- 아티스트 이름:
- Mandragora Tango
- 노래 제목:
- A La Gran Muñeca
- 앨범 제목:
- Let's Have Dinner And Go Dancing
- 아티스트 웹 사이트:
- http://www.mandragoratango.com
웹 사이트 : Mandrágora Tango는 bandoneonist Bob Barnes와 기타리스트 인 Scott Mateo Davies (탱고에 열렬한 열정을 가진 2 명의 Minneapolis 기반 뮤지션)가 이끄는 탱고 밴드입니다. 우리는 2001 년부터 댄스와 리스닝을 위해 탱고를 연주 해 왔으며 여전히 강세를 보이고 있습니다. 우리는 미국 전역의 40 개가 넘는 도시에서 뛰었습니다.
- 00:05
- In the earlier chapter, we talked about accenting the one.
- 00:08
- The music goes, "ONE, two, three, four. Five, six, seven, eight." So, there's, sort of, you know, strong, weak, semi-strong, weak.
- 00:16
- Two pairs makes one eight. Usually, the first beat of every eight is really strong.
- 00:20
- Here, we'll say, oftentimes, music... Bars of eight, at least as dancers count, not as musicians count, are grouped in eights.
- 00:29
- And so, you might have four eights. And then, another four eights. And, sometimes, there are transitions.
- 00:33
- And so, what I'll do is I'll count like this.
- 00:38
- One, two, three, four; five, six, seven, eight. Two, two, three, four; five, six, seven, eight.
- 00:46
- Three, two, three, four; five, six, seven eight. Four, two, three, four; five, six, seven eight. One.
- 00:54
- So, that was, you know, one group of four. And, really, that wasn't a big transition. Right? They did the same thing for those four.
- 01:01
- And then, when it transitioned, it didn't transition that radically.
- 01:04
- So, I'd put that it flows all together as, probably, four eights. And, whatever it is, two or four eights.
- 01:10
- And then, you "Wzum". That's the start of another, I'm going to call it, phrase.
- 01:14
- If you think of it as poetry, you know, you have the A-B-A, something like that.
- 01:18
- So, after you mark... So, actually, what I'll do, when I'm trying to choreograph a piece, is...
- 01:23
- Let's let the camera focus, and we'll see if this works.
- 01:35
- Dum, da-da-dum. One, two, three, four; five, six, seven, eight. Two, two, three... and you get the idea. There's the third.
- 01:54
- And then, really, it repeated.
- 01:58
- Two, two, three, four; five, six, seven, eight. Three, two, three, four; five, six, seven, eight.
- 02:06
- Four, two, three, four... There's your new phrase.
- 02:13
- And then, eight; two, two, three, four; five, six, seven, eight. Three, two, three, four; five, six, seven, eight.
- 02:21
- Four, two, three, four; five, six, seven, eight. One, two, three, four...
- 02:27
- And it's keeping on to the same thing. Even though that's the fifth one.
- 02:33
- And that was a one. And I'm going to put on the second line, probably.
- 02:40
- OK, so, at the very end, because I was thinking about listening to the music and talking to you, I missed the end completely.
- 02:48
- So, I'm going to wait for a big ONE, to indicate the beginning of a phrase.
- 02:55
- Bum, bumm. There it is. One, two, three, four; five, six, seven, eight.
- 03:00
- Two, two, three, four; five, six, seven, eight. Three, two, three, four; five, six, seven, eight.
- 03:08
- Four, two, three, four. Ah one. So, you see, that's the beginning of a new phrase.
- 03:16
- Three, four; five, six, seven, eight. Three, two, three, four; five, six, seven, eight.
- 03:23
- Four, two, three, four; five, six, seven, eight. One.
- 03:28
- And so, so and so forth. I diagram the music. Oh, there's four eights, there's four eights.
- 03:32
- There might be eight eights, or six. You might hear a transition.
- 03:35
- And then, once I'm done, I listen to each set. I'd say, "Well, maybe this set is like this set".
- 03:39
- And, you could say, "Oh, well, that's the A phrase. And this is the B phrase."
- 03:44
- And then, at the end, you have the music diagrammed. You can say, "OK, here's not just a one that we accent."
- 03:51
- You know, this is a whole eight, rather.
- 03:54
- But of these four eights, make a phrase. And then, another four, six, or eight eights make another phrase.
- 03:58
- And the phrases relate to each other. And so, when you go to choreograph, you can choreograph things that relate to each other.
- 04:06
- So, for example. In one phrase, maybe you do a bunch of sharp things. Maybe, boleos.
- 04:11
- And, maybe, in another phrase, that's a cousin, you do a bunch of boleos, but a different kind, or, a bunch of ganchos.
- 04:18
- And... Excuse me.
- 04:21
- And eventually, if you know the song really well, you know, maybe you can just do this on the hoof. Which is really cool.
