Yes, and I would imagine that would be the best way to lead the change of direction. That's not quite the same thing as using part weight, though, but more a matter of being deliberately off-axis (in a pendulum-type action), surely? I can't have closed my feet and not collected, and I can't have changed weight to step back, without my full weight being supported by my standing RF.
Sobre-passos instead of rebotes in VU?
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Yes, and I would imagine that would be the best way to lead the change of direction. That's not quite the same thing as using part weight, though, but more a matter of being deliberately off-axis (in a pendulum-type action), surely? I can't have closed my feet and not collected, and I can't have changed weight to step back, without my full weight being supported by my standing RF.
bordertangoman
Well-Known Member
yes your weight has to be supported by your right foot, but you have the lateral forces of momentum and compression, plus the acceleration into the next step.
Oops... yes, I meant 4&1, not 3&4. I remember how much trouble everyone had taking their first step on the 1 instead of the 2 or the 4.
This is my favourite topic 
, so this is a bit of a rant:
In my opinion traspie and doubling are quite different things, a traspie is a syncopation exactly as a musician understands it, it is an off-beat syncopation. I think the whole confusion of why dancers and musicians have different definitons of syncopation is mainly because dancers are not clean in differentiating between double times (which are not syncopations) and traspies (which are), and i think this is more related to what is easier to talk about when teaching than anything else.
A traspie is a swung note, i.e. if a doubling splits the interval into 1/2 and 1/2, the traspie splits it into 4/9 and 5/9 or 2/6 and 4/6 or something, it has to be unequal - the shift creates the accent. The whole feel of milonga is based on this shift, not on just being faster by doubletiming. If you just doubletime the milonga will be flat. If one was very disciplined it would probably be possible to doubletime and still dance milonga liso, but it would probably feel quite weird.
In practice almost everybody who listens to the music does traspie in a milonga, even if they just call it double time, so this is a more a question of being nit-picky and academic (an what is the internet for if not being nit pickiy ).
Gssh
, so this is a bit of a rant:In my opinion traspie and doubling are quite different things, a traspie is a syncopation exactly as a musician understands it, it is an off-beat syncopation. I think the whole confusion of why dancers and musicians have different definitons of syncopation is mainly because dancers are not clean in differentiating between double times (which are not syncopations) and traspies (which are), and i think this is more related to what is easier to talk about when teaching than anything else.
A traspie is a swung note, i.e. if a doubling splits the interval into 1/2 and 1/2, the traspie splits it into 4/9 and 5/9 or 2/6 and 4/6 or something, it has to be unequal - the shift creates the accent. The whole feel of milonga is based on this shift, not on just being faster by doubletiming. If you just doubletime the milonga will be flat. If one was very disciplined it would probably be possible to doubletime and still dance milonga liso, but it would probably feel quite weird.
In practice almost everybody who listens to the music does traspie in a milonga, even if they just call it double time, so this is a more a question of being nit-picky and academic (an what is the internet for if not being nit pickiy
). Gssh