Heres an idea to play with when you are practising, my friends. Dance to some of the deeper layers of the music: dont just capture some of their detail in decorations but actually try leading and following movements to them. Its not as easy to do; its not as intuitive. But I think many peoples dancing would be greatly enriched by it -- and it takes two. This is most definitely teamwork -- you cant lead easily steps which accompany the path of an instrument your follower isnt also listening to. This is definitely an exercise for two. And it is, of course, easier with a very familiar tango. But try this: ignore what is most obviously sounding in the music and dance to the instruments which are less prominent at that moment. Think of it as a game to make you more aware and more used to responding physically to subtler lines, to less obvious patterns, hidden just a tiny bit deeper within the texture of the song. Heres an example, taken from Esta noche al pasar (Laurenz/Linares, see below): dance to the (bowed) violin at 0:17-22 and to the pizzicato violins at 0:34-36 and 0:48-50 (where they have lovely syncopations) to the low register piano at 0:55-1:07; when the singer enters dance to the violin accompaniment from 1:11-38 (extra points if you can find a way to decorate or express the trill at 1:24); the deeper violin line at 1:38-42, etc. If you are a musician, you can probably hear a lot more in this tango than I can (though you may not be used to dancing to everything you hear). But, even if (like me) you are not -- I am no musician -- try listening out for the less obvious, the quieter, the less dominant parts -- and see if you can capture them and express them in your dance. Then, afterwards, of course, you can go back to dancing to the more obvious, the more prominent parts: but I think you will find your experience of the tango enriched. Like all games, this is just an idea, a suggestion, to experiment and play with: not some kind of recommendation as to how you should dance. But, since not many dancers do this, why not try it and see what it brings? But, while its often said that the dancer can and should act like a member of the orchestra, whats not often pointed out is that you dont have to be the conductor or the first violin. When you next take up your seat in an imaginary orchestra, try sitting in the back row of desks, try playing along with the viola, try sitting next to the harpist who has 85 bars of rests before she comes in. Try the view from there. It will give you a different perspective.
Posted on: Mon, 07 Apr 2014 01:12:17 +0000
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