What title array do you prefer?

newbie

Well-Known Member
#21
None of the above.
Same director all the way.
As an exception, a final tanda with several different Cumparsitas.

Within the tanda:
#1: one random song by the said director. Not a great one but easy to recognize, so that everybody knows that now follows a tanda by <said director>
#2 and #3: Great hits that everybody will want to dance.
#4: one not-so-good song by the said director, danceable for sure but not, well, inspiring, so that everybody will think "Well, enough of <said director>, give us something else now".
 

UKDancer

Well-Known Member
#24
I actually feel a limitation. There are much more poore tangos around than really good ones.
Well, I'm assuming the discernment to be able to tell the difference. But I agree, there is a lot of poor music, although I don't equate poor with unfamiliar.

I hate those milongas where the DJ plays just the most well known songs: the diet is too rich, and I get indigestion. I want to be challenged, and I want to hear a mixture of the familiar and the less so. I want to go over to the DJs desk, several times, curious to find out what he's playing.

I find the biggest challenge in formulating my playlists, though, is to decide what to play for the first 30-60 minutes, when almost no one has arrived, and if they have, they're not yet dancing. It's tempting to save up all that 2nd rate stuff, and play it for the first hour, on the basis that it would be a waste to play anything else, but actually, I choose those early tandas carefully too. If some inexperienced dancers come along to get some tango miles in (and I encourage them to), then I want to be playing straightforward and accessible music that they will enjoy dancing to. It would be insulting to deliberately choose rubbish, so some of my best tandas get played early on, but there's always someone who appreciates them. What does anyone else do, to get the proceedings started?
 

sixela

Well-Known Member
#25
None of the above.
Within the tanda:
#1: one random song by the said director. Not a great one but easy to recognize, so that everybody knows that now follows a tanda by <said director>
#2 and #3: Great hits that everybody will want to dance.
#4: one not-so-good song by the said director,
<Shocked> I always end with a _splendid_ song. Dancers are going to change partners soon, and I _definitely_ don't want them to end a tanda on anything but a high note.

The only reason I _ever_ want dancers to feel they've had enough is through an overdose of emotion, lyrical interpretation or exhaustion. NEVER because they're sick of the orchestra or because the last song was so-so.

Song #1 is usually something I find really good but first and foremost recognizable (in other words, I don't think it's a problem if everyone knows it or expects it. Yes, _even_ Bahia Blanca will do). It's usually not too short either, and may have a long intro.

Songs #2 and #4 are invariably highlights.

#3 for me is sometimes contrasting (especially in a tanda that is so lyrical/rhythmical that you need some breathing room in the middle before the grand finale), sometimes participating in the arc I want to build that takes the end of the tanda in different territory from the beginning (whether it's another period, another speed, or more/less emotion). Whether it "fits" is more important to me than whether it's a hit.

I don't think I ever put a "random" song in a tanda. I'd rather pick another orchestra with "non-random" songs, frankly. Plus my oddball cortinas are actually thematically linked to the songs.
 

dchester

Moderator
Staff member
#28
Well, I'm assuming the discernment to be able to tell the difference. But I agree, there is a lot of poor music, although I don't equate poor with unfamiliar.

I hate those milongas where the DJ plays just the most well known songs: the diet is too rich, and I get indigestion. I want to be challenged, and I want to hear a mixture of the familiar and the less so. I want to go over to the DJs desk, several times, curious to find out what he's playing.

I find the biggest challenge in formulating my playlists, though, is to decide what to play for the first 30-60 minutes, when almost no one has arrived, and if they have, they're not yet dancing. It's tempting to save up all that 2nd rate stuff, and play it for the first hour, on the basis that it would be a waste to play anything else, but actually, I choose those early tandas carefully too. If some inexperienced dancers come along to get some tango miles in (and I encourage them to), then I want to be playing straightforward and accessible music that they will enjoy dancing to. It would be insulting to deliberately choose rubbish, so some of my best tandas get played early on, but there's always someone who appreciates them. What does anyone else do, to get the proceedings started?
Agreed. While the type of tandas may be tilted in a certain direction early on, I won't play tandas that I wouldn't want to dance to, and I appreciate DJs who feel the same way.

Frankly, if you can't come up with enough good tandas to fill the entire evening, then don't DJ the event. (Granted, different people will have different ideas of what good means, but you get the idea).
 

bordertangoman

Well-Known Member
#29
okay here's an eccentric tanda and the thinking behind it

1. Yo no se porque te quiero; Rafael Canaro
2. Isla de Capri: fresedo/Ray
3. Cordobesita; Fresedo/Ray

All chosen for their tip-toe arrangements and Sugar Plum Fairy feel. I judged Isla to be most mellow so I stuck it in the middle. Cordobesita is my favourite so I stuck it last and Yo no just seemed to work well rather than another Fresedo.
 

UKDancer

Well-Known Member
#30
If you wanted an all-Frededo/Ray tanda, you could try El Mareo, which I would put 1st, with Cordobesita 3rd. It nicely alternates the playful and lyrical, and once they're on the floor, they're rather stuck with Isla de Capri, but will be smiling, broadly, by Cordobesita.

After-thought: No, I recant. I'd start with Isla de Capri, then El Mareo & finally Cordobesita!
 

sixela

Well-Known Member
#31
Interesting.

Just another example that's too close for comfort:

1. Cordobesita (1933)
2. Isla de Capri (1935)
3. Sollozo (1937)
4. No Quiero Verte Llorar (1937)

Cordobesita is the gentler one and my favourite as first one. Isla de Capri goes well with it indeed, and then I take them to somewhat later tracks, but Sollozos "binds" the tanda well and the last track has a small more sturdy adrenalin shot in the intro but then settles into Fresedo mellowness once more. I could do Isla de Capri first (it's actually slightly longer, which I like for a first track) but Isla de Capri binds well with Sollozo...

I'd feel extremely shortchanged if someone gave me a Fresedo tanda with just three tracks.

FWIW, if you really want to wrongfoot people, you can start with Araca la Caña and then change tack in mid-tanda.

And of course, if you want something überlyrical to end the tanda, why not "Vida Mia" instead as the last track?

If it's the last tanda in the evening, I sometimes go really overboard and play an overly long Fresedo tanda, throwing everything but the kitchen sink at the end (Vida Mia with Pachéco instead of Ray, and (why not?) Capricho de Amor, with "singing" on trumpet --there's also a Vida Mia with Dizzy Gillespie, BTW--, a track that makes even Pugliese sound restrained). But taking them from Cordobesita to Capricho de Amor with trumpet is only something you can do right if that's the end stop of the night train...it even makes it hard to finish the evening with a suitable Cumparsita.
 

bordertangoman

Well-Known Member
#32
I like the Dizzie Gillespie version....Vida Mia is very "Pennies from Heaven"
and I have played it with One More Kiss Dear...

I dont do 4 in a tanda...life is too short....
i have a lot of ladies to satisfy...
 

bordertangoman

Well-Known Member
#34
I thinki its what one gets used to..three works for me but four..its like clunky, and often is in terms of choice. even so bad that me and the lady both agreed that whilst we were dancing on a high the fourth track was a doozy, a clanger, and if its not then it often means one of 2 or 3 are doozies or stodge....
 

bordertangoman

Well-Known Member
#36
@ border, when does the Francisco Canaro tanda finally come ;)
valses:
Bajo El Cielo Azul: a slow rumbling start.
Rosas de Otono with Nelly Omar
Lo Que Vieron Tus Ojos by Lomuto

the last has a lovely duet; which is an opportunity to duet the steps ie the lady does one thing the man another..
 

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