Not touchy feely

Tango music has definitely been a challenge for me. I was very dependent on drums for the beat. It was hard (and still can be) for me to find the beat in long violin notes and vocals. For me it is definitely easier to "feel" Blues, too, but in fairness to Tango I have been listening to Blues for a long time and Tango only this year.
I would advise that you try to hear the bass to get the beat, (not that it will work 100% of the time, but it will work more than any other instrument).

Another drill to help with finding the beat, is to play tango music when driving your car, and then tap the beat with one of your fingers on the steering wheel. Also, you can tap where you'd like to step in the song.
 
Thanks RiseNFall. In addition to being a kindred spirit you have also provided a good segue to my next post. I did a Milonga where I danced all but one of the Tandas and cycled through almost every female there, and it was almost all fun!
RiseNFall said:
All of your post is wonderful and fist bumps to you. Or double high fives. Because of a variety of issues, largely recovering from a Series of Stupid Injuries, I haven't been going to the dance parties at my studio regularly and not dancing much when I do go. My goal for the next one I attend it to a) show up well rested and b) dance with every leader in the room at least once. Because I haven't been doing that much, there are a lot of newish leaders--many part of couples--who I haven't danced with very often. In other words, years later and I still have to make goals for myself, but it is much much more comfortable than it used to be.
Many thanks dchester, I'll try that. I did play hours of Tango off my laptop on my last plane flight.
I would advise that you try to hear the bass to get the beat, (not that it will work 100% of the time, but it will work more than any other instrument).

Another drill to help with finding the beat, is to play tango music when driving your car, and then tap the beat with one of your fingers on the steering wheel. Also, you can tap where you'd like to step in the song.
 
Tango Distance Successfully Survives Close Embrace, Thrice!

Another studio was offering a close embrace class. DW gave me big doe eyes and batted her eyelashes at me and said she really wanted us to go. The instructor didn't have us switch partners for about 3/4 of the lesson. It started out going back to back. I have been taking open embrace classes for months, but close embrace was different enough it was like learning a new dance. Differences I noted included it felt heavier and slower, and it was harder for me to tell where the lady's feet were, like if she was crossed or not. I couldn't just glance down to see where the feet were placed. I have noticed paused steps (not sure the real name, where you pause in the middle of each step) seems to be much easier in close embrace, that shows to me there is more communication for that. Then the instructor announced "Switch partners!" It made it easier it was someone I knew from my home studio. We only did one switch. It's not really much of a story, I continued to do the lesson. I just focused on the business of doing what the instructor taught. A little instruction went a long way, DW and I can close embrace dance much better now. Business and a trip interfered with taking more of the classes.

I did bump into this instructor at a practica. We chatted for a bit and I told her I was not a touchy-feely kind of guy. We practiced a bit; she was very good. She then asked if we could practice close embrace. (Being smart #1, asking rather than just grabbing me.) We didn't even do any steps, we just briefly practiced the embrace. I have long arms and said that I felt I would reach around too far; she agreed and said I'd need to go a bit lower with my arm to prevent air gaps or reaching around too far. I'm also tall and it is a quite a reach for DW to get her arm comfortably vertical enough, so the instructor showed how DW could go to the side with her arm. Finally she said the class was teaching a particular kind of close embrace, but that many people prefer what she showed to be another close embrace -- about as close as you can get without touching torsos. She kept things short (Being smart #2). We then did some high speed open embrace Milonga – she made me look very good and seemed to honestly enjoy it.

BTW she told me close embrace is a tough sell, that she has learned to announce it well in advance. Once she just sprung it on a class, and four people walked right out!

I told my usual instructor about my success (he is one of the few people I have told about this thread). He gave me a high five.

I know I'll be enjoying close embrace with DW. I'm not planning to do close embrace with others at Milongas, but I'm planning to stick through it in class when we get there in my studio.

P.S. Tango distance does close embrace thrice! “Not planning” and “not doing” can be two different things! I went to a Milonga. For this Milonga, typically there are enough ladies that I can dance with ½ of them. This allows some triage and allows selecting a subset. This particular night it was close to as many ladies as tandas, but had quite the shortage of men. I try to avoid dancing with the same lady twice (DW excepted!) unless there are more Tandas than ladies. It worked out that I danced with several of the expert ladies that I had avoided before. I presumed they would rather dance with someone below their skill level than sit. Expert lady #1 started to pull me into a close embrace but stopped when I wasn't reciprocating. It was a great dance, she was every good. Expert lady #2 started to pull me in. I explained I hadn't really been schooled in close embrace. She looked disappointed but stepped back. It was another great dance, it is amazing how these older experienced ladies can read my mind, even when I make a mistake! Expert lady #3 is an instructor for another studio. I mention this only as it is relevant to the story: She is old enough to be my mother, wait, no, make that my grandmother. She immediately pulled me in. I explained I had had only a single close embrace class and didn't really know enough to do close embrace. I guess I was too apologetic in my tone... Apparently she took the tone in my voice to mean I was deeply disappointed I didn't know how to do close embrace yet but was anxious to learn. She drew an imaginary figure on her body, and then mine, and said those are the areas we want to touch. Then she grabbed me and slammed our bodies together. That age thing, that age thing... Tango Distance was raised to respect his elders... Had it been a younger lady I think I would have said something. Instead I obeyed my elder and started moving forward, just walking. It was probably this poor lady's most boring dance ever. She tried to teach me a couple of things, but it just wasn't clicking... What does “step between” mean? Step between beats? Step between her feet? With which foot? Switch between parallel and cross systems? There isn't room for that! So, the on-the-spot close embrace lesson wasn't great, but I calmly stuck it out. That's amazing progress for me. I even calmly received the three brief hugs she gave me at the end!

After that I ran over to my instructor, who has read this thread and knows about all Tango Distance's idiosyncrasies. Humorously, I asked him if he saw how that lady over there made me do close embrace? And look! She's doing it to that guy, too!

Serious Tango question: If the verbal approach fails, is there a dance way to communicate to open the embrace? I see others switch styles dynamically, so there must be some trick to it.
 
is there a dance way to communicate to open the embrace?

The lady is supposed to use all the space that you're giving her, and to keep her shoulder blades in your hand. If you just enlarge your embrace then the lady will unglue. Too many times the lady will remained glued though, and your hand will be floating in the air, one ft away from her shoulder blade. To break free from the yoke, something you can try is going into front ochos, as this is something the lady cannot do in glued embrace.
 
What does “step between” mean? Step between beats? Step between her feet? With which foot?
Context is everything.

One sort of "step between" can be very delicious.
- involves only being in crossed feet and moving forward rapidly to step on the in between foot. You should aim for contact with the inside of your partner’s thigh with the outside of your Right thigh. Her leg will have to move out, rather than straight back.
One woman did this to me (or did I do it?) and I can Still remember it!


Switch between parallel and cross systems? There isn't room for that!

Hsueh-tze August 2003
Jigsaw
Going onto 3 skis with 1 step - both weighted on same foot, get partner weighted on Other foot by rotating torso, step your Other foot forward (torso first of course) where her not weighted foot just was. To get back in parallel - take your "shared" step - the one between you - then on your next step (the outside one) lead a side step to your center for her with your torso. If you've kept your weight on what was the outside foot, you can now step in parallel! First Awarm up@ with torso lead side steps..

The Jigsaw is repeating this "pattern" first on one side, then on the other.


See? No "room" required.
Actually this simple thing, that I learned early in my AT days, confounds many followers.
I think it's a "wait, what?" sort of reaction.
 
Maybe she just meant that you were walking too wide. Make sure your feet and knees are passing close together and you're stepping straight forward.

When in doubt, start with the simplest explanation!
 
She tried to teach me a couple of things, but it just wasn't clicking... What does “step between” mean? Step between beats? Step between her feet? With which foot? Switch between parallel and cross systems? There isn't room for that!
I don't actually know what is was that she was asking you to step between (as it's not how I would express anything), but I suspect there actually was enough room for whatever it was she wanted you to do. Just ask her the next time you see her.

If it was step between the beat, I'd probably phrase it as use two quick steps for one slow step, or maybe as, try stepping on the quick beat.

I'd be surprised if she was asking you to step between her feet (i.e. a sacada), as there's a few things to be explained before having a leader just attempt one on the fly.
 
Thanks again for all the great replies. I would like to do all the neat close embrace stuff with DW, so at some point we'll get lessons for that. Meanwhile I'll plan to use twnklotz' good advice!
twnklotz said:
I would suggest that, instead of saying you haven't learned enough to dance in close embrace, you just be honest and say you're not comfortable with it yet. Maybe then they'll not force the issue.
Shortest close embrace story imaginable: An instructor that knows my personal space travails suddenly pulled me into a close embrace on the 2nd to last beat of the last song of a tanda. She then stepped back and opened the embrace on the last beat of the song, and laughed like a naughty girl! It caught me totally by surprise and I have to admit she definitely pulled one over on me. I did laugh, too.

She said I'm ready for close embrace (while I have made huge strides in touchy-feely stuff I don't feel ready and I don't really know enough at this point anyways) and that I should ask the more experienced ladies to dance more often.
 
Must have been awkward.
With some composers/directors, the last beat is delayed a lot.
Pam Papapam Pam...............................................................................................................Pam
 
Pascal: Ha ha! At least they were quick beats in this case! Hmmm, I guess this will add a new dimension to my Tango with her -- I now need to learn colgadas... or maybe finish with a really high speed molinette...
 
She tried to teach me a couple of things, but it just wasn't clicking... What does “step between” mean? Step between beats? Step between her feet? With which foot? Switch between parallel and cross systems? There isn't room for that!

All tango music is 8-count. You have to start on the 'and' to arrive on the '1.' Collection is half a beat. You probably leave early when you change directions.

Whenever you change directions, you should wait 1 beat. Example would be going from step 2 to 3 on the basic (side step followed by stepping outside partner). If you don't want to wait 1 beat, then you have to use more energy which causes you to arrive in collection on the beat. I can go into more detail but this is a pretty advanced concept even though it applies to basic movements.
 
I think this is going to be great advice for me. I have been doing things at the pace of the beat, but I think I see what you are saying, to step on the beat, and do other things in between beats.
All tango music is 8-count. You have to start on the 'and' to arrive on the '1.' Collection is half a beat. You probably leave early when you change directions.

Whenever you change directions, you should wait 1 beat. Example would be going from step 2 to 3 on the basic (side step followed by stepping outside partner). If you don't want to wait 1 beat, then you have to use more energy which causes you to arrive in collection on the beat. I can go into more detail but this is a pretty advanced concept even though it applies to basic movements.
 
You should practice starting on the '1'

Here is a randomly picked video - but you will notice this in almost any video you watch. He starts on the '1' then he waits one beat and steps on the '3.'
 
All tango music is 8-count.

I don't think that it is. Rather, that most tango is built, musically, from recurring patterns of two of four beats, and that the phrases are multiples of those units. You can often hear tango phrasing to correspond to 8 slow counts (frequently in the form of a 4-count 'question' and a 4-count 'answer'), and it is common for two 8-count phrases to make up a more musically complete 16-count section.

Within those phrases, however, all manner of beat divisions and syncopations can be used. Very little experience is necessary to hear the phrase structure in the music, and we mostly aim to 'start and finish' the ideas that we express in movement to match, or at least not interrupt, the musical phrases.
 
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