Teachers: Clint and Shelley of Tango Evolution and Tangology101.com
Song: Bahia Blanca by Carlos Di Sarli
The alterations happen at :18 and :22. In the first one I am leading her forward and then she pivots 90 degress (change of front) and she steps backward (change of direction). So, in one step we change fronts and change directions, thus an alteration. In the second one, we change from her moving backwards to her moving forward in one step.
Also, at 2:42 we do a Cerpentina (or reverse sacada). We did a class on this recently, but did not make a video of that class, so we worked it in here because some students had been asking for a demo of it. It can be a dangerous step, so you really should get some instruction in it before attempting it.
Of course, we work in many embellishments to our dance, but some worth noting in this demo are:
1. At the very beginning, we do little tucks before taking the first side step
2. At :34, Shelley does a castigada
3. At 1:27, I do an embellishment to her ocho cortado with a a small parada.
4. At 1:36, Shelley does another castigada and then little taps before exiting the parada.
Of course, with all of these embellishments, I am waiting and giving her the time to perform them.
We also did a second demo for this class which shows similar steps done to the more rhythmic "Pénsalo Bién" by Juan D'Arienzo.
We pause during D'Arienzo, but they are brief pauses, not the long stretched out pauses of Di Sarli. So, most of the embellishments are "worked in" to the pace of the music. What I mean by that is that in Di Sarli, I pause and give Shelley plenty of time to embellish, but in D'Arienzo, I do not pause as much so Shelley and I work the embellishments into the rhythm. This is more difficult and requies the embellishments to be sharp and precise. Here are some to look for:
1. At :09, Shelley does a quick tap as she pivots
2. At :13, I do a quick point and tap of my toe
3. At :15, I work in a quick tap while walking
4. At :20, Shelley works in a quick tap
5: At 1:05, we both embellish our forward crosses by tapping our feet together
6: At 1:36, Shelley does multiple taps as she pivots around
7: At 2:04, Shelley embellishes the Ocho Cortado by flexing her foot up.