THE ART OF TANGO DJ by Carlos Giana The art of play music in milongas is a task in which different elements are necessary for a good development of the same: knowledge, responsibility, sensitivity and the least common of the senses, the Common Sense Regardless of the degree of professionalism of the manager of this feature at a dancing meeting, there are some basic concepts and procedures that should be taken into account for a good musical structure of the milonga, here some of the most important: • Tandas (Batches): The music selected to dance at a milonga should be structured in groups called Tandas (batches). An almost universally accepted standard in milonguero’s fields are concerning the duration of a round: 4 pieces in Tango’s Tandas. 3 in Waltzes and Milongas (some DJs prefer, depending on the case, extend to 4 issues also Waltzes and Milongas). • Structure: The standard most used in the most important milongas and with more years old, suggests the following structure: Tango 2 batches, 1 batch of Waltz, Tango 2 batches, 1 batch of Milonga (the typical TTVTTM). This structure can vary depending on the style of DJ, the dancefloor movement, the assistance, etc., may have various structures such as: (TTTVTTTM) or (TMTVTMTV), etc. The musicalizator of the milonga must avoid is a random assembly of batches beacuse this affects consciously and/or unconsciously in the mood of the dancers. • Styles: batches, mainly of Tango, tipicaly should be composed by the same orchestra and the same period (there are orchestras who have recorded over the years and have changed their style and sound). Must seek sonic uniformity throughout the tanda. When the dancer go to dance out a batch expected to hold a style, an abrupt change in this regard is as a betrayal of the dancer. Waltzes and Milongas allow some more flexibility when mixing orchestras and singers but always observing a similarity in sound and style. • Curtains: The curtain is a musical motif of a different genre of tango (Jazz, Rock, Fado, Bossanova, etc) which acts as a separator between round and round, and allows the dancers take a break and prepare for the next batch. The length of the curtains is often 10 or 30 seconds, but can be extended depending on the situation (people take to leave the court, the relay generates many couples still dancing with the new theme, such as salsa, etc.). The genre chosen for the curtain, is a taste of the DJ wich always try to create a good atmosphere, fun for the audience. Ideally, try to keep the same style of music for the curtains to provide musical uniformity to the session. There are cases of very important and prestigious milongas, always using the same song for your curtains, there are even milongas in which the separation between batch and batch is done without music, in silence. The DJ should not forget that the attendees will dance Tango. • Strategy: A good DJ must know the different moods that can generate taking into account also the physical factor of the dancers and comand the session with a global vision. Depending on the duration of the milonga (is not the same a practice of 2 hours than a marathon of 8) musical styles of different orchestras are reconciled to create a sense of IN-CRESCENDO in which the rhythmic factor becomes more important to as the evening goes to a peak (a batch of Biagi or D'Arienzo for example) and then go down slowly revolutions until a Caló - Berón for
example, this style is called "the Wave". You can also create many micro "waves" throughout the night alternating rhythmic orchestras (eg Donato) with orchestras more melodic and restful (Di Sarli 50 or Fresedo - Ray for example). In any case the DJ should ALWAYS watch the dance floor, getting all the information possible of it to act accordingly: if you notice that people are a little put down and tired by a couple of batches to much rhythmic you must put something more soft and harmonious and if the notice otherwise people get bored or dance a bit indifferent can apply a jolt of energy with something more upbeat and spirited. They can also be structured orchestras batches by putting 30 times at first, then 40 and later 50 onwards. • Evolution: A good practice is to make notes of the things we noticed in situ, with the running milonga, which are likely to be improved or changed. It could be the inclusion of a song on a batch or replacement of any recording what in live is not as effective or very bad sound (the Tango DJs know that we work with very old recordings and not all sound so good as they should). • Friendliness: The DJ must work always in contact with the organizers of the milonga and know what they expect and want from it, as well as if there will be cuts to make announcements, shows or exhibitions. Respect the music’s volumes suggested for each room. Being nice to people you approach to make a suggestion, ask a song, congratulate, criticize, etc.. The DJ is an essential part of the image of the milonga. • Mission: The mission of the DJ is to facilitate at the people who goes to the milonga, dance. The tango DJ will surely be in contact with tango music much more than can be (or not) simple dancer, but should always know what is dance or not. Avoid doing experiments, before playing a tango (a gem!) little known or different, you should share it before with friends who like to dance and gather their views. There are classical orchestras who can not miss a good milonga, we must not allow our personal tastes determine only the selected music. The DJ should not try to show off, on the contrary, it is best for people to remember how good the music was while returning to his home, at the end of the milonga.