Tag: argentine

Argentine Tango dancing. Marcelo Solis and Mimi Mehaouchi. Finale.

Argentine Tango 4-week introductory program is starting on…

Argentine Tango 4-week introductory program is starting on…

Next series starting on January 8, 2021 and every consecutive Friday at  7 pm (Pacific time).

Doe to our current situation, these are virtual classes only.

  • You’ll receive a link and a password for your classes after registering.
4-week introductory program for one $60 Purchase and register 25% off
4-week introductory program for a couple $100 Purchase and register 25% off
  • After purchasing our classes, please contact us to be registered in our next 4-week series.

Argentine Tango Masters Miranda Lindelow and Marcelo Solis

In our introductory course, we share with you our own experience, knowledge, and passion for Tango.

We would also like to hear about what brought you to Tango.
 
In these classes you will learn:
  1. How to use your body efficiently with good posture.
  2. How to listen and move to Tango music.
  3. Basic elements of the dance, footwork, and technique.
  4. How to maintain a good connection with your dance partner that facilitates moving together.
  5. A sequence of steps that you can use to start dancing Argentine Tango. 
We provide you with resources to aid your learning process: music, videos, and articles with information about Argentine Tango. 
 

We are always open to your questions.

We firmly believe that there is no better way to spend our time than dancing Tango.

We invite you to find out why…

Purchase and register 25% off

You already dance Tango and want to improve?

We also teach intermediate students.

Join our intermediate level classes

Marcelo Solis dancing Argentine Tango with Sofia

Private lessons

Virtual lessons available

In private lessons, our goal is to share with you the powerful beauty of Tango.

During private lessons we focus on:
  • Good, relaxed posture.
  • Awareness about your body, space, and partner.
  • Musicality.
  • Footwork and technique.
  • Basic Argentine Tango patterns.
  • More complex patterns and combinations.

Lessons are 50 minutes long and will be booked after payment is received.

See your options

Neither group classes nor private lessons alone will make you a good dancer.

You need both.

  • If you take only private lessons, you make Tango a private relationship with your maestro, which is not enough to learn what is Tango.
  • If you only take group classes, you are not going to get deep enough into the fine details of Tango to make you a good dancer.
To dance Tango you must be a good dancer.

Start learning Argentine Tango:

Watch, listen and read…

 

Argentine Tango dance classes online.

Virtual classes

Online

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José Gonzalez Castillo, author of tangos

“Sobre el pucho” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré in vocals, 1941.

“Sobre el pucho” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré in vocals, 1941.

José Gonzalez Castillo, author of tangos

José González Castillo

Poet and lyricist (25 January 1885 – 22 October 1937)

Lyrics for tango were born around 1914, based on those ones conceived by Pascual Contursi that year and the following years (“De vuelta al bulín”, “Ivette”, “Flor de fango”, “Mi noche triste (Lita)”), and they were growing strong very slowly.

So much so that in Carlos Gardel’s repertoire tangos were, until the next decade, a rare bird. There was not even a notion of how to sing a tango, a standard that Gardel was gradually establishing after 1922.

That was, precisely, the year José González Castillo truly disembarked in the genre with the lyrics of “Sobre el pucho”, after Sebastián Piana’s music, which was introduced at the talent contest organized by Tango cigarettes.

José Gobello (Crónica general del tango, Editorial Fraterna) stated about this work that, with it «some novelties broke into tango that the tango literary work of Homero Manzi would later turn into true constants. By the way, Pompeya («Un callejón en Pompeya/y un farolito plateando el fango…»); later, the description of the neighborhood and, soon, the enumeration as a descriptive procedure».

But in those lyrics there is something else, metaphor, that springs up in the memory that the malevo devotes to his lost love «…tu inconstancia loca/me arrebató de tu boca/como pucho que se tira/ cuando ya/ni sabor ni aroma da». It is clear that González Castillo was a forerunner, and also that other later lyricists were who deepened those trends.

Read more about José González Castillo at www.todotango.com

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Learn to dance Argentine Tango

Carlos Di Sarli. History of Tango. Escuela de Tango de Buenos Aires. Marcelo Solis

“La Trilla” by Carlos Di Sarli y su Orquesta Típica, 1940.

Learn to dance Argentine Tango. Marcelo Solis teaches you at Escuela de Tango de Buenos Aires, in the beautiful San Francisco Bay Area.Carlos Di Sarli: El Señor del Tango

Pianist, leader and composer

(7 January 1903 – 12 January 1960)

He, as nobody else, knew how to combine the rhythmic cadence of tango with a harmonic structure, apparently simple, but full of nuances and subtleties.

He was not enrolled for any of the two streams of his time. His was neither a traditional orchestra, styled after Roberto Firpo or Francisco Canaro nor a follower of the De Caro renewal.

Di Sarli imposed a seal of his own; a different musical profile, which remained, unaltered throughout his prolonged career.

In the beginning, his sextet reveals us the influence of Osvaldo Fresedo. And certainly, I think there would have never been a Di Sarli had not existed a Fresedo. But, only as necessary forerunner of a style that, with time, would become a pure model with its own and differentiated nature.

He was a talented pianist, maybe one of the most important, who conducted his orchestra from his instrument, with which he mastered the synchrony and the performance of the outfit.

In his orchestral scheme there were not instrumental solos, the bandoneon section sang at times the melody, but it had an essentially rhythmic and danceable role. Only the violin was showcased in an extremely delicate way, on a brief solo or on a counter melody. Continue reading.

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Roberto Rufino. Argentine music at Escuela de Tango de Buenos Aires.

“En un beso la vida” by Carlos Di Sarli y su Orquesta Típica with Roberto Rufino, 1940.

Roberto Rufino. Argentine music at Escuela de Tango de Buenos Aires.Roberto Rufino

Singer and composer

(6 January 1922 – 24 February 1999)

Listening to Roberto Rufino when he sang “María” or “La novia ausente” or “Malena” or any of the tangos he had chosen for his repertoire, was to realize that that tango was unraveling little by little and that the words sprang up separately, without forsaking the whole that gathered them, with the proper strength they had to have in their context.

Rufino was that: a storyteller, a phraser, an interpreter that perfectly knew which was the meaning of what he was singing.

He was born on January 6, 1922, on 753 Agüero Street —in the heart of the neighborhood of el Abasto—, son of Lorenzo Rufino and Agustina Guirin, although in his birth certificate is written the day he was filed on the records, on the 8th day of that same month and year. A little bit yonder, on Agüero and Guardia Vieja Streets, the café O’Rondeman was placed, where Carlos Gardel attempted his early songs. A premonition? Maybe, because Rufino as well started at the old café of his neighborhood, which still was run by the Traverso brothers. But there is a further coincidence: in the same year, 1935, his father and Gardel died. And in 1936, a few days after the cortege which was mourning Carlitos to his final abode had passed along Corrientes street, El pibe del Abasto —as he was called since the early days at O’Rondeman, made his professional debut; he was also called El pibe Terremoto— at the Café El Nacional, as vocalist of the Francisco Rosse typical orchestra, to switch, a little bit later, to Petit Salón, with Antonio Bonavena orchestra, composer of “Pájaro ciego” and uncle of the would-be boxer.

But we are still in the singer’s prehistory. Continue reading at www.todotango.com...

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Champagne Tango. Argentine music at Escuela de Tango de Buenos Aires.

“Champagne Tango” by Carlos Di Sarli y su Orquesta Típica, 1958.

Argentine Tango dance classes at Escuela de Tango de Buenos Aires with Marcelo SolisManuel Aróztegui

Pianist and composer

(4 January 1888 – 14 November 1938)

He was an Oriental (Uruguayan) born in Montevideo on January 4, 1888. This is the exact date given by his nephew Bernardo, a pianist, who, besides exhibiting documents, stated that the right spelling of the family name is with “z” and not with “s”. As we found a certain generalized confusion about that, we think we have cleared out the issue.

Héctor Bates and Luis Bates (in La Historia del Tango) mention bibliographic references of the composer we are talking about. We include a summary of them:

«He was a little above one year old when he settled in Buenos Aires with his family. He studied up to third degree in grammar school, because he admitted he used to play truant. He carried out varied trades.

«His devotion for music was born after he heard Pacho who, by that time (1905), played at a café placed on Thames and Guayanas (now Niceto Vega).

«In his spare time he devoted himself to learn music: guitar, mandolin and violin. Finally he chose piano; his first lessons were taught by a hatter named Leopoldo, later he continued with Carlos Hernani Macchi. Continue reading at www.todotango.com...

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