Do you take a different approach with music for practicas?
- Thread starter NZ_Guy
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opendoor
Forum Master
It depends on what kind of práctica it actually is?
-Do you give an input, show a certain step, a little sequence, and then let the couple try?
-Do you have no program, nor structure and simply let the attendees rehears and work on their own?
-Do you walk around offering help, when it´s needed?
-Do you give an input, show a certain step, a little sequence, and then let the couple try?
-Do you have no program, nor structure and simply let the attendees rehears and work on their own?
-Do you walk around offering help, when it´s needed?
For me one of the strengths of the AT scene is that you get a change up in the music, although it is (mostly I hope!) music done by groups with an AT sensibility and instruments.
So, I would not be happy if someone played vals after vals after vals....
And, although I think AT would in one sense be better off if the tanda system was abandoned (the investment in one partner would be less, potentially increasing "circulation") I guess you have to ask yourself how traditional you want your venue to be, even if it is just a practica.
I would not like 6-9 valses together, but I can't speak for anyone else. Is that type of thing typically done at that practica?
I'm not a teacher.. I'm not even a DJ.. not sure why I was asked really. But to answer your question, mostly the second one with a bit of the third option.
I went with a ...TTVVTTMM... format with no cortinas (3 songs per 'tanda'), and acquiescing to requests (I was asked for milonga, so I played two tandas, and nuevo, of which I played one because I've only ever managed to make one nuevo tanda).
I did consider making tandas of different versions of the same song. Any thoughts on that (for a practica)?
No. It's just an idea I had. If I was working on my vals or milonga dancing, I'd certainly like a reasonable block of practise time without having to wait for the next one to come around. The practica in question is informal and not many people turn up really, so it's safe to experiment I think.
opendoor
Forum Master
Then the attendees most likely are a rather heterogeneous crowd. Some actually do not need music at all, because they work on technical aspect. Others simply want some background or elevator music, some appreciate a mix of everything.
But sometimes the difference between certain tango styles are much deeper than the difference between tango and vals, or vals and milonga. So a TTVVTTMM scheme isn´t really significant enough.
Lilly_of_the_valley
Well-Known Member
Depends. If it is a short 1-2 hour practica, we do not play cortinas, but still do play a set of milongas and valses, and also 2 and more songs by the same orchestra in a row.
jantango
Well-Known Member
If the purpose of a practica is to prepare dancers for the milonga, then tandas of four tunes in the TTVTTM format is appropriate. Let them get used to the idea of Cortina music to clear the floor and change partners. That's what they'll be doing at a milonga.
I agree. Besides, even if most people would dance with each other for longer period of time than in a regular milonga, cortina still provides a window for change partners.
It's not. There is something like that that runs once a fortnight which the organisers call a 'practilonga'. This one is principally a free space to do whatever you want. In recent ones I've been working without a partner on my backwards walking and pivoting.. and for fun I dance (with a partner) in a 82cmx82cm square that I've taped out on the floor. Not enough others take advantage of that little feature though.
If we did that then I suspect people will start using the space for zouk and things.
While that may be true where you are, that isn't the case every where. In a lot of communities, practicas actually are to prepare people for the milongas.
Joy In Motion
Active Member
Sounds like it's a practica for more experienced dancers who already understand and follow the structure and codes of milongas...
Most of the practicas in my area do not use cortinas but tend to more or less follow the same order as the milonga. I don't usually enjoy a break from that (i.e. two sets of vals or milonga) because my mind and body still tend to follow the order of a milonga, but if you really want to try it I would pay special attention to the speed and energy of the songs you are playing to avoid the dancers getting fatigued. And it would probably be a good idea to announce that you will be using a different format, either by advertising the milonga as such and/or by posting a sign at the entry table so the dancers can plan accordingly, especially if it's the kind of practica where most dancers change partners throughout.
There was a wonderful evening practica here for a couple of years where the first full hour was devoted to music from one specific orchestra, and instead of playing a cortina between tandas he talked a little about the orchestra, singers, history, music, etc. and asked questions about what people were hearing and feeling. Then the remainder of the practica was run as usual: various orchestra in standard format with a short cortina. It was a great practica and also served as some tango music education. Dancers who didn't want that part could just plan to arrive after the first hour. So if you want to experiment, this would be an idea of something to try. Not exactly the same way, but perhaps designate the first or last hour for additional vals and/or milonga practice and let people know in advance, then see what the response is. You can ask people what they think, but an even better way is to just watch how people respond, whether they dance and how they're dancing, just like if you were DJing a milonga. But the biggest thing for me is that the dancers should know what to expect; if you're going to do something different, let them know so they can adjust their expectations and plan out their practice time so they don't get frustrated or feel unsure about what's going on.
Most of the practicas in my area do not use cortinas but tend to more or less follow the same order as the milonga. I don't usually enjoy a break from that (i.e. two sets of vals or milonga) because my mind and body still tend to follow the order of a milonga, but if you really want to try it I would pay special attention to the speed and energy of the songs you are playing to avoid the dancers getting fatigued. And it would probably be a good idea to announce that you will be using a different format, either by advertising the milonga as such and/or by posting a sign at the entry table so the dancers can plan accordingly, especially if it's the kind of practica where most dancers change partners throughout.
There was a wonderful evening practica here for a couple of years where the first full hour was devoted to music from one specific orchestra, and instead of playing a cortina between tandas he talked a little about the orchestra, singers, history, music, etc. and asked questions about what people were hearing and feeling. Then the remainder of the practica was run as usual: various orchestra in standard format with a short cortina. It was a great practica and also served as some tango music education. Dancers who didn't want that part could just plan to arrive after the first hour. So if you want to experiment, this would be an idea of something to try. Not exactly the same way, but perhaps designate the first or last hour for additional vals and/or milonga practice and let people know in advance, then see what the response is. You can ask people what they think, but an even better way is to just watch how people respond, whether they dance and how they're dancing, just like if you were DJing a milonga. But the biggest thing for me is that the dancers should know what to expect; if you're going to do something different, let them know so they can adjust their expectations and plan out their practice time so they don't get frustrated or feel unsure about what's going on.