Milonga combinações típicas - Pivot, Dentro Leg

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Comentários
Música
Transcrição
Etiquetas
  • O que é importante para fazer este trabalho passo?
  • O pivô precisa ser um pouco mal-humorado. Usar os músculos para fazer a força dinâmica no apertado e, em seguida, tem o movimento mais solto nas costas fazem o acento hip mais.
  • É o trecho através do corpo que cria o rebote.
Nome do Artista:
Juan Carlos Caceres
Título da música:
Toca Tango
Album Title:
Tango Negro
Website de artista:
http://www.juancarloscaceres.com/

(A partir do site): Possuído por uma forte tellurism magnética, Cáceres foi sempre a ser encontrado dentro dos limites do olho do furacão.

00:19
And the luxury of that step is it's not as hard as it looks.
00:23
Which is always a good thing.
00:24
Yeah, usually they're harder than they look.
00:28
What we do first, let's talk about the transition to get into it.
00:31
Normally, you're doing some sort of milonga step, whatever, let's say the crab.
00:39
And then, right here, instead of stepping forward, you want to step side.
00:43
But when you step side, you don't want to step straight side, for the leaders, you want to step side and open her.
00:48
Right, so I'm turning her, as I step side.
00:53
And that's our prep.
00:55
And then, we can go inside leg.
00:57
For the followers, as you turn, make sure you keep your right arm forward enough, so you can use that.
01:03
So, keep forward pressure on that right arm, and use that to pivot you.
01:06
If I don't press on the right arm, then nothing happens.
01:08
Right, you know, her body doesn't really move, it's just her arm.
01:14
So, that's your prep.
01:16
Now, once you're here, for... For both people,really, I want you to realize that there can be this wonderful snap.
01:23
So, if you see, in our arms, she's going to resist here, and this will let her pop her body.
01:30
And so, there's this pressure, and then you let the spine bend. So, the hips go all the way to one direction, then all the way to the other.
01:36
Which, in David, is more bending than I've got.
01:38
Right. I'm sort of doing almost too much, so I can make the point.
01:42
So, in slow motion, we've got: open side, go forward.
01:48
And now I'm going to pull with my left arm, she's going to pull with her right.
01:51
Snap, and come back.
01:54
And when we come back, we switch weight.
01:56
Yes.
01:56
And that's hard.
01:57
The snap comes because the body reaches its natural end.
02:02
Right? So, as you watch the body go, it's like the spine twists all the way, and then, when it can twist no more, it rebounds back.
02:13
So, we have: open, forward,
02:15
Pivot, pull, snap, rebound,
02:18
Change weight, go forward.
02:21
And that weight change happens at the peak.
02:23
And the reason you know to change weight...
02:26
So, milonga is a very different dance from Argentine tango.
02:29
And in Argentine tango, it's like the follower doesn't change weight, unless the leader leads it.
02:33
In milonga, that's, like, half-ways true.
02:35
So, when in doubt in milonga, you go...
02:38
Nancy: Well, I think when in...
David: one, two, ...
Nancy: Yeah, when in doubt in milonga, you change weight on every beat.
02:43
So, that's all we're doing in that step is we're snapping. And that's the end of the beat, so we change weight.
02:47
Right.
02:47
Where's in tango, when in doubt, you do nothing.
02:50
Right.
02:51
So, we have...
02:59
Or, from the other direction.
Série:
Milonga combinações típicas
Etiquetas:
Milonga, Milonga Combinação
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