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LIVE Weekly Tango Drills on Zoom

Dig deep, and power through this Tango drought with online tango drills

Tango Tendue Cross Body

Phrase 1: 8 counts extending to the side while twisting away from the extension, 8 counts collecting with the torso returning to neutral. PH2: forward extension, cross-body twist. PH3: back extension, cross-body twist. PH4: side extension, twisting toward the extension to finish. Section 2, second side. Sections 3 and 4, doubling the speed up to standard timing (4 counts out, 4 counts in), and Sections 5 and 6 slowing it back down to half-time.

Tango Tendue Homolateral

The same as “Tango Tendue Cross-Body”, but with the opposite torso rotation, starting by twisting toward the extension, twisting in the homolateral direction during the forward and back extensions, and finishing by twisting away from the final side extension.

Tango Tendues

Two half-time (8 out, 8 in) sections of cross-body tango tendues followed by a standard timing (4 out, 4 in) cross-body section to complete the first half of a six section song. The second half is the same, but with the homolateral torso choreography.

Tango Tendues with Golpecitos

The same as the “Tango Tendues”, but with taps on the quarter notes, eighth notes, or to literal musical elements in the song (little piano runs, pizzicato, syncopas, vocal lines, etc).

Super Christa (BEG/INT)

Four sections of weight transfer and torsion technique. The first section: PH1: Forward extension with cross-body twist starting on 1, with the apparent step on 5, once with each leg, then PH2: side steps twisting toward the extension, PH3: back steps with homolateral twist, PH4: side steps twisting toward the extension. The second section is the same as the first from the waist down, with the opposite direction of torsion; homolateral forward, side twisting away from extension, cross-body back, side twisting away from extension. The third and fourth sections are the same as the first two except falling/lunging into the step rather than extending the free foot into the step. How much falling/lunging is up to the individual, as long as gravity is permitted to briefly take over and the push-off from the standing leg is evident.

Super Christa (ADV)

The same as the beginning/intermediate version with two extra sections added at the end to dance through the “standard tempo” version of the entire cycle. At standard tempo the apparent steps are on 3 and 7.

Washing Machine

Six sections of 90˚, 180˚, and 360˚ pivots. The first section consists of 90˚ forward pivots (in the direction of the weighted leg), four per phrase, with upper body/lower body dynamic. The second section is the same but at half the speed with two 180˚’s per phrase. The third section consists of one 360˚ pivot per phrase. The second half of the song is identical to the first with the only difference being that all of the pivots are back pivots (in the direction opposite the standing leg).

Collect Pivot Step

Starting with a fully extended side extension, we collect on 1, dance a 360˚ forward pivot on 3, and take a side step on 5. Pause for a bar, and repeat on the other side. The first section is all forward pivots; the second section is all back pivots. The third section is half forward, half backward pivots. The fourth and fifth sections are at standard tempo, with the collect pivot step being on the 1, 2, and 3, subsequently, with a now longer bar-and-a-half pause.

Sprinkler (BEG/INT)

PH1: With the fully extended side extension, we dance a planeo with a 90˚ forward pivot, followed be another 90˚ pivot, then a 180˚ pivot, with the side extension remaining intact throughout. PH2: The same as PH1 but with back pivots. PHs3 and 4 are the same as 1 and 2, though on the other leg.

Sprinkler (ADV)

Three sections of sprinkler, followed by two sections of collect-pivot-step: the first at half time; the second at full speed.

Forward Ochos on 1 and 5

Forward step (or back) on 1, apparent pivot (180˚ standard, 90˚ or 270˚ if space permits) on 3, forward step on 5, and pivot on 7.

Back Ochos on 1 and 5

Back step on 1, back pivot on 3, back step on 5, and pivot on 7.

Forward Ochos on 2 and 6

Forward (or back) step on 2, pivot on 4, forward step on 6, and pivot on 8.

Back Ochos on 2 and 6

Back step on 3, pivot on 5, back step on 7, and pivot on 1.

Forward & Back Ochos Brubeck

The same as the standard forward (or back) ocho drill except stepping every 5 quarter notes rather than every 4, and pivoting at the midway point between each step. If the first step is on 1, the subsequent steps will be on 6, 3, 8, 5, 2, 7, 4, then repeating from 1 again.

Forward & Back Ochos Waltz

The same as the standard forward (or back) ocho drill except stepping every 3 quarter notes rather than every 4, and pivoting at the midway point between each step. If the first step is on 1, the subsequent steps will be on 4, 7, 2, 5, 8, 3, and 6, then repeating from 1 again. This is the exact reverse numerical order of the “Brubeck” drill.

Brubeck & Waltz Forward & Back Ochos

Both of the Brubeck and Waltz timings repeat on 1 after 8 ochos. The Brubeck cycle takes precisely 2.5 normal tango phrases before repeating. The Waltz cycle takes 1.5 phrases before repeating, so when danced back-to-back they complete a standard tango section of 4 phrases. This creates the ultimate looping timing challenge to pair with ocho practice.

Adornos in Forward & Back Ochos (BEG)

One section of the unadorned Sprinkler drill, followed by two sections of the same standing leg choreography, but with external dibujos (the free foot draws a circle with each pivot, starting forward with the forward pivot and back with the back). The fourth and fifth sections focus on the internal dibujo (the free foot starts the circle-drawing with a collection).

Adornos in Forward Ochos (INT)

Using standard timing (stepping on 1 and 5), Section 1: Internal dibujos, danced by drawing a circle on the floor with the free foot, starting through collection (i.e. the free right foot draws a clockwise circle). Section 2: External dibujos, starting out away from axis (i.e. the free right foot draws a counterclockwise circle). Section 3: External enrosque, danced by holding the free foot in a forward cross during the pivot. Section 4: The same as the previous section, with the addition of swinging the free leg out wide before the full cross position. Section 5: Internal enrosque, danced by holding the free foot in a back cross during the pivot. Section 6: Same as the previous section.

Adornos in Back Ochos (INT)

Using standard timing (stepping on 1 and 5), Section 1: External dibujos, starting out away from axis (i.e. the free right foot draws a clockwise circle). Section 2: Internal dibujos, danced by drawing a circle on the floor with the free foot, starting through collection (i.e. the free right foot draws a counterclockwise circle). Section 3: External enrosque, danced by holding the free foot in a back cross during the pivot. Section 4: The same as the previous section. Section 5: Internal enrosque, danced by holding the free foot in a front cross during the pivot. Section 6: Same as the previous section.

Adornos in Forward & Back Ochos (ADV)

Using standard timing (stepping on 1 and 5), Section 1: In the first two phrases the forward boleo is danced after the pivot; in the third and fourth phrases the back boleo is danced before the pivot. Section 2: Both boleos. Section 3: The rulo, danced during the pivot. Section 4: The back amague, rulo, and forward boleo. Section 5: The same as Section 3, but subbing in the firulete for the rulo. Section 6: Back boleo, firulete, front boleo.

External Enrosques

Section 1: With the free foot crossed in front, quarter (90˚) pivots in the direction of the weighted leg (the forward ocho direction), four pivots per phrase. Section 2: With the free foot crossed in front, half (180˚) pivots in the direction of the weighted leg, two pivots per phrase. Section 3: With the free foot crossed in front, full (360˚) pivots in the direction of the weighted leg, one pivot per phrase. Section 4: With the free leg fully extended and rotated outward, a 360˚ outwardly rotated planeo starts on 1 and lands in the front cross (with weight change) on 5, followed by a side extension on 1 with the second leg, and outward rotation on 5. Section 5: The same but at full speed, with each pulse on the downbeat (1, 3, 5, and 7).

Internal Enrosques

Section 1: With the free foot crossed in back, quarter (90˚) pivots in the direction of the weighted leg (the forward ocho direction), four pivots per phrase. Section 2: With the free foot crossed in back, half (180˚) pivots in the direction of the weighted leg, two pivots per phrase. Section 3: With the free foot crossed in back, full (360˚) pivots in the direction of the weighted leg, one pivot per phrase. Section 4: 

Enrosques (INT)

Section 1: With the free foot crossed in front,  2 quarter pivots in the direction of the weighted leg, followed by a half pivot in the same direction to complete the 360˚. Section 2: With the free leg fully extended and rotated outward, a 360˚ outwardly rotated planeo starts on 1 and lands in the front cross on 5, followed by a side extension on 1 with the second leg, and outward rotation on 5. Section 3: The same but at full speed, with each pulse on the downbeat. Section 4: The same as Section 1 except with the free foot crossed behind. Section 5:

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