Ting et dew te mae! ch Video 3-3, in which couple dee the execs fst walling then evcing ro check if you ae ding he execs corey Fine phrase Baer 1: Youcan sep the proces wih Ando 83, whee played in smpletime sep and the second in doubletime step. The aves wll Alpyo the fc ine andthe end ne you wil oi without any ep. Chapter 4: Half-time step = escarole sey as fam lingo ne ‘tsp tothe snpecin ep.In tango abo comrnos wo have one ep es han the smpletime tp tated of naking ono sep for every fr Deas sralking onthe iat and third bets withthe acens, we sommes only do tne seep onthe i beat. We does when the musi mason the es best sith scent on the othe thee bit The lod sy conine bt without Trarkng any ober bes except hei one “As oppne to the doublesime ep apie ete ee whee we ad sep, ‘we we the mame bale sep when we tke one step le chan ip he simple ‘le p: hat, we onl al wi he Bee Simple ep ee -_— 1203 4 1 2 304 LL _—t a Deublesine ed ro. ro. 3 Doe aHalim T 2 Manca eerie ‘You shoul ney so apy his eroningo onary musa denomination Ifyou are musica, because doe not work with te same log in fe ‘seal the opposite, Bue for dance withou musical eduestion, ii loa to think hs way, boss hy do double or half he aout of movements ‘ac cat, and that why eas his denominason, and scully the names “mplevime’ and "double ime” sep have ban in we fr many years now “Thrfore when the muse tony aking the Fe ofthe four best we wl nae only one ep with there Kez, which were he main acen place ‘Wich she baline ep you can apply figs abl for we in che pater al ind of dow motion ornamentation sich a lw eles, ip, planes, “These pauses which arom thei beat ul the nest ist bea ae el pts and they Ista eve ofc equal 0 ewe smpletime spe or four bas Tn tango dee at longer panes ad you cannot pac ther lenge, bar ‘hse tls fequent and you nd hem in panicle periods of some xches- tna the lat pid of Oval Pugls onchest and some recordings of ‘he at period Anibal Teil orders ae ewo examples of his, when the ‘ress prfrmed mote often a onal once ad ken fin dances IE tne liten instead t Oral Pople orca recording of 1947, or Asal “ii orchesa recordings of 1943, the pause are usaly gular cd as one tlie ep, | @ Evert 1: Lien to Aso 14, You wil ha wo dierent clements inthe ‘The melody. B, “The accomparkmeae masking th bs our bese hyn of tango. Holisinene, (@ Frere 2: Listen Audio 24 where you wil hea te melody @ Freres 3: Linen to Audio 3-4 where you wil ear dhe accompaniment ‘which ithe element eking the yh, a ths xc we wl follow the asso paimens. The aocempaniment aks the forbear base yes of tango. You can walle with cher spe sne step ‘er doublet sp to che fourbeae yh, but then come «phase whee the acompanimens only mks the it bea thee secon tines, For these ‘re dimes you wil only make one sp withthe ne est. Afr sat, when ‘he orchesr nal four bet aga, you can go back to dancing ther with simplerime sep or double ep Linen gaa to Audio 4 fo simes wt on can ecognsethe msiceasy. Singing speaking he melody ofthe seton ‘where the halfime steps ae wl help oso remerber where thy ae placed secs Listen to Audio 4-4 in which abandonet andthe caves rinfoce thebeats ofthe acompaniment. Tes wo inrament wl help You recognise ‘th change when the socompaniment switches free paying onl fut bouts to laying only onthe ft. Listen cael several times whe ging o speaking the melody una you «an ely ecoaise che anges @ Brerie 5: Lites to Audio 4, Wale with simple ime ep or double time Sep uni she phrase muhig oly the fee Beat bein. When the acompani> ment only maths the Sa bes, walk with alaime tp, walking ony on the fit beat. Thishappens thee ues Afr tha, the mse ges back to ating our eas Novice ta, though the nots f the rclody canine being payed fier chert bent in che pices whee you ae doing the hal ime up hee ‘bo beat marked by the assompunitnat. This pase not neces complete slenee els the absence oF rhythmic element mating de bet @ Bxecse & De dhe sme execu wih Audio 14, this ime without the brandoncdin an the claves mackng the accompaniment Kyu have difcalice doing the care, you can epeat wlth Alo 4-4 ul you are confident nd then sar working with Audio 1-4 agin you speak ot ing the melody, you wil ealy remember che momene when de aliime sep stats nd th wll rake the eerie much eer »Tg Lt den emit '& Eerste 7: Wich Video 1-4, in which the coupe demonstrates the exec to emure hat you ate ding coed Te couple fit walle and then dances the sete, este Once ou have done the exerci wag, to dance tis alone and then with your dance partes, thing advantage ofthe pase to eke orma- ‘mentor dw movement "You can practice this ever dee belie going on to pracce wit Auco 54,64 and 7-4 Chapter 5: Melodic rhythm in tango = WU ee The aly wt wg oie hen we hear a song, When we ae singing ot whing we ate producing ‘nly one element, one ound at «ne the sing of mounds that mae that song reorgasble We doo: do rhythmic accompaniment oi or any eter secondary voicing osm We sing the sequence of rounds hat charcesse ‘tht paral sng and hills ut ferent the so0g from any other ‘ene. you could somehow doa ahyehnic accompaniment hat ng, but ‘ake che mod out, you ould perhaps recogni the ypeo ym bur would sot now which patel sng ie was @ sen to Audio 1-5. You wll ear angophyed by an omcheea {@Now len to Audio 25 and you wl ee only the tnelody ofthat rngo, witout al the othe elements ofthe aches ccompiment. Thi jut understand what we mean by "melo "Now, what do we understand by “melodic phrase? The ae 3 with pon speech, musi speach is orpanise im phrtes, although ty do not have & ‘meaning that we could translate with words Melodie phrazs expet acral sete of emodan: eis ype of emotional etch. Alo, ie spoken phase, 4 musical phree hata bepnning.+ development and an enh which noraaly produces 4 clefia the maseltnson and woetime ven are pause @ Lisen co Audi 35, whete diferent ited phrases ae being played so you ean lem o disingulsh the begining development and end of» mele