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The Second Step Problem

The Second Step Problem

There is a constant malady for Leads that they may not realize that they're doing. If they're engaging Forward Intention, on the first step, which in turn asks the Follower to extend their free leg, what happens on the next step is where the real problem rears it's ugly head: The 2nd Step Lead Issue!

The Problem: As the Lead gets to the end of their first forward step, they'll tend towards standing upright, vertical, and then thinking that the Follower is following, will continue forwards without forward intention.  As a result they'll slide their foot (really their leg) 'under' their follower's into the Follower's free space.

From a Following Perspective, you are so indoctrinated to 'following' that you don't even realize that you're co-creating part of the problem. You know that you're supposed to go backwards, and so from the moment the Lead steps into your space you instinctively step backwards, without really listening if there was in fact a 'lead' present. Further still, your leg extension is a mixed bag response, typically with a bent knee going backwards as you pick your foot up off the floor all the while moving backwards and trying to transfer your weight going backwards. So by the time the 2nd step comes around you 'give' you Lead (the person, not the action) the desired response by default and keep doing it from that point forward. To be fair this is partly your issue for not being an honest Follower, and partly your dance partner's fault, for not being clear with you. Now some of you will hear this as 'wait for your Lead', which is an erroneous phrase that we hear so much of as Followers from our teachers that it becomes 2nd nature to us. As a result of this message being communicated to us repeatedly we end up becoming slow, lethargic, and non-responsive. This is not about 'waiting', but is in fact about 'listening', and there is a radical difference between the two. At the same time if you're thinking that this is simple word replacement you would be wrong. It's not. It's a mind shift from a passive form of dancing (waiting) to a very active form of dancing (listening). Listening is an active choice, because it requires mental engagement on your part. Every time that you give the Lead exactly they want, you are in fact encouraging them to continue to do X, Y, and Z which you know (from dancing with better Leads) is less-than-desirable, you're sending the message that what that is doing is spot and should actually continue to do it. This is an error. If you want to send the right message, follow exactly what was led (for now) and nothing more. If you don't feel it, you don't go there. Don't assume, listen.  At the same time, don't believe that because I'm picking on the Follower right here, that this is a Follower problem, it's not. It's a co-contributed issue!

From a Leading Perspective, you have issues my friend. First and foremost, your issue is a lack of kinesthetic awareness. Secondly, you are trusting or believing that the Follower is going to give you what you want by moving backwards on their own. Thirdly, your level of proprioception is way off from where it should be. That said, your primary issue, aside from the above, is that are unaware that you want to keep the forward intention going...well...forward. There is always, always, always that tiny amount of it. Every time that you back off on the forward intention it sends a message to the Follower that we're stopping. As a result, we should stop as a couple, but we don't. the Follower is confused a bit, and you just blindly move forward expecting that the Follower will go with you. And there's your problem right there! The expectation that the Follower will just go with you. That's problem number 1. Problem number 2 comes in the form, of the today's topic - The Second Step Problem. Let's assume that you're leading from intention and not resistance, and that you employ a little lean forward. That lean forward is your forward intention, it's just enough to ask the Follower to extend their leg, hence the intention part. This is not apilado though. Apilado would be the balancing of full on lean against each partner, a shared weight between the partnership. Something akin to what Carlos Gavito would have done. Similar but not the same. As we complete the first step, we become vertical again, taking out the 'lean' forward (or forward intention), and now on the 2nd step we rear back a bit, and then slide our leg under the Followers trying to continue forward. This is less than desirable for a variety of reasons, most notably that we have not actually sent a message to the Follower that they should continue backwards. We just assume that it's going to happen. Secondly, is that we become vertical and thereby pulling back on the reigns as it were (thereby stopping the Follower, if they were being honest, which they're not). And Thirdly we attempt to cheat the second step by sliding it into the Follower's free space, and then bob-and-weave the next few steps trying to work things together. The embrace becomes unwieldy, the partnership of the couple becomes unstable, we have 'bumper cars' basically. Not a pleasant experience. 

The Dancing Reality is that this issue happens so often and so frequently that no one bothers to understand why it's happening or more importantly how the hell to fix it. Or even to recognize that it's an issue. However, the better Lead in the room knows what the problem is, and the better Follower may not be able to describe the issue but they do know that there's an issue and it's having them work harder than they want to, which is reason number 9843 (on a list of reasons) why a particular better Follower will say "NO" to a particular Lead's cabeceo

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Intention Based Dancing

Intention Based Dancing

"Resistance, give me resistance! I can't feel you!". Followers hear this so often that it begs the question if Leads learn this as part of their technique classes on "How to be annoying in 10 seconds or less!" or "10 things to say to your Follower that will piss them off!". Piss them off ? Yup. Why ? From a Leading perspective you're screaming to your Followers that you need to control them, and that's all you know and or can hear. From a Following perspective, it screams..."I am unstable" and "I need to hang on you!". This dance is all about nuance. Meaning that your arm and/or hand employing force, tension, pressure, compression...is not desirable.

From a Following perspective: Truth be told, you have been told so often, in nearly every class or workshop, by Female teachers (who rightfully should know better) and Male teachers that you must ... 'wait for your lead'. As a result, that waiting turns into lag, or hesitation, in you. You get so used to 'waiting' and hesitation that you become reliant on that hesitation to do everything! That lag results in the Lead needing to push or force you to do X, Y, and Z which as a result turns into...resistance. In this instance, you want to move with the intent of what is being asked of you, quickly and decisively. As you feel the intent to move, GO! Don't sit there and wait to be pushed to do something...GO! This is better known in the Tango Topics world as MYA (Move Your Ass). These statements can easily lead one to believe that we're talking about an out of control Follower, or a willful Follower that is willy-nilly going wherever they feel the need to. That's not the case. The intent in this case is very small, your goal is to read that 'small' part and then to interpret it as either forward, side, back, or incremental, and either linear or circular and then to go with it while at the same time following a basic principle: Staying 'with' your Lead. 

From a Leading perspective: You believe erroneously that you must apply force, pressure, tension, and ask for resistance to get what you want out of your Followers. When the complete opposite is true. Yes, you can apply force to them to get them to do what you want. This methodology, however, says that you must control them. It also says to them that you don't trust them and can't rely on them to listen to what you're leading, and then to execute it. Furthermore what it also says is that they will never, ever be able to hear the level of precision that you desire the most. Put simply if you don't take the 'guiding' (ahem... and this is being kind when using that word...it's more 'steering' and rough steering at that) platform of your arms and hands away from them, then they'll never be able to control that stuff themselves because you're too busy being heavy-handed. As a result they'll never learn how to manage their own stability, and their own bodily control. Further still, you'll never learn to lead someone with nuance instead of Force! And beyond that, you'll never be able to tell when you have a Follower in your arms that responds to effortless dancing because you're too busy over-functioning, over-managing, over-controlling them! Further still is that there is no way to separate what's your's and what's theirs if you're constantly forcing your dance partner to do X, Y, and Z. There's only one game here, and that's you telling, or dictating to the Follower what they should do. The whole point is to suggest, invite, engage...not tell! No one, absolutely no one likes to be told what to do. So if you don't like it, what on god's green earth makes you believe the Follower is going to enjoy it ? 

From a Dancing perspective: Most of this topic has dealt with resistance and it's deleterious effects on the dancing couple. However, what would happen if you removed all that 'stuff' above ? What would happen if you were to engage stability as a Follower, where you didn't need to be so heavy handed as a Lead ? What would happen if you were be responsible for your own walk, your own embrace, your own individual component of the dance ? What would happen ? Freedom is what happens! Options and opportunities happen! At first there is a lack of precision that occurs, and then later on the more that you practice this way of dancing the more precise control you have over the tiniest of things. For one thing there's less sweat! This was of dancing is almost unreal! The dancing couple that is engaging in Intention Based Dancing is lighter, appears and acts effortless, there's less stress on the couple as a whole, and more over far more precision in technique as well as musically. Over time what ends up happening to those people that dance from intention, both parties enjoy the experience and can then access the whole reason that they're there for in the first place: Tango Nirvana. Now comes the kicker – a good portion of the better dancers use this 'way' of dancing. They don't require the things described here because they know that something else is possible! Not all of them but a good portion of them employ this way of dancing.

Think of This: Applying resistance, tension, force, compression: Each time that you apply any of these things in any level of measure, it's like a jarring transition from sleep! Do you like it when your alarm clock goes off first thing in the morning ? Probably not. Guess what ? You're doing the same thing here with all that stuff to your dancing partners!

How do you change ? First do you want to change ? Put another way, do you want to wake your partners as if you were an alarm clock ? Probably not. Guess what ? You're doing just that in a myriad of ways from your walk to your embrace to the choice of vocabulary. From a 'THUD' to 'Compression' and everything in between. So if the answer to that question is a "I'd like to do that but it sounds like too much work and too much effort..." then thank you very much for reading, and have a lovely day!  Otherwise if the answer to that question is an emphatic "Yes Miles!!!" then read on....

dancing in a small space ? watch these videos!


Actual Change ? Sadly. This is not something that you can learn from a video. More specifically you can not learn the kinesthetics from a video. However, you can learn the vocabulary and how to move from a video. The kinesthetics is something that must be felt and then replicated over time with someone who can adjust how you feel in every aspect of your embrace and your walk at the same time. 

If we're being honest, you're going to think this is just about the embrace. That is a mistake that a good portion of dancers make. If you change just the embrace, that everything will be fine. No. It won't. You must address both the walk and the embrace at the same time for issues of stability and clarity and cleanliness from every possible perspective. This change is also about the precise control that you have over that walk, without hanging, pulling or pushing on your partner! Failure to address both aspects and you're just putting money into someone else's pocket and wasting your time.

From a Follower's perspective this change deals mostly with corrective back step issues that arise from how the leg extends and how the foot lands on the floor. This change must be drilled, and trained into the Follower over and over again. It is repetitive in one respect and corrective in another. This isn't about mindless repetition but rather 'mindful' or conscious process. Now we add the embrace component and really dealing with 2 very important phrases that means very little now but will mean an enormous amount later. 1.) Staying in front of your Lead. and 2.) Staying with your lead. It's important to note the distinction here of 'Lead' and 'lead'. The 1st is the person (Lead) and the 2nd is the action (lead)!

From a Leading perspective this deals with creating a series of physical limitations across the walk, and the embrace too numerous to mention here (that's why there are videos on this topic) that can not be used and then working from within that construct. This sounds a lot easier than it actually is. Truthfully it's quite difficult to get the proper balance of embrace and walk without pulling or pushing and at the same time, maintaining one's posture. However once this is mastered, then the fun begins, adding music!  ©Tango Topics. 

Humble: Teacher vs. Maestro

Humble: Maestro vs. Teacher

The word 'maestro' in spanish tends towards meaning a 'master teacher'. In english we tend towards removing the word 'master' from that definition and end up with 'teacher'. Nothing could be further from a bastardization than that.

Let's back up a bit and get a bit personal. When my students call me 'Maestro', I immediately correct them and refer to myself as a 'teacher' and a barely competent one at that. I advise them that I have only been dancing for 10 years and teaching for 8 (9 if you count my first workshops in Boise, ID. And then private classes in San Francisco and then later on Portland, OR. while I was making up my mind), and in many eyes in the Tango world I am a baby that's still wet behind the ears just learned how pee straight! They giggle at this, but it's the truth. I am a baby. I admit this freely and openly. I am not a 'Maestro' by any stretch of the imagination. Nor do I respond to being one, ever. In 40 or 50 years, maybe.  Now ? Hahahahaha, NOT! At best I happen to have spent the better portion of the last 10 years devoted to the study, dance, application, and understanding how to educate you into being a better dancer. Does this make me a 'Maestro' ? No. What it does do is give me a certain license to investigate, then describe, then discover, pull apart, put back together, investigate deeper, and then try to figure out how X, Y, and Z is accomplished within a given framework. Now comes the hard part...explaining that to you via 7 different modalities, and in any one of 11 different types of learning modes so that you get it and are able to replicate it, fully grok it, and then are able to pull it off with ease. Does that make me a 'Maestro' ? No. Not by a long shot.

Yes this process gives me a greater perspective than you, I can turn an idea inside out, upside down, invert it, mirror it, revert it, and then apply it here and there on a whim... it is a freedom to play, and then to explore, and then to arrive at some layer of mastery over the form. But it does not by any stretch of the imagination mean that I am 'Maestro' in the typical sense of the word the way that you mean it when you say it.

So what is a 'Maestro' ?

In it's simplest explanation, this is a person who has the ability to do all of the above plus – the ability to execute with perfect clarity every, single, time. This doesn't happen over night but in fact over many, many, many years ... decades in fact. Where you can turn this stuff on and off like a switch without thinking about it while at the same time adding perfectly executed nuance and subtly. While I can do those things as well...a 'Maestro' executes it with far greater skill and a deftness of nuance that in my 10 years I can not hope to achieve. I bow to a greater power than myself.

The Fact of the Matter.

There are lots and lots and lots of Tango Teachers in the world. Some of them are desirable. Some of them are...ummm...hacks at best, doling out barely understood information and oft repeated phrases that they think are helping their students but truly isn't.

However, there are very few 'Maestros' in the world.

I'll give you an example of what I mean.

Comparing me (as a teacher) is one thing to someone like Chicho. But putting me on a stage next to Chicho is very obvious. He'll wipe the floor with me. 😉 That's a 'Maestro'. Going a little deeper with Chicho for just one second, here's a guy that repeatedly (in nearly every performance) will go off-beat because he can, and executes it with deft clarity that a.) you see it. and b.) you're amazed by its execution! and here's the kicker, you actually have to stop and say...'holy frak! that was off-beat!'. Whereas I ? I understand off-beat, I can execute off-beat, and I can dance off-beat if I want to, however...to throw it in there as an off-the-cuff execution ? Hahahahhahahahahaha!

Still another is that Horacio Godoy will regularly play with Tango Sincopa in a very tradition sense of the word, and then what is called 'pitter-patter' to emphasize the Sincopa that's happening in the music. Me ? I can hear the sincopa. I can hit the sincopa when I want to. I can hit patter any time I want. I can even plan it out because I know the song. Horacio ? Good christ! He'll do all that AND then add a double time and then a half-time on top of it because he can without even thinking about it in Milonga. That my friends is a 'Maestro'. I am a teacher. Those are 'Maestros'. Never confuse the two. ©Tango Topics.

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Triangle Methodology

Triangle Methodology

The Sacada is probably one of Tango's more interesting pieces of Tango vocabulary. Mostly because it looks really cool and complicated. And yet it's complexity can be explained in one simple sentence – It's an illusion! The illusion is an intersection of walking techniques. The Lead's walk intersecting the Follower's. It's walking, nothing more than that. It's just never explained that way. And yet, that's exactly what it is. However, there's a cute little trick that happens for every sacada, every single sacada no matter how complex, no matter how difficult it may appear. It's an observation that I don't own, but rather compsve fro a very reliable argentine source. So what's the cute little trick ? The Triangle Methodology!

From a Leading perspective, this toy is all about Triangles. Every time you lead a Sacada (and it doesn't matter which one it is of the 504 available ones, and yes there are 504 of them. I counted.) each one will consist of a very simple Triangular pattern on the floor. A little clarity – your feet, and the Follower's feet form a very tidy little Triangle on the floor. There are two supporting points (each supporting point of the Triangle is a free leg of either the Lead or the Follower), and then there is one shared axial point between the couple. If you're leading a Sacada then you want to make certain that this 'Triangle' is spot on. Just as a side note, the more 'shallow' the Triangle, the easier it can be to execute the Sacada.

From a Following perspective, quite honestly you have no idea if you're being led to a Sacada, because for you this is all about forward, side, or back. It just so happens that your step may intersect the lead's or their's yours. However once you start to see that the Lead is leading you to a Sacada. You'll start to see triangles everywhere, that means that you should start to see that the intersection of your extending leg into the Lead's trailing foot which should form a 90º angle. And as a result you're going to extend your leg along that 90º line into the Lead.

From a Dancing perspective, who'd have thought that actual geometry would help you out here. The fact is that a good portion of Tango is all about the geometry. Get it right and cool things happen. Get it wrong...and well... you're going to have issues! This trick is all about that geometry thing. Honestly, this is just a trick of how to remember, from a leading as well as from a following perspective ,that when engaging in Sacadas, you're going for creating Triangles on the floor. That's it, that's all. Typically however, we don't remember this little tiny factoid and the Sacada fails mostly because the Triangle is either too shallow, too oblique, incomplete (yes, that happens – more so than you can imagine), or where the apex of the Triangle isn't in the right place. Mostly people forget this stuff and try out a Sacada and it usually fails because this stuff hasn't been drilled into them! And it needs to be. 

The Final Word: Clarity! If you want to change your dance. If you want to perform a Sacada as a Lead or as a Follower, there are a lot of videos out there on youtube that I recommend that you go and watch. However, there's just one little tiny problem with 98% of them. They're not there to actually teach you to do these things. Not one of them. And furthermore a good portion of them have awful sound, terrible light, don't focus on the right things you need to focus on, or explain the proper technique. All-in-all...a complete waste of your time. If you want clarity in your dance, there's really only one place for that clarity of understanding and it's right here. You can either buy the video on Simple Sacadas, or you can subscribe as a Gold level user, and get access to over 150+ videos and articles on technique, history, codigos and a lot more for just 19.99 per month with more content being added every month (about 5 to 6 new posts). Really it's a bargain if you stop and you think about it! Give it a try, you won't be sorry. 

The 8 Count Basic

The 8 Count Basic

Most people start out learning, one of three things: 1.) A walk. 2.) An Ocho Cortado. or 3.) The 8 Count Basic which later turns into The Argentine Cross

From a Leading perspective the 8 Count Basic is about as useful as a small kitchen appliance unplugged. However we do end up using it's core component religiously, steps 2 through 5 of the Basic 8 or The Argentine Cross

From a Following perspective, the 8 Count Basic almost never happens for you. You'll almost never encounter it on a social dance floor. Once you're done (hahahahahha) with your foundation classes, you'll never run into it again.

Truthfully the 8 Count Basic, consists of nothing more than 2 side steps, 3 back steps, and a cross and that's about it for the Follower. And 2 side steps, Forward steps, and a clear collection. This is simple tango vocabulary for both roles.

From a Dancing perspective you'll almost never see this arcane piece of vocabulary, and if you do, you know you're looking at a Beginner who quite factually started dancing last week. You're also looking a brave. Because it takes balls to pull that out on a social dance floor in the midst of everything else that's going on around them. 

Why teach this stuff if it's not used socially ? Because it contains some very useful information for both roles:

For the Lead 1.) It gets them to walk forwards (forward steps) with someone in front of them. 2.) They learn about side steps (they're going to spend a lot of time on this). 3.) They have an awareness of the use of their arms and hands (which they unfortunately will not discard any time soon in favor of feather light contact, and level 1 of tango haptics). 4.) They get exposure to a 'Crossing Step'.

For the Follower they learn 1.) Side. 2.) Back. 3.) Cross...over and over and over again and unfortunately it gets drilled into them thereby becoming 'default' behavior. 



256 Argentine Cross Variations

256 Argentine Cross Variations

Of the 7 major moves for the Follower, the Argentine Cross is probably the most over used and least understood and quite honestly, least explored by the modern Tango dancer.

Just imagine for a moment, that you're dancing along as a Lead or a Follower and you're dancing the same Argentine Cross again, and again, and again. After about 5th or 6th time, it would become so rote that you'd stop thinking about it and it would happen by default. No artistry, no distinction, nothing. That is precisely what has happened with the modern version of this idea. The cross has become so ubiquitous that we have stopped exploring it and mining it for its rather unique properties. Like for instance the mere fact that it is the only time in any couple social dance where the Follower willingly (a very important distinction) crosses their feet! Or the singular distinction that there are about 256 and variations of the Argentine Cross, and yet...you only know one of them ? 

Yup. You read that rightly...TWO HUNDRED and FIFTY SIX different combinations. Let that sink in for a moment.   

Now Imagine that same dance above...only this time instead of the same old cross, your partner were to lead a mirror cross, and inverted cross, or perhaps....oh wait, you've never heard of these things before because they just aren't taught. Ooops! As far as you understood it there is ONLY the one cross and that's it, no more. These variations are just gobbly-gook...right ? They serve absolutely NO purpose. Well if you believe that then keep doing what you're doing instead of inviting something different or fun, or expanding your potential for opportunities that you didn't see before or couldn't because... well...again, this stuff isn't taught as standard practice.

Go Download the video, see what you think. And if you don't like it...you know you can always throw it out. 😉 But I'm willing to bet you won't. Why ? Because not only is it cool, not only is really interesting and educational, but quite honestly...it's LOADS OF FUN!!!! And isn't that the whole reason you're here in the first place...FUN!  

Pre-Requisites: There is only one - The Argentine Cross itself, Walking, The Embrace just to name a few. You really do need to understand HOW the cross works in order for you to study these variations. While this video is NOT a class or workshop, it's here to show you the possible. The underlaying foundations of the video can be found in This Argentine Cross Primer. Do you want to play ??? 



Quite honestly we spend a good portion of our time walking and turning that we forget that that walk is really four phases, not a singular element. 4 phases ?

The 1st - The Explosion Phase.
The 2nd - The Extension Phase.
The 3rd - Perihelion Phase.
And the 4th - Transfer Phase.

From a Leading perspective, realistically modern tango turns A LOT, and because this is a defacto of the dance today, quite honestly we get a little tired of any of the 8 varieties of turns. There are only so many turns that one can do in the course of a dance. There are other options. Timing for one is an option, changing from normal time to half time, or double timing a turn (talk about wearing the Follower out), or going OFF Beat, or playing with just the singer...those are all perfectly valid options and do provide a fair amount of extensibility to the 8 turn options. Mathematically speaking, we're looking at 5 possible options for each turn type or 40 different varieties of turns in time to the music.

From a Following Perspective, realistically about 2 turns in and we're done. Seriously! You wanted to dance, not become part of a Whirling Dervish Display. Some Leads have absolutely zero clue that along about the 2nd molinete you're done! You've had enough. Seemingly that turn is all they know...they don't see the other 7 turn types as valid. They only see the 'Sexy' over rotated one! Because that's the cool one. And you're visiting the chiropractor the next morning because they squeezed the life blood out of your back! Ppphhhhht! ENOUGH!

There is another option: Extension, Disassociation, or Weight Change play. In simple terms it's using the Follower's Extensions as musical Elements! Or Disassocations, or Weight Changes. Or for that matter the Lead's! Adding in this option turns that 40 variations into 200 available options! And that's without adding the Incremental Step, or Tango Patter (Circular or Linear) into the equation.

Playing with these options can, as you can see (mathematically speaking), change things from a Leading perspective from a the same ol' same ol' to something a bit more dynamic. The attached video only shows a small portion of this applied to the Golden Nugget of Tango. However, the same ideas and concepts can be translated across your dance! Check out Golden Nugget Extensions, and while you're at it, check out the Golden Nugget. You might learn something in the process. ©Tango Topics.

La Variación #5

La Variación #5

About 6 years ago after I had made a rather revolutionary discovery about the Music and wondered why it wasn't taught it all. I came across a rather important, and sometimes beautiful, but VERY arcane concept known as "La Variación". What you may not realize is that you, like most people, dance right past this thing most of the time. It's in nearly every piece of tango music, by every major orchestral lead, in almost every age after a certain point. The thing is, you can't actually dance past it. There's something you SHOULD BE doing to it.

Rightfully in today's Tango world, with the state of Modern Tango being what it is (it turns a LOT), that it's sometimes impossible to engage La Variación due to a few factors - space being chief among them. However, the mere fact that you know that it's there and more importantly that you're aware of it is half the battle! Mistakenly you may be tempted to think that this is just a 'Lead' thing. Nope. It's a DANCER thing. The Follower has a role here as well and it's NOT to just FOLLOW what's being led!

This should be an awakening to the trained ACTIVE Follower in all of us that hear La Variación and want to dance to it! As an aside, very few teachers teach this idea of this concept of the dance. For several reasons, most notably it's fallen out of fashion. Furthermore it can sometimes be rather destructive to the line of dance IF engaged inappropriately.

You may wish to register for 'Interpreting The Music' seminar series. And if you register today, get $50.00 off the purchase price.

The Accent Note

The Accent Note

The Accent Note is rife in Tango, Milonga, and Vals. It's everywhere, and in the most unexpected places! They are there for a one reason to draw attention to the passage of music that we're listening to, highlighting the passage as if it were bolded, italicized, or underlined text. Because of the accent notes creating this emphasis, it gives us something really cool to play with!

From a Leading perspective: Most of the time that we hear this stuff we just keep going, never realizing that dancing to the Accent Note can separate us as Leads! Quite honestly hitting the accent note is a little like an unexpected, but fun, "What was THAT ?" experience for the Follower. Truthfully we don't want to do this constantly, but enough times so that there is logic to our dancing experience. You'll note in this example that there are 4 of these accent notes, meaning that it's not a random number. There's purpose in that. Stuff like this always come in pairs or even numbers, never an odd number of things. This same idea plays itself out on a much larger scale than you imagine. wink emoticon

From a Following perspective: The active Follower perspective (meaning: that you're not hanging, pulling, pushing, squeezing, compressing the living daylights out of your Leads and can walk unassisted in a pair of 3 inch heels, as well as turn, ocho, and boleo without help...at minimum and have moved on to actually redirecting your leads, and interpreting the music...), where you can interject an embellishment to the accent notes.

From a musical perspective: Given the recent notations on this page about Tango Sincopa, it is quite possible that you may hear this and think that this is a Sincopa! That would be a mistake. Now the question is WHY isn't this a Sincopa ? To discover what the difference is (as well as a host of other things musically), you may wish to register for 'Interpreting The Music' seminar series. And if you register today, get $50.00 off the purchase price.

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