- اسم فنان:
- Manuel Barrueco
- عنوان الأغنية:
- Tango Etude #1
- عنوان الألبوم:
- Solo Piazzolla
- موقع الفنان:
- http://www.barrueco.com/
من موقع الفنان: مانويل بارويكو معترف بها دوليا باعتبارها واحدة من أهم عازفي الجيتار في عصرنا. وقد وصفت فنه الفريد باستمرار بأنه من عازف رائع وموسيقي متفوق وأنيق، يمتلك صوت مغر والهدايا الغريبة غير المألوفة .... في عام 2007 تلقى مانويل بارويكو ترشيح جرامي "أفضل أداء العزف على الآلات" له سولو بيازولا، الذي كان أول تسجيل يتم إصداره في مجموعة مانويل بارويكو الحصرية على تونار ميوزيك.
- 00:04
- So, a lot of times, what happens is, as I'm teaching combinations, I'll tell people things. I'll say, for example...
- 00:10
- I'll say, "Do this". And then, I'll take them in, you know, whatever it is. Cut, cut, tap.
- 00:15
- Step, cross. Flick. Step, cut. Catch. Throw, touch. Whatever, long, long... Goes for a while.
- 00:21
- D: And, at the end of that, I say, "Got it? Good. Do."
N: No, you don't.
D: Yeah, I know. I do better than that.
- 00:27
- D: But...
N: He doesn't do that.
- 00:29
- But, what happens, is when you see people dance, they look like this.
- 00:34
- Ha-ha!
- 00:36
- N: Even though he doesn't do that, you do see this.
D: And I'm exaggerating.
- 00:40
- So, when we teach, just like in the videos, we show one little piece at a time.
- 00:44
- And we make sure people are comfortable doing it, before we move on.
- 00:48
- N: So, that was not just to himself.
D: OK, she's like: "say the right."
N: Yeah.
- 00:51
- But, even when we do that, if it's a long, involved combination, you see people doing it like this.
- 00:57
- I mean... So, the bottom line is when it pushes your limits, then you have to give all your attention to something.
- 01:02
- D: So, for example, you give all your attention to what you have to do to her.
N: The footwork. Right, to how you move...
D: To get her do what you want.
- 01:08
- And listen to the word choice: what you have to do to her.
- 01:14
- Right? So it stops being a participatory thing. It stops being communication.
- 01:18
- And it starts being, "Oh, I move my arms this way".
- 01:21
- Yes, that's right.
- 01:22
- And so, I want to say that half of this idea of being present with your partner is choosing smart things.
- 01:28
- It's hard to be present when you're doing the hardest thing you know.
- 01:31
- N: Yeah. If you're dancing socially, dance less than the hardest thing you know.
D: Dance way less than the hardest thing you know.
- 01:37
- And also, part of it... So, if you look at the touch chapter, a lot of it is in the spirit of the chapter on listening.
- 01:48
- And part of it is just being willing to look at someone. Right? So...
- 01:51
- D: To say, "Hi".
N: Hi.
D: So, for example, if she were here,
- 01:55
- There's a big difference between my looking at the camera and my looking at her.
- 02:00
- N: There certainly is.
D: You see that difference?
- 02:04
- And so, I want you to say, that sometimes, it's OK to look... You don't always have to have your gaze averted
- 02:09
- As you feel so intensely passionately.
- 02:11
- Sometimes, you can... Feel it intensely passionately at your partner too.
- 02:16
- Or not. But I want you to realize there's a person there.
