Mieszanie elementów początkowych - Interrupting the Basic With Front Ochos - More Practice
- Nazwa wykonawcy:
- Aníbal Troilo
- Tytuł piosenki:
- Seleccion de tangos de Anibal Troilo
- Tytuł albumu:
- Como Yo Lo Siento
- Strona artysty:
(From Wikipedia): Anibal Troilo was a bandoneon player, composer, arranger and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by the late 1950s. Troilo's orchestra is best known for its instrumentals and also recorded with many vocalists.
- For those who would like...
- ..we’re going to show those three steps
that we just did in the previous chapter.
- We’re going to do them slowly...
- ..so that you have time to follow along with us
and see each place broken down.
- So this is the first one where we,
not chronologically but stepwise...
- ..we're going to do it on Step 3 of the Basic.
- So we have one, two, three.
- Now how do you get into front ochos?
He changes weight and pivots her.
- So I’m changing weight and pivoting her...
- ..and then we step side, pivot.
- And so for the leaders,
if you watched that...
- ..you’ve got side, forward, forward...
- ..I stopped just a hair early,
so she doesn’t cross.
- I start pivoting her and changing wait.
- And then we can go into that front ocho.
- For the followers, this actually is
an opportunity for a beautiful embellishment.
- Let’s do that one, one more time.
- When we talk about waiting,
and we talk about active waiting.
- Waiting is really harder than it seems
for the follower.
- It really just means
exactly what it sounds like.
- We stand tall on whatever ball of the foot
the man put us on...
- ..or the leader put us on
and then we let him do us both.
- And when we get so that we can really do that...
- ..it makes everything so much easier.
- So we’ll do the second variation now.
- This was at the cross, side, one, two, cross.
It’s the fourth step.
- Now once again I’m going to change weight
and then I’m going to pivot her...
- ..and she’s going to pivot on her left foot,
the crossed foot..
- ...and there are our ochos.
- And then, if we want, you can go straight
back to that tango close.
- For the leaders, the thing I want you to think about,
two things actually.
- One is, like every other step...
- ..make sure she’s on the ball of that foot
and then just pivot her.
- Even though she’s in a cross,
she still can.
- And I want to make that point
for the followers too.
- That, just because she’s - get in the cross now,
- She’s on her left foot.
So it’s funny, but she can still pivot...
- ..and it’s actually once again
a beautiful embellishment.
- A lot of wonderful things come out of the cross.
- So let’s do that again.
A new angle actually.
- I change my weight, not her’s.
- There’s that pivot.
- And now our last combination,
which was after the cross.
- Here, new angle. Why not?
- So we went side...
- And now I change my wait, not her’s.
- Or again.
- After the cross, I change my weight not her’s,
- ..and we once again into the front ochos.
- And so once again I want to emphasize
that the transition is just that.
- For the follower you wait and you pivot.
- And even if you’re in a cross like this...
- ..whatever direction he pivots you,
you pivot that way and then you can go.
- Or even if you’re going to a cross like this...
- ..you can still go in whatever direction
he takes you.
- And for the leaders, that really is, wherever you are,
you change your weight not her’s...
- ..and you pivot her.