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 _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
