La Cumparsita became the wellspring for Ballroom Tango Music.
Though it came from Uruguay in 1917 it spread throughout the world in just a couple of years.( Both Argentina and Uruguay
claim to be the originators of Tango)
But the first two parts lacked a clear beat and counterpoint (D-A-C-F Rhythm )
This gave dance instructors the green light to "Do as thou will"
Click below to hear La Cumparsita
American Ballroom Tango teachers often tell their students to keep the beat with the memory device T- A- N- G- O (
Sung like the song B-I-N-G-O ).T (slow) -A (slow)- N (quick)- G (quick)- O (slow)
In general patterns are based on counts of eight. (two 4/4 counts) Some are slow counts and some are quick counts.
A slow count takes two beats of music while a quick count take a one beat of music. In other words the basic count is slow
(1,2), slow (3,4), quick (5), quick (6), slow (7,8).
Favors the Habanera rhythm like the first part of the Dragnet theme . (BUM ba BUM BUM)
Habanera rhythm is a Cuban beat that is used at Milongas and Salon Party Tango Music (In 2/4 time). We Count a beat as
The accent for Habanera (1 e and)(a)(2 e) (and a), the first note being 3/8 of the measure, the second note being 1/8
and the last two notes being equal quarters.
Click below to hear rhythm
Argentine tango has developed into two major schools Milonguero and Orillero.
Milonguero is the way a Jedi Master would look at dance. Call it the lighter side of
Milonguero Master Daniel Torres says, "You must not express emotions like passion, jealousy, anger and
desire. When you dance Milongero with a woman. It must always be like dancing with your Grandmother. You can't even break
the modest embrace for greed is expesssed in excessive use of dance floor space."