Tag: teaching

Susana Miller. Maestra milonguera.

Susana Miller y Ricardo Luis Gallo “El Pollo”

Susana Miller y Ricardo Luis Gallo “El Pollo”

Dancing Tango and vals on 19-01-2015 at la Practica del Beso.

Susana Miller

Susana is the key figure in today’s tango milonguero style. Her work as a teacher has influenced tango not only in Buenos Aires but also in the world of tango outside of Argentina. As the maestra of other tango teachers, Susana has worked with most of the famous teachers of tango milonguero, and today she continues to train a new generation of professional instructors.

Ricardo Luis Gallo “El Pollo”

Milonguero porteño.

See more Argentine Tango masters

 

Learn to dance Argentine Tango

Eduardo Arolas, Tito Roccatagliatta and Roberto Firpo, 1914. History of Tango by Marcelo Solis at Escuela de Tango de Buenos Aires.

“Fuegos artificiales” by Anibal Troilo y su Orquesta Típica, 1945.

“Fuegos artificiales” by Anibal Troilo y su Orquesta Típica, 1945.

Fuegos artificiales | Argentine music at Escuela de Tango de Buenos Aires

Eduardo Arolas

Bandoneonist, composer and leader (24 February 1892 – 29 September 1924)

In 1912 Roberto Firpo called Arolas and Roccatagliatta to play with him at the famous cabaret Armenonville. Later, Arolas distanced himself from Firpo and had a sign at his presentations that clarified “We don’t play Firpo’s compositions”.

But “Fuegos artificiales” became a great outcome from this encounter.

Firpo still went on to record many of Arolas’ tangos.

Let’s listen to the magnificent rendition of “Fuegos artificiales” by Anibal Troilo y su Orquesta Típica, 1945.

Read more about Eduardo Arolas

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Learn to dance Argentine Tango at Escuela de Tango de Buenos Aires.

How to best take advantage of our classes?

We recommend that you become a regular student.

Learn to dance Argentine Tango at Escuela de Tango de Buenos Aires.We need to educate ourselves with a set of good habits, which in turn will allow us to flow through the dance floor in a comfortable manner.

The more of our classes you take, the sooner you will feel comfortable and incorporate what you are learning to be able to dance.

The best way to advantage of our classes is to take all of them, and the second best is to take as many as possible.

Asking us which one of our classes we recommend is like asking a father which one of his children he loves the most: we love all our classes. We fully engage ourselves, making each of them one-of-a-kind. In this sense, the best way to advantage of our classes is to take all of them, and the second best is to take as many as possible.

Our pricing options include class cards, which will allow you to take any of our classes with a single payment. See more information pricing options…

Private lessons:

Private lessons are a must!!!

Another advantage of becoming a regular student is that we will be able to personalize our instruction to you. In order to better personalize our instruction to you, private lessons are a must. More information about private lessons…

When making your decision, please keep in mind that learning how to dance is comparable to learning how to live:

How much of your life are you willing to give to the goal of living better?

Juan Carlos Cobián. Argentine music at Escuela de Tango de Buenos Aires.

“Los mareados” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1942.

Juan Carlos Cobián. Argentine music at Escuela de Tango de Buenos Aires.Juan Carlos Cobián

Pianist, leader, composer and lyricist
(31 May 1896 – 10 December 1953)

He was an authentic innovator of Tango, either as player or as composer. As a pianist, he was the first to fill in the bass line with embellishments when the melody rests -a procedure that later would be systematized by Francisco De Caroa, besides his subtlety in the interpretation. Continue reading.

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Armando Moreno. Argentine music at Escuela de Tango de Buenos Aires.

“Danza maligna” by Enrique Rodriguez y su Orquesta Típica with Armando Moreno in vocals, 1940.

Armando Moreno. Argentine music at Escuela de Tango de Buenos Aires.Armando Moreno

Singer
(29 May 1921 – 8 October 1990)

He was an essentially popular artist, because of his repertoire and because of the attraction he drew on the public, but that condition didn’t mean that he was a smaller interpreter, just the opposite, he was a very good singer. He tried everything, he sang anything, but when we listen to him performing tangos, his tenor phrasing reminds us of Charlo. He had a good intonation and he used his mezza voce. In spite of the jolly mood of the orchestra that accompanied him for almost all his career, he was a neat singer with good taste.
At age 18 he made his debut in the orchestra led by the bandoneonist Enrique Rodríguez to replace the singer Roberto Flores (Chato). Fate, with the passing of time, would turn him into the emblematic voice of the orchestra. Continue reading.

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