A visual reconciliation for tangueros and milongueros
Milonga compás :
1 - (2) - 3 - (4) - 1 - (2) - 3 - (4)
Milonga compás | |
Milonga tunes have repeating four-count cycles (or "bars") typically in pairs | |
Milonga compás is the "one" and "three" continuously throughout | |
The "ones" and "threes" are the most frequently stepped beats in milongas | |
Example 1: Social milonga dancing at a milonga in Buenos Aires | |
Example 2: From 1 min 10 secs to the end, Homer and Cristina Ladas perform a didactic demo at the end of an Argentine tango class |
All tango dancers should be able to adopt the compás as the default for their dance steps
"Common" milonga rhythm :
1 - (2)& - 3 - 4 - 1 - (2)& - 3 - 4
"Common" milonga rhythm | ||
Nearly all milonga music is based on this rhythm | ||
To dance "lisa" milonga, step only on the "ones" and "threes" (i.e. the compas) | ||
The "two &" half beat is a good musical place for a traspié milonga step | ||
Example: Stephan & Era Resch dancing to "Estampa de Varon" by D'Arienzo |
"Common" double-time milonga rhythm :
1 - 2 - 3 - 4 - 1 - 2 - 3 - 4
"Common" double-time milonga rhythm | |
Milonga music often has sections of double time rhythm ("inviting" double time dancing) | |
Milonga phrases "inviting" double time steps tend to have similar strength on all (four) beats | |
Example: Miguel Zotto & Daiana Guspero dancing to "Reliquias Portenas" by Canaro |
"Common" quadruple-time milonga rhythm :
1& - 2& - 3& - 4& - 1& - 2& - 3& - 4&
"Common" quadruple-time milonga rhythm | |
Some milongas have phrases with rhythms suitable for quadruple time dancing | |
Milonga phrases "inviting" quadruple time stepping feature eight half-beat melodies | |
Rarely danced socially but sometimes danced by maestros in demonstrations and performances | |
Example: Aoniken Quiroga y Alejandra Mantinan dancing to "Parque Patricios" by Canaro |