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Argen&ne Tango DJ and Music Workshop
John Hess Tucson Tango Fes&val March 2014
What Pleases the Ear Reaches our Heart
Webpage
J Hess March, 2014
“Some people see tango as primarily a dance …however most will say tango is the music, and the lyrics, and the dancers' interpreta&on of that music, and the sen&ments it expresses. GePng to know the music is part of learning tango……
James Stewart, Edinburgh Tango Society
J Hess March, 2014
ü Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Ages of Argen&ne Tango ?
1910/20/25 – 1935/36 Guardia Nueva Before 1910/20/25 Guardia Vieja
Golden Age ? 1935/36 – 1949/55
Pre Golden Age ? Guardia Vieja
J Hess March, 2014
or
or
ü Golden Age 1935 – 1955
J Hess March, 2014
My DJ Music Ages of Argen&ne Tango
• Most common defini&on
• 1935 -‐ D’Arienzo/Biagi reignite dancers
• 1955 – Peron ousted, the beginning of the decline of Tango
My DJ Music Ages of Argen&ne Tango
ü Pre-‐Recording 1870 – 1904
ü Acous&c 1905 – 1925
-‐ Recordings using mechanical techniques -‐ Poor quality recordings
ü Pre Golden Age 1926 – 1934
-‐ Early electrical recordings in Argen&na -‐ “Milongable” recordings
ü Golden Age 1935 – 1955
-‐ Recording technology con&nues to improve J Hess March, 2014
Pre-‐Recording 1870 – 1904
ü Early tango music (2 x 4)* / dance styles (tango milonga)
ü Simple, improvised
ü 1890s – wrijen tangos
ü Traveling duos, trios, quartets
ü Portable – harp, violin, flute, guitar, accordion,
clarinet, bandoneon
J Hess March, 2014 * Tango Stories: Musical Secrets, Lavocah Pg. 8
Acous&c 1905 – 1925 ü Acous&c (mechanical) recording / playback
-‐ horn & diaphram / limited sound quality -‐ 200 to 2400 Hz (violins / piano up to 4000 Hz)
ü 1910 – flat disc (“shellacs”) -‐ 78 RPM -‐ 10" & 12" -‐ 3 mins / side -‐ disc gramaphone
J Hess March, 2014
Acous&c 1905 – 1925
J Hess March, 2014
Acous&c 1905 – 1925 ü Dance halls / carnivals / canyengue dancing
ü 1916 -‐ Sextet (piano, double bass, 2 violins, 2 bandoneons)
ü Mature tango rhythm – 4 x 8
ü 1924 -‐ Orquesta Típica (add more violins / bandoneons)
ü Tango in Europe and New York ü Poor recordings -‐ not played
at tradi&onal milongas
J Hess March, 2014
Example: Maglio “Cuasi Nada” 1912 Quartet
Example: Firpo “La Cumparsita” 1916 Sextet (4x8)
Example: Krebs “Mercato in 4”
ü The “Canaro” Era – Example: Canaro “Ventanita Florida” 1932 Example: Firpo “Vieja Iglesia” 1933 Example: Fresedo “Chingolito” 1928 Example: OTV “Adios Argentina” 1930
ü Two schools of music -‐ Tradi&onal led by Firpo / Canaro (dancers) -‐ Evolu&onary led by De Caro (listeners) 4 x 4
Example: De Caro “Flores Negras” 1927
ü Dancers interest decreasing -‐ Music slow / sad / similar, listening music -‐ World financial crisis -‐ Tango out of fashion in Europe
J Hess March, 2014
Pre Golden Age 1926 – 1934
ü 1932/33 – first milonga “Milonga Sen&mental”
Example: Mercedes Simone 1932 Example: Francisco Canaro 1933
ü Some nice selec&ons for Tradi&onal
Milongas -‐ use sparingly
J Hess March, 2014
Pre Golden Age 1926 – 1934
Example: Carabelli “Cuatro Palabras” 1933
Example: Canaro “Adios Juventud” 1933 vals
Example: Fresedo “Vida Mia” 1933
Golden Age 1935 – 1955
J Hess March, 2014
ü 1935 – 1941 -‐ The “D’Arienzo” Era (BA rock & roll era)
-‐ Dancers excited – orchestras follow the money
Example: D’Arienzo “El Africano”1937 Example: Biagi “Pura Clase” 1939 Example: Di Sarli “La Trilla” 1940
ü 1942 -‐ 1947 -‐ The “Roman&c” Era -‐ Less rigidly rhythmic, more harmonic and melodic -‐ Lunfardo unofficially banned in 1943
Example: Di Sarli “Verdemar”1943 Example: Calo “Jamas Retornaras” 1942 Example: Pugliese “Farol” 1943
Golden Age -‐ Rhythmic & Lyrical ü Most music is rhythmic – tango music also
ü Strong Rhythm -‐ Marching music -‐ easy to tap, hard to hum -‐ D'Arienzo/Biagi (1936) – strong staccato rhythms -‐ For dancers it is clear when to make the next step Example: D’Arienzo “El Flete” 1937 Example: D’Arienzo “El Choclo” 1937
ü Lyrical Music -‐ Harder to tap, easy to hum -‐ Musical theme more relaxed, freely interpreted -‐ Harder to dance to, more challenges to be crea&ve -‐ Carlos Gavito – “Tango is What Happens Between the Beats” Example: Calo“El Compas Del Corazon” 1942
J Hess March, 2014
Golden Age 1935 – 1955
J Hess March, 2014
ü 1948 -‐ The “Avant Garde”, Piazzolla & Salgan
ü 1950 – 1955 -‐ Echo -‐ Drama&c / big sound / big singers -‐ Hi-‐Fidelity
Example: Di Sarli “Por Que le Llaman Amor” 1954 Examples: D’Arienzo “El Choclo” 1954 Example: Pugliese “La Yumba” 1952 vs 1946
My DJ Music Ages of Argen&ne Tango ü Post Golden Age 1956 – 1982
-‐ Tango declines due to dictatorship and rock & roll
-‐ Ends with Falklands War
-‐ Stereo / reel to reel & casseje tape
-‐ 60’s RCA Victor burned master discs
-‐ Tango for listening – Piazzolla
-‐ 70s -‐ only a few hundred social dancers in BA
-‐ Some beau&ful late 50s for tradi&onal milongas
J Hess March, 2014
Example: Di Sarli “Indio Manso” 1958
Evolu&on of Tango Music
Pre GA Rhythmic, Slow, Sad (Canaro) Example: “TBC” 1928
1935-‐41 Rhythmic, Fast, Happy (D’Arienzo) Example: “El Retirao” 1939
1942-‐49 Lyrical, Roman&c Example: “Adios Te Vas” 1943
1950’s Echo, Drama&c, Big Orchestras Example: “El Jaguel” 1956
J Hess March, 2014
Violins go from 2 to 8, bandoneons go from 2 to 5
My DJ Music Ages of Argen&ne Tango
ü Modern 1983 – Present
-‐ Tango Argen&no sparks new interest
-‐ Cons&tu&onal rule returns
-‐ CD / MP3
-‐ 30 Years of Revival
-‐ 2007 in BA – 300 milongas a week, 120 venues, 35,000 par&cipants
-‐ Seldom played at tradi&onal milongas
J Hess March, 2014
Example: Otros Aires “Milonga Sentimental” 2004
My DJ Music Ages of Argen&ne Tango Pre-‐Recording 1870 – 1904
Acous&c 1905 – 1925
Pre Golden Age 1926 – 1934
Golden Age 1935 – 1955
Post Golden Age 1956 – 1982
Modern 1983 – Present
Tradi&onal Music 1930 – 1959 (98%)
DJ Sweet Spot 1935 – 1945 (80+%) Golden Decade
J Hess March, 2014
-‐ 2 Dis&nct Styles – Listening, Dancing -‐ 100,000 Tango Recordings* -‐ 1930 – 1959 Tradi&onal -‐ Up to 2,000 suitable for Social Dancing -‐ Not all are 5 star -‐ Not all good for every dance group/style -‐ So we have a treasure hunt
J Hess March, 2014 * hjp://www.bendtango.com/cell2-‐1.html
How Much Tradi&onal Music is There?
* hjp://simbatango.com/2009/10/16/the-‐golden-‐age-‐visualized/
Number of Recordings by Year
ü Next Page – Graph
ü 12K data points from tango.info
ü Note ra&o of Tangos to Vals or Milongas Golden Age – 6X
hjp://simbatango.com/2009/10/16/the-‐golden-‐age-‐visualized/
J Hess March, 2014
-‐ Music Ages ü The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Tradi&onal Milonga Orchestras Big 4 / Sweet 16
Juan D’Arienzo Carlos Di Sarli Anibal Troilo Osvaldo Pugliese Francisco Canaro* Osvaldo Fresedo* Edgardo Donato* Francisco Lomuto*
Rodolfo Biagi Ricardo Tanturi Angel D’agos&no Miguel Calo Enrique Rodriguez Alfredo de Angelis Pedro Laurenz Lucio Demare
* Early Pioneers J Hess March, 2014
Tradi&onal Milonga Orchestras Occasional 14
Julio De Caro* Roberto Firpo* Adolfo Carabelli* Orquesta Tipica Victor* Alfredo Gobbi Ricardo Malerba Horacio Salgan
Hector Varela Jose Garcia Alberto Cas&llo Leopoldo Federico Manuel Buzon Jose Basso Enrique Francini – Armando Pon&er
J Hess March, 2014 * Early Pioneers
Tradi&onal Milonga Orchestras Rare Sigh&ngs
Juan Maglio* Pedro Maffia* Luis Petrucelli* Manuel Pizarro Juan Carlos Cobian Ricardo Pedevilla
Astor Piazzolla Juan Sanchez Gorio Enrique Mora Armando Lacava Alfredo Ajadia Pepe Aguirre
J Hess March, 2014
etc., etc., etc.
* Early Pioneers
Two Schools of Music (star&ng 1916) ü Tradi&onal led by Firpo / Canaro
-‐ Concentrated on rhythm and dancability -‐ Simple arrangements -‐ 4 x 8 -‐ Includes D’Arienzo, Lomuto, Donato,Tanturi, Biagi,
Rodriguez, de Angelis
ü Evolu&onary led by De Caro -‐ Explored melody and harmony -‐ Sophis&cated arrangements -‐ 4 x 4 -‐ Includes Fresedo, Troilo, Laurenz, Di Sarli,
Pugliese, Caló, D’Agos&no, DeMare, Salgan, Gobbi, Piazzola, Francini-‐Pon&er J Hess March, 2014
Orchestra – Juan Maglio “Pacho” ü 1910 – first rock star (self-‐taught)
ü 900 recordings ü Last recordings 1931
Example “Orillas Del Plata”1928 V
ü Rare sigh&ng
J Hess March, 2014
Orchestra – Roberto Firpo (1884-‐1969) ü 1914 – replaced Maglio as biggest tango star
ü Wrote many tangos
ü Introduced the piano & bass (rhythmic engine)
ü Tradi&onal tango school -‐ rhythm / danceability
ü Sextet -‐ Orchestra -‐ Quartet
ü 2800 recordings (1600 acous&c) #2 1914 – 1956
ü Occasionally played Example: “Barreras de Amor” 1936 V Example: “Pena Mulata” 1941 M
J Hess March, 2014
Orchestra – Francisco Canaro (1888 – 1964) ü “Pirincho” crested bird
ü 1924 – added “Refrain Singer”
Example: “Poema” 1935
ü Made lots of money
ü 3800 recordings* #1 (940 acous&c) 1915 – 1964
* includes foxtrot, pasodoble, shimmy, polka, ...
ü Best – tangos, vals, milongas with singers 1935 – 1942
Example: “El Adios” 1938 Maida T
Example: “Cuando Estaba Enamorado” 1940 Amor V
Example: “Milonga Criolla” Maida 1938 M J Hess March, 2014
Orchestra – Julio De Caro (1899 – 1980)
J Hess March, 2014
ü Classically trained violinist – Stroh violin to amplify sound
ü 420 tango recordings -‐ 20s thru early 50s –mostly
instrumentals
ü Pedro Laurenz Bandoneon
ü Heavily influenced Pugliese
ü Occasionally played
Example: “Esta Noche” 1939 T Example: “Sorpresa de Novia” 1943 V Example: “Saca Chispas” 1938 M
Orchestra – Osvaldo Fresedo (1897 – 1984)
J Hess March, 2014
ü Dreamy dance music
ü Other instruments – vibes, harp, percussion, etc.
ü Longest recording career – 1922 -‐ 1980
ü 800 recordings – Best are 30s thru early 40s – Singers Ray, Ruiz, Serpa
Example: “Yo no se llorar” 1933 Ray
Example: “Y no puede ser” 1939 Ruiz
Example: “Te llama mi violin” 1942 Serpa
ü Good mood changer for milongas
Orchestra – Juan D’Arienzo (1900 – 1976) ü Turned tango listeners into tango dancers
ü El Rey del Compas – rhythm and danceability
ü Poor violin player – showman
ü 1000 recordings 1928 – 1975
ü Most popular of Golden Age -‐ La Cumparsita 8X 14M copies
ü A must at milongas
ü Listen for wailing violins
J Hess March, 2014
Example: “El Choclo” 1937 1:15 Biagi T Example: “Felicia” 1939 :50 after Biagi T Example: “Passion” 1937 1:25 V
Orchestra – Carlos Di Sarli (1903 – 1960) ü El Señor del Tango -‐ also cruelly known as El
Tuerto (the One-‐Eyed)
ü Talented piano player –Fresedo strong influence
ü Clear walking rhythm (panther) – piano, bass, bandos – melody violins
ü Forged his own music-‐ sophis&cated and complex
simplicity
ü 600 recordings 1929 – 1958
ü A must at milongas
J Hess March, 2014
Orchestra – Anibal Troilo (1914 – 1975) ü “Pichuco” or “El Gordo” 485 recordings (1938-‐1971)
ü Orchestra singer – Fioren&no
ü Best -‐ Orlando Goni on Piano 1938, 41 (Fior), Vals <10%
ü A|er 1941 music more melodic /difficult to dance
ü Astor Piazzolla arrangements
ü Sophis&cated, many layered, symphony/concert music
ü A must at milongas
J Hess March, 2014
Example: “Tinta Roja” 1941 Fiorentino Example: “Quejas de Bandoneon” 1944
Orchestra – Osvaldo Pugliese (1905 – 1995)
ü Development of concert-‐style music
ü Brilliant pianist / composer
ü First recordings 1943 ü Communist his whole life – 50’s spent &me in jail – red
carna&on on keyboard “Clavel Rojo”
ü A must at milongas
J Hess March, 2014
Example: “Recuerdo” 1944 Example: “Emancipacion” 1955
Orchestra Signature Endings
ü Rodriguez
ü Calo
ü Tanturi
Example: “Una Noche de Garufa” 1941
Example: “Lejo de Buenos Aires” 1942
Example: “El Morochito” 1941
ü ON MY WEBSITE
-‐ Music Ages -‐ The Orchestras ü What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
J Hess March, 2014
What DJs Play in BA 14 Milongas Surveyed in 2008 Ron Weigel, Tango Society of Central Illinois
J Hess March, 2014
What DJs Play in BA
J Hess March, 2014
What DJs Play in BA
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
ü Discographies ü Where to Buy Music ü Tandas / Cor&nas ü High Quality Sound ü Making it Happen ü Neo-‐Tango Music
Part 1 Part 2
Agenda
What Pleases the Ear Reaches our Heart
J Hess March, 2014
Argen&ne Tango DJ and Music Workshop
John Hess Tucson Tango Fes&val March 2014
What Pleases the Ear Reaches our Heart
Webpage
J Hess March, 2014
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
ü Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Discographies
ü Most orchestras -‐ sound changed over &me ü Some songs -‐ recorded more than once / different &mes
ü Each vocalist had their own style ü For each song DJ should know:
-‐ Song &tle (some have mul&ple &tles) -‐ Orchestra / singer -‐ Year recorded
ü ON MY WEBSITE J Hess March, 2014
Discographies
J Hess March, 2014
J Hess March, 2014
Discographies
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies ü Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Buying Music ü Digital -‐ Amazon / I-‐Tunes / Google Play
ü Digital -‐ Remastered hjp://totango.net hjp://www.tangotunes.com
ü CDs hjp://www.milonga.co.uk/index.shtml hjp://tango-‐dj.at/shop/?product_cat=ar&sts
ü Tanda CDs hjp://www.planet-‐tango.com/music.htm hjp://totango.net
ü ON MY WEBSITE
J Hess March, 2014
ü Milongable Music
-‐ How much noise (hiss, crackle, pop, etc) ?
-‐ Caused by old/improper recording or storage
-‐ Many &mes cannot be removed without compromising music quality
-‐ So much beau&ful dance music that is not Milongable
-‐ Dancer sensi&vity
Buying Music
J Hess March, 2014
Example: “Viernes de Pasion” Lomuto 1945 Example: “La Bruja” D’Arienzo 1938
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music ü Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Tandas
ü Probably developed in 1980s/1990s
ü A group of 3 or 4 songs followed by a break (cor&na) to clear the floor
ü Tandas are same genre – Tango, Vals, Milonga ü ON MY WEBSITE
J Hess March, 2014
ü Most common tradi&onal sets
T3-‐T3-‐V3-‐T3-‐T3-‐M3 …. Approx. 50-‐55 mins
T4-‐T4-‐V3-‐T4-‐T4-‐M3 …. Approx. 60-‐65 mins
T4-‐T4-‐V4-‐T4-‐T4-‐M3 …. Approx. 62-‐67 mins
Tandas
ü For tradi&onal tandas
-‐ Most common order T-‐T-‐V-‐T-‐T-‐M
-‐ More tangos
-‐ Dancers know what to expect
J Hess March, 2014
ü Number of songs depends on:
-‐ Preference of dancers
-‐ Mix of leads to follows
-‐ Organizer (final say)
-‐ Event (Fes&val, small milonga, etc)
-‐ Length of songs (Alterna&ve, etc)
-‐ Established norms?
Tandas
J Hess March, 2014
ü 1st Song – Make People Get Out of Their Chairs ü Middle Songs – Direc&onal ü Last Song – Climax (Don’t Disappoint)
Tandas
J Hess March, 2014
Tandas
J Hess March, 2014
ü Years +-‐2
ü Feel / Mood / Tempo -‐ Similar music (not too similar) -‐ Consistent vs ebb & flow -‐ Build / release tension
ü Proper/consistent volume -‐ incl Cor&nas
ü Consistent &ming C-‐2S-‐T-‐2S-‐T-‐2S-‐T-‐2S-‐C ü Instrumentals to vocal ra&o / mixing ü Rhythmic / lyrical / complexity ü Energy level
Tandas -‐ Intui&on vs Formula
ü Feel it
ü Classify it (Stephen Brown) -‐ Hard Rhythm -‐ So| Rhythm -‐ Smooth -‐ Lyrical -‐ Drama&c
ü Computerize it -‐ Vancouver Ca (Eric Lanoix) VODCA
J Hess March, 2014
Tandas – Stringing Them Together
J Hess March, 2014
Closing an Evening of Dancing
ü La Cumparsita
-‐ Most famous Tango song
-‐ Last song of the night
-‐ Tradi&on started 1990s in BA ?
-‐ Hundreds of versions
J Hess March, 2014
Example: “La Cumparsita” D’Arienzo 1937
ü Probably developed with Tandas in 1980s/1990s
ü 30 secs -‐ 1 min depending on crowd size (so|ware – on MY WEBSITE)
ü Silence -‐–> Non-‐Danceable -‐-‐> Danceable
ü BA Experience
ü ON MY WEBSITE
Cor&nas
J Hess March, 2014
ü My Philosophy
-‐ Opportunity lost
-‐ Key Part of milonga experience (mood set)
-‐ Fun (It’s a party, not a funeral)
-‐ Avoid hard rock / heavy metal / explicit
-‐ Danceable is good
-‐ Theme &ming
-‐ Transi&ons
Cor&nas
J Hess March, 2014
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas ü High Quality Sound -‐ Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Music ü Understanding sound ü Signal processing / digital formats ü Media player Equipment ü DAC (soundcard) ü Cables / connectors -‐ Amplifier / speakers / headphones Listening Environment -‐ Speaker placement / acous&cs
Producing High Quality Sound
The Weakest Link in the Chain Limits Music Quality J Hess March, 2014
Understanding Sound
ü Each primary frequency has upper/lower harmonics ü Harmonics give music fidelity ü High frequencies provide depth and color ü Limit harmonics too much -‐ sound becomes flat and
lifeless ü Sound quality limited -‐ human ear will tell the brain,
"something doesn't sound right." J Hess March, 2014
Sound Changing Over Time
J Hess March, 2014
Using hardware / so|ware -‐ add / remove / change what we hear
Signal Processing
Compression -‐ Remove some of the audio
J Hess March, 2014
Signal Processing / Digital Formats
Tradeoff between file size / download speed / sound quality kbps – amount of info read every second J Hess March, 2014
Music Source / Digital Files
The Future -‐ uncompressed audio with all the warmth, brilliance, and depth of the original master recording
J Hess March, 2014
Signal Processing
Use with Cau&on!
ü Levelers / Automa&c Volume Control -‐ Problem -‐ music from many sources -‐ Work to a limited degree ü Equalizers -‐ Adjust the rela&ve power of the frequency ranges to
enhance aspects of the music -‐ Can help with room and speaker problems -‐ Cannot fully compensate for poor recording (hiss etc.) -‐ Needs knowledge and prac&ce
J Hess March, 2014
Media Players
J Hess March, 2014
DAC (Soundcard)
J Hess March, 2014
Cables / Connectors
J Hess March, 2014
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound ü Making it Happen -‐ Neo-‐Tango Music
Part 1 Part 2
Agenda
Making it Happen
J Hess March, 2014
Making it Happen
Playlist
DJ on the Fly -‐ Songs by Genre/Orchestra/Style/Yr -‐ Tandas by Genre/Orchestra/Style/Yr -‐ 5-‐8 songs by Genre/Orchestra/Style/Yr
DJ Combo
J Hess March, 2014
ü Play only 5 star songs – 1,000+
ü Don’t make the dancers work too hard ! -‐ Volume, dancer’s ability (80%), etc.
ü Play what dancers like – not what you like
ü Know your music
ü Be prepared
ü Dan Boccia Handout ON MY WEBSITE
ü hjp://groups.yahoo.com/group/TangoDJ
Making it Happen
J Hess March, 2014
ü Nothing beats experience / prepara&on ü Big advantage -‐ knowing the dancers ü Are people
-‐ Talking to the DJ -‐ Anxious to dance -‐ Excited, happy
J Hess March, 2014
Making it Happen
ü Energy up
ü The Purest – DJ on computer / no dancing -‐ Head out of the computer / observe -‐ Eye contact / smile / accessible
ü If a DJ is well prepared – dance! -‐ Inputs on the dance floor / feel energy -‐ Feel sound quality / volume
ü Look like you are having fun, you are an entertainer
J Hess March, 2014
Making it Happen
Music Hundreds/Thousands Equipment Hundreds/Thousands
Hours -‐ Listening/ Researching
Hundreds/Thousands
J Hess March, 2014
Making it Happen
J Hess March, 2014
Making it Happen
-‐ Music Ages -‐ The Orchestras -‐ What DJs Play in BA
J Hess March, 2014
-‐ Discographies -‐ Where to Buy Music -‐ Tandas / Cor&nas -‐ High Quality Sound -‐ Making it Happen ü Neo-‐Tango Music
Part 1 Part 2
Agenda
J Hess March, 2014
What Pleases the Ear Reaches our Heart
J Hess March, 2014