Mixing Beginning Elements - Interrupting the Basic With Front Ochos
- Artist Name:
- Aníbal Troilo
- Song Title:
- Seleccion de tangos de Anibal Troilo
- Album Title:
- Como Yo Lo Siento
- Artist Website:
(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.
- The purpose of this chapter is to illustrate the fact that
you can do anything, anywhere, anytime.
- And it’s really true.
- There is that much freedom in
- ..which is one of the reason it’s a really awesome dance,
not that I am biased.
- So in this chapter we’re going to show
the basic and we're going to show front ochos.
- And then we’re going to show you
how you can interrupt the basic with...
- ..front ochos pretty much any time you want.
- So let’s do that.
- That thing he said about anything,
anywhere and anytime is very true...
- ..and it is part of what makes tango rich.
- But for beginners
it’s also part of what makes it harder.
- So if you believe us that it doesn’t matter
then it would easy again.
- But people really don’t.
- So if we talk about the front ocho, it’s side,
he changes weight, she doesn’t, then pivot.
- So the key point, the transition,
from a sidestep...
- ..which is the first part of the basic actually,
to front ochos..
- ..he changes weight, she doesn’t, pivot.
- So if we do the basic;
- Side, one, two, she crosses,
he changes weight...
- Right here, he can change weight again
and she doesn’t.
- And now I’m going to pivot her
towards my free leg...
- ..and here we are into front ochos.
- So we have our basic...
- ..and then right here I change weight,
- I pivot her towards my free leg...
- ..and now we’ll do that last half
of the basic.
- So we just interrupted the basic
and we inserted four front ochos.
- And we did it there but frankly,
we could do it anywhere.
- So that was on step four of the basic.
- Let’s do it on step three,
just to show you can.
- So you have side, two, three.
- Now right here, I’m going to change weight,
- ..and I’ll start to pivot her.
- Let’s do that again.
- Now I know this is going sort of fast.
- We’ll have another chapter
where we go through this more slowly.
- You could always stop us and do it behind us.
- Right, you can repeat it.
- Once again I stop and here I’m stopping her a hair early,
so she doesn’t cross.
- And now I change weight and pivot her...
- ..and there are your front ochos.
- I think that one is pretty cool.
- Yes me too, the crossover is nice.
- Let’s do it after.
- The side, one, two, she crosses,
he changes weight.
- We’ll take one more step, that’s step five...
- ..and now instead of going side, tango, close...
- ..he’s going to change weight,
she doesn’t. I’ll pivot her.
- Let's do that again.
- And the point of this for the leaders is that
to get into an ocho...
- ..all you do is change weight,
not her and you pivot.
- I change weight,
not her, I pivot.
- And now we go straight into those front ochos.
- And this can happen anywhere.
- And for the followers,
the trick is that you actively wait.
- D: So...
N: Well first trick is that you wait.
- And the second trick is that you wait with
energy in your body.
- The sense of bubbling and oozing.
- Then the minute anything happens,
- So I want you to think that
you don’t just wait...
- ..but you wait actively
with energy in your body...
- ..lengthening the spine and
being ready for anything.