男士招式不够用?試試這些小工具

如果只有五招, 要如何輕鬆把它們變成五十招的感覺,讓女士跳起來感到愉快?茲摘要一些Raul Cabral老師提供的重點如下圖; 下方原文還有更多的小工具

由Raul Cabral老師撰寫的《跳探戈 - 如何詮釋音樂》

首先，我會提出一些可以思考的問題……

為什麼同一支探戈會聽起來不同？

這是取決於演奏它的管弦樂隊嗎？

這種差異有什麼作用？

我們稍後會解釋“為什麼”……

此外，我想問你……

你跳探戈、華爾滋和米隆加的方式有所不同嗎？

你有區別它們嗎？

你是跟隨著音樂嗎？

或者你只是跟著節奏跳舞嗎？

如果你誠實的話，我們可能發現其實差異不太大; 就算你有區分出差異，它們可能也不太顯著。

我們不要談論交叉或平行系統的跳法，這兩種方法都是用在節奏上的。

它們不算是舞蹈的變化。

有許多方法可以裝飾我們的舞蹈——讓我描述一下細節……

但我不會像音樂課那樣使用太多的專有名詞，而是使用容易應用在舞蹈的詞語。

音樂裡分有節奏和旋律，節奏由節拍、較大的聲音、脈動(impulse) 作為標誌。

旋律是唱頌及詩歌，有時是由歌手演唱，有時是由樂器演奏。

起初，你必須識別節奏，至少是節奏，即使只有在某些時刻，跳旋律才會有差異。

這就是如何詮釋和表演音樂。我記得，幾年前，當我開始學習演奏樂器時，使用鍵盤和標有字母的簡易樂譜。結果是慘不忍睹，我後來再也沒有進一步彈好幾首眾所周知的歌曲。

當時的我只用兩根手指彈奏。之後，一個朋友教我如何彈鋼琴，並邀請我聽他演奏探戈。他使用的是真正的樂譜，這些樂譜隱藏了這樣的寶藏。可惜，它與探戈、以及那些令人驚嘆至今的老錄音，仍舊相距甚遠。

若你單單只是跳在節奏上，就像用兩根手指彈奏樂器一樣。它也像是只跟著樂譜記號，一五一十地彈出來那樣。每個人都知道我在說什麼。

你其實用心的話，可以在探戈音樂裡聽到差異。我的意思是，除了使用樂譜外，D’Arienzo、Troilo、Di Sarli、Pugliese等人也依靠“編曲師”。

這些編曲的安排是隱密的，你需要用心留意才能聽到。

樂譜中有許多探戈，而不是每個樂器和管弦樂隊的指示。

他們的真正動機是能夠與彼此區別，就像我們在舞蹈中做的那樣。要跳這種非凡的音樂，有很多方法，沒有一個是困難或複雜的，而是極具表現力。

跳節奏很重要，但不要止步於此。

有無數的幫助可以幫助您應用各種變化:

強調暫停。

給下一個動作帶來重量。

創建一個小高潮，在原地加速。

以半個時間移動。

拉長一個音符。

讓一到兩拍過去。

跟隨歌手。

跟隨樂器。

提高運動並讓慣性貫穿。

開始慢轉快。

暫停。

單腳重複。

利用traspiés。

分割節拍。

還有許多其他可能性。

音樂性不僅僅是跳節奏，也不是踏遍所有節拍。

它只是使用節奏。

我們可以跳旋律。

我們的探戈有令人難以置信的旋律選擇。

它是一種例行或重複的舞蹈。非常令人驚訝。

這就是它如此迷人，以及它有別於其他的節奏。

音樂性是輪流跳出節奏和旋律。

這就是如何詮釋釋音樂的方式。

我可以為你詳細講解以上的概念，並在課堂上幫助你。看到學生、朋友能體驗這些音樂的微妙變化，我覺得很開心，這肯定會加強你對舞蹈的享受，對你的舞伴和你自己也都有好處。

Dancing - Interpreting the Music. by Raul Cabral

原文出處

發表日期: 2015年11月23日

Dancing - Interpreting the Music by Raul Cabral

I’ll begin by posting some questions to think about…

How is it that the same tango can sound different?

Does it depend on the orchestra that is playing it?

What does this difference do?

We’ll try to explain the "why" later...

In addition, I ask you... Do you dance the tango, the waltz, and the milonga differently?

Do you make differences?

Do you follow the music?

Do you just dance to the beat?

If you are being honest, we probably don’t find big differences and, if there are any, they may be too small to have any consequence.

Let’s not talk about dancing in cross or parallel, which are both methods that are on the beat.

They do not count as dance variations.

There are many ways to embellish our dance--let’s describe a few...

But this will not be anything like a music class. I will not use technical jargon but rather words that are easy to adapt to dancing.

There is rhythm and melody in music, and the rhythm is marked by a beat, a louder sound, a pulse.

The melody is the part that is sung, the verses, sometimes performed by a singer and other times by an instrument.

At first, you must dance and recognize the rhythm, at least the beat, even though the difference will only be made by, at certain moments, dancing the melody.

This is how one is able to interpret and perform the music. I remember back when I first started to learn to play an instrument, years ago, using a keyboard and pages marked by letters. The result was disastrous and I never progressed further than a few well-known songs.

I was playing with two fingers. Later on, a friend who knew how to play the piano invited me to listen to him play some tangos. He was using actual sheet music, which hid such treasures. Sadly, it was very far from tango, from those old recordings, that continue to marvel us to this day.

Simply dancing on the beat is like playing an instrument with two fingers. It’s like using sheet music. Everyone knows of what I speak.

You can hear the difference. What I mean is that, in addition to using sheet music, D’Arienzo, Troilo, Di Sarli, Pugliese, etc, counted on "arrangers."

These arrangements are secret and you can only hear them if you pay attention.

It’s so much tango that was in the sheet music, but rather, the instructions for each instrument and for the orchestra in general.

Their true motive was to be able to distinguish themselves from one another, like we do in dance. To dance this extraordinary music, there are many methods, none of which are difficult or complicated but indeed of great expression.

It’s primordial but basic to dance to the beat, but don’t stick to just that.

There are innumerable aids to help you apply all kinds of variations:

• Emphasize pauses.

• Give weight to the next movement.

• Create a small climax, accelerate in place.

• Move in half time.

• Stretch a note out.

• Let one or two beats go by.

• Follow the singer.

• Follow an instrument.

• Elevate a movement and let inertia carry it through.

• Begin turns slow and end fast.

• Suspend.

• Repeat a leg.

• Utilize traspiés.

• Divide beats.

• And many other possibilities.

Musicality is not just dancing to the beat, nor is it stepping on all the beats.

It is just using the rhythm.

We can dance the melody.

Our tango has an incredible amount of melodic options.

It’s a routine or repetitive dance. It’s very surprising. This is how it enchants and how it distinguishes itself from other rhythms.

Musicality is to dance the rhythm and the melody by alternating the two.

This is how one interprets the music. As always, I am available to develop these ideas and help you in class. It is so nice to see a student, friend, etc., experiencing these variations that surely strengthen their enjoyment of the dance both for themselves and for their eventual partners.

RAUL CABRAL ~Tango Escuela Buenos Aires