創建表演時需要知道3件事情: 你需要知道詞彙。您需要能夠以戲劇性的方式執行它,您需要能夠將該詞彙組合在一起。我們假設你已經知道了大量的探戈,所以我們不會在這個播放列表中花費很多時間來使用詞彙表。我們有視頻解決以下這些其他問題,一旦你完成,還有更多的。

執行探戈的第一通 - 第一步:音樂選擇

註釋
音樂
抄本
標籤

每隔一段時間,我們就會遇到幾乎每個人都喜歡的音樂。 探戈到埃武拉是一個很好的例子。每個人都想跳舞那首音樂。不幸的是,它根本不會做出一個很好的表現,因為它在音樂動態中一直很少變化。

理想情況下,尋找速度的變化以及音樂中劇烈緊張的變化。通常,如果音樂沒有流動的部分和更尖銳或更戲劇的部分,它並不真正支持編舞必須成功的種類。

-----樣品1 -----

藝人名稱:

ASTILLERO

歌名:

Andén

專輯標題:

探戈迪斯蒂勒羅

藝術家網站:

http://www.astillerotango.com.ar/

(從網站改寫):Astillero成立於2005年,具有創造和演奏自己的新作品的定義,就像過去的探戈大師一樣。

-----樣品2 -----

藝人名稱:

阿斯特·皮亞佐拉

歌名:

Bailongo

專輯標題:

粗暴的舞者和周期性的夜晚

藝術家網站:

阿斯特·皮亞佐拉

(從維基百科釋義):皮亞佐拉的探戈與傳統探戈不同,它融合了爵士樂元素,使用擴展的和聲和不和諧,使用對立點,並將其作為擴展的組合形式。正如阿根廷精神分析師卡洛斯·庫裡(Carlos Kuri)所指出的那樣,皮亞佐拉的探戈與眾多其他可辨認的西方音樂元素的結合是非常成功的,它產生了超越這些影響的新的個人風格。

-----樣品3 -----

藝人名稱:

顏色探戈

歌名:

Bordoneo Y 900

專輯標題:

Con Estilo Para Bailar

藝術家網站:

顏色探戈

(從creativetango.com轉載):Color Tango成立並由Roberto Alvarez執導。引用羅伯托·阿爾瓦雷斯:“我們的音樂專注於探戈的舞蹈,探戈的時間不好,當樂隊解散時。

-----樣品4 -----

藝人名稱:

卡洛斯·迪·薩里

歌名:

9支派

專輯標題:

RCA Victor 100Años:Carlos Di Sarli

(從todotango.com轉載):他沒有別的知道如何將探戈的節奏節奏與諧波結構相結合,顯然很簡單,但充滿了細微差別。

-----樣品5 -----

藝人名稱:

金屬啟示錄

歌名:

別的都無所謂

專輯標題:

宗教交響曲

藝術家網站:

金屬啟示錄

(從網站):自1993年成立以來,芬蘭管弦樂隊Apocalyptica發行了六張錄音室專輯,其中包括大量的大提琴樂器以及一些基於聲樂的歌曲。他們探索的風格是什麼 - 從大氣間隔到快速,毆打的節奏 - 他們的音樂一直在緊張,充滿動感和充滿旋律。

00:05
When you listen to this music, is this a good performance music?
00:09
And, it's very driving, which is good, because it really makes you want to move.
00:14
But, on the other hand, and this is Anden by Astillero,
00:19
It's like this the whole song. Which is a lot of drive. And so, eventually, you have enough.
00:25
So, here he's talking. There's a little of variety. But it's actually not varied enough.
00:29
It's a great song. It has a lot of drive. You want that drive. But you want more variety.
00:35
Likewise, this song, Bailongo by Astor Piazzolla has this great energy.
00:42
But, likewise, it stays more or less the same most of the song.
00:46
So, one thing you want is variety.
00:48
So that the music...
00:52
Can give you natural excuses to change what you're doing. So you keep the audience's attention, right?
00:58
So they can zone out very easily. And you want to make sure it stays varied, so they don't.
01:02
So, this is Bordoneo y 900.
01:08
And this is ... Very varied, actually, it has this da-da-da-da-da-da-da-da, and...
01:15
And then it changes. This is same song, completely new energy. So, this is a good choice.
01:21
And, in general, you want songs that have more drive to them, as well.
01:26
So, for example, if you look at some of the traditional stuff,
01:28
Which is beautiful music, but not what you normally perform to.
01:32
Because, for example... let's see.
01:37
So, this doesn't have the same drive to it.
01:39
So, you might do this in a demo, for social dancers. But you wouldn't do it on a stage, for non-tango dancers.
01:46
Or, even as a dramatic thing, stage tango, right?
01:48
It doesn't have that same "Boom", that makes you want to, really sort of agonizing move... Agonizingly beautiful movement.
01:55
Now, there is this rule of thumb I'm saying, that you want the songs to have drive, and be varied.
02:00
But there are exceptions. So, for example, you'll see, on our website we'll have... Let's see, what's it called...
02:08
"Nothing else matters" by Apocalyptica.
02:12
And it doesn't have a lot of variety at all.
02:15
But it's really beautiful. And so, there are some songs which fall in this class of sort of sweet beauty.
02:20
Which, as long as you can stay in this energy of the romanticism of it, it really works.
02:25
I would say this shouldn't be a first performance, though,
02:27
Because it's a tougher thing to do. You don't have this variety to keep the audience's interest.
02:36
In general, though, there's also... I want to make the comment, that...
02:40
For some of the performances that we've choreographed or done,
02:43
There's a free program "Audacity". And you can do a little bit of music editing.
02:48
So, for example, if a song is too long. You usually don't want a routine which is to a 5 minute song.
02:53
Right? No matter how good you are, it's hard to keep the audience's interest for 5 minutes.
02:57
So, what you'll do is you can just find a chunk, where it's very natural to take out a piece of music and smush it together.
03:04
Where you might do a cross-fade. Or you might fade it to nothing. Cut out a chunk, then fade it back in. Something like that.
03:12
And... So, summary: we have music that has lots of variety, has a lot of drive.
03:18
Target length is between 2 and a half and 3 and a half minutes. If it's longer, you can cut it.
03:22
And all rules are made to be broken.