2901  How to sequence tandas during milonga

Date: Sun, 17 Oct 2004 19:04:18 +0000
From: Oleh Kovalchuke <oleh_k@HOTMAIL.COM>
Subject: How to sequence tandas during milonga

Here I go with another brand new wheel I have just invented. I do this
(invent wheels) because it is more fun than copying and I cannot blame
anyone for mistakes I have made in the process. Of course what I write about
tandas is based on going to milongas, listening and analyzing what I like or
dislike in played music as a dancer.

Now that I am done with excuses, how does one sequence tandas within
milonga?

(2 tango - 1 vals - 2 tango - 1 milonga) - repeat. Obviously there is a need
to pair up different orchestras for two tango tandas in this sequence. Some
orchestras, most notably Troilo have changed their sound significantly over
the years. Different songs by these orchestras can be paired with different
orchestras based on sound differences. Here are natural pairs in my play
list:

Lomuto, Orquesta Tipica Victor
Canaro, Garcia, De Angelis [Mano a Mano], Fresedo [Isla de Capri]
Troilo-rhythmic, D'Arienzo
Rodriguez, Malerba
Demare, Di Sarli [El Ingenerio], Fresedo [Tigre Viejo]
Tanturi, D'Agostino, Laurenz, Calo
Fresedo [Sollozos], Castillo
Troilo-bandoneon, Pugliese [Recuerdos]
Basso, De Angelis [Pavadita], Di Sarli [El Once], Pugliese [Pata Ancha],
Troilo [La Bordona], Gobbi, Piazzola

According to better informed sources I still have about two-three years to
go before I start to truly enjoy tangos by Biagi or Donato. Hence those two
are not in my playlist (Actually I do have one tanda of tango by Biagi and
one tango by Donato, which I might play occasionally, not very often though.
Donato would go with Lomuto and Biagi with Troilo-rhythmic).

Overall rule: start with simple rhythmic structure (Orquesta Tipica Victor,
Lomuto, Canaro), progress to more complex and emotionally charged tandas
(Calo, Troilo-bandoneon, Pugliese, possibly Piazzola). This approach lets
dancers find their feet and builds tension during milonga. For the same
reason play slow milongas in the beginning of the evening. Use fast,
rhythmic valses and milongas to contrast slower tango tandas and to shake up
dancers late in the evening.

By the way why play four songs in the tanda? About half of the first song in
tanda is wasted on finding partner. Then it takes a song or two to
reacquaint with each other lead-follow habits and orchestra's beat. This
leaves the third song to dance in the "zone" and it would be a shame to let
go after only one song in the zone. Why not play more than four songs then?
Two reasons. The orchestra style could become too repetitive and you might
have picked a partner with whom four songs is more than enough.

Cheers, Oleh K.
Colorado Springs
https://TangoSpring.com