abbellimenti - Al Freno

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Questo è veramente un luogo per i seguaci a scegliere cosa succede in modo più macroscopico, pur essendo ancora tradizionali. E possono farlo senza entrare nella direzione del passo / seguire. Ma davvero, se fai un singolo abbellimento o se strati un insieme di abbellimenti insieme, pensa a quello che stai mostrando il mondo. Chiedi: "I miei movimenti hanno una direzione più chiara?", "Ho una reale comprensione della tecnica dietro questo particolare movimento?", "Fa quello che ho scelto di adattarsi alla musica o all'umore tra me e il mio leader in questo momento? "

Quando gli abbellimenti vengono scelti con attenzione e sono ben eseguiti, possono aggiungere interesse alla danza sia per il pubblico che per la conversazione interpersonale che si sta facendo.

Nome dell'artista:
Jaime Wilensky
Titolo Canzone:
Aquella Noche
Titolo album:
Tango Nuevo 2

(Da Latinpulsemusic.com): Questo è nuovo "elettrizzato" tango prodotto e organizzato da Jaime Wilensky. Aquella Noche è un tango con un suono gotico e un tema.

00:05
Every time we have way too many women in the class,
00:07
Or we don't know what to do to keep the class really happy,
00:10
The answer is...It never fails if we teach embellishments.
00:14
And I have this thing, because I think that people embellish too much.
00:17
But, at least, if they're going to embellish, they should embellish in a way that looks beautiful.
00:21
So, what we're going to do now, is show you a ton of embellishments, in certain different circumstances.
00:26
And you can pick them off and practice them. And a few of them, we'll give you more technique about.
00:30
But we just want to show you a lot.
00:33
Now, and remember, and the rule of thumb: in a song, you want to do... two embellishments, maybe.
00:39
And two is one too many, yes.
00:41
So, less is more. But if you're going to do it, do it well.
00:46
So, these are embellishments at the freno.
01:23
D: You know, he checks his watch.
N: Ha-ha, there were a lot of them.
01:28
So, if we go over those, just numbering them. So, the first one. I'm the girl now.
01:33
D: Actually, the first one, is you drag up his leg. Right? So, you're here...
N: Oh, watch my skirt there.
01:38
D: OK, she drags up my leg.
N: Yeah, he always wants to do this, but with a skirt, it's a little difficult.
01:44
It's just you flex your foot, and then with the top of your foot, you go up his leg.
01:50
Make sure he can really feel it, or it doesn't count.
01:52
N: And don't go too fast, this doesn't have as much impact.
D: Ha-ha-ha, Yeah!
01:57
"You OK?" It doesn't... It's not the same.
02:00
And another one.
02:01
And another one. From there, you might do a boleo, which is what she did first.
02:05
D: So, you're in a freno. And you can just pivot, on the ball of the foot. Throw back; bang; boleo. Come back.
N: And this is just an embellishment.
02:14
N: It's not led. You were going to show some?
D: Oh, yes.
02:22
So, from here, I mean, you can do a lot of stuff.
02:25
So, there's... First there's what you do before you walk over. You can hit the back foot first.
02:30
Cut behind yourself. Touch his leg. Roll up. Go up your own leg.
02:35
D: There I'm going foot along my leg.
N: With the knee pointing over.
02:39
Walk over; you check, maybe. Beat over; kick over.
02:45
D: Here, this is in the hips.
N: Yeah, that's important that it be the hips to drive that.
02:50
Right now, small circle. Small lean away, if you know that he's balanced.
02:54
You can't see it at that angle. But, for example, over here,
02:59
After I came back, and I beat, I did a small lean away, if I knew he was good for it.
03:05
So, a lot of things.
03:07
So, I'm going to show each one of a large number of embellishments slowly. But I only going to show it once, and talk about it once.
03:13
And then you can just watch that segment often, and practice it. So, for example:
03:18
First one, you can drag up along the guys leg.
03:21
Because she has a skirt, I'm going to use a chair, as a proxy for a leg.
03:27
Or, you know, if you're at home.
03:30
Here's the guys leg. You can drag with the top of your ankle, up along his leg, and then, down along his leg.
03:37
It was better with a... with a light, with a real leg.
03:41
Different thing is that, when he's here, in the freno, you can boleo yourself.
03:51
Remember, tighten the thighs, pivot on the ball of the foot. Or, you can do other kinds of boleo, yourself.
03:57
N: Actually, with that one, you... Can't you hook my leg?
D: Depending, right? So, I can pivot; hook around her foot, even; and come back. Or, his foot.
04:04
When you walk over, you can make that special. You can drag up along your own leg. Notice, my foot is pointed.
04:09
You walk over. As long as you don't shift, and as long as you're hold him down, he won't move. You can take that time to do other things.
04:15
If I kick up, you can kick straight up. Or, you can kick, bending the knee.
04:21
As I'm there, I can pivot in and out. I drive that from my hips.
04:25
You should do the flick, because everybody in the world does the flick.
04:28
D: You can do a flick, if you like. But everyone in the world does it, so don't.
N: Well, they don't do it that way.
D: Yeah.
04:33
So, you can get to the end, and circle with the foot. And then, you can come back.
04:39
Once again, for practice - that's fine. But if you do each one of those, after...
04:44
The leader waiting for you, for... Who knows, he's looking at his watch, you know.
04:48
D: And the song finishes...
N: Do one. In a song, do one, at one freno.
04:52
And then, in a different song, do a different one. So, you'll have this whole group of them.
04:55
But just don't throw them all in at once. Then you use them up.
Serie:
abbellimenti
tag:
freno, abbellimenti
abbellimenti