Dancing Tango to Milonga and Vals

It means dancing Argentine Tango, using the body of AT steps, with AT technique, with AT hold (whichever variety you prefer) to (usually) vals music, hopefully with certain characteristics (more continual movement, more circular movement). Yes, you can take other sequences from your so-called "real waltzes" and merge them into AT; you can blend the two. So what? Vals, as it is understood in this forum, is AT danced to AT vals music, with vals styling. What is the hang-up with this?!
Nothing, I perfectly agree.
Shrug. Depends on the piece of music. Some is very tango-able, others are not. IMO, he crossed genres.
The same is for me.
I think that libertango can be considered tango.
Althought its strong 3:3:2 rhythm can create difficulties to some dancers.
 
Steve, thought we´ve left that view behind! Historically vals and tango got nothing in common! (Except some steps). We agreed not to promote the word tango-vals any more.

Mea culpa.

Not promoting it, just using it.
 
I have seen recreations of how "waltz" has been danced in by gone days. It is quite different than how "ballroom" waltz is danced today. But, then, again in days gone by, there were serveral to many versions of waltz done in the American hinterlands as documented by Llyod Shaw. "Pursuit Waltz", and Spanish Waltz" are two that come to mind.

Although AT was where I learned about only stepping on two beats per measure to "waltz" music, it turned out that "Canter rhythm" has been taught as something you can do to waltz early in the 20th century. "Canter Waltz" was one of them.

So, given the variety of how to dance to waltz music, yeah, people dance "vals" to waltzes played by tango musicians.
 
Peaches. Off topic, but can you explain 3:3:2 rhythm in formal musical terms, meter and quarter/half notes etc.? Thanks.
Divide a 4/4 measure into 8 eighth notes (12345678 ). Then emphasize the 1, 4, & 7 beats (123 456 78 ).
123 456 78
3 - 3 - 2
 
Divide a 4/4 measure into 8 eighth notes (12345678 ). Then emphasize the 1, 4, & 7 beats (123 456 78 ).
123 456 78
3 - 3 - 2

For another example of this, look up 'Milonga Triste' performed by Hugo Diaz (it's on you tube). The guitar plays continuous eighth notes but emphasizes 1, 4 and 7.
 
..waltz done in the American hinterlands as...
"Pursuit Waltz", and ...
"Spanish Waltz"...
"Canter Waltz" was one of them....

Thanks for the keywords, Steve. Unfortunately I am lacking video clips of these dances. Only found on YT:

vintage:
Spanish Waltz http://www.youtube.com/watch?v=y0VSc7ttXp4
unspecified vintage waltz http://www.youtube.com/watch?v=ky3XMDDRdJw
Saint Bernard's waltz http://www.youtube.com/watch?v=NoJipuJwxs0
Viennese Waltz http://www.youtube.com/watch?v=wrvh9fX5ilQ
Five-Step Waltz http://www.youtube.com/watch?v=75FNd0PpWo8
(American) Scottish http://www.youtube.com/watch?v=8BshYzRtlWs

contemporary:
Vals Peruvano http://www.youtube.com/watch?v=ZpdfH3a-b2w
Chamamé de Corrientes http://www.youtube.com/watch?v=0uS4qIv7kxE
 
This seems like unusual advice to me. Dancing on 1 only is certainly the most common. I would say that using 1-3 is the normal other rhythm. I would not think that leaders use 12- very much at all, if ever.

It very much depends on the leader. 12- is a lot easier for me, if I'm just counting beats without listening to music. Of course, most times it's easy to pick up either when the music suggests it.
 
It very much depends on the leader. 12- is a lot easier for me, if I'm just counting beats without listening to music. Of course, most times it's easy to pick up either when the music suggests it.

Why would anyone count beats without listening to the music? What for?

I only ever suggested 12-1 as a default pattern for syncopation for the inexperienced, but would only do it where the music suggested it was appropriate.

Stylistically, one of the reasons why the music suggests a 12- accent is frequently to do with the timing of the three beats within the bar, rather than the presence of any clear and explicit accent on count 2. It is typical for musicians to play the waltz rhythm with a slight elongation of the second beat, landing the third slightly late, and this produces a form of implied accent, and something very close to the canter timing mentioned here previously. This is by no means restricted to vals, but seems to be of general application, and can be heard most clearly in orchestras that play Viennese Waltz as concert music.
 
See, and I listen to the music and think, "Why would anyone count beats who's listening to the music?" There's just so much there...it's sad to get restricted to thinking about the actual beats.
 
See, and I listen to the music and think, "Why would anyone count beats who's listening to the music?" There's just so much there...it's sad to get restricted to thinking about the actual beats.

Well, the milonga is certainly not the place to do it, but a leader may very well be thinking actively about rhythmic responses to music, and the mechanics of how (and when) to respond to auditory input - but to do it in class or the practica. After all, it is rare to find a naturally gifted dancer, from whom flows great technique combined with musicality, completely spontaneously. We all have to learn our craft somewhere, and we can only start from where we are.
 
Oh, very true. I was just musing on the idea of listening to the beats. i just...don't...ever really listen to the beats. I find it strange to listen to them...it's got to be a very deliberate decsion on my part to tune in to the beats. Shrug.
 
Academic interest, trying to analyze, teaching, etc. When I'm dancing at the milonga, I dance to the music, not abstract counts in my head :-)

only did that once as a demo so i could ingore the music to see how many people could see I was off the music.(this freaked my partner tee hee)
 

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