Vals Croillo/Cruzado
Tango: 2 strong beats on 4
1 2 3 4
Tangowaltz - Vals Croillo / Cruzado / Valse Argentine
1 2 3 1 2 3
Dancing tangovals is a good way to let your body flow on the rhythm of music. The three-beat rhythm works as a heartbeat of energetic waves. Tension, charge, discharge and relaxation is also the beat of the body. It has a perfect, personal tempo, it is not the same as the mechanic time-pitch of a metronome.
The smooth and connected legato of Waltz music, as opposed to the staccato breaks between notes in classic Tangomusic, asks for a more gliding movement of the feet over three-beats, instead of staccato placement, not-connected steps.
This vals-gliding is stretching the body-energy over 3 steps, thus making them an unit, like a bandoneón pulsation. The "taking-off" is like the jump of a cat, the landing, the last step, is always soft.
This technique can also be done on classic tango and milonga music, making a 3 step-connection on 2 beats (or 5 steps on 3 beats), "entre temps" or "contretemps", so creating a traspié. In this milonga, the energy and the steps are more compact, closely united, not stretched.
A surplus can be the act of making a visible marking step on the ground, so giving an accent to one step like a candombe drumbeat.
Caminar es todo
The idea is to walk/dance Vals Cruzado with Tango vocabulary, not to run a Tango on 1,2,3-Waltz music. In this, healthy breathing is important.
Best is to start just by walking, doing no figures and match the steps to the music, just listen.
The use of the measure (three beats) allows a period of one full second for one change of weight or one movement.
The use of "medio galope" or "canter rhythm" (walk=four-beat, trot=two-beat, canter=three-beat) reduces it to 2/3 of a second for one change of weight or movement. When using the beat, there is just 1/3 second of the same actions.
The energy starts in the hips/chest, and goes down to the feet.
In Argentine tango the body energy-center lies lower then in ballroom tango. A little downwards pressure in the hips, makes the knees bend more and gives a more centered body axes, a sneaking way of walking. Argentinean tango, milonga and tangovals are a very soft private dances with visual emphasis on the leg movements, and have been used as an examples of irrational dancing, improvising creativity.
This character was changed dramatically in Paris in the 1930's, where the dance was combined with the proud torso of the other ballroom dances, and given a staccato action. It moved the visual emphasis to the torso and head, which puts the bodycenter higher.
Ballroom dancers will tend to put appearance above connection, more on performing to an audience, that is their intention. The focused intention of nightclub dancers will be primarily on their partners-connection and musicality. These subtle rhythmic cadence movements are the pleasure of salondancing, but are no stage spectacle for an audience at a distance. However, since 1955 is Argentine tango also made for stage performance, called "Tango por enscenario".
The way a dancer feels about dancing and his awareness of the act, makes a tremendous difference in how the interaction is embodied. The greatest dancers are not so much revered for technical excellence, but for their unique personal style, character they put in a movement. If you feel and know why you are dancing, you make more then dancesteps, you create a dance. Each tangostep has an emotional content, given by the soul, and the plot of the improvisation-play can be the opposition of characters, between what is inside you and what is inside your partner.
It's a face-to-face engagement, from the beginning to the end.
Click for videoclip tangowals
Here more on stepping technique 2x4
Partly translations: Fr/It/D./Port
French
Danser tangovals, valse Argentine, est une bonne façon pour laisser votre mouvement de corps au ritme de la musique. Le rythme de trois-battement est comme un pulsation de vagues énergiques. La tension, la charge, la décharge et la détente sont aussi le battement du corps. Le corps a un tempo parfait et personnel, ce n'est pas pareil comme le métronome de mécanicien.
Le legato de musique de Valse, comme opposé aux coupures saccadées entre les notes dans la musique de Tango classique, demande un mouvement connecté des pieds par-dessus les trois-battements.
Ces vals-étapes tendent la corps-énergie par-dessus 3 étapes, ainsi les faisant une unité, comme une pulsation de bandoneón. Le « décollage » est comme le saut d'un chat, l'atterrissage, la dernière étape, est toujours doux.
Cette technique peut être faite aussi pour le tango et la musique de milonga, faisant une 3 étape-connexion sur 2 battements (ou 5 étapes sur 3 battements), "entre temps" ou le "contretemps", donc créer un traspié. Dans ce milonga, l'énergie et les étapes sont plus compact, de près uni, pas tendu. Un surplus peut être l'acte de faisant une étape de marque visible sur le sol, donc donner un accent à une étape comme un battement de tambour de candombe.
Italiano
Ballare al tangovals è una maniera buona lasciare il suo movimento di corpo sul ritmo di musica. Il ritmo di tre-battito è come una pulsazione di onde energetiche. La tensione, imputazione, emissione ed il rilassamento è anche il battito del corpo. Il corpo ha un tempo perfetto, personale, non è lo stesso come il metronomo di meccanico.
Il legato di musica di Valzer, al contrario delle rotture di staccato tra le note nella musica di Tango classica, chiede un movimento collegato dei piedi sopra i tre-battiti.
Questi vals-passi tendono la corpo-energia sopra 3 passi, loro facendo così un'unità, come una pulsazione di bandoneón. Il "decollando" è come il salto di un gatto, l'atterrare, l'ultimo passo, è sempre morbido.
Questa tecnica può essere fatta anche per la musica di tango e milonga classica, facendo un 3 passo-collegamento su 2 battiti (o 5 passi su 3 battiti), le "entre temps" o il "contrattempo", dunque creare un traspié. Non in questo milonga, l'energia ed i passi sono più compatto, attentamente unito, teso. Un sovrappiù può essere l'atto di facendo un visibile che il marcando passo a terra, dunque dare un accento a un passo come un ritmo di candombe.
German
Tangowaltz tanzen, ist ein guter Weg, Ihre Körperbewegung auf dem Rhythmus der Musik zu lassen. Das drei Rhythmus ist als ein Herzschlag energischer Wellen schlägt. Spannung, Ladung, Entladung und Entspannung ist auch das schlägt vom Körper. Der Körper hat einen perfekten, persönlichen tempo, ist es nicht genau wie der Mechanikertaktmesser.
Der legato von Walzer Musik, im Gegensatz zum staccato bricht zwischen Notizen in klassischem Tango Musik, schlägt um eine verbundene Bewegung von den Füßen über drei bittet.
Diese vals-Schritte strecken den Körperenergie über 3 Schritten aus, machend folglich sie eine Einheit, wie ein bandoneón Pulsschlag. Der "Start" ist, wie der Sprung von einer Katze, der Landung, dem letzten Schritt, immer weich ist.
Dieses Verfahren kann auch für klassischen Tango und milonga Musik, die einen 3 Schrittverbindung auf 2 macht, schlägt gemacht werden (oder 5 Schritte auf 3 schlägt), "entre temps" oder "contratempo", damit einen traspié schaffend. In diesem milonga die Energie und die Schritte sind kompakter, nah vereint, nicht ausgestreckt. Ein Überschuss kann die Tat sein, einen sichtbaren Markierungsschritt auf dem Boden zu machen, damit einem Schritt einen Akzent gebend, wie ein candombe Trommelschlag.
Portuguese
Dançar tangovals é um bom meio de deixar seu movimento de corpo no ritmo de música. O ritmo de três-bate é como uma batida do coração de ondas energéticas. A tensão, carga, descarga e descanso é também os bate do corpo. O corpo tem um ritmo pessoal perfeito, não é o mesmo como o metrônomo mecânico.
O legato de música de Valsa, ao contrário do staccato pausas entre notas em música clássica de Tango, pede um ligou movimento dos pés sobre três-bate.
Estes vals-passos esticam a corpo-energia mais de 3 passos, assim fazendo-os uma unidade, como uma pulsação de bandoneón. A "decolagem" é como o pulo de um gato, a aterrissagem, o último passo, é sempre macios.
Esta técnica também pode ser feita para tango clássico e música de milonga, fazendo uma 3 passo-conexão em 2 bate (ou 5 passos em 3 bate), "entre temps" ou "contratempo", então criar um traspié. Neste milonga, a energia e os passos são mais compactos, proximamente unidos, não esticados. Uma sobra pode ser o ato de fazer um passo visível de marcação no chão, então dar um acento a um passo como uma batida de tambor de candombe.
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