By Mary De LucaUpdated
On udansa you will find like-minded people who share your passion for the music, as well as suitable courses and milongas in your region. Make connections and experience the golden era of tango together on the dance floor.
Tango is not a dance you simply count out. Only when you understand the subtle nuances of the instruments and feel the soul of the music, does every step turn into a real conversation without words.
The bandoneon is a concertina-like instrument originating from Germany, which found its way to Argentina in the late 19th century. Due to its melancholic, multifaceted sound, it became the indispensable main instrument and the emotional soul of Argentine Tango.
Anyone starting with Argentine Tango will quickly realize that this world is dominated by three completely different rhythms. Classic Tango forms the foundation, carried by a sustained, often melancholic four-four time. Here, the art lies in the conscious slowing down and the play with the silence between the beats. Tango Vals presents itself quite differently, interpreting the classic Viennese Waltz in three-four time and requiring a flowing, circular dynamic.
The lively contrast to this is provided by the Milonga. It is based on a fast two-four time with syncopated accents, which originates directly from the African Candombe. The Tango Vals Milonga difference therefore lies not only in the mathematical time signatures, but above all in the emotional character of the pieces. While Tango leaves room for deep drama, the Milonga demands a playful, almost mischievous lightness without elegiac pauses.
The era between 1935 and 1955 is considered the golden era of Tango, when legendary orchestras filled the dance halls of Buenos Aires. Each of these ensembles developed a distinctive sound that dancers still recognize from the very first bars today. The orchestra of Juan D’Arienzo, also known as the King of the Beat, revolutionized the scene with a driving, rhythmically tight style that brought people back to the dance floor. His tracks are excellent for anchoring the precise Argentine Tango rhythm in your own body.
Carlos Di Sarli created an elegant counterpoint. His music flows like honey, carried by lyrical violin passages and majestic piano chords. Di Sarli demands extreme calm from the dancers and the ability to enjoyably extend long walking steps. If you are looking for deep melancholy and dramatic breaks, listen to Aníbal Troilo. His arrangements give the bandoneon, the sighing heart of Tango, maximum space for emotional solos.
Listening correctly
Auditory errors
Tango is not danced with the feet, but with the heart. Anyone who does not absorb the music is just doing sports, but they are not dancing Tango.
To learn and deepen your own Tango musicality, a structured approach to listening helps. Successful Argentine Tango composers rarely left their pieces in a rigid metronome beat. Instead, they use so-called rubato, an elastic stretching and slowing down of the tempo, which dancers must adapt to. Anyone learning to hear the Tango beat should therefore first pay attention to the bandoneon and the double bass, which define the rhythmic structure.
A practical start is to focus on a single instrument while listening, for example, just the piano or the violins. Try to anticipate the accents and the ends of musical phrases. A piece of music in Tango is structured like a conversation, there are questions and answers between the instrument groups. Anyone who understands these musical dialogues no longer dances stubbornly to the counts, but becomes a part of the orchestra themselves.
The driving pulse for rhythmic dancers
The king of the beat relies on maximum precision, a fast tempo, and a hard, march-like rhythm. His tracks are perfect for dynamic steps and rhythmic accents on the dance floor.
The flowing elegance for quiet moments
The master of Tango captivates with sustained elegance, flowing violins, and majestic piano runs. His music calls for calm, long, gliding steps, and a deep, meditative connection between partners.
Classic Tango is in a sustained 4/4 time, while Vals is danced in a flowing 3/4 time. Milonga, on the other hand, is based on a fast, cheerful 2/4 time with a strong emphasis on syncopation.
Focus on the double bass and the piano, as these instruments lay the rhythmic foundation. Try to locate the heavy first beat of the measure instead of counting every single beat mathematically.
The orchestras of the golden age between 1935 and 1955 are best suited. The recordings by Juan D’Arienzo offer a very clear, easily audible beat that makes it easier for beginners to find their orientation.
Find the right course and learn to interpret the music as a couple.
