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Molinete tip 1 for women: Don't fall into your steps, use the 3 parts of each step extend, push, resolve. Often, women send their free leg and their body at the same moment. Send the free leg from the hip (don't send the hip yet) then push off the supporting leg thus transferring your hips and upper body at the same time to the new supporting leg, and then resolve the step by bringing your feet together. Your weight/balance should be 100% over your new supporting leg before you resolve the step.

Molinete tip 2 for women: Since the man is on one leg for 3 steps of your molinete, he cannot support you or help you with your balance. You exercise excellent molinete technique by not moving away from him or into him thus disrupting his balance. Step "around" him and not away from him by extending your free leg under your elbow on each step.

Sacada tip for the men: Wait until she has transferred her weight 100% to her new supporting leg, the sacada should happen at the moment right before she begins to resolve her step. One helpful hint, is to wait until her hip is out of the way and step behind her hip.

Sacada tip 1 for the women: Don't resolve your steps until your weight is 100% to your new leg. In other words, don't bring your free leg with you (collecting) as you transfer your weight. If your free leg goes with your body, you remove the opportunity for a sacada.

Sacada tip 2 for the women: When the man executes the sacada to your left leg, don't lift it up and let it fly. That will throw you off balance. Let it circle around and then collect, so that you are ready for the next step.

We resolved the step with a back cross and then a calesita.

Calesita tip for the men: Make a perfect circle around her without knocking her off her axis. If you do this then you do not need to lift her.

Calesita tip for the women: Don't go stiff during the calesita. Stiffness compromises balance. Don't collapse, stay tone, but don't go rigid. 

This class explores linked giros to the close side of the embrace (clockwise turns) ending with a volcada.

 This class explores a small volcada after a giros to the close side of the embrace (clockwise turns).

 In this class, we focus on linking counterclockwise turns in the rhythm of vals. But these turns could be used just as well in Tango.

 In this class, we focus on stringing together clockwise turns (giros) in the rhythm of vals (waltz).

Musical Demonstration: