RE: music interpretation inspired by songs w/ many versions
- Thread starter hyh
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Am more used to lecturing and running events than attending them.
Add to this , I have a ballroom contingent I have to deal with.
Also , consider this, the majority of the " teachers ? " at congresses , also were not even around when I began. That is not to say that I might not hear a new " twist " on an established idea, but pretty much all has been said and covered over the past 60 yrs since Mambo emerged .
If anything, its the music that has changed, but little else ( if you discount the acrobatics !! )
I do not see enough attention paid to detail and musical expression--- seems most everyone, wants more steps , and that where I part company .
Add to this , I have a ballroom contingent I have to deal with.
Also , consider this, the majority of the " teachers ? " at congresses , also were not even around when I began. That is not to say that I might not hear a new " twist " on an established idea, but pretty much all has been said and covered over the past 60 yrs since Mambo emerged .
If anything, its the music that has changed, but little else ( if you discount the acrobatics !! )
I do not see enough attention paid to detail and musical expression--- seems most everyone, wants more steps , and that where I part company .
I asked because I thought I might have seen or even photographed you there. I guess not.
Musical expression would require that the dancer knows the music quite well. Not sure a teacher can do much except to recommend people to listen to more music and maybe play large variety of music for practice and socials. And then there's the issue of how to interpret based upon your own skill, your partner's skill, space available, part of the music you're focusing on, etc. I would be interested to see how different teachers would tackle the topic - frankly I haven't seen many concrete examples except "hitting breaks" or "doing shines in such and such type of passages might be good", etc.
What's your take on body isolations? Something fairly new to Salsa scene or something that was in existence in 50s Mambo scene but forgotten for a long time?
Musical expression would require that the dancer knows the music quite well. Not sure a teacher can do much except to recommend people to listen to more music and maybe play large variety of music for practice and socials. And then there's the issue of how to interpret based upon your own skill, your partner's skill, space available, part of the music you're focusing on, etc. I would be interested to see how different teachers would tackle the topic - frankly I haven't seen many concrete examples except "hitting breaks" or "doing shines in such and such type of passages might be good", etc.
What's your take on body isolations? Something fairly new to Salsa scene or something that was in existence in 50s Mambo scene but forgotten for a long time?
Isolations were always there to some degree, but usually more of a natural expression applied to suit the moment.
As far as musicality-- it can be ( I do ) taught. My introduction to the nuances are introduced in my class work, in small doses, at about the 7th or 8th week .I believe most trained teachers , particularly if they have been involved with competition work, find it a necessity . Without it-- the " canvas " seems very bland .
Teaching where,when and and what certain musical passages denote , many of which , are fairly common to the genre . The printed word, does not serve as a very good instrument for conveying the image .
The same method is used identically, in the B/ Room genre . Yes it is very complex, and does take many yrs to acquire , and can be seen in many performances .
As far as musicality-- it can be ( I do ) taught. My introduction to the nuances are introduced in my class work, in small doses, at about the 7th or 8th week .I believe most trained teachers , particularly if they have been involved with competition work, find it a necessity . Without it-- the " canvas " seems very bland .
Teaching where,when and and what certain musical passages denote , many of which , are fairly common to the genre . The printed word, does not serve as a very good instrument for conveying the image .
The same method is used identically, in the B/ Room genre . Yes it is very complex, and does take many yrs to acquire , and can be seen in many performances .
Terence2 said:
Are you implying that isolations done by current generation (e.g. Frankie Martinez) often do not suit the music?
Certainly one can do isolations in the middle of dance with no regard to the music just because he or she wants to show it off - I wouldn't dispute that...
Terence2 said:
Of course, it's much easier to play a musical passage and suggest trying such and such type of move either in partnership or individually. Although I would hope that it doesn't become a rigid rule...
No-- not at all. How one wishes to interpret a " piece " is exactly what I stress. But-- you have to supply the tools to work with .
The problem with many teachers in the world of salsa, they tend to teach by the " do what I do ", format.
As i haved stated in the past, on many occasions, the majority have little or no formal training in the "Art " of teaching . Individuality, never seems to be stressed .
There is another side to that premise. Many students do not stay the course , and do not take the time to develop those skills-- Today , is the day of instant dancing !! ( I know, I teach them every week )
The problem with many teachers in the world of salsa, they tend to teach by the " do what I do ", format.
As i haved stated in the past, on many occasions, the majority have little or no formal training in the "Art " of teaching . Individuality, never seems to be stressed .
There is another side to that premise. Many students do not stay the course , and do not take the time to develop those skills-- Today , is the day of instant dancing !! ( I know, I teach them every week )
I saw "Ballroom" in your postscript thus I worried about rigidity - not that I know much about Ballroom dancing - just one term worth of beginner class.
Days of instant gratification - I cannot agree more. The other day I overheard someone saying that one can become "advanced" in Salsa in matter of few months with concerted effort (he suggested 3-4 lessons a week). Actually the guy is pretty good - better than 99% of newcomers, but it still made me cringe. Also he was probably being more realistic than most people comparatively speaking...
Days of instant gratification - I cannot agree more. The other day I overheard someone saying that one can become "advanced" in Salsa in matter of few months with concerted effort (he suggested 3-4 lessons a week). Actually the guy is pretty good - better than 99% of newcomers, but it still made me cringe. Also he was probably being more realistic than most people comparatively speaking...
In dance , one has to become a Chameleon --- ever changing moods, colors and stripes .
That is the prime reason , the ballroom people teachers, as a whole , NEVER adapt to the truly social aspect, of virtually any of the Latin rhythms .
I should point out, its not entirely their fault,-- they are goverened by a
competition and medal test code( to a large extent ) so the interpretation , and I have to comply when teaching same , tends to suffer .
It took me a few yrs to break that " mould ". Was one of the best decisions in my career, that I have ever made .
Until I moved to the states, only then, did I realise what language the music was speaking .
Returning back to the u.k. recently, I can still see the effects of the b/room, on many of the salsero/as .
That is the prime reason , the ballroom people teachers, as a whole , NEVER adapt to the truly social aspect, of virtually any of the Latin rhythms .
I should point out, its not entirely their fault,-- they are goverened by a
competition and medal test code( to a large extent ) so the interpretation , and I have to comply when teaching same , tends to suffer .
It took me a few yrs to break that " mould ". Was one of the best decisions in my career, that I have ever made .
Until I moved to the states, only then, did I realise what language the music was speaking .
Returning back to the u.k. recently, I can still see the effects of the b/room, on many of the salsero/as .
Terence2 said:
Note the new topic.
I'm starting to try and hit more stuff musicality wise. Means I have to give up thinking about patterns and moves.
Funnily enough, after my break of 9 days I found my feet were tapping and doing all sorts in time to the music last night (even if my moves were almost all my current "stock").
Funnily enough, after my break of 9 days I found my feet were tapping and doing all sorts in time to the music last night (even if my moves were almost all my current "stock").