious sensory representations become conscious through focussing of attention. Each experience is subjective, it is in an unalienable way my personal experience and there is always more to the experience than what can be described in words.

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Symbolic legwork here


Tango went underground
because it wanted "to do the real thing"


  Through it's dark, indecent orgins, the concept of leading and following in argentine tango is radically different from predictable couple dances. For tango dancing, creativity is wanted from the dancers... skills associated with sensory exploration and some inspiración divina makes a good tango. Erotic beauty is more than being graceful, it is manipulative and violent too. A passion needs unpredictable surprises and breathless rhythmic accumulations, they deepen contact and give an energy-kick, physically. Skilfull frustration, such as teasing, can intensify the fear and fire up the desire through creating some supersensualism. Some provocation which intensifies the attention, the awareness of the experience, heightens up the tension to the closure, evoking supersensualism that involves the sensitivity of the whole body, an arousal in many nuanced ways.

Yo soy María
de Buenos Aires
soy la más bruja cantando y amando también!
Si el bandoneón me provoca... tiará, tatá!
le muerdo fuerte la boca... tiará, tatá!
con diez espasmos en flor que yo tengo en mi ser.

  Those who see a tango argentino as a performance art piece, see each dance is an unique moment of creativity. Much practice is needed to dance good, but the dance is not a rehearsed pattern of steps. Unique means, in it's essence, never being done before. An unique choreography means that the representation looks new.

Tanguera_CD

The spirit of tango as a coupledance

  Tango is an inside feeling. To communicate in a dance, the feeling must be explored and experienced inside. The dance happens between people in an intimate partnership. It has an intimate quality, it's almost as though your dance partner is a part of you. This closeness in couple dance is revolutionary. The man and woman are dancing close together and are creating a direct, non-verbal dialogue. Doing what they want. For this, creativity and sensitivity is wanted from the dancers. It's about expressing emotions and the ability to direct attention in a chosen direction. For creating a coordinated representation, an internal impulse is sensed. This communication makes the tango dance a new orientation in the manner which couples dance together. Presumably, this change responds to the time spirit at the turn of the century, like psychoanalysis around 1900.

  One of the technical magics is that the concept of leading and following in tango is radically different from predictable dances. The lady follows by "feeling" her partner's bodily movements. As guiding and following are "one", permanent attention and bodily connection is required. The more the other is sensitive towards you, the more the experience will be intensified. From this follows the realness of the ongoing experience. This bodily connection means that there is a 3th beat-pattern dimension. Underneath the rhythmic steps and the living pulse of the music, grows a dialogue of rhythm in the couple's dance interaction. When two people dance together, what they do affects each other in a profound and ongoing way. A dialogue exposes, the bottomline is chemistry.

  Tangodancing is a growing non-verbal communication. Couple dance is about sensitivity, mutual understanding and partnership. Leading and following is a mutual conversation. It is also a challenge. Modern western men may find it uncanny to step out the corner and to guide "the direction" in a self-confident, dominant or socalled macho manner. For years, the man's dancing role is directed into something like "An Officer and a Gentleman", which is in some way the classical dance picture. In traditional ballets, the male dancer was secondary to the ballerina. His job was primarily to lift the ballerina and support her balance without drawing attention to himself.

  Rudolf Nureyev (1938-1993) reinvented the role of the male in ballet. As a dancer he started early and conscientiously developing the possibilities available to male dancers, proving that a principal dancer can be just as gracefully subtle and expressive as a ballerina without any loss of virility. One of the secrets of Nurejev’s success comes from the fact that he did more than was necessary in everything he undertook. Rudolf Nureyev made a great contribution to the reappraisal of male ballet and, by working with contemporary choreographers, went far beyond the "classical / modern" divisions. He was always attracted to difficulty: How could I dance if I didn’t force myself to do things that I can’t do? Rudolf Nureyev personified the school of life for a dancer: enrich yourself, open up your mind, look all around, take it all in, and put yourself in the position of understanding and interpreting the choreography, not just performing it. Nurejev danced with impressive athletic power and gained prominence for the male dancer at least equal to that of the ballerina.

  Onstage, the phenomenal Fonteyn-Nureyev partnership set a standard for ballet that is still alive today. Margot Fonteyn and Rudolf Nureyev transformed the pas de deux (dance for two), which is the centerpiece of traditional 19th century ballets. Instead of dancing the pas de deux as a cool, technical display in which the ballerina was the focal point, they created an intimate and intense drama in which the danseur (the principal male dancer) and the ballerina contributed equally. When Fonteyn and Noureev performed, there was electricity between them, both had the gift of translating emotion into movement - the very basis of their art. The tension arising from the 20 year gap in their ages, their opposing temperaments and their totally diverse backgrounds seemed to generate an electricity in the atmosphere whenever they appeared together, and Fonteyn - far from being overshadowed - seemed rejuvenated, even her technique seemed to improve. Margot Fonteyn could make you cry just watching her. How to put something so visual, so potent with theatrical moment that even film cannot capture it, into plain words? How to explain why it is that when, to a particular strain of music, an ordinary mortal steps forward on one leg, raises the other behind her and lifts her arms above her head, the angels hold their breath? Meredith Daneman locates Fonteyn’s extraordinary on-stage appeal in the woman’s personal qualities - her moral as much as physical virtues. Fonteyn’s dark, exotic looks came from her mother’s side of the family. Her father, Felix Hookham, was a lower-middle-class Englishman; her mother the illegitimate daughter of a rich Brazilian businessman, Antonio Goncalvez Fontes, and an Irishwoman, Evelyn Acheson. When Daneman met members of the Fontes clan in Brazil, she understood how Latin family pride had made it unthinkable that a young dancer, Peggy Hookham, a remote relative, should adopt their name as a stage pseudonym. She altered it instead to Fonteyn. The English style of dancing was formed on and by Fonteyn, moulded by Frederick Ashton, the choreographer who made the most of her talents. Ashton’s early roles for Fonteyn show her as a sensual being: the seductive Creole girl in Rio Grande, Tiresias the sexual experimenter. Then he froze her in perpetual purity: Chloe, Ondine, Sylvia, in his postwar ballets, are maidens beyond reproach. Not until Rudolf Nureyev burst onto the scene was Fonteyn able to be anything other than virginal.

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  Inside the tango dance hold which is a close embrace circle, the opposites do not come together in synthesis as if losing one's identity, the paradoxes are maintained and sometimes the extremes reappear clearly in the dance. Duality is typical for our western culture, it seems to be an essential, delicious and addictive stimulus. It feeds the imagination. Our imaginations need it to keep engaged. Without a contradiction within your action, a split, you can't develop a structure of motion. An obstacle makes the objective, the longing visible. Contrast, the opposite, a contra-point is needed.

  As the orgins of tango are related to the brothels and the fact that it was danced between men and prostitutes in a marginal lower class area, broke rules and dancing habits. Couple dance got another character, an opposition between what is inside you and what is inside me. The dance got a more violent temperament, something of a struggle. The ritual symbolism of tangodancing is connected with sensuality and disastrous desires such as sexual teasing. The prostitute was viewed as a She Devil. She seduced men with her tricks and through the sexy clothing she wore. There is nothing more "tango" than nylons and highheels. High heels are considered symbols of heightened sexuality.

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Partly Translations
Fr / It / Port / D / Esp / Nor / T / Pl / Fin / H / Sw / Dan / Cz / Sl / Serb / Lat / Icel.

En français:
A le tango quelque chose de spécial ?
Tango est un sentiment intérieur. Pour communiquer dans une danse, le sentiment doit être exploré et éprouvé à l'intérieur. La danse se produit entre les personnes dans une association intime. Elle a une qualité intime, il est presque comme si votre associé de danse est une partie de vous. Cette intimité dans la danse de couples est révolutionnaire. L'homme et la femme dansent étroitement ensemble et créent un dialogue direct et non-verbal. Faisant ce qu'elles veulent. Pour ceci, la créativité et la sensibilité est voulue des danseurs. Il est au sujet d'exprimer des émotions et la capacité de diriger l'attention dans une direction choisie. Pour créer une représentation coordonnée, une impulsion interne est sentie. Cette communication fait à la danse de tango une nouvelle orientation de la façon que les couples dansent ensemble. Vraisemblablement, ce changement répond à l'esprit de temps à la fin du siècle, comme la psycho-analyse autour de 1900.

In italiano
Al tango qualcosa di speciale?
Tango è una sensazione interna. Per comunicare in una danza, un ballo, la sensibilità - la sensazione deve essere esplorata e provata dentro, all'interno. La danza si produce tra le persone in un'associazione intima. Ha una qualità intima, è quasi come se il vostro socio di danza sia una parte di voi. Quest'intimità nella danza di coppie è rivoluzionaria. L'uomo e la donna ballano strettamente insieme e creano un dialogo diretto e non verbale. Facendo ciò che vogliono. Per questo, la creatività e la sensibilità è voluta dei ballerini. È su esprimere su emozioni e la capacità di dirigere l'attenzione in una direzione scelta. Per creare una rappresentazione coordinata, un impulso interno è sentito. Questa comunicazione fa alla danza di tango un nuovo orientamento nel modo che le coppie ballano insieme. Probabilmente, questo cambiamento risponde allo spirito di tempo alla fine del secolo, come la psycho-analis'attorno al 1900.

Em português:
Ao tango algo de especial?
Tango é um sentimento interno. Para comunicar numa dança, o sentimento deve ser explorado e provado dentro. A dança produz-se entre as pessoas numa associação íntima. Tem uma qualidade íntima, quase está como se o vosso associado de dança é uma parte de vocês. Esta intimidade na dança de casais é revolucionária. O homem e a mulher dançam estreitamente juntos e criam um diálogo directo e No.verbal. Fazendo que querem. Para isto, a criatividade e a sensibilidade é queridas dos dançarinos. Está a respeito de exprimir de emoções e a capacidade de dirigir a atenção numa direcção escolhida. Para criar uma representação coordenada, um impulso interno é sentido. Esta comunicação faz à dança de tango uma nova orientação da maneira que os casais dançam juntos. Provavelmente, esta mudança responde ao espírito de tempos no fim do século, como a psychoanálise em redor de 1900.

Auf deutsch:
Hat tango etwas spezielles ?
Tango ist ein inneres Gefühl. Um in einem Tanz in Verbindung zu stehen, muß das Gefühl nach innen erforscht werden und erfahren werden. Der Tanz geschieht zwischen Leuten in einer vertrauten Teilhaberschaft. Er hat eine vertraute Qualität, es ist fast, als wenn Ihr Tanzpartner ein Teil von Ihnen ist. Diese Nähe im Paartanz ist revolutionär. Der Mann und die Frau tanzen nahe zusammen und verursachen einen direkten, ohne Worte Dialog. Tun, was sie wünschen. Für dieses wird Kreativität und Empfindlichkeit von den Tänzern gewünscht. Er ist über das Ausdrücken von von Gefühlen und von von Fähigkeit, Aufmerksamkeit in einer gewählten Richtung zu verweisen. Für das Verursachen einer koordinierten Darstellung, wird ein interner Antrieb abgefragt. Diese Kommunikation bildet den tango Tanz eine neue Lagebestimmung in der Weise, die Paare zusammen tanzen. Vermutlich reagiert diese Änderung auf den Zeitgeist an der Jahrhundertwende, wie Psychoanalysis um 1900.

En español:
¿Al tango algo de especial?
Tango es un sentimiento interior. Para comunicar en una danza, el sentimiento debe explorarse y probarse dentro. La danza se produce entre las personas en una asociación íntima. Tiene una calidad íntima, casi está como si su asociado de danza es una parte ustedes. Esta intimidad en la danza de pares es revolucionaria. El hombre y la mujer bailan estrechamente juntos y crean un diálogo directo y no verbal. Haciendo lo que quieren. Para esto, la creatividad y la sensibilidad se quieren de los bailarines. Está con respecto a expresar emociones y la capacidad de dirigir la atención en una dirección elegida. Para crear una representación coordinada, se siente un impulso interno. Esta comunicación hace a la danza de tango una nueva orientación de la manera que los pares bailan juntos. Probablemente, este cambio responde al espíritu de tiempo al final del siglo, como el análisis psycho en torno a 1900.

Norwegian
Har tango noe spesiell ?
Tango er en innside føler. Kommunisere i en dans, følelseen undersøkt og erfaren inni. Dansen skjer mellom folk i en intim partnership. Det har en intim kvalitet, det er nesten som om Deres danspartner er en del av De. Denne closeness i pardans er revolusjonær. Mannen og kvinne danser nær sammen og skaper en direkte, ikke dialog. Å gjøring hva de vil ha. For dette, kreativitet og sensitivitet vil ha fra danserne. Det om uttrykker følelser og evnen dirigere oppmerksomhet i en valgt retning. For å skape en koordinert representasjon, en innvendig impuls føler. Denne kommunikasjon får den tango til tango en ny orientering i måten som sammenkopler danser sammen. Formodentlig, denne forandring reagerer på tidsånden på den vender av århundret, som psychoanalysis omkring 1900.

Turkish
Tango yapma var özel birsey?
Tango yapma bir iç duyumsamiyor mu. Bir dansin içinde içerde feeling kesfedilmeli ve tecrübeyle ögrenilmeli, açiklamak. Dans samimi bir ortakligin içindeki insanlarin arasinda olur. Onun samimi bir kalitesi var sen. Bu yakinlik çift dansi devrimci. Adam ve kadin yakin dans etmeler olma ve create dosdogru, sözlü degil diyalog. Onlarin ne istedigini yapiyor. Bu, yaraticilik ve duyarlik dansçilardan istenme. Duygular ve yetenegi dosdogru yaklasik belirtmiyor seçilmis bir yönün içindeki dikkat. Koordine edilmis bir temsil yaratarak için, içsel bir itis sezilir. Bu bildirisim tango dansini çiftlerin dans ettigi davranisin içindeki yeni bir oryantasyon atar. Muhtemelen, bu degisim yüzyilin sirasindaki zaman ruhuyla yanitlama sevme 1900 civarindaki psikanaliz.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.
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Polish
Ma Srebrny tanga cos nadzwyczajne wydanie gazety ?
Tango jest wnetrzem czulym. Zeby udzielic w tancu, czucie musi byc zbadane i musi byc doznane wewnatrz w domu. Taniec nadarza miedzy ludzmi w intymnym wspóludziale. To ma intymna jakosc, to niemal jak chociaz wasz taneczny towarzysz jest czescia was. Ta spoistosc w paroma tancu rewolucjonista. Czlowiek i kobieta tancza szczelnie razem i tworza bezposredni, niewerbalny dialog. Robiac co oni chca. Dla tego, kreacyjnosc i drazliwosc jest chciana od danserów. To dookola wyraza wzruszenia i zdolnosc skierowac uwage w wybranym kierunku. Aby formowac uzgadniane przedstawianie, wewnetrzny impuls jest wyczuwany. To zakomunikowanie robi tango tancza nowa orientacja w sposobie którym sczepia taniec razem. Ten zmieniac odpowiada do czas duch przy ten uruchomic od ten stulecie , podobny psychoanaliza wokolo 1900.

Finnish
Has Argentiinalainen haju jokin ylimääräinen juna ?
Haju on by sisältä tunto. Jotta asettua yhteyteen kotona tanssia , tunto raivo olla tehdä tutkimusmatka ja kokenut sisältä. tanssia esiintyä kesken ihmiset kotona by läheinen ystävä avoin yhtiö. Se has by läheinen ystävä avu it's jokseenkin koska jos kohta sinun tanssia osakas on eritä -lta te. Nyt kuluva closeness kotona koiranvitjat tanssia on kumouksellinen. herra ja nainen aari tanssittava lakkauttaa keskenään ja aari aiheuttava antaa tehtäväksi , ei- - suullisesti dialogi. Ajava mikä he haluta. Ajaksi nyt kuluva , luomiskyky ja sensitiveness on palvelukseen halutaan polveutua tanssija. It's jokseenkin ilmaiseminen emotio ja etevyys jotta antaa tehtäväksi asento kotona valikoida haara. Ajaksi aiheuttava koordinoida agentuuri , by jäsentenvälinen heräte on aistia. Nyt kuluva ajatusten vaihto hätäkeino haju tanssia veres orientoiminen kotona continent joka koiranvitjat tanssia keskenään. Arvatenkin , nyt kuluva heilahdus laulaa vastaus jotta aika aave aikaa hapantua -lta vuosisata , kuin psykoanalyysi liepeillä 1900.

Hungarian
Birtokol Argentin tangózik valami speciális ?
Tangózik van egy belso rész érzés. -hoz kommunikál -ban egy táncol , a érzés kell lenni kikutat és tapasztalt belso rész. A táncol történik között emberek -ban egy meghitt társas viszony. Ez birtokol egy meghitt tulajdonság , az majdnem habár -a táncol társ van egy része ön. Ez közelség -ban pár táncol van forradalmi. A ember és asszony van táncoló zár együtt és van teremto egy közvetlen , nem - igei párbeszéd. Csinálás mi akarnak. Részére ez , kreativitás és érzékenység van kívánatos -ból táncosok. Az körülbelül kifejezheto érzelmek és a lehetoség arra közvetlen figyelem -ban egy válogatott utasítás. Részére teremto egy koordinál ábrázolás , egy belso lökés van értelem. Ez kommunikáció ideiglenes tákolmány a tangózik táncol egy új betájolás -ban mód melyik párosít táncol együtt. Feltételezhetoen , ez cserél válaszol -hoz ido szellem a századfordulón , szeret psychoanalysis körül 1900.

Swedish
Har Argentina tangenten något speciell ?
Tangenten är en insida kännanden. Till meddela i en dansa , kännanden måste bli utforska och upplevat insida. Dansa händer emellan folk i en förtrolig kompanjonskap. Den har en förtrolig kvalitet , den er nästan liksom om din dansa partnern är en del om du. Den här tätheten i par dansa är revolutionär. Manen och kvinna dansar nära tillsammans och skapar en rikta , inte - verbal samtalen. Gör vad de nöd. För den här , kreativiteten och sensibiliteten är viljat från dansanden. Den er omkring yttranden emotion och förmågan till rikta uppmärksamhet i en väljare riktning. För skapande en koordinat framställande , en inre impulsen är sinne. Den här kommunikation göra den tangenten dansa en ny orienteringen er efter vilken paren dansa tillsammans. Troligen , den här ändra reagerar till tid ande på den vända om århundrade , lik psychoanalysis runt omkring 1900.

Danish
Har Argentiner tangent et eller andet speciel ?
Tangent er en i følelse. Hen til overfører i en bal , den følelse skal være undersøge og prøvet i. Den bal sker imellem folk i en antyde samarbejde. Den har en antyde seriøs , det er næsten som om jeres bal parthaver er en noget af jer. Indeværende tæthed i par bal er revolutionær. Den menneskene og kvinde er dansende slutning sammen og er skaber en lede , ingen - mundtlig samtale. Gør hvad de savn. Nemlig indeværende , kreativitet og følsomheden er savnet af den baldame. Det er omkring gengivelse rørelse og den evne hen til lede opmærksomhed i en valgte ledelse. Nemlig skaber en arbejde sammen beskrivelse, en indre impuls er fornemme. Indeværende meddelelser gør den tangent bal en ny orienteringen ala hvilke par bal sammen. Formentlig , indeværende lave om på reagerer hen til den gang appel henne ved den omdrejning i den århundrede , lige psychoanalysis omkring 1900.

Czech
Argentinec tango neco zvláštní ?
Tango is neurc. clen jádro cit. Až k být ve styku do jeden tancovat , clen urcitý cit musit být pátrat a zkušený jádro. Clen urcitý tancovat stát se mezi lid do neurc. clen dát na srozumenou spolecenství. Clen dát na srozumenou jakost it's skoro jako by tvuj tancovat druh is jeden cást of tebe. Tato closeness do dvojice tancovat is odbojný. Clen urcitý man a žena ar tancení blízký dohromady a ar pro boha jeden adresovat , bez- - doslovný dialog. Jednání jaký ona potreba. Do tato , tvorivý a citlivost filmu is potreboval dle clen urcitý tanecník. It's kolem interpretace emoce a clen urcitý schopnost až k adresovat pozornost do jeden chosen adresa. Do pro boha jeden clen interpretace , neurc. clen domácí instinkt is cit. Tato komunikace díla clen urcitý tango tancovat jeden nový orientace do clen urcitý obycej kdo dvojice tancovat dohromady. Podle predpokladu , tato burza analogický až k clen urcitý cas duch v clen urcitý být špatne od žaludku of clen urcitý centurie , do téže míry psychoanalysis asi 1900.

Slovenian
Has Argentine držajni konec nekaj poseben ?
držajni konec je notri pocutje. v biti obhajan v a ples , pocutje morati obstati preiskovati ter preizkušen notri. ples zgoditi se med narod v intimen združenje. to has intimen odlicnost it's skoraj kakor ce vaš ples solastnik je a del od vi. to bližina v par ples je uporniški. od deških let dalje postaviti ženske ste plesen blizu vkup ter ste tvor a neposreden non - glej verbally dvogovor. pocetje kakšen hocejo. zakaj to , stvariteljski ter obcutljivost je biti brez s plesalka. It's približno iztisljiv pretres ter zmožnost v neposreden nega v a chosen smer. zakaj tvor a coordinated slikovito predstavljanje , notranji zagon je cut. to obhajilo pomožen držajni konec ples a nov usmerjenost v nacin kateri par ples vkup. vrjeten , to sprememba responzoorij v cas duh v konec stoletja , všec biti psihoanaliza okrog 1900. Tangueiros Tangueiras , Tangueiro Tangueira, Bailarino Milonguinha, Milongueiras, Milongueiros, Milongueira Milongueiro, dançarinos dançarinas dançarino dançarina, salões, salõe.

Serbian
Je Argentiski šiljak nešto narocit?
Za komunicirati unutra jedan ples , odredeni clan osjecaj morati postojati istraživan pa iskusan unutrašnjost. Odredeni clan ples dogoditi se izmedu narod unutra dobro prisan sudjelovanje. Odredeni clan covek pa žena biti plesanje zatvoren zajedno pa biti kreiranje jedan usmeriti , ne - slovcan dijalog. Dogadaj šta oni oskudica. It's okolo izraziv emocija pa odredeni clan sposobnost za usmeriti pažnja unutra jedan izabran pravac. Današji komunikacija pomoc za nuždu odredeni clan šiljak ples jedan nov orijentacija unutra odredeni clan nacin šta par ples zajedno. Vjerojatno , današji promena odgovor za vremena duh na prijelazu stoljeca , slican psihoanaliza okolo 1900.

Latin
Argentine tango quispiam proprius?
Tango est sensus. Ut defero in a tripudio , sensus must exsisto rimor quod expertus inside. tripudio venio inter populus in an insinuo consortio. Is has an insinuo species it's fere ut sententia vestri tripudio socius est a secui vestrum. Is propinquitas in iugo tripudio est revolutionary. vir quod mulier es tripudio propinquus una quod es partum a directus non verbal alternis sermonibus. Effectus quis they volo. Huic creativity quod sensilis est volo ex presul. Super oris affectus quod potestas tendo intentio in a electus procuratio. Pro partum a responsal an penitus pulsus est voluntas. Is defero planto tango tripudio a novus orientation in ratio quod iugo tripudio una. Respondeo ut vicis phasmatis procul verto of century , amo psychoanalysis inter 1900.

Icelandic
Hefur Silfur- tangó eitthvað sérstakur? Tangó er óákveðinn greinir í ensku inni tilfinning. Til miðla í a dans the tilfinning verða vera kanna og reyndur inni. The dans gerast á milli fólk í óákveðinn greinir í ensku náinn félag. Það hefur óákveðinn greinir í ensku náinn gæði it's næstum eins og þinn dans félagi er a hluti af þú. This þéttleiki í par dans er byltingarkenndur. The maður og kona ert dans loka saman og ert kreatín a stjórna non - orða- samtal. Aðgerð hvaða þeir vilja. Fyrir this , sköpunargáfa og næmi er vilja frá the dansari. It's óður í tjáning tilfinning og the geta til stjórna eftirtekt í a útvalinn átt. Fyrir kreatín a hliðstæða framsetning , óákveðinn greinir í ensku innri högg er skilningarvit. This tjáskipti bráðabirgða- the tangó dans a nýr stefnumörkun í the háttur hver par dans saman. Væntanlega this breyting svara til the tími andi á the aldamót , eins og sálgreining í kring 1900.

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35 ORO Y PLATA / CHARLO - MANZI / LA CHICANA - DOLORES SOLÁ
36 LA PESADILLA / DE Y POR: LA GUARDIA HEREJE
37 QUE NADIE SEPA MI SUFRIR / CABRAL-DIZEO / SANDRA LUNA
38 A FUEGO LENTO / HORACIO SALGÁN
39 BAILEMOS / MAMONE - YISO / ALBERTO MORÁN CON ARMANDO CUPO
40 UNA TARDECITA CUALQUIERA / TABOADA - PUCCIO / MARTÍN ALVARADO
41 ESCUALO / PIAZZOLLA / FERNANDO SUÁREZ PAZ
42 CAFÉ LA HUMEDAD / DE Y POR: CACHO CASTAÑA
43 DESENCUENTRO / TROILO - CASTILLO / ARLET FERNÁNDEZ
44 FLORES NEGRAS / GOMILA - DE CARO / JULIO DE CARO Y SU ORQUESTA
45 GARÚA / TROILO - CADÍCAMO / ROBERTO GOYENECHE
46 NEGRACHA / DE Y POR: OSVALDO PUGLIESE
47 YIRA, YIRA / DISCÉPOLO / OMAR MOLLO
48 LAS CUARENTA / GORRINDO - GRELA / JUAN D´ARIENZO
49 EL ARRANQUE / GOMILA - DE CARO / ORQUESTA EL ARRANQUE
50 A LA MILONGA / LADOUS - DICHIERA / LA BIYUYA - MARINA BAIGORRIA
51 QUIÉN PUEDE JUZGARTE / DE Y POR: CHICO NOVARRO
52 SIN PRETENSIONES / DE Y POR: JULIO PANNE
53 TENÍA QUE SUCEDER / GALUCCI - ORQUESTA TÍPICA GENTE DE TANGO
54 LA ZURDA / DE Y POR: JOSÉ OGIVIEKI
55 SOY CANTOR / SARACENI - ROSALES / ESTEBAN RIERA
56 RESPONSO / DE Y POR: ANÍBAL TROILO
57 Y SOMOS LA GENTE / PUGLIESE - ELADIA BLÁZQUEZ
58 EL CHOCLO / VILLOLDO / SWING PORTEÑO
59 AZÚCAR, PIMIENTA Y SAL / ORQUESTA HÉCTOR VARELA
60 MILONGA CÉLTICA / RICHARD HUNT / ORQUESTA QUARTANGO
61 EL PLATA / DE Y POR: JUAN CARLOS CÁCERES
62 TABACO / PONTIER / FERNÁNDEZ FIERRO - CANTA: WALTER "CHINO" LABORDE
63 TANGO VARÓN / ACUÑA / OSCAR POMETTI
64 MULATADA / MORES - CASTILLO / MARIANO MORES
65 ABUELITA DOMINGA / ENRIQUE MACIEL / ROBERTO GRELA
66 BERRETÍN / FREYRE - MESA / CARACOL
67 Y YO LA AMABA / LENNON - MC CARTNEY / TANGOLOCO
68 HECHIZO POLACO / DE Y POR: ALFREDO CASERO
69 LIBERTANGO / PIAZZOLLA / UN VAGÓN DE TANGO
70 LA PULPERA DE SANTA LUCÍA / BLOMBERG - MACIEL / JUAN DARTHÉS
71 COMME IL FAUT / AROLAS / HORACIO SALGÁN - UBALDO DE LÍO
72 MANO BLANCA / DE BASSI - MANZI / NELLY OMAR
73 INVIERNO PORTEÑO / PIAZZOLLA / CAMERATA PORTEÑA
74 MARIONETA / ANGEL D´AGOSTINO Y ANGEL VARGAS
75 NUNCA TUVO NOVIO / BARDI - CADÍCAMO / RODOLFO MEDEROS
76 PIEZA EN FORMA DE TANGO / DE Y POR: LES LUTHIERS
77 UNA MÚSICA BRUTAL / SOLA - MÜLLER - MAKAROFF / GOTAN PROJECT
78 BAJO UN CIELO DE ESTRELLAS /ALFREDO PIRO Y WALTER CHINO LABORDE
79 EL ADIÓS / PACHECO HUERGO - SAN CLEMENTE / IGNACIO CORSINI
80 FAROLITO DE PAPEL / LESPES - GARCÍA GIMÇENEZ / MARTA VOLVÉ
81 RECUERDO / PUGLIESE / OSVALDO PUGLIESE - CANTA: JORGE MACIEL
82 LA ÚLTIMA CITA / BARDI - GARCÍA / PUENTE ALSINA
83 CRISTAL / MORES - CONTURSI / ESTEFANÍA VEGA
84 PROMETEDORA / NÚÑEZ - JAURENZ / JUAN D´ARIENZO
85 ROMANCE DE TANGO / STAMPONE /SEXTETO MAYOR
86 GARUFA / FONTAIÑA - SOLIÑO /TITA MERELLO
87 CARRITOS CARTONEROS / BUONO - CERETTI / JORGE DE BRUN
88 RACING CLUB / GRECO / TANGO DESATADO CUARTETO
89 LA FULANA / MASTRA / BRIAN CHAMBOULEYRON
90 GALLO CIEGO / BARDI / ORQUESTA ESCUELA DE TANGO - EMILIO BALCARCE
91 ACOMPAÑADA Y SOLA / NOVARRO / MARÍA GRAÑA
92 LUNA DE ARRABAL / DE Y POR: DANIEL MELINGO
93 PARA DOS / RUGGIERO / COLOR TANGO
94 TINTA ROJA / PIANA - CASTILLO / ALFREDO ZITARROSA
95 BULLANGUERA / DE Y POR: SONIA POSSETTI
96 MALEVAJE / DISCÉPOLO - FILIBERTO / MARCELO TOMASSI
97 CORRALERA / AIETA / EL NONETO
98 EL ABROJITO / BERSTEIN - BLANCO / LÁGRIMA RÍOS
99 YA NO TE ESPERO / SWARCMAN-LÓPEZ / MONY LÓPEZ
100 ATENTI PEBETA / FLORES - ORTÍZ / MAIA VARES

  Word Reference: Music - The art of arranging sounds in time so as to produce a continuous, unified, and evocative composition, as through melody, harmony, rhythm, and timbre. - The science and the art of tones, or musical sounds, i.e, sounds of higher or lower pitch, begotten of uniform and synchronous vibrations, as of a string at various degrees of tension; the science of harmonical tones which treats of the principles of harmony, or the properties, dependences, and relations of tones to each other; the art of combining tones in a manner to please the ear. Not all sounds are tones. Sounds may be unmusical and yet please the ear. Music deals with tones, and with no other sounds. Melody; a rhythmical and otherwise agreeable succession of tones. Harmony; an accordant combination of simultaneous tones. The written and printed notation of a musical composition; the score. Dance: To move with measured steps, or to a musical accompaniment; to go through, either alone or in company with others, with a regulated succession of movements, (commonly) to the sound of music; to trip or leap rhytmically. - Origin: F. Danser, fr. OHG. Dansn to draw; akin to dinsan to draw, the act of drawing spatially closer to the spirit of music.
The word "to draw" illustrates more aspects of the nonphysical or symbolic interaction. Drawing power: the capacity for attracting people. Being drawn to something or to each other, relates to a metaphysical reality: being drawn out of ourselves toward the other, goes beyond what is perceptible to the senses, beyond the physical act of comming closer... the physical gets a nonphysical - symbolic content. Men are being drawn into teasing younger women. Men and women are being increasingly drawn to younger skin elasticity. People are being drawn up to shape their appearance, sexual orientation has been drawn into political debate. Attention is being drawn to women's empowerment and gender equality.
Counterpoint focuses on melodic interaction rather than harmonic effects generated when melodic strands sound together. It was elaborated extensively in the Renaissance period, but composers of the Baroque period brought counterpoint to a kind of culmination, and it may be said that, harmony then took over as the predominant organising principle in musical composition. The late Baroque composer Johann Sebastian Bach wrote most of his music incorporating counterpoint. The form or compositional genre known as fugue is perhaps the most complex contrapuntal convention. A fugue is a type of piece written for counterpoint for several independent musical voices. A fugue begins with its subject (a brief musical theme) stated by one of the voices playing alone in the tonic key. The tonic is the pitch upon which all other pitches of a piece are hierarchically centered. A second voice then enters and plays the subject, while the first voice continues on with a contrapuntal accompaniment. The second voice "answers" it with the same theme as the subject, but played in the dominant.
More General Vocabulary / Vocabulario:
musical - acoustical - acoustics - Amusement - entertainment, rhythm, measure, rhyme, accompaniment arrangement
comedy composition drama genre
Spanish : background music nf música de fondo
ballet music nm ballet
café with live music café de música en vivo
chamber music nf música de cámara
choral music música de coro
dance music nf música de baile
dance music nf música dance
disco music n música disco
ear for music (Music) nm oído (Música)
electronic music nf música electrónica
gospel music nf música gospel
incidental music (Music) nf música incidental (música)
incidental music (Music) nf música de escena (música)
instrumental music nf música instrumental
liturgical music nf música litúrgica
make music hacer música
military music nf música militar
music director nm director de música
music fan nm aficionado a la música
music festival nm festival de música
music hall nm teatro
music lover nmf amante de la música
music notation nf escritura musical
music paper nm pentagrama
music performance interpretación de la música
music piece nf pieza musical
music program (US) nm programa musical
music room nm salón de música
music school nf escuela de música
music score nf obra de música
music style nm estilo musical
music theme nf tema musical
music theory nf teoría de la música
perform music v tocar música
polyphonic music nf música polifónica
pop music nf música pop
popular music nf música popular
sacred music nf música sacra
symphonic music nf música sinfónica
vocal music música vocal
written music nf música escrita
baile - bailar, dançar dança
French : danse dance = noun-feminine
dansent danser dansez dansons
a music you can dance to nf musique dansante
academy of music académie de musique
art music musique artisanale
background music musique d'ambiance
ballet music musique de ballet
café with live music nm beuglant (lieu)
chamber music musique de chambre
classical music musique classique
college of music école de musique
concert music musique de concert
concert of classical music concert d'orchestre
country music musique country
country music nf country (musique) anglicisme
dance music musique de danse
disco music nm disco group musical dancegroup
ear for music oreille musicale
electronic music musique électronique
ensemble music musique d'ensemble
gospel music nf musique religieuse
house music nf house music
incidental music fond musical, musique de film
instrumental music musique instrumentale
light music musique légère
liturgical music musique liturgique
make music v faire de la musique
middle-of-the-road music musique grand public
military music musique militaire
mood music music d'ambiance
music box (US) boîte à musique
music centre nf chaîne (de musique)
music critic critique de musique
music director directeur musical
music division organisation
music drama œuvre dramatico-musicale
music fan fan de musique
music festival festival de musique
music hall nm cabaret
music hall nm music-hall
music hall nm théâtre de variétés
music lover amateur de musique
music lover nm mélomane
music notation notation musicale
music of the spheres musique des sphères
music paper papier à musique
music performance performance musicale
music piece morceau de musique
music program (US) émission musicale
music room nf salle de musique
music school école de musique
music score nf partition
music speech parole musicale
music stand pupitre à musique
music style nm style de musique
music style nm style musical
music theme nm thème musical
music theory nf théorie musicale
music-copying v copier de la musique
music-like adj musical
music-mad adj mélomane
music-making v faire de la musique
part music musique d'ensemble
perform music jouer de la musique
play music v jouer de la musique
polyphonic music musique polyphonique
pop music musique pop
popular music musique populaire
rock music musique rock
sacred music musique sacrée
set to music - mettre en musique
symphonic music musique symphonique
the music of the spheres la musique des sphères
the new music la nouvelle musique
tune music v accorder (instrument de musique)
vocal music musique vocale
word music la musique des mots
written music musique écrite
Italian: academy of music nm conservatorio
art music musica artistica
background music musica di sottofondo
ballet music musica da balletto
chamber music musica da camera
choral music musica da coro
church music musica da chiesa
classical music musica classica
college of music scuola di musica
concert music nm concerto
country music musica country
country-and-western music musica country
dance music musica dance
ear for music avere orecchio
electronic music musica elettronica
ensemble music ensemble, esecuzione d'insieme
ethnic music musica etnica
face the music (face the consequences) affrontare le conseguenze
v affrontare coraggiosamente una situazione difficile
folk music musica popolare
folk-music festival festival di musica popolare
incidental music musica di sottofondo
incidental music musica di accompagnamento
instrumental music musica strumentale
light music musica leggera
liturgical music musica liturgica
make music v suonare (fare musica)
military music musica militare
minister of music direttore del coro
mood music mood music
music box carillon
music centre impianto stereo
music centre nm stereo (impianto)
music critic critico musicale
music director direttore musicale
music division divisione musicale
music drama dramma musicale
music drama melodramma
music fan fan (fan musicale, seguace)
music festival festival musicale
music form forma musicale
music hall sala per concerti
music hall teatro di varietà
music lover amante della musica
music maker nm compositore
music notation notazione musicale
music of the spheres musica celestiale
music paper spartito
music paper carta da musica
music performance esecuzione (performance musicale)
music piece pezzo musicale
music program (US) programma musicale
music room stanza musicale
music school scuola di musica
music style stile musicale
music theme tema musicale
music theory teoria musicale
music-loving amante della musica
music-mad matto per la musica
music-making nm compositore
play music suonare la musica
polyphonic music musica polifonica
pop music musica pop
popular music musica popolare
program music programma musicale
rock music musica rock
sacred music musica sacra
set to music mettere in musica
sheet music spartito (mus)
the music of the spheres la musica delle sfere
the new music nuova musica
to have an ear for music (idiom.) nf avere orecchio per
vocal music nf musica vocale
written music nf musica scritta
German: to add music to mit Musik unterlegen
to face the music die Suppe auslöffeln
to make music musizieren
to make music Musik machen
to set to music vertonen
to set sth. to music etw. vertonen
to tap one's foot to the music mit dem Fuß den Takt schlagen
academies of music die Konservatorien
academy of music [mus.] das Konservatorium
background music die Begleitmusik
background music die Hintergrundmusik
background music musikalische Untermalung
beat-music der Schlager
book of music das Notenbuch
book of music das Notenheft
canned music die Konservenmusik
chamber music die Kammermusik
church music die Kirchenmusik
classical music die Klassik
classical music klassische Musik
dance music die Tanzmusik
family music die Hausmusik
folk music die Volksmusik
folk music volkstümliche Musik
incidental music die Bühnenmusik
instrumental music die Instrumentalmusik
light music die Unterhaltungsmusik
lover of music der Musikfreund | die Musikfreundin
military music [mil.] [mus.] die Militärmusik
mood music die Stimmungsmusik
music critic der Musikkritiker
music engraving der Notenstich
music festival die Musiktage Pl.
music for strings die Streichmusik
music lesson der Musikunterricht
music library die Musikbibliothek
music lover der Musikliebhaber die Musikliebhaberin
music-lover der Musikliebhaber
music notebook das Notenheft
music paper das Notenpapier
music publisher der Musikverlag
music rest das Notenpult
music school die Musikschule
music shop [mus.] [comm.] die Musikalienhandlung
music shop das Musikgeschäft
music stand das Notenpult
music stand der Notenständer
music stand das Pult
music store die Musikalienhandlung
music supplies die Musikalien Pl.
music teacher der Musiklehrer
music theory die Musiktheorie
music wire der Stahldraht
operatic music die Opernmusik
piece of music das Musikstück
pop music die Schlagermusik
recorded music die Schallplattenmusik
sacred music die Kirchenmusik
serious music ernste Musik
setting to music vertonend
sheet music Musik auf Notenblättern
sheet music die Noten
sheet music die Notenblätter
sheet of music das Notenblatt
sweet music liebliche Musik
theme music die Titelmusik
theory of music die Musiktheorie
vocal music die Vokalmusik
evening of music and entertainment bunter Abend
music for brass instruments die Blasmusik
music-hall song das Couplet
music-making in the home die Hausmusik
music printing paper das Notendruckpapier
palm court music die Kaffeehausmusik
pop music programAE die Schlagersendung
pop music programmeBE die Schlagersendung
record of dance music die Tanzplatte
twelve tone music die Zwölftonmusik
twelve-tone music die Zwölftonmusik
broadcast for public-address die Fahrgastraumbeschallung
academy of music - musicar
Nederlands - conservatorium
make music musiceren, muziek maken
music-book muziekboek music-box muziekdoos
music-lesson muziekles music-lover muziekliefhebber
bal, danspartij dans dansen
piece of music stuk, muziekstuk
school of music muziekschool
theory of music muziekleer
Staptechniek, staptechnieken, lichaamsbalans, basisstap,
stap, technieken, balans, bewegen, muzikalitit, muzikant, ritmiek,
aandacht, technisch, tempowisseling, cadans, cadanz, danspassen.
det lät som musik i mina öron - sensuell [sensu'el:] sinnligt sinnliga
sensuellt sensuella sinnlig, vällustig - sensuell man sensual man - carnal, physical
musik - musiken - arrangerade melodiskt, rytmiskt - harmoniskt
Tanz - dances – dancer – danced – to dance tanzen
barn dance der Bauerntanz
barn-dance der Ländler
barn dance Tanzveranstaltung mit ländlicher Musik
basse dance der Tieftanz
belly dance der Bauchtanz
dance arborAE Naturpavillon für Tanzveranstaltungen
dance arbourBE Naturpavillon für Tanzveranstaltungen
danceband die Tanzkapelle Orkester
dance floor das Parkett
dance floor die Tanzfläche
dance floor der Tanzplatz
dance hall der Tanzboden
dance hall die Tanzdiele
dance hall das Tanzlokal
dance music die Tanzmusik
dance orchestra das Tanzorchester
dance rhythm der Tanzrhythmus
death dance der Totentanz
exhibition dance der Schautanz
folk dance der Volkstanz
free dance der Ausdruckstanz
grotesque dance der Grotesktanz
lap dance erotischer Tanz in unmittelbarer Nähe eines Kunden
lap dance Striptease über dem Schoß des Zuschauers
last dance der Kehraus
last dance der Rausschmeißer
leaping dance der Springtanz
line dance der Linientanz
longways dance der Fronttanz
popular dance der Modetanz
round dance der Kreistanz
round dance der Reigen
square dance der Squaredance
square dance der Volkstanz
sword-dance der Schwertertanz
tap dance [mus.] der Step
tap-dance der Stepptanz
toe-dance der Spitzentanz
waggle dance [biol.] der Schwänzeltanz - Bienen
war dance der Kriegstanz
competition ballroom dance [sport.] der Turniertanz
record of dance music die Tanzplatte - pair das Paar
senses pl. die Gefühle die Sinne


Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.
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