Tango Argentino > What title array do you prefer?

Discussion in 'Tango Argentino' started by opendoor, May 8, 2012.

  1. opendoor

    opendoor Well-Known Member

    Which structure within a tanda do you find most inspiring for your dancing?


    --same session (same line-up, same studio, same sound - but eventually different styles)

    --chronological (titles in the order of their release - eventually different styles or artists)

    --contemporaneous (titles from the same date of release - eventually different styles or artists)

    --homogenous (same music character and style - but eventually different artists or periods)

    --cadential (titles arranged f.i. from lyrical, over rhythmic to dramatical - eventually different artists or periods)

    --same title (same piece of music - different interpretations)

    --themed (thematically linked titles - eventually different styles, artists or periods)

    --random (I let myself be surprised)
     
  2. sixela

    sixela Well-Known Member

    None of the above. I usually don't mix orchestra/singer, but some tandas are homogenous while some are designed to carry the dancers from A to B without telling them.
     
  3. bordertangoman

    bordertangoman Well-Known Member

    May i broaden this into;

    choose a favourite tanda and explain why you have chosen it?
    I started with Cordobesita ; which has what I descibe as a sugar plum fairy feel, nad I aske for suggestions to make up a tanda;

    two friends came up with Isle de Capri ( also Fresedo/Roberto Ray)

    I will do occasionally themed tandas; eg songs with "bandoneon" in the title or over the course of a playlist I will include several versions of the same song (My El Huracan playlist was fun)
     
  4. dchester

    dchester Moderator Staff Member

    I guess out of your titles, homogenous is the closet to my preference (I think). What I like is a tanda that evokes a similar emotional response throughout the tanda. Whether the artist are the same or different, is not as important for me as it seems to be to others. Ideally, the songs in the tanda would maintain (or build on) whatever emotion that the tanda is based on.
     
  5. bordertangoman

    bordertangoman Well-Known Member

    that makes it a bit too easy, I mean 90% of them are about unrequited/lost love and 5% are about someone called Alma...;) and the others are a mixed bag...
     
  6. AndaBien

    AndaBien Well-Known Member

    What's wrong with easy? I strive for easy.
     
  7. bordertangoman

    bordertangoman Well-Known Member

    do i really have to add an irony emoticon?
     
  8. dchester

    dchester Moderator Staff Member

    I'm talking about the music. I couldn't care less about lyrics (whether in English or Spanish). The voice is just another instrument, to me.
     
  9. opendoor

    opendoor Well-Known Member

    I fear the traditional (what is traditional by the way) view leads to some degree of limitation, because it is so difficult to maintain homogeneity with same artist, with same release date, and with the same quality.
     
  10. dchester

    dchester Moderator Staff Member

    Well . . . it sailed over my head too.

    Sorry.


    [​IMG]
     
  11. AndaBien

    AndaBien Well-Known Member

    It's amazing how unnecessarily complicated some people make things.

    For example, I make my programs up ahead of time and just play through them. I don't find it necessary to watch the crowd and decide what's next on the fly. I think I already know to follow D'arienzo with something slower, and follow Di'Sarli with something faster, to keep the mood raising and lowering. Follow something older with something newer, etc.
     
  12. dchester

    dchester Moderator Staff Member

    I thought the question was about within a tanda.
    (or is that what you are talking about?)

    [​IMG]
     
  13. AndaBien

    AndaBien Well-Known Member

    No, it's sort of a side topic. Sorry.

    On a similar, maybe also side topic, I love Nelly Omar with Fransisco Canaro, but no one around here ever plays her songs. What's up with that?
     
  14. opendoor

    opendoor Well-Known Member

    A variant of the cadential arrangement was to start with an instrumental and to continue with sung pieces.
     
  15. sixela

    sixela Well-Known Member

    As I said, I will sometimes purposefully not keep the release date constant. To me, some tandas are their own mini-arcs. What is in there and the order depends on what I want to achieve.

    I know what dchester expects, but sometimes you have to give the audience what they'll love rather than what they'll expect. Depends on the floor...
     
  16. dchester

    dchester Moderator Staff Member

    Well, I said what I like, which doesn't exactly match what I expect. I dance one way to certain types of songs, and a different way to other types. I often will pick the follower based on my recollection/perception of how she (and of course, I) will dance to that type. If the tanda changes in the middle, then it could be a real disappointment.
     
  17. jantango

    jantango Active Member


    Why does everyone have a problem with tradition? If it works, don't try to fix it. Respect the way things were done.

    If it's difficult, then you have more to learn about the music and expand your recording collection.

    Consider traveling to BsAs, go to the milongas and listen to how the music is programmed. You can learn from Daniel Borelli. It's not just about putting the same orchestra, from the same year and style; it's about building a tanda with a theme to completion. That's what inspires dancers.
     
  18. UKDancer

    UKDancer Well-Known Member

    For the sake of it: absolutely not. Because that particular tradition works well: yes.

    My own preferences are based on choosing songs by the same orchestra & singer (when present), and usually in a narrow time period. I don't actively pursue a theme (unless I have so much material to choose between to make that easy), but rather look for cohesion between songs if we switch. Rather like dchester, I want to know, by hearing the first few bars of the first song, what I can expect for the remainder, but I'm not looking for uniformity or blandness.

    Perhaps its my own personal hangup, but I hate to find mixed instrumental and vocal tandas. I don't speak a word of the language, so it isn't the presence of a lyric, but rather that the style of the orchestra's playing always changes for a singer, and that, for me, destroys much of the cohesion between songs if we switch. Some orchestras were better than others in integrating singers into the orchestra as a strand in the musical texture (some, of course, were not even trying), but it is something that I avoid.

    I often hear the cry 'keep it simple and popular', so I am doubtful that just by extending a collection of music you are necessarily going to come up with better tandas (unless a small collection is of all the wrong stuff). I tire of hearing the same old favourites almost everywhere I go (and have thus acquired a particular aversion to Di Sarli's Bahia Blanca - fine piece though it is), and I'm going the same way with Canaro's Poema). There is so much good music, and I can see no reason not to play it, just because it may not be immediately familiar to the dancers - they are supposed to be improvising, not just churning out their well-polished favourite tricks and moves in pieces they know by heart.

    I have started to set up two series of tandas: my 'proper' collection, which surveys some of my favourite orchestras, in depth, and which usually contain one or two familiar songs to anchor the tanda, complemented by others which are very danceable but which may be less familiar. And then I have the 'Greatest Hits' tandas, which take more liberties with spanning a wider time frame, so as to include more popular fare. I have found, by mixing in the favourites (quite sparingly - I don't overdo it), that dancers seem quite happy to have such a mixture. They immediately recognise their favourites, and don't appear to be thrown by the less familiar.

    As for going to BsAs to learn how to do it properly, no thanks. The only dancers I have to satisfy are my local ones, and we dance the tango that is danced around here.
     
  19. bordertangoman

    bordertangoman Well-Known Member

    I agree with this; I try to find a musical theme; but there are quirky tracks, unique, which get accompanied by whatever I think works best.

    I have just acquired a cd of Tandas, compiled by BsAs dj, and its rather nice.
     
  20. sixela

    sixela Well-Known Member

    It's a bit pointless to try to give hard and fast rules. The best advice is to listen to songs and try to feel whether other songs fit or not, and to find out what you want to achieve (equanimity throughout the tanda, lyrical crescendo, lyrical crescendo but with some breathing room in the third track before the grand finale, accelerating rhythm, slowing rhythm, surprising, etc.) You also really can't do it in isolation. Sometimes a tanda will set up for the next one, or have to be bolted on to an existing one which will make you change its arc even if you want to keep the same orchestra/singer/period.

    And finally, if the dancers don't grok it, you need to be able to change tack.

    I confess I almost believed what Andabien wrote, that you could just prepare all your tandas and arcs and play the list on the evening. But in practice, I haven't had _one_ night in which I've ended up playing that list without modifications (I have two audio outputs so I can monitor the next tanda and often start editing depending on the dancers, the mood and lots of subconscious things), so I don't _quite_ believe it.
     

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