装飾 - 2つの装飾の詳細なテクニック
動きがどこから来ているのかを理解するのに多くの手助けをします。装飾をすると、何度も、脚の持ち上げがヒップから来る必要があります。
足が殴られて逃げると、フォロワーが故意に何かをするのではなく、股関節の運動の論理的結果として起こることが最も頻繁に起こります。
それは私たちが違いを伝えることがいかに簡単かを人々に驚かせるが、動きがどのように自然または不自然に見えるかには大きな違いがある。
また、（多くの人にとって）それをやるよりむしろ装飾の流れを覚えることがどれほど難しいかを人々は驚かす。
ケーススタディとして、足を地面に当てたり、かかとを叩いたりする場合は、どの筋肉が関与しており、どの筋肉が最も重要かを尋ねることができます。私たちは、背中、お尻、上腿を言うでしょう。しかし、多くの人々が、このタイプの運動（または前部のボールレオ）を行うとき、股関節と大腿の周りの筋肉ではなく、膝と足首の周りの筋肉を作ります。それがこのような間違ったことに関するものであるとき、その動きは硬くなり、泥だらけになります。
いつものように、それはコアについてです。
- アーティスト名:
- Osvaldo Pugliese
- 曲名:
- A Orlando Goñi
- アルバムタイトル:
- Osvaldo Pugliese - 40 Obras Fundamentales
- アーティストウェブサイト:
- http://en.wikipedia.org/wiki/Osvaldo_Pugliese
（Wikipediaより）：彼はサロンタンゴのウォーキングビートの強い要素を保持する劇的な取り決めを開発したが、コンサートスタイルのタンゴ音楽の発展をも告げた。彼の音楽の一部は、ほとんどが50年代以来、演劇のダンス演奏に使用されています。ブエノスアイレスでは、Puglieseはしばしば夜遅く、ダンスがもっとゆっくり、印象派的に、そして親密に踊りたい時に演奏されます。
- 00:05
- So, we're going to break down two embellishments. And we're going to do them in great detail.
- 00:09
- So, at least with these two, you'll have some detailed instructions.
- 00:15
- And they are, one for front ocho, one for back ocho.
- 00:27
- And here, back ocho.
- 00:33
- So, for the front ocho, for the ladies, as you do this,
- 00:36
- The first thing that you want to think about is making sure that you kick the leg up,
- 00:41
- And then bring it down, while you're facing away, before you turn.
- 00:45
- N: Well, that's the second thing.
D: What's the first thing?
N: The first thing is that the leg needs to come up from the hip. - 00:53
- D: OK, so, as we do this,
N: He's the girl.
D: OK, I'm the girl. - 00:57
- Let's go this way, actually.
- 01:00
- We go. I bring it up. I bring it in. I bring it down. And then, it pivots.
- 01:10
- With the leg, at the beginning, if you look at the side view,
- 01:13
- I step forward. It goes up. I bend the knee.
- 01:18
- And that lets you go higher, right? So, the leg straight only goes so high.
- 01:21
- But, you bend the knee, it lets it come higher. You beat it in. And when you beat it in, you keep it tight to yourself.
- 01:28
- D: And then, you pivot.
N: So, you want the knee to cross over the other leg, as much as it will. - 01:33
- So, we have: go that way. Kick up, bang. Bend the knee. Let it come down along your own leg.
- 01:40
- N: And then you pivot.
D: And then you pivot. - 01:42
- And notice, that, during the pivot, I kept the feet in this configuration here.
- 01:47
- So, after I cross over... The foot's crossed over. I pivot, while it's crossed over. And then, go out.
- 01:55
- N: That's really beautiful, when it goes fast. Do it fast.
D: So, if we do it more smoothly... - 02:08
- It's especially really beautiful, when you do it.
- 02:12
- So, there's that.
- 02:13
- N: The ochos?
D: And, with the ochos, with the back ochos,
N: Back ochos. - 02:22
- So, it's your hips, that are making the... Your foot just, kind of, falls in there, and then your hips make it bounce.
- 02:27
- Right. So, I'm not pulling my foot in, as much as I'm turning my hips.
- 02:31
- And the knee bends, and the foot beats in by itself.
- 02:33
- And then, as the hips continue to pivot, it beats out again.
- 02:37
- Right. So, it's all about the rotation of the hips.
- 02:40
- Drawing the thighs tight, bang. When my calf hits my shin, as I turn - bang, it bounces out, escapes. And then, you go on.
- 02:48
- N: And when it escapes, it escapes very tight.
D: Yes.
N: So, show that. - 03:03
- And, in general, as you do all these embellishments, or use tango style...
- 03:10
- Overall, I want you to think about the tightness of the thighs.
- 03:14
- So, you'll see, as we do all of these different kinds of embellishments, and, in fact, all of our movement,
- 03:18
- We always have the thighs tight, the calves tight, the feet tight.
