• Music      (Hearing the "Beat")
• Timing      (Holding a Step)
• Embrace      (The Tango Lean)
• "La Marca"      (Declaring One's Intentions)
• Improvisation     (Sequences)
• Glossary      (Tango Words)

Before proceeding to the Tango Figures, some concepts fundamental to the Tango should be discussed. These include Timing, Music, Improvisation, The Embrace, and "La Marcacion" (or just "La Marca").

Tangos are played in 4/4 time - each bar of music has 4 beats. The beats are usually accentuated in the form of "ONE two THREE four", - the first and third beats having a pronounced accent. This does not mean that every single dance figure must be in a Slow, Slow, Quick, Quick, Slow sequence, or any other prescribed sequence. At times, several Slow, Slow movements will be used, or several Quick, Quick, Slow's will be used. At still other times, perhaps a series of 4 'Quicks' in a row will be used. That's the beauty of Tango Improvisation. No dance patterns are 'chiseled in stone".

Before ever starting a dance, the couple should stand still... listen to the music.... and pickup that "ONE two THREE four" beat. Tango dances to THAT beat!

Here are some Tangos that are excellent for Ear training (and lovely to hear).
(These are in .ogg format. The newest (and some older) versions of WinAmp version 2.80 and up will play the files, - the program is self-installing if you download it now. Various other players handle .ogg files. In Linux, the XMMS player is an excellent choice.)

"Araca", A Tango composed by Eduardo Arolas, and played here by the Orquesta Miguel Villasboas, recorded by London (32-14497) in Montevideo, Uruguay.

"Adios Buenos Aires". Another Tango by Eduardo Arolas, and recorded by his Orquesta Eduardo Arolas as an instrumental on 4/23/1917 by Victor (69587) in Buenos Aires.

"Armenonville". This Tango was composed in 1929 by Juan Maglio, and is played here by the composer's own Orquesta Juan Maglio. This Instrumental was recorded by Odeon (9045 5009) in Buenos Aires, Argentina, 12/6/1929.

"Abandonada". was composed by Francisco Canaro, with the Lyric by Manuel Romero. This version was recorded on 9/11/1939 in Buenos Aires, by the Orquesta Francisco Canaro. Ernesto Famá is the singer

"A Media Luz", is a delightful Tango composed by Edgardo Donato. Carlos Lenzi contributed the Lyric. This instrumental is played here by the Quarteto Juan Cambareri and was recorded in Buenos Aires.

Don Juan. This lovely Tango was composed in 1898 by Ernesto Poncio, and is still very widely popular today. This version is played by Orquesta Carlos DeSarli and was recorded in Buenos Aires, Argentina on Jan. 31, 1955.

As we have mentioned, Tango uses two types of steps; a SLOW step and a QUICK step.
Let us disect that statement a little further.
A SLOW step is one that receives TWO counts. Ex: Take one step and count 1 - 2 before taking the next step. Then take the next step and count 3 -4. That completes one bar of 4/4 music. (4 beats) In this example, the dancer has taken just 2 steps within the 4 beat bar of music.
A QUICK step is simply one step and just one count. Take a step, -count 1, and take anoher step, - count 2, etc. In this example, the dancer takes 4 steps withing the 4 beat bar of music, - one step in synchronization with each beat of the music.

So, let us examine a "SLOW SLOW -- QUICK QUICK SLOW" sequence. The first two SLOWs use up a total of 4 beats. The "QUICK QUICK SLOW" uses up another 4 beats. So, we have used up 8 beats, --or 2 bars of 4/4 time music. This is called 'The Tango Phrase'.

This timing is part of what gives the Tango it's seductive or feline feel and look. Other factors in the feel and look are the Tango's "Contra Movement" The shoulders move in opposite direction to the feet and body movement. (Beginners should forget this for now, later it will become important),

Finally, we should understand that the "timing" of any step - that is, whether it is a SLOW or a QUICK is solely at the dancer's discretion. The only requirement is that the step timings, - that is, any combination of steps and pauses, should add up to 4 beats to each bar of music played. This allows for complete ease of improvisation. If the couple are stepping in "sync" with the music,... they are dancing correctly.

Lady's Right upper arm resting on the man's upper Left arm, her hand on his shoulder. In this way, she can feel the mark produced by amy moving action of his right arm and shoulder. Her left hand rests softly on the man's shoulder without exert any pressure.

Man's Right arm around the lady - his hand (closed fingers) on or close to her shoulder blade. Man's left arm outstretched somewhat at near shoulder height (or comfortable position). Hands are palm to palm.

It is often said that the Tango 'demands' body contact. Like other sayings, there is little bit of truth to that. At times, there MAY be body contact, while at other times very little contact. Whether there is contact or not depends upon which dance figure is being performed, and also on what type of Tango is being danced. (A "Show" Tango, for example, may have very little body contact. ) If one disregards the Tangos of the Stage and Film, then most Tangos are danced in the local 'milonga', - on a small crowded floor. Perhaps no where else is the "Soul" of the Tango (Alma del Tango) so evident. The couple are in the Tango Embrace, (heads together - the Tango Lean), no talking, both concentrating on the dance and it's style, and enjoying doing intricate Tango dance figures. (Generally speaking, the touching of foreheads is the only usual "body contact"!)

Recall that we said the traditional form of contact involves something called "The Tango Lean". The partners begin the dance standing approximately one foot (30cm) apart - shoulders parallel, and bodies offset (1/2 body distance) so that the man's right leg is pointing between his partner's legs. (This principle is known as "Aim". NEVER dance toe-to-toe! You'll end up stepping on each other's feet.) In this way, when they embrace, the partners will touch the Sides of their foreheads (more or less depending on their respective heights). This brings the top portions of their bodies somewhat closer, while the lower body is somewhat farther back, producing a slight lean, - the "Tango Lean".

The Man's Right forehead and lady's Left forehead are touching -BOTH are looking in the SAME direction (to the man's left). That is to say, their heads are touching at an area somewhere near their temples. The man is looking to his left, and the lady is looking to her right. ( It is interesting to note that ONLY in the Tango do BOTH partners look in the same direction. In all other dances, they are looking over each other's shoulder.)

A proper Embrace allows for the transmission of signals (La marca) from man to woman as they navigate the dance floor. There should be very little talking during the dance. Both partners should be concentrating on the Tango. Save the conversations for the breaks between the songs. The 'Embrace' represents the union of two caring partners who are determined to enjoy this moment, the music, the floor, the surrounding dancers and each other's company.

Tango differs somewhat from the Leading and Following techniques of other dances in that there is something called "La Marcacion", or more simply "la Marca". On occasion, a Tanguera (Tango-woman) will sometimes stop and simply wait. If asked why, she might reply, "No me Marcastes", I didn't get a "mark". It is somewhat difficult to explain on a printed page.

Often the leader will use his Hands.
The leader should have his right hand just under his partner's shoulder blade. When beginning a Turn, the leader may use a little pressure from the Heel of his hand to initiate a turn to his Left, or pressure from his Fingers to initiate a turn to his right. When the Lady feels the Leader's hand pressing on the left side of her back, she knows that a turn to her right is being called for, - and vice versa.

Mostly the leader's Upper Body sets the directions.
Most "Marks" are given by the Leader's upper body. For example, when the 'La Resolucion' ends, both the Leader and follower are in the 'start' position for the next dance figure. The Leader might then just lift a shoulder over his Right foot (or LF if desired). This is a "mark" to the lady that he is not going to move, and she is free to do some "Adornos" -- ANY adornos that SHE chooses. When she is done, the man may drop his shoulder or adjust his Weight for the next figure. Sometimes, (signaling for an Ocho for example) the leader will slightly twist his upper body to indicate the direction of his (or her) next steps.

Often the leader will use his Weight.
For example, in the Body change above, the Lady was free to do some Adornos. When Done, the leader exhibits a Weight change from one foot to the other to start the next figure. This Weight change tells his partner that they are now about to move again.

Lastly, it's important for a leader to know where he wants to go. Knowing this, it can be passed on to the partner, - even if only subliminally.

Some "Samples" of these beats.

MEDIA VUELTA: Literally, Half turn.
Often done when man's right foot and woman's left foot are free. Man steps forward with his right leading woman to take a back step with her left. He then pivots on his right foot (leading her to take two steps) while he pivots to a half turn.

MILONGA: has two meanings.
a.) a dance. (mother of the Tango. It used 2/4 time.)
c.) a dance hall. (let's go to the milonga tonight.)

MILONGUERO:
a.) Traditionally, - a Tango aficionado who lived in Buenos Aires during the 1940s/50s.
b.) Also the rhythmic style (the close embrace) predominantly popular in Buenos Aires.
Other names for this style are: Tango Apilado, Club style. The embrace, and not complicated footwork, is emphasized.

MOLINETE (molino = mill, as in windmill) :
'Grapevine' dance figures typically performed in a circle around the leader, who (usually) is performing an 'Enrosque'.

MORDIDA (morder = to bite Mordita = sandwich):
One partner's foot is sandwiched between the other partner's two feet. If the partner's legs are crossed, it is called a reverse mordida.

OCHO: A step while pivoting, - done twice (the action resembles a figure 8).
Forward Ocho: A dance figure consisting of a forward step, a swivel on the leading foot, and another forward step.
Back Ocho: A figure consisting of a back step, a swivel on the leading foot and another back step.

OCHO CORTADO: A "cut" ocho.
Instead of a pivot on the foreword ocho, the lady, after her right foot forward, takes a side step, and is brought back via a cross on the next step. (This is typical of milonguero style maintaining the close-embrace.)

OPEN/CLOSE: Describes arm and hand positions.
"Open" position: The lead's left hand and the follower's right hand in contact.
"Closed" position: The lead's left arm and hand and the follower's right arm and hand in contact.

ORILLERO TANGO:
A type of Tango that stresses intricate footwork and various combinations, rather than 'flashy' leaps and steps. The dancers observe the line of dance, and are aware of and courteous to others, etc.

PARADA (a Stop):
Bringing one's partner to a stop while at the same time placing your foot next to theirs -side, front, and even back - and very often in a Sandwich, -that is, the Lead's foot is between the lady's feet. (Sometimes the male will move the partner's foot by pushing their foot with one's own foot. That's called a Barrida or a Llevada. Another common sequence is when the man stops the woman -parada, sandwiches her foot, and immediately marks a boleo.)

PISTA: dance floor.

POCKET: Anytime the lead walks on outside of partner - either hip.

QUEBRADA: A position where the woman stands on one foot hanging her weight on the man. The other foot is relaxed behind her back, often toe touching the floor.

RESOLUCION: The 3 step ending of a common dance figure (see: Cierre).

SACADA: (see Desplazamiento. Don't you love glossaries that do this?).
Displacing, - or moving your partner's foot out of the way with your own foot.

SALIDA: A Dance figure that ends with a cierre.
(From the Spanish verb "salir") Actually an "exit", but in reality a "doorway" (from which one Starts the Tango).

SALIDA CRUZADA: a common Salida with the first step being a side step.

SENTADA or SIT POSITION:
A lady's action where she appears to sit on her partner's bent knee (or lap). Her weight on the left leg with that knee bent (with knees together); other leg is more or less out straight.

STEP:
The basic element of walking; forward, backward or sidewards. The weight transferred from one foot to another.

SYNCOPATION: Playing with the rhythm by shifting of accents on a beat.

TANGO ORILLERO:
A type of Tango that stresses intricate footwork and various combinations, rather than 'flashy' leaps and steps. The dancers observe the line of dance, and are aware of and courteous to others, etc.

TRABADA: (fastened).
A Tango 'technical' expression describing the step taken by the lady when the man steps outside with his right foot and then straight forward left, and then together right. At this point the woman crosses (so she comes back in front of the man) and this cross is referred to as "a trabada".

VALS: Tango "Style" music danced to the good old 1-2-3 Waltz rhythm.