Tango Workshop: The Music | Rythmical Structure 06 

Thank you so much Aaron, it really means a lot! 🙏

Hello! Thank you for your message. I'm really happy for receiving such a wonderful feedback! Concerning the other videos, they were published before this period of the virus as a way to help people progressing with their Tango and to let people know about my work. With the virus, I had to close the school, like many colleagues of mine, and I lost my way of living (at least for some time). Since I depend exclusively from Tango, my only chance is to work online. So, I decided to leave some videos and, for now, to remove the others and to offer the oportunity of studying with me online. I invite you to watch a Free class on Vals that I gave recently in a Live Streaming session and where you can find more about my work: facebook.com/thetangonline/videos/194863291651592/?modal=admin_todo_tour And also, visit this link for more information on future online seminars: www.tangoynadamas.pt/tangonline All the best, Rui Barroso

It is called the "Habanera" and it's a specific rhythmic division in Tango music, from the origins of Tango.

Hello Maximus! Thank you for your message. I'm really happy you find my videos usuful in your Tango journey. Concerning your questions, the difference between Milonga Traspié and Milonga Lisa is usually associated with the rhythm, being Milonga Lisa connected with dancing to the beat and traspie with "doblebeat", or three steps in two beats, if you prefer. But it's more than this... traspié means "to trip over" or "to stumble" and the term in Milonga comes from the idea of triping and falling into the next step (a controlled fall, of course). And this quality of movement is related to fast motion, to the goal of trying to keep up with all the potencial of the music, in this case the Milonga. And why? Because in "traspié" we don't necessary commit with all the "so called"" three steps in two beats. We move our axis three times, yes, but not to a full extent, which allow us to be faster and to creat the felling of taking three steps when we are trully only commited with one, the last one. The rhythm of Habanera is a good example. If we want to actually dance the Habanera (all 4 sounds/notes that we hear), we have to move fast and, therefore, to use the technique of Traspié, not fulling commiting with all the "four steps". But it's not an easy question to answer by writting. Hope it helps a bit!... Concerning the other videos, they were published before this period of the virus as a way to help people progressing with their Tango and to let people know about my work. With the virus, I had to close the school, like many collegues of mine, and I lost my way of living (at least for some time). Since I depend exclusively from Tango, my only chance is to work online. So, I decided to leave some videos and, for now, to remove the others and to offer the oportunity of studying with me online. I invite you to watch a Free class on Vals that I gave recently in a Live Streaming session and where you can find more about my work: facebook.com/thetangonline/videos/194863291651592/?modal=admin_todo_tour And also, visit this link for more information on future online seminars: www.tangoynadamas.pt/tangonline All the best, Rui

Hi William, all of these videos are based on Argentine Tango from the Golden Age. One good way and simple drill, to connect musicality to the step is to stand and change weight to different parts of the bar. The Strong beat. The Weak beat. The And beat. Then mix it up. Try it. Personal methodologies and practice for musicality. We also have a LIVE event on the Vals if you would like to join - 26th May. facebook.com/events/590997861538985/

I would also suggest you to take a look to my proposition on online learning through this link, where you will find not only a gift but also information concerning future seminars on musicality, connection and structure. Hope this helps! Abrazo.