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Introduction of Dance Types-Tango
Basic Tango Steps
Tango is generally a 4/4 beat. Each measure can run two slow steps or four fast steps. In special cases, there are also variations that run two steps in one beat in parallel or in lock.
1. The regular step is the basic tango step, according to different needs, it can be used only one step, or two steps, but not three steps, the rhythmic form is S. The step is a commonly used connecting step, there are two forms: from C, P, P to P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P, P. There are two forms: from C, P to P, P is called split step; from P, P to C, P is called combined step. The rhythmic form is Q, Q sometimes can also be expressed in S.
The starting direction of tango is face only L, 0, D. Because of the relationship between C, B, M, P, the direction of movement is actually toward the oblique wall. However, this development is not in a straight line, but in a circular arc toward L, 0, D.
Figure 1, S Male advances to the left, female retreats to the right. There is a strong sidestep and C, B, M, P.
Figure 2, S Male advances right, female retreats left. Male leads right shoulder, female leads left shoulder. Enhances the sense of traverse and causes a circular progression of the movement trajectory.
Figure 3, Q Male advances left, female retreats right. There is a strong sidestep and C, B, M, P at the extreme point of the sidestep movement, using the reaction force of the right side of the body to develop a quick step downward.
Figure 4, Q Both parties make a moderate right turn. The man quickly changes the orientation of his right foot, and the woman changes the orientation of her left foot in the lateral movement, creating a P, P in the face-wall position (i.e., split to open position).
There are four points of attention in this routine:
(1) Rhythm. The Q, Q of the split must not be treated as an average rhythm, but must be concentrated in one beat. Make the rest of the beat a stopping time for modeling. Therefore, in all such cases, a horizontal line is added under the abbreviated letters
(Q, Q) to show the difference.
(2) Modeling. The Tango's split open position (P, P) is only reflected in the V change in the horizontal shoulder line and in the direction of the head, which must still remain close below the waist. This is very important. It is important
not to open the waist and hips together, creating the wrong form; the correct knee orientation is with the man and woman squarely facing each other, hence the feeling of buckled knees. To point her toes, use the inside of the big toe, not the entire bunion or forefoot.
(3) Center of gravity. Neither both feet should be supported equally nor all on one foot. The best method is a three-seven split, so that the lateral open toes bear a little weight, which will
favor the formation of incorrect sensation, avoiding the upper back and the center of gravity to sit back.
Figure 1-Figure 4 Standing Split Continuous Step (->)
Figure 5-Figure 8 Sidewalk Left Turn 90 Parallel Step (->)
Figure 9-Figure 14 Left Turn Forward Progress (->)
Figure 15-Figure 20 Twisting Turn (<-)
(4) Feeling. There should be a motion toward the point of view, and a feeling of placing the female partner under the protection of the male partner; a backward ducking posture should never be formed.
2. Sidewalk Left Turn 90 Degree Parallel (Fig. 5 - Fig. 8. S, Q, Q, S)
The sidewalk is a synchronized forward movement on the P, P. The sidewalk is a synchronized forward movement on the P. Take special care that your toes do not point in the forward direction. The second step of the run should both maintain the requirements of C, B, M, P and follow the program and position of men slightly ahead,women slightly behind.
Figure 5, S Men's left and women's right simultaneously move one step forward in a traverse.
Figure 6, Q Men's right and women's left move toward depths C, B, M, P. Note that when crossing the supporting foot, the procedure of male first, female second should be followed, not crowded at the same time. After landing on the foot start to turn left.
Figure 7, Q Completing a 90-degree left turn, on the face L, 0, D bearing, male crosses left, female crosses right. Form C, P.
Figure 8, S Male parallel right, female parallel left. Pay attention to the misplaced form of the foot parallel and the restoration of the female partner's head position. Also, during the exercise, learn to quickly and unobtrusively shift your weight to the feet that are together for the next run.
3. Left turn and forward progress (Fig. 9 to Fig. 14. Q, Q, S, Q, Q,)
Fig. 9, Q The man advances to the left, and the woman retreats to the right, with a sidestep.
Figure 10, Q Male crosses right, female crosses left, progresses to outside right (O, P)
Figure 11, S Male recedes left, female advances right, transforms to 0, P through depths C, B, M, P. (Three steps to complete 135 to 180 degree left turn)
Figure 12, Q Male recedes right, female advances left, with sidestep.
Figure 13, Q Male crosses left, female crosses right, forming C, P
Figure 14, S Completion of parallel steps, same requirements as before. The last three steps complete 90 degrees to 225 degrees The degree of rotation of this step can be adjusted by yourself. The degree of rotation completed in six steps. Change between 270 degrees to 405 degrees. Beginners are best to follow the 360-degree walking position
4. Twist (Figure 15 to Figure 20. S, Q, Q, Q, Q, Q, S]
Twisting is a kind of rotational change of the center of gravity of the feet, usually the male partner in the locking crossover to twist the feet to rotate, while the female partner is guided by the male partner to make a turning movement around the axis. As a result, there is an asymmetrical change in the footwork of both men and women. From P, P.
Figure 15, S Sidewalk a slow step.
Figure 16, Q In depths C, B, M, P the man enters right, the woman enters left, and the male partner begins a right turn in the second half of the beat.
Figure 17, Q After turning 90 degrees right, the male moves his left foot across to form a block in the female partner's path. The female partner is guided to also turn 90 degrees right to form C and B and move her right foot straight in toward the center of the male partner's feet.
Figure 18, Q The male partner's right foot is in depth C, B, M, P back and crossed, with the forefoot on the ground and both feet supported. Female partner enters left foot under male partner's lead, left shoulder lead toward O, P.
Figure 19, Q Male partner rolls with left heel, right palm in unison, 180 degrees to the right. Female partner has an incline around male partner's advancing right foot, turning right 135 degrees.
Figure 20, S The male partner falls on his heel, the female left foot at the same time immediately adjacent to the side of the landing walk, and continue to turn right 45 degrees, leaning the right foot to the male partner's left foot, forming an open P, P The degree of rotation of this rotational dance step can be varied between 270 degrees to 360 degrees. Here is the 270-degree approach.
Tango self-entertainment dance step practice
Tango more types and genres, chimney this self-entertainment dance method can not be limited to style. In order to improve the standard of our country's national standard dance, I according to the "recreational dance method to the standard dance method close to" principle, no longer create another stove. In addition to the above basic dance steps, and then introduce several relatively simple and easy to learn changes for tango recreation enthusiasts to use.
1. step forward left turn
180 degrees open 0, P backward left turn 90 degrees and step (S, S, Q, Q, Q, S, Q, Q, Q, S) This is the two forward step, plus the positioning of the left turn before the progress of the formation of changes (270 degrees). Start on face L, 0, D and stop on face wall. Since the steps have all been learned, diagrams will not be used. Only the tips of the movement program as follows:
S male into the left, female back right.
S male into the right, female back left.
Q male into the left, female back right. Start left.
Q Man crosses right, woman crosses left.
S Male back left, female into right. To 0, P complete 180 degrees.
Q Male back right, female in left. Start to turn left.
Q Man crosses left, woman crosses right. To C, P complete 90 degrees.
S Men merge right, women merge left.
2. Changes of Sidewalk Parallel Steps (S, Q, Q, S)
This kind of change has more forms, and it is the deformation and development of the second structure in the basic step practice - Sidewalk Left Turning 90 Degree Parallel Steps. It is mainly used for the adjustment of direction and the necessary interspersed arrangement in the design of movement routes. In the self-indulgent dancing method, it is a form of variation with a relatively fixed rhythm. Three variations are described below. Since the basic dance steps
statements have been learned, they will not be illustrated.
(1) Sidewalk Horizontal Parallel Steps (from P, P)
S Male into left. Female into the right.
Q Male into right, female into left. Progress to depths C, B, M, P (refer to Figures 5 and 6).
Q Male cross left, female cross right. Straight in. Change to C, P.
S Male parallel right, female parallel left.
(2) Backward diagonal parallel (from C, P)
S Male back left, female in right, with shoulder lead.
Q Men back right, women in left. Progress to C, B, M, P.
Q Male crosses left, female crosses right. Body position and orientation unchanged.
S Male concurrent right, female concurrent left.
(3) Backward left turn 90 degrees and step (from 0, P)
S Male back left, female into right. There is a shoulder step to lead.
Q Men back right, women in left. Step out to C, B, M, P and start left.
Q On a 90-degree left turn bearing, men cross left, women cross right.
S Male and right. Female and left (refer to Figures 7 and 8).
These variations can be combined at will in the self-entertainment jumping step, not necessarily in the order above. Since the rhythm is relatively fixed, improvisation on the spot is not a problem:
3. Shaking Steps (Fig. 21 to Fig. 23. C, B, M, P)
The structure of this dance step is that there are two regular steps in the front, and three times of shaking in the back. The shakes are performed on the open.
S The man enters to the left and the woman exits to the right. There is a sidestep and a C, B, M, P
S Men enter right, women exit left. Steady position on open.
Figure 21. Q Male drops left heel, lifts right paw and shifts weight back; female drops right paw, lifts left heel and shifts weight forward. Do the first
shake while keeping your upper body stable.
Figure 22, Q Reverse rocking, refer to the text above, male same as female step, female same as male step.
Figure 23, S Reverse shake again, same as Figure 21.
Figure 21-Figure 23 Shake step (->)
The point of this step is to shake while keeping the shape stable. The faults that tend to occur are pitching the upper body or rocking the hips. To correct this, strengthen the ankle joints; stop the knee flexion and extension and the localized movement of the waist and hips, and pursue the whole swing.
There are many forms of variation down the line, and the following are two simple
connecting variations of the self-indulgent jumping method.
(1)Articulation change of backward development - turn left 90 degrees
Q Male retreats to the right, female enters to the left. With side and C, B, M, P
Q Male crosses left, female crosses right and turns 90 degrees left.
S Male parallel right, female parallel left.
(2) Articulation change for forward development - Split Continuous Step
This change, which has to be repeated three more times, is performed in a slow step rhythm, where the man moves forward and brushes his foot over the supporting foot; the woman moves backward and brushes her right foot over the supporting foot. Move toward a split linking step.
In the standard jumping method, there would be no end to the variations. Still, the common articulated variation is the backward locking and sliding split, done in a rhythmic form than Q, &, Q, S, Q, Q.
4. Flexible use of the Split Step (Q, Q, or S)
The Split Step does not necessarily have to be articulated with two regular steps. As with the variations above, it can be used in any situation. It can even be directly articulated in a parallel step state, though this requires more skill.
As long as both partners work well together and remain conscious of the direction of movement, inserting split steps into the routine from time to time; can add the interest of sudden changes in orientation and the excitement of changing rhythms.
Generally speaking, after mastering the changes of the above steps, it is enough to use in self-entertainment occasions. If you want to improve further, please learn the following standard variations. Tango standard dance step practice
1. Sidewalk step by step and slide split step
(Fig.24~Fig.30. S, Q, Q, Q, Q, Q, Q, Q, &, Q, Q, Q, Q, Q. Starting from L, 0, D, face the wall position P, P)
S Sidewalk forward a slow step. Men's left and women's right advance together.
Q One quick step forward on the sidewalk. Men's right and women's left together.
Figure 24, Q right turn 45 degrees men cross left, women cross right, progress to 0, P.
Figure 25, Q reverses movement on 0, P. Male advances right, female retreats left. Land on a 45-degree bearing to the right.
Figure 26, Q in continuing right rotation law male backs left, female enters right and continues to complete a 90 degree right turn.
Figure 27, Q In face center position, male crosses right, female crosses left. This step takes up only 1/2 beat time value.
Figure 28, & After 1/2 beat male and left, female and right.
Figure 29, Q. Continue male across right, female across left.
Figure 30 Q, Q in side and C, B, M, P Male in and left, female out and right, then complete the split according to the orientation needed below.
The final open P, P can be on a face wall, diagonal wall, or face L, O, D i.e., face wall bearing on the B line.
2 Sidewalk and Retreat to pick up the Outside Turning Hopping Continuous Step
(Diagram 31 to Diagram 36. S, Q, Q, S, Q, Q, Q, S, S . (Start toward the slanting wall, face the wall at P, P)
S S Sidewalk forward one step, men's left and women's right in the same step.
Q One more step forward in sidewalk, men's right and women's left together.
Figure 31, Q. Man advances left, woman advances right. The male partner turns right to form a blocking stance. With the termination of the forward inertial force, under the influence of the right turning law, turns to the retrograde movement of the parallel retreat posture.
Figure 32, S Male advances right, female retreats left. As the center of gravity is shifted to the front palm, the man turns left and the woman turns slightly right, forming a P and P backward retreat.
Figure 33, Q In parallel retreat male retreats left, female retreats right.
Figure 34, Q Male retreats right and receives his left foot into the brush position; female retreats left and, in shifting her center of gravity, rotates 180 degrees left to form O, P and receives her right foot into the brush position.
Figure 35, S Male retreats left, female enters right. Under the guidance of the male partner, the female partner completes a 180-degree right rotation in the Into Right movement and drops the left foot in the back open rotating position to the front open pointing position. The male partner should take care to keep the right foot in the front open position and guide the female partner slightly to the left side at 45 degrees to form P, P when the female partner basically completes the right rotation.
Figure 36, S. This step is the fit and continuous step. It is the connecting step that closes both partners from P, P to C, P. On the landing of the male into the right and the female into the left, there is a 45-degree offset to the left
Sexual development. The female partner, guided by the male partner, moves to the male partner by rotating 180 degrees to the left and closing. At this point, the male's left foot and the female's right foot should remain in the brushing position.
Figure 24-Figure 30 Sidewalk Progressive and Slide Split Continuous Step (<-)
Figure 31-Figure 36
Sidewalk Parallel Retreat Receiving Outside Rotary Split Continuous Step (->)
Figure 37-Figure 40 Quadruple Quick Step (<-)
Figure 41-Figure 45 Sidewalk Split Continuous Step Receiving Open Left Rotary Heavy Tilt Split (-&& gt;)
3. Four Quick Steps
(Diagram 37 to Diagram 240. Q, Q, Q, Q Facing Wall Brush C, P to Reverse L, D for Instantaneous Movement)
This variation is also known as the Change of Position Four Steps, which is a kind of unexpected instantaneous movement of a reverse nature. In the rhythmic treatment to pursue a kind of attachment point type change. That is, the first and third Qs, are treated as half beats, while the other two Qs, become one and a half beats. It is difficult because of its fast tempo. In the grading, it belongs to the silver dance step,
Figure 37, Q Male into the left, female back to the right. There are deep C, B, M, P and side movements
Figure 38, Q Male crosses right, female crosses left. Slight left turn and progression to O and P.
Figure 39, Q On O, P male back left and female into right. There is depth C, B, M, P.
Figure 40, Q Male retreats right, female crosses left. Form open P, P.
4. Sidewalk Hopping Continuous Steps to catch open left turn and heavy tilt split
(Diagram 41 to Diagram 45. S, Q, Q, Q, Q, S, S, S Facing Wall Open P. P running towards L, 0, D)
S Sidewalking one step forward, male left, female right with the same advance.
Q, Q In the first Q, complete the same movement as in Figure 36. Make brushes C and P to form on the face L, O and D bearings. The second Q is left in place.
Figure 41, Q Male advances left. Woman retreats to the right. At the same time begin a quick left rotation. The man's one foot is in a back-and-forth open position. The woman spins on her heel in a side-by-side rotation.
Figure 42, Q After completing a 270-degree left rotation, the man's right and woman's left feet land together. The male partner should cast a point of view diagonally upward to the right, while the center of gravity and the flow of the body moves toward the male left and female right.
Figure 43, S Male horizontal left, female horizontal right: at the same time both partners throw their points of view in front of the male left side, forming an open big dance shape of P and P. Pay attention to the position of the knees and the clasping of the toes. And look for a sense of strength inherent in "back to shoulder".
Figure 44, S. Maintain open feet and form a heavy tilt with the male partner guiding.
Figure 45, S Male cross right, female cross left, one step pull back into position. Form open P and P in split form.
This is all there is to the standard variation. All of the above are changes to the regulations officially issued by the Royal Society of Teachers of Dancing (RSTD). Below you will find another typical example of creative development, which is a recognized developmental variation. From this you can steal a step towards recognizing the overarching laws of ballroom dance, and thus lay a good foundation for your own creative activity.
5, the side line of the body step according to the Vienna waltz style of left rotation in front of the progress of the split
(S, Q, Q, Q, Q & Q, Q & Q, Q, Q & Q, QQ. face the wall position of the open P, P, P, to L, O, D transport direction)
This change of the end of a head has already been learned in the previous. S, Q, Q, is the side line of body step, 0, Q is the split of the step. S, Q, Q, is a sidewalk combined step, and 0, Q, is a split body continuous step. The three 0, &, 0's in the middle have actually been learned. It is the left rotating forward step in the fast waltz standard method of dancing. It's just that the three-beat rhythm has been turned into a two-beat form. If you
can demonstrate this step without reference to the illustration in question, you're starting to get to a decent level. Give it a try, my friend, and good luck.
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