Welcome To Argentine Tango. You have stepped into a world where you will find dance, music, pleasure, history, pain, triumph, relief, patience, hurt, conversation, friends, upset, community, loss, communication, love, layers, and a different kind of reality that spans the entire world. Tango is a family, it is a way of life, a dance, a different lifestyle that will last until the next dance or the next life time. You will meet people from all over the world that more than likely will not speak your native language, may not share you political views, will not know where you live or where you come from or care for that matter. With regards to Tango, none of that stuff matters.
Tango is life (“Tango es vida” in Spanish).
Tango is a way to have a conversation without speaking.
Tango is moving to music that will move you to emotional places.
Tango is technique.
Tango is communication.
Tango is choreographed. (stage or performance tango is)
Tango is entirely improvised. (social tango is)
Tango is a walking embrace.
Tango is a nightmare of sweat with nice shoes and nicer clothing.
Tango is intimate.
Tango is insanely difficult.
Tango is beautiful.
Tango is all over the world.
Tango is the unending onion.
Tango is your worst high school nightmare come back to haunt you.
Tango is sexist, ageist, and gender imbalanced. (yup)
Tango is grace. (depending on your point of view)
Tango is an exercise in personal patience.
Tango is a horizontal desire in vertical form. (uuugh, not)
Tango is an exercise in minutiae.
Tango is study.
Tango is what you make of it.
Tango is ….
One word that is often used to describe the conversation of Argentine Tango, is ‘Connection‘. Tango Topics eschews this word because the word has lost its meaning. It rightfully has about 7 different meanings which can be found here in our dictionary of tango terms. The point is that you’ll hear the word a lot in a myriad of different ways. The problem with it is that what one person hears, and what another means by it, may be two very different things! And therein lay the rub, as it were. Some beginners find that the language to describe what’s going on, the way in which something is said, is unclear, inconsistent, and lacks any validity or reality to what’s actually going on. What one teacher describes as X and what another describes as X bear little resemblance to each other. There is no consistency to what X actually is. So you may find yourself going a bit crazy. Arrrgh! For instance, you may hear the word “Ocho” from two different teachers or dancers, and when you watch them doing said ‘Ocho’, what one does and what another does bears little resemblance to the other. There are several reasons for this disparity. Language being chief among them. The problem lay with the fact that there lots of gray areas and no standardization in Argentine Tango. The truth is that anyone can teach Tango, badly, but they can teach or show you ideas. And the problem with it is there is no consistency with language or examples and structured curriculum.
Which brings up that you don’t know what you don’t know. You don’t know who’s for reals and who is talkin’ trash. Sometimes a really good indicator of a quality instructor is the size of their class, most times it is not. That just speaks to that teacher’s ability to market and how polished they appear to be. This is not necessarily a good indication of quality instruction. Sometimes the indication that someone is a good instructor is the recommendation from another dancer. However, that recommendation is based on how well that particular person felt comfortable with that teacher and how that person got what they needed to get from that teacher. There may be no objective information there but rather entirely subjective. And sometimes it is the work product of a student thenselves. The ‘work product’ is ideally what you’re looking for. If you like how a particular dance looks when they dance, ask that dancer who they studied with to generate that kind of movement. Ultimately you will need to decide what works best for you. You may change teachers several times to find one that you get and understand. There’s a fly in the ointment with this line of reasoning, and it’s that Tango requires growth, and change, and what you experience now is only a stepping stone to what may come later. The process of learning tango is not through one person but rather many. It is said that to raise a tango dancer in the modern world, it takes a villiage. Tru dat!
You may have it in your mind from TV, Movies, or social media that Tango is a very romantic or passionate dance. While there may be some truth in your own personal perception of how you can understand what you’re seeing. The reality is far from it. The last thing in the world that most of the better dancers in the room, and on the floor, are thinking about is romantic or sexual desires. It is mostly a very distant after thought. The thing that they’re really after is a really good dancing experience. Which isn’t to say that those thoughts don’t happen, it’s to say that for most people in the room (not all, there are always the creepy dudes….uuuugh!) they’re in the room to dance, to see their friends, to hang out, to dress up, to have a nice time and an evening out listening to very nice music. This is what’s called “Social Tango”, and believe it or not this is part of the reason you’re wanting to study Tango at all > to have a taste of the Milonga Experience. Tango isn’t just about the steps, it’s about the culture of the dance that goes with it!
Tango is all of these things, and at the same time, none of them. It really depends on your perspective of where you’re at emotionally, intellectually, and the vantage point that you enter the dance with. As Yoda said to Luke Skywalker before he entered the Cave of Evil, “…only what you take with you“. The same is true here in more ways than you can count. It is here that we start the idea of Tango. Tango is only what you take with you.
In the following article and the video above we address Tango from 3 important aspects.
1.) The Movement (or Vocabulary) of the dance.
2.) The Music of the dance.
and 3.) The Codigos of the dance.
All three of these things must be studied, practiced, danced, and pursued with equal due diligence, if you want to start on the pathway to being a good dancer in Argentine Tango. Oh and one more thing…and this one you have to get into your head: Instant Mastery ? That’s not going to happen. Tango is going to take you a while, and rightfully a lifetime to ‘master’. Being a beginner, is a good thing in Tango. A very good thing.
That said, let’s dive into Tango Topics idea of Beginning Tango – The First Lesson.
Part One: The Movement of The Dance
Movement ? What does that mean ? It means the foundations of the dance. Tango consists of three simple steps that will rightfully take you the rest of your life to fully grok and understand. As a side note, one our first teachers used to say, “There are really only two steps in Tango! Your left and your right”. And while this was meant as a joke. It’s an allegorical joke with ooodles of truth bombs to it in ways you haven’t even begun to understand yet. However, for the novice dancer, and even the dancer that may read this and pass this along to you > Tango consists of three steps:
A Forward Step. (in the video)
A Side Step.
And a Back Step. (in the video)
For the Follower the important step to learn is the structure of the Back Step.
For the Lead the important step to learn is the structure of the Forward Step.
And for both roles, they use the Side Step in very different ways and level of executions. If all of that sounds really simple, it’s not. It will take years, and we’re not kidding, literally years to perfect these seemingly simple steps. To make them look, and feel effortless, so that they become part of you
The reason why this video, and section, is focusing on these 3 simple steps is because they’re related to a very important construct in Argentine Tango: La Caminata or The Walk. Tango is based on the walk. There’s a Zensunni phrase that goes, “If you can walk, you can dance”. It is the foundation of the dance. The walk is everything in Argentine Tango. Make that walk clean, clear, consistent, stable, controlled, and precise, and you’re onto something. Less than that, and you’ll spend years, quite honestly a decade or three, in tango purgatory because you haven’t resolved how to walk yet. And the really bad part about that is that you won’t know it. Uuuugh! Putting on a pair of tango shoes, and/or nice clothes to go with those tango shoes will not hide a less than desirable walk. An unstable walk (from either partner) will result in an embrace (see the next paragraph) that hangs, pulls, and pushes. Which will result in you either being dragged around or you dragging someone else around the floor. Not to mention back pain, and a neck pain that will more than likely require a visit to the chiropractor. And unstable walk may also, more than likely result in you not dancing. This is why it is absolutely crucial to have a Tango Teacher that focuses on the walk to start with, and continually for several weeks into your Tango training. Months really. Years at the earliest. It will take you weeks to unlearn what you think you have learned. Months to retrain your body to do something very different from what it’s doing today. And years to make it part of you. At its core, Tango is a Walking Dance. The more that you focus on that walk, the easier the dance becomes.
Contained in the walk of Tango is its Embrace. The Embrace is what gives Argentine Tango its iconic look. Most people see Tango as ‘passionate’, or ‘sexy’. The reason is because from where they’re sitting, their frame of reference is of a couple very close to each other so they must be ‘intimate’ with each other, or they’re having some kind of romantic or sexual relationship. That may or may not be true. But the only relationship that the dancing couple is currently having is with their partner, the music, the floor, and the couples around them. The perceptions that other people don’t matter. What you’ll see at a ‘Milonga’ (what is loosely understood as ‘the dance party’) is two basic embrace types: Open Embrace, and Close Embrace. Truthfully there are many types of embraces, which you can explore through our dictionary of embraces. Open Embrace, means that there is ‘space’ between the partnership. Think of it as “Space for Jesus” 🙂 . ‘Close Embrace’ is a lot closer and can be any number of ideas from body-on-body, to body-very-close-to-body, to body-not-touching-but-very-close-to-touching-body and everything in between. More than likely the more common idea that you’ll see presented and danced is “Close Embrace” dancing and its variations. The video above shows you both of these ideas or what Open and Close Embrace is. Realistically as far as the Argentines are concerned, these terms are Norte Americano ideas. Realistically as far the Argentine is concerned, there is only El Abrazo, or The Embrace. There is only one. Theirs. This Open or Close or Vee, or…any one of the distinctions are North American ideas and definitions because we, as North Americans (and really the rest of the world), need the distinction of what we’re seeing coming from the Argentine way of thinking about the dance.
A skill that is used in the video above to initiate and communicate one’s ideas, and which Tango Topics refers to repeatedly as “Intention” is Intention Based Dancing. What’s that ? In it’s simplest form, ‘intention’, is a way to ask someone to do something with you (not for you or to you. this is an important mental distinction when it comes to intention) while dancing to music. Sounds simple enough, right ? There’s just one little caveat to ‘Intention’ and ‘Intention Based Dancing’ > You can not use your head, arms, shoulders, elbows, forearms, wrists, hands, thumbs or fingers to push, pull, compress, or squeeze to communicate your ideas. Rather your entire body is used with a little lean forward, to the side, or backwards. The arms act as a dummy transmitter, they do not add or magnify the intention of what’s being led or followed in any way, shape, or form, from a Leading perspective or from a Following perspective. Doing so would be considered ‘rude’ and ‘pushing’ someone. However, you will hear in other classes from other teachers, another idea called “Resistance” or “Resistance Based Dancing”. In short, Resistance Based Dancing means that we pull, push, use pressure and force, arm and hand compression, and really strength to communicate our desires and responses. Is one more desirable than the other ? In our opinion, ‘yes’. But that’s for you to decide not for us to dictate. You’ll figure out which one is less work, and is far easier to get but difficult to master, and which one will will leave you in a sweaty mess wondering how you pinched a nerve and why your arms feel like they’ve gone 10 rounds in a prize fight!
To be clear, all of the stuff above is Foundation. It is the basis of how we move in the dance. Forward, Side, and Back with an Embrace. More than likely though the thing you’re wondering about is what are the steps, the basic vocabulary of the dance ? There are many ‘steps’ or figures in Argentine Tango. But the Five Common Figures of Argentine Tango is what you’ll run into. Which are: Walking, Ochos, Turns, Crosses, and Cortados.
1.) Walking. Walking refers to how you walk, when you walk, and why you walk. Tango Topics details the Six Ways of Walking. This isn’t how to walk, but rather what you can do with that walk once you’ve got the hang of it.
2.) Ochos. These are a very specific type of vocabulary that can invoke a micro turn or not. There are 8 Types of Ochos that Tango Topics details, and the two more common ones are what we call “Traveling Ochos” and “Milonguero Ochos”. Fortunately for you we have an entire video on this subject and rather than duplicate that effort here, once you’re done with this video, please go load up our Eight Types of Ochos video.
3.) Turns. At some point beyond Walking and Ochos, you’re going to have to learn how to turn, because the Line of Dance isn’t moving or has ground to a stop but the music hasn’t…and you can’t just stop dancing because the line of dance stops, so for that reason, and a whole bunch of others we have to engage some level of Turning with Tango. And fortunately for you, we have a primer on the Eight Types of Turns in Argentine Tango!
4.) Crosses. At some point you’re going to run into a really weird thing that will happen, and that’s what’s called “The Argentine Cross”. Put simply, this is where the Follower is led to cross their feet. However, this is not the only type of cross, there are many types of crosses in Tango but this is the most common of all crosses and we have a FREE video on this topic. Just follow the link above and start your free education today.
5.) Cortado. The last thing that you’ll see, of the basic vocabulary is the beginning of the door opener to other ideas in tango, and that’s the Ocho Cortado. It’s sort of a combination between an MIlonguero Ocho and an Argentine Cross culminating to a Linear Ocho Cortado! These are the Five Common Social Figures of Argentine Tango and they form the basis of what you’ll see at a Milonga when out social dancing.
Part Two: The Music of The Dance
Tango Music is the whole reason we dance. The music is at once intoxicating once you get into it and again insanely complex and incredibly multidimensional. You have not lived until you’ve heard the same song 100 times only to discover new layers and levels of intricacies that you haven’t heard before and all because your focus shifts and changes. Tango music is by its very nature a difficult beast to master for a wide variety of reasons. Most notably is that in today’s music world we are quite deliberately told where the beat is at. And that’s usually through some form of percussion instrumentation. Tango music does not contain a percussion instrument per se. Instead we have something else which replaces it, and that’s the agreement amongst the musicians that every Xth note, we’re all going to be together. That Xth note, may be 4 notes, 8 notes, 12 notes….it doesn’t matter. In days gone by, read that as before the drum in popular music dictating where the beat was at, your parents and really your grand parents had to discern where the beat was in a piece of music without a drum! Tango music is from this same time period where you have to figure out where the beat is at. Don’t worry. It’s not hard. It can be done. Like all languages, and tango music is a language by the way, it just takes time, patience, practice to find the beat and then to keep it.
Next understand that there isn’t just one type of Tango Music. There are in fact 5 common forms Argentine Tango Music, and more than a few uncommon ones. The 5 common forms that you’ll hear at a Milonga or Practica (depending on where you are at in the world) are: Tango, Vals, Milonga, Chacarera, and Zamba. The first three on this list you’ll hear at every Milonga and Practica in the world. The fourth you’ll hear sporadically outside of Buenos Aires, depending on how ‘faithful’ the Milonga and the DJ is the ideas of Milongas in Buenos Aires. And the last one you’ll only see in Buenos Aires. So let’s clarify a bit of what these styles of music are, because their names will cause a bit of confusion.
1.) Tango is at once a style of music, as well as the type of dance, as well as the category of the dance and music. Tango music is 4/4 time. Meaning that there are 4 beats per measure, which usually results in about 60 to 65 beats per minute (bpm).
Here’s an example of Tango music > “Don Juan” by Carlos Di Sarli.
This is semi-slow walking pace that depending on the instrumentation can be languid or feel quite peppy. Trust that 60 bpm may sound like a lot, it’s not. It’s actually quite slow.
2.) Vals music, is exactly what it sounds like – Viennese Waltz with two major differences. a.) In Viennese Waltz there are no breaks to the Waltz. In Tango Vals there are! b.) While the music in Waltz is usually written and played as 3/4 time (meaning that there are 3 beats per measure which results in 70 to 85 beats per minute), it never changes. In Argentine Vals music, while the music is written as 3/4 time, it is frequently played at a peppier 6/8 time signature which gives it a much more hyperbolic feeling.
Here’s an example of Argentine Vals Music >
Soñar Y Nada Mas by Alfredo de Angelis – Singer: Carlos Dante
3.) Milonga music. Ummmm…this one will create a bit of confusion to be certain. First and foremost, Milonga is a style of music. It’s also a type of dance that’s done to that style of music. And lastly it’s also the dance ‘party’ that you attend while doing these three types of dances where Milonga music, Vals music, and Tango music will be played. Milonga is a fast style of music. It can easily seem like it will overwhelm you when you try to dance to it. However, with a little time, patience, and practice Milonga can be lots of fun. Typically Milonga is written and played as 2/4 time which is two beats in a 4 beat measure which roughly comes out to about 85 to 105 bpm.
Here’s an example of Argentine Milonga Music > “Milonga Criolla” by Francisco Canaro.
If you’re coming from another type of Social Dance, more than likely your experience is that of hearing one song after another without any real structure to it. However a skilled DJ does make an attempt at creating some kind of flow from one song to the next and to create an overall flow to their set. Tango music creates by its very nature creates several layers of difficulty on top of that structure. First and foremost is the idea of ‘Tandas’. What’s that ? A Tanda is a series of songs by the same orchestra in the same style or genre of music! Meaning you’ll hear 3 songs of Tango Music by say…Francisco Canaro. Or 3 songs of Vals music by Alfredo De Angelis, and so on. Usually there are 3 songs in a Tanda, usually. However, there has been a trend over the last decade or so for a 4 song Tanda. Further still if you find yourself in Buenos Aires at some point, just be forewarned that certain Milongas play 6 or 8 set Tandas. This is known as a “Buenos Aires Tanda”. Just to give you an idea of how much time that would be ? A single song in tango/vals/or Milonga can be about 2.5 to 3 minutes in length. So a 3 set Tanda would be almost 9 minutes in length with gaps between the songs. A 4 set Tanda would be about 12. And a Buenos Aires Tanda would be about 18 to 22 minutes in length. That’s seemingly a long time to dance with someone. Seemingly. Under the certain circumstances that 9 minutes will fly by and you’ll wonder where the time went, and under others…you’ll be counting the seconds! We’ll get to why this important in the next section. Keep it in the back of your mind. It will come in handy in a bit.
The last item as it relates to Tandas and Tango music, is that in between the songs, you’ll hear an audio palette washer, a familiar piece of music that is meant to clear the floor and to tell people that the Tanda has come to an end, and that now is a good time to change partners if you wanted to do so. This is known in the Tango world as a ‘Cortina’, which when translated from Spanish to English means ‘Curtain’. You will hear Cortinas between the Tandas nearly constantly, unless you’re at a Buenos Aires practica or an even that eschews the idea of the Cortina.
Just as a side note, you’re going to hear a lot of Tango music in the coming weeks and months as you go to Classes, Practicas, and Milongas. So it’s a good idea to start asking the DJ who an orchestra is and what the song title is and then to write it down. Or to ask them, politely if they’ll give you their playlist. And then when you go home, look up those songs on either Apple Music, Spotify, or YouTube. Why ? You want to start to familiarize yourself with the music that you’re going to spending a lot of time with!
Part Three: The Codigos of The Dance. (just a few…)
Codigos ? This is a Spanish word. It has an English cognate. It means: ‘Codes’. Meaning the codes of the dance. These are the rules or the codes of the environment for the Milonga experience. As Tango dancers we try to respect the codigos of the dance, and the Milonga environment. The dance and the Milonga environment have a set of guidelines that we all adhere to in order to keep the experience as fluid and as easeful as possible.
One of those ‘codes’ is how we ask for a dance or decline an invitation for a dance in Argentine Tango. That method is known as ‘Cabeceo’ for the Lead, and ‘Mirada’ for the Follower. Cabeceo is a Spanish word that means “Nod of the Head”. Mirada is the past participle of the verb Mirar, which means “to look”, or in this case, ‘Looked’. Typically you’ll only hear about ‘Cabeceo’ as the only way to ask for a dance. That’s not true. A Follower can indicate that they’re interested in dancing with a particular Lead by employing ‘Mirada’. Cabeceo in practice would mean that a Lead would make eye contact with a potential Follower, and once that eye contact is estabilshed, the Lead would nod their head, and the Follower would either nod back to indicate acceptance, or not shake their head ‘no’. So that we’re clear on this point, especially if you’re coming from another social dance, a Lead would NOT get up from their chair, and walk over to the Follower and extend their hand, and then verbally ask “Would you like to dance ?”. This is a monster no-no in Tango. Conversely a Follower would NEVER verbally ask a Lead for a dance….ever. Again, monster no-no as far as Codigos is concerned. There are some exceptions to this particular codigo, but they are few and far between. One is if you know the person really well. Still another is if it’s at a practica and not a milonga. Still another is if you’re married or have acknowledged public romantic relationship to the intended dancing partner. Other than that. Not so much with the Follower asking the Lead for a dance. Tsk, tsk, tsk. There are some who view this idea as antiquated and not with the times. The reality is that this aspect of Tango will modify a bit with time but you have to remember that the practice itself is part of the Milonga experience. And while your egalitarian modern ideals of how to ask for a dance want to be employed, the codigos of the dance say otherwise. Respecting the codigos is always, always good form.
An important to recognize another bit of codigos, is that when a Follower has been asked for a dance, that the Follower stay in the their seat and wait, WAIT, to be collected from their chair by their Lead. The reason has everything to do with that there are other Followers around you, that may mistake that same request for them instead. So you wait in your chair for the Lead to walk around the dance floor, not across it, to collect the you from your seat. Do not, absolutely do not, jump up out of your chair to meet your Lead. No-No-No! Not now, not ever. Wait! Wait to be collected from your chair.
Still, another one of those codes is when you ask someone for a dance, you’re not asking for a single song, you’re actually asking for the length of the tanda! That’s why we pointed out the Tanda idea above because they’re intricately related to each other! While you can decline to continue to dance with someone (for any number of reasons), “My back hurts…”, “I have a sunburn…”, “I’m have a long day tomorrow…”, “I need to sort my lint collection….”, the reality is that once you start a dance, it is considered rude to end it prematurely. However, there are ways to do that so that you’re not stuck. One of those ways is known as the Follower’s Rescue Plan. Rather than recount it in its long detail, it’s a 4 part plan that can help a Follower in a time of need. Follow the link above to get more information. You may be wondering what about the Lead’s rescue plan ? There isn’t one. The Lead, being the one that initiated the dance request in the first place can not and should not, in our opinion, stop dancing with the Follower simply because they may be uncomfortable with the Follower that they’ve requested a dance with. In this respect the Codigos of the Dance require the Lead to stick it out, regardless of how uncomfortable it may be. The reason ? Victorian gentlemanly rules of conduct! That’s why. If you asked for it, you stick with it. Smile, nod, and be pleasant. Now there are some that will radically disagree with this. So we make one caveat to this particular codigo: If you are in physiological pain to an extreme level and you just can not bit your tongue any longer, then you are within your rights to gently and discretely excuse yourself without blaming the Follower or trying to teach them or show them how to dance differently to your liking.
One more codigos that you want to keep in the back of your mind is how to enter the floor as a Lead with your partner. This one is known as The Lead’s Cabeceo. In this instance, once you reach the edge fo the dance floor with your partner, the Follower waits to be invited on to the floor by their Lead. They do not jump into the Line of Dance immediately. The Lead will stop at the edge of the dance floor, and Cabeceo the oncoming Lead. This is an askance to get into the Line of dance. The oncoming Lead will either acknowledge the request, or they’ll continue dancing. However, a Lead should not enter the Line of dance without that acknowledgement.
Exiting or ending the dance. This one is really easy, and again, it harkens back to the Victorian ideals of being a Gentleman. When the tanda is done, the Lead will escort the Follower back to their chair or wherever they found them, and then thank them kindly for the dance and then depart their company. Of all the Codigos, this is probably the simplest one to remember.
There are some things as Leads, and as Followers, we do not want to do with regards to Codigos. One of them is ‘stalking’ a particular partner. If someone says ‘no’, move on. Still another is cutting into a dance. While that may be done in other dances, it’s not done in Tango…ever. One more…. never, ever, ever, cut across the dance floor to get to your partner. Ever. Always, always, always walk around the circumference of the floor to reach your partner.
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A Few Last Words…
Go out social dancing. Either to a practica, and actually practice, or to a Milonga. Don’t be shy. You actually have to use what you’ve learned. Learning this stuff in a class, is all fine and good. Really it is. However, applying it, and seeing it applied, on a regular basis is where the real education happens. You can not learn in a vacuum. You have to experience this stuff repeatedly to get into your head, your mind, your body, and your grokking. Also, do not expect as most North Americans do, to be an instant master. That’s not going to happen. Get that thought right out of your head. Do in fact expect to take a long time to learn this stuff. A very long time. Be patient with yourself. Give yourself lots of space to screw it up. This isn’t about getting it right actually. It’s about the process of discovery and not about the destination of ‘right’. Also it’s a good idea to get rid of your perspectives of ‘right’ and ‘wrong’. Start to replace those ideas with ‘Desirable’ and ‘Less than desirable’. Why ? As you’ll see going forward that the more people that you study with, the more people that you dance with, each has their particular bend on how things might operate. This page is no exception. Some of those ‘bends’ are desirable and some of them are not. They are in effect, a spectrum of ideas. Where some work and some don’t. Those on the desirable side of things, work…without question. Those on the less-than-desirable side of things will fail repeatedly for a wide variety of reasons, usually. However in the end the goal is to try it out, find what works for you, and then to practice it, and then to have a little fun with it by going out social dancing…a lot. In the end, the real education that you’ll get is not from this page, or from videos, or from classes, or workshops with some amazing teaching couple that’s passing through your locale. NO. The real education happens in the dance itself. And if you’re sitting at home on your butt, then you’re not really getting the education you need. So…go out and dance.
One more thing: This page is a guide, it’s not the only guide, but it is a guide post to the highlights of Argentine Tango. The site itself is a resource. Use it. Everything that you need to know is here. From music, to codigos, to vocabulary and everything in between. Use the resource. That’s what it’s here for.
Good luck. You’re going to need it.