Skip to main content

Tango music in all it's forms

Music choice came up on AmpsterTango's blog and it got me thinking about which pieces of music I use for what - and how that's changed over time.

My first exposure to tango music was the Nuevo Tango of Piazzolla. It expressed things for me that at the time I had no outlet for. I didn't dance to it, though I saw others dance. It resonated with me. It reminded me of particular people and times.

Then I heard tango music on a few soundtracks and compilations that combined Piazzolla's music with more traditional pieces - like the soundtrack for "The Tango Lesson." It not only had beautiful Piazzolla music, but more traditional pieces by Carlos Gardel (Mi Buenos Aires Querido), Juan d'Arienzo (Flete), Osvaldo Pugliese (Zum). That soundtrack was played frequently at the store I worked in, and I loved it. It made me want to move - need to move. But I still didn't have the nerve to learn tango.

Early this year, or maybe late last year, I came across Gotan Project, which didn't appeal to me in the same way that traditional tango music did - or even nuevo tango - but it appealed to me on other levels, for other things. My inner code monkey liked the beat and the dance mix sound. That's the perfect music for when I need to be focused for extended periods of time.

So now I'm taking classes and going to milongas and hearing everything! I dance most easily to more traditional tango music - though some songs are too quick for my beginner feet. The tempo, the feel of the music, is made for moving. But I'm still a beginner, having basic beginner problems . . .

Slowin' my butt down...

When it comes time to actually practice (usually by myself) - I was finding that traditional tango music had so much going on in it that when I practiced sequences or ochos, I would move too fast. I was trying to do something to everything. I couldn't maintain my axis that way - I could feel the wobble coming through my turns and my posture was suffering. I needed something I could concentrate to and develop a little more precision in moves. Not moving in stiff, machine-like steps, but developing an awareness of where I was and how my posture was changing.

(EDIT: My proofreader (coworker) said I needed to explain this a bit more specifically, so I'll try. With ochos in particular, I was using momentum more and more to make the pivot, which pulls me off my center/axis - and if I were dancing with a partner and not practicing with a major appliance, it would force him to have to support me or even pull him off of his axis. When I slow down and pay closer attention to the "collecting" of my feet and ankles when I'm supposed to - it makes all the difference in the world to my balance and posture.)

And I needed to breathe. It's not just a dancing issue, but even listening to music, sometimes I get so wrapped up - I forget to breathe.

That's when Gotan Project got loaded back up into the player. Santa Maria - perfect tempo for practicing ochos with my oven. (And I like the cricket accompaniment. ) When I need to focus on slow movements and breathing especially - Paris, Texas is perfect. So I have several "sections" of tango music on my player that I listen to for different reasons. Plus I have several "completely non-tango" songs I love dancing tango too, like "Whatever Lola Wants" - which I also learned for belly dancing. Go figure.

So there you have it. I'm sure I'll change my mind about these selections after the next milonga when I hear something else that catches my attention.

A side note: If you're just really curious about the BeatsPerMinute of your favorite tango music, you can go here to learn more.

Comments

AmpsterTango said…
A note about breathing. It's a function of relaxing. When you tense up your upper body, it curtails breathing. Which, in turn, affects your dance as a whole. It makes you less limber, then throws you off balance.

If I may suggest... Try dissociating your upper from your lower body. The lower body does all the movement. The upper body relaxes in the embrace and barely moves... and breathes
Mari said…
Thank you, AmpsterTango, that's very helpful advice.
Tango said…
mpsterTango's right, I never thought of it that way but you have to be in class I will have to practice some relaxation relaxing upper body
Tango said…
AmpsterTango's right, I never thought of it that way but you have to be in class I will have to practice some relaxation relaxing upper body

Popular posts from this blog

Tim Ferriss and the Myth of Tango Mastery

Dear tanguero, I feel I should explain my reaction to your comments about Tim Ferriss. It touched a nerve and I didn't really explain my apparent hostility. It was certainly not meant for you. Several people have brought Tim Ferriss to my attention over this past year. I can usually make it a month before his name pops up again. For readers who are unfamiliar with him, he's the author of "The 4 Hour Work Week". He set a Guinness record for the most consecutive tango turns and has competed with his partner, Alicia Monti, at the Tango World Championship . As a social dancer the idea of a tango competition seems absurd. I don't think I will ever understand how something like tango could be judged - or why anyone would want it to be. But I digress. I think the most crucial detail of Ferriss's history, as I relate it to tango, is his winning Wired magazine's "Greatest Self-Promoter of All Time" . If there is any concept more out of synch with social

Tango solidarity when it counts . . .

Some fellow tanguera-bloggers and I have been having a wonderful online "conversation" via blogs, Twitter, Facebook and email - about the importance of sisterhood and solidarity. You can find Stephanie's post, here and her follow up here , and then Tangocorazon's here . I was so bouyed by the idea of women bonding, helping and supporting each other that I took some things for granted. I took for granted that it would always be easy, enlightened as I am /*cough*/ to be the sort of consistently nurturing and helpful tanguera that I am (in my head) . The truth? Where the rubber met the road (or rather when the discomfort hit the milonga), I wasn't. Here's a little background that gave me a better perspective on the events at the New Year's Eve milonga. These guidelines appear under the heading " Behavior at the Milonga " on Vancouver Island Tango: " . . . The smaller the tango population, the more 'effort' required from each one of th

"Proper" Tango Shoes

Periodically someone, usually a man, will be bring up the topic of "proper tango shoes." If he's referring to the problem (and dangers) of trying to dance in flip-flops, or mules, or platform shoes etc., those are definitely valid, and very helpful points to be made. The likelihood of damaging your feet is very high without the proper support of high quality shoes. My problem comes with the idea that the *only* proper tango shoes have 4" stiletto heels on them and fetish-worthy embellishments. (Okay, I'm pretty keen on the embellishments myself.) "goofy ballroomy shoes are a turnoff... get rid of them..." - Alex Tango Fuego (granted this is from 2007), http://alextangofuego.blogspot.com/2007/10/to-dance-or-not-to-dancebrutally.html And, in the comments on a blog post, Anonymous said... " This is a controversial one. If a follower isn't wearing tango shoes then it's usually a good sign she's not particularly good." From Ms. Hedgeh