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Musicality Lessons

Ah, Musicality. So hard to teach. So so hard.

Lessons with Bichi and Luciana who are a lovely couple. Facing all our very blur and quizzical faces and off tempo walking, totally patient and totally strict on the fundamentals. Tough love!

Side Runs

- Side step then forward outside for the guy, side-collect x3 by the fourth a walk forward, change weight, step back and repeat the whole sequence
- To maintain the step and collect to the side, elevate the follower and keep the side on intention clear so she does not end up doing a grapevine, don't let the hips run free (square feel)
- Additional post side run will be to rotate the follower so she is on the side of the lead, keeping thighs somewhat close and doing a back-cross sequence x3 as well; the accent is on the back, the cross is a tuck and more of a quick transfer into the next step rather than a rock-step
- Do not change the height with the side step, that does not mean that you lock the knee but you try and maintain the height without any swaying variations. Keep the head in the center, the moment it sways left and right like a metronome you lose the feel and visual elegance as well as the energy and speed, especially when dancing this to a milonga melody which requires quickness

Characteristics of a Tango vs a Milonga
- Differences in speed and intent. Milonga requires an exactness and a sharpness of arriving ON the beat. Tango allows for more rubato and playing around the landing of a beat. This is what makes the visuals distinct for both, if you shut off the music you can tell what is being led.

Dancing on the beat
- Listen out for the undercurrent of the beat played by the double bass normally. Separate the beat vs. non-beat moments where non-beat includes syncopation or even a total absence of the beat. (Oigo tu Voz - Tanturi)
- Walking is recommended for instances where the beat is heard. Not walking when the beat is heard is ok, but walking when the beat is not heard - is weird and disjointed; this is really what separates the ones who understand the fundamentals of music and movement from those who don't (for example, when you observe a floor craft, when the beat is on, the ronda should be in action and moving, when the beat is not on, the action should be taking place within the space of the couple)
- Isolate the layers as much as possible and as much as you can. The Golden Age orchestras ultimately are so richly layered that you can choose where and what to play with rather than been literally told to stop, or to go (like the silences in En Estes El Rey)

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