From: Tom Stermitz <[email protected]> .......On the surface, this is a sensible defense of the 8CB w/DBS, but in the end I don't agree that the traditional 8CB teaches phrasing.,,,,,,
Not so much a defence Tom. Just attempting to understand, 'cause, like you, I abhor 8CB as a teaching method. Left it behind 10+ years ago. .......(1) The 8CB matches 8 counts of the music only if your tango stays on the slow, walking beat. The other two rhythms of tango (after walking on the beat) are the QQS and dramatic pauses. ................. The book reference I made has 17 chapters that include rhythm, double, half, melody /rhythm,syncopation, off beat etc., etc., Just couldn't fit them into a post about 8CB. You are right. Dancing tango to the music is more complex than the simple-time step. ...........(2) The 8CB method of teaching typically jumps from the basic to ochos, and turns. These directly take you out of the phrasing, and the more you practice these figures, the further you get from the phrase.......... Is this the fault of 8CB, or "teachers" who do not understand, or even know about, the structure of the music and its relationship with the dance? ..............So, the traditional 8CB w/DBS is all wrong for matching the musical phrasing of tango because the acceleration and suspension steps are not with the acceleration and suspension of the music. ............ I get that. .......... but you have to use simpler structures where students can feel the phrasing............. My point, precisely. snap! ........Can anyone explain why Step #1 of the traditional 8CB w/DBS is backwards?............ It's a mystery to me too. Someone once told me Copes came up with the 8CB, but I don't know. John _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
