Date: Mon, 22 Dec 2008 14:04:44 -0500
From: "Nussbaum, Martin" <email@example.com>
Subject: [Tango-L] trini thread, skipping the one
Trini said: "I suppose you could skip the "1" but that's never made
sense to me. "
Why not? For example, dont you do that whenever you choose to dance a
piece on the weak beat ?
Also, here is an example from Gustavo, skpping the one and dancing
syncopa on the 23 alone:
from :43 to :49, he alternates, he is dancing on the 23, then the 3,,
then the 23 again. then the 3. The "3" here is what I call the weak
Date: Mon, 22 Dec 2008 21:23:54 -0700
From: skindance <firstname.lastname@example.org>
Subject: [Tango-L] skipping the one
Of course, " skipping the one" is impossible the way our music is
written. It boggles the mind what appears on Tango-L. Even worse that
out vociferous dancing "experts" seem to have allowed this abuse to
propagate, probably because the have never danced Mambo or Cha-cha where
the one is "held", NOT skipped, shaken or stirred. Musicians must have
rolled their eyes as they thought of music starting on 4, 3 or even 2.
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Date: Tue, 23 Dec 2008 03:43:43 -0800 (PST)
From: "Trini y Sean (PATangoS)" <email@example.com>
Subject: Re: [Tango-L] skipping the one
--- On Mon, 12/22/08, skindance <firstname.lastname@example.org> wrote:
> the one is "held", NOT skipped, shaken or
> stirred. Musicians must have
> rolled their eyes as they thought of music starting on 4, 3
> or even 2.
Continue to Skipping the 1 |
Good point. As a follower, it would feel awkward to me if the 1 wasn't marked in some way, whether it was a step, suspension, freeze, or something. I don't think Martin or Jay meant to ignore it altogether. So I can see a purposeful hold on 1 and a step on the syncopa to emphasize the syncopa. However, I'm not particularly inspired by that small segment of Gustavo & Giselle. I'm not hearing it the same way they are.
Trini de Pittsburgh