Klasik Sacada Kombinasyonları - İlan - Trading Back Sacadas
- Sanatçı adı:
- Orchestra Berretin
- ŞARKI ADI:
- Albüm Başlığı:
- Electrotango Vol. 1
- Sanatçı Web Sitesi:
From website: (Alex Krebs) Has been studying the bandoneon since May 2001, directed the tango band "Conjunto Berretin." (with 2 CD's recorded) from 2003-2008, and currently is arranging/directing a tango sextet and arranging/directing an Orquesta Tipica for the Portland Tango Festivals in Feb. and Oct.
- We tell people that, if they want to impress
their non tango dancing friends,...
- ..they should do ganchos.
- But, if they want to impress their friends that tango,...
- ..they should do trading back sacadas.
- It’s not quite as hard as it looks,
but it could be a lot easier.
- I was going to say that.
- I’m always ready to keep going with that one.
- So, you start just in a normal, you're facing,
beginning of dance position...
- ..or after any of the steps we teach almost.
- Now I’m going to rotate my upper body
to get her to go around me.
- And then, I’m going to pull back to stop her.
- So in the chest, there's
- And, when I start pulling back to stop,
I’ll use that to pivot myself around…
- ..so that my foot,
can grab that sacada.
- Notice that my left foot is going to her left foot.
- Are we in the feet cameras?
- D: Yeah, we are.
N: Oh cool.
- Now, most people, when they see back sacadas, both the leaders
and the followers, but especially the guys…
- ..the guys have this image of I’m facing her
and somehow I’m going to get my foot over here.
- "There’s no way," that’s what they say.
- And, really, the trick is to not face.
- So, if she’s here, and then I just point back
with my leg, it's really easy.
- And then I want you to say, “Oh okay,"
you come back.
- But, notice my hips are actually quite far away.
And I’m just looking at her with my head.
- And so then that makes it possible to get around
- And it's the same for the followers.
- Now, I’m going to shift back to that left foot
and rotate to my left…
- ..as she shifts over to her right foot
and we face.
- And now, I’m going to step around her
and pivot her a ton.
- A ton and a half.
- And then she can go back to my left foot.
- And then we’re where we started.
- As I come out of the sacada,
I’m going to push with my right arm...
- ..which will start him back around
into his sacada.
- So right here…
- I’m so eager.
- Now, right now, I push. And then he pulls.
- And so, you really want to think for each of the -
both people in the couple?...
- ..for each person in the couple
that, as you take that side step,...
- ..you really want to go a little bit wide and way around
and reach around with your right hand.
- What he said was really important,
you want to take big side step.
- So, in slow motion.
- If I do this,
it’s relatively easy.
- If I do this.
- Let’s do it this way to the camera,
so they could see my suffering.
- Okay, I'm all for them seeing your suffering.
- If I do this, it's really hard.
- If I give him more space,
my body's out of the way
- And it gives him a lot more chance.
- And then likewise,
right here I'm going to step more around her.
- D: You were on your right foot.
N: I knew that.
- So I step around her, to get her to have the chance
to pivot and go through me...
- ..with my body being out of the way.
- Let's do it across the floor.
- I was just so jazzed we could do that.