[Tango-L] (no subject)

[rhink2@netscape.net]

Before this thread runs its course, I thought I'd add my view.

To me this question is a bit like asking musicians how many techniques 
are needed to play their instruments.  After all a dancer is like a 
musician who makes no sound; a tango couple is akin to two musicians 
playing a duet silently.  So, does a trumpeter need to know 
triple-tonguing? Does a saxophonist need circular breathing? Should a 
pianist be able to play chords or arpeggios? Should a banjo player be 
able to fram or pick?

There are at least two basic answers depending upon ones goals.  The 
virtuoso might answer as many as one can learn or invent. The 
recreational, non-professional might answer as many as one can master 
comfortably.

There has been much discussion about what followers prefer. I believe 
the consensus has been something to the effect that simpler is better 
as long as it's clearly lead. I would agree with this view with some 
qualifications. First, the follower needs an opportunity to shine (i.e. 
add her interpretation to the dance). So by keeping her dancing 
defensively, she cannot throw in her  syncopations or firuletes.

Second, the music has features. These features call for, if not beg 
for, a dance response. For example, a break suggests a parada; a long 
note held for seconds indicates, at least to me, some kind of pose. To 
simply ignore these features reduces the music to a metronome beat. One 
0Aneeds the tango vocabulary to respond. Walking is not enough!

Bob