Song: Cacareando by Orquesta Tipica Victor
Instructors: Homer & Cristina Ladas
The Beat, Berkeley, CA
July 16, 2018
Theme for the Month: Rhythm and Musicality
Today's Subject: Rhythmic Milonga Traspie
Our class focus is doing the Traspie on the "2"
We began with an individual exercise, walking forward to the strong beat of a very slow milonga, listening for the accompaniment that sounds like "San Fran Cis Co" rhythm. Our song was Canaro's Milonga Sentimental.
Then we walked backward to the same song, again on the strong beat.
There are four accents in "San Fran Cis Co". We were to walk on the two strong syllables: "San" and "Cis". "San" is on the 1 and "Cis" is on the 2
We could walk, change weight, do a side step, or do grapevines, but we were only to step on the 1 "San" and 2 "Cis".
We did this to a different slower version of Milonga Sentimental, by Adolfo Carabelli.
Next, we explored how to switch from Left Foot to Right Foot when stepping on the "San" or "Cis". There are two ways: (1) we can pause, or (2) we can take an extra step (doing it in double time, QQS). If doing the double time, it should be done around the 2, "Cis".
We tried to change the "San" from one foot to the other by doing double time or by pausing. We tried this to 1 minute of Carabelli's Milonga Sentimental and then 1 minute of Canaro's Milonga Criolla.
For the rhythmic double time, Fran Cis Co San, are the walking beats. In partnership, we were to walk, stepping on "San" and "Cis" and switching from open side to close side. 1-2 and 1.
Partners need to know when they are stepping on the "1" or the "2". 1 is "San" and 2 is "Cis".
Leader has to communicate the weight change. We drilled this to Carabelli's Milonga Sentimental, and then Canaro's version.
We were to think about the two walking beats, 1 or 2, "San" or "Cis". To change where the 1 is, we have to do a double time on the 2, so "2 and 1".
1 and 2 have different values. 1 is more down and grounded with more density. 2 is lighter and just swims through. Use that knowledge to change the quality of movement to enhance the communication. Both dancers need to appreciate the different values of 1 and 2.
Milonga has an earthy quality.
Next, we drilled to a small micro pattern.
2 and 1, repeating it, whereby for the first 2 and 1, there is a sensation of going down, and then the next 2 and 1 goes back up. So we change from going down to going up in just the side steps. We drilled this to the faster song, Canaro's Milonga Sentimental.
Next, we drilled to a more complicated pattern to Carabelli's Milonga Sentimental
Open side of the embrace is on 2
1 Leader left foot forward;Follower right foot back.
2 and Leader right foot forward; Follower left foot back
1 Leader left foot forward cross hook (Leader makes a "J" shape with his foot tracing the floor); Follower right foot back cross hook behind left foot.
2 and Leader right foot straight back step, taking Follower with him; Follower left foot forward step
1 Leader Left foot forward cross hook; Follower right foot back cross hook behind left foot
WALK Leader Right foot forward, step; Follower left foot back step
TO Leader Left foot forward step; Follower right foot forward step
THE CROSS Leader Right foot collect; Follower left foot front cross tuck against her right foot
Leader's chest starts square to the Follower, and then when he takes his first step, his chest gets angled to the partner as Leader does the "J" with his hooking forward foot. He should keep this angle and contain it.
Follower should always try to be in front of the Leader and mirror whatever alignment his spine and hips are doing, this makes it easier when the Leader levels out his shoulders to really understand that they are trying to create a cross.
Maestros concluded with a class quiz and demo to Orquesta Tipica Victor's Cacareando.
Notes courtesy of Anne at http://scoutingtour.blogspot.com