Steven & Joanna Cell contact: 604-671-4363
We offer group classes at the museum, group private and individual private lessons at our home studio.
Dance Shoe Shops in Lower Mainland British Columbia:
Excellent Tango Information Sites:
Vancouver Local Tango Dance Teachers:
Argentine Tango Across Canada:
DJ Music Arrangement:
First and foremost, ask yourself the question,”Will I be excited to dance this song or this tanda?”, not just listening but dancing.
TANDA PROGRAMMING - Maximum Variation
If "O" stands for orquesta and "1, 2, 3 ..." stands for different orquestas then:
First Tanda Rotation
Tango tanda O1 (vocal), Tango tanda O2 (music), Vals tanda O3 (vocal), Tango tanda O4 (music), Milonga tanda O5 (Vocal)
Second Tanda Rotation
Tango tanda O6 (music), Tango tanda O7 (vocal), Vals tanda O8 (music), Tango tanda O9 (vocal), Milonga tanda O10 (music)
Since Vals and Milonga are relatively in faster rhythm, the first tango should be matching in similar energy as the vals and milonga in the same rotation such as D'Arienzo, Biagi, Tanturi and Donato (130 to 140 BPM matching the vals and the milonga in the same rotation). The second and the third tango perhaps can be either slower romantic or dramatic in nature. The key is to create maximum variation!
If the milonga has sufficient number of dancers, 50 to 80, tango tanda can be four songs but vals/milonga should always be just three songs. If the milonga has fewer than 50 dancers, tango tanda can be three songs for more frequent dancer rotation.
Try to treat cortina as the introduction to what is coming next rather than thinking of it as a curtain to end a tanda. Also, use the cortina to enhance the ambient energy of the dance floor and use the cortina to indicate time. For example: 1st rotation uses ChaCha, 2nd rotation uses Salsa, 3rd rotation uses old french music and 4th rotation uses rhythm and blue.
The first song of any tanda has to be songs of such caliber that you cannot sit still and want to jump on to the floor immediately. The second song must at least be able to carry the intensity of the first song. The third song is for breathing room. The fourth song should have the ability to make people to want to linger on the dance floor for the next tanda. The songs of a tanda should to be similar in beats per minute within the expectation of dancing a tanda.