the start of the dance cycle: Core
Listen to the whole track:
What is immediately
obvious in the pattern is a pair of ringing sounds called the double
open tones. (To hear the open tone on its own, play the sample: conga_open.wav,
The two open
tones of the tumbao moderno increase in prominence as tempo increases
(listen to the other tumbao_without_clave tracks, see Index
of Tracks). Moreover, the more you relax and listen to the pattern,
the more your ear tunes in to the double open tones as a reference point
of the rhythm cycle.
danced with three steps and a pause, where the pause effects a phase
change. The three steps occur in the time between two sets of double
open tones, and the pause occurs when the double open tones sound.
In terms of steps:
- you are inactive
as the double open tones sound to cue the start of the new dance cycle;
- you become
active just after they sound, coinciding with the start of
the dance cycle;
- your activity
continues, filling the empty space between two sets of
double open tones;
- your activity
ends or pauses just before the tones sound.
[Using the tumbao_without_clave tracks.]
Solo, take three pedalling steps on the spot in the time between
the double open tones. Use the pause to listen clearly for the open
tones. Your aim is to fill the space in between the sets
of double open tones completely. If you snatch at the steps,
you'll end up with longer pauses, and more staccato timing.
Solo, substitute the three static steps with three travelling
ones. The walks can be taken in any direction. All learning points are
identical to Exercise 1.1. During the double open tones, you have two
options: you can bring your body to a complete stop, or you can keep
your torso travelling. The latter is more challenging because your body
and non-supporting leg continue to travel while the tones sound,
and the travel has to be timed so that your footfall occurs immediately
after the second open tone.
Solo, all seven basics from the Salsa:
Level One tutorials. We recommend doing them in the order that they
Solo, practice the contents of Exercises 1.1 - 1.3 all jumbled up. Don't
forget to include rotations and circular movement.
All the previous practices, partnered. (!)
there are two ways of approaching this tutorial. You can think of it
- moving in
a way that lets the double open tones shine through, or
- fitting your
steps in the space between two sets of these double open tones.
The first is
about control: the superimposition of your movement over the
music. This is the dictative model. The second is about immersion:
placing your movement inside the framework provided by music. This is
the co-operative model. Both
philosophies are valid, although the relative ratios in which they are
applied vary between live and recorded music settings.