is typically danced with a slightly leaning posture that typically joins the torsos of the two dancers from the tummy through the solar plexus (in an embrace that Argentines call apilado) to create a merged axis while allowing a little bit of distance between the couple's feet. The embrace is also typically closed with the woman’s right shoulder as close to her partner's left shoulder as her left shoulder is to his right, and the woman's left arm is often draped behind the man's neck. Some practitioners of this style suggest that each dancer lean against their partner. Others say that the lean is more of an illusion in which each partner maintains their own balance, but leans forward just enough to complete the embrace. The couple maintains a constant upper body contact and does not loosen their embrace to accommodate turns or ochos, which can limit the couple to walking steps and simple ochos until both partners develop the skills for the woman to execute her turns by stepping at an angle rather than pivoting. Milonguero-style dancers typically respond to the ric-tic-tic rhythm that is prominent in the music of Juan D'Arienzo and Rodolfo Biagi and also found in the playing of many other tango orchestras. The milonguero style allows for a more elastic approach to the rhythm when dancing to music that has a less insistent ric-tic-tic rhythm, such as that recorded by Di Sarli or Pugliese. The ocho cortado is one the characteristic figures of milonguero-style tango because it integrates the embrace with rhythmic sensibilities of the style.
Also known as "tango de salon," salon-style tango is typically danced with an upright body posture with the two dancers maintaining separate axes. The embrace can be close or open, but it is typically offset (with each dancer's center slightly to the right of their partner's center) and in a V (with the woman's left shoulder closer to the man’s right shoulder than her right shoulder is to his left shoulder). When salon-style is danced in a close embrace, which is common in Buenos Aires, the couple typically loosens their embrace slightly to accomodate the turns and allow the woman to rotate more freely. When salon-style is danced in an open embrace, which is uncommon in Buenos Aires, the distance between the partners allows the woman to execute her turns more freely and pivot without requiring much independent movement between her hips and torso. If the woman rotates her hips through the turns independently of her upper torso, the embrace need not be loosened as much. Salon-style tango is typically danced to the most strongly accented beat of tango music played in 4x4 time, such as DiSarli. Those who dance salon-style tango to Juan D'Arienzo or Rodolfo Biagi typically ignore the strong ric-tic-tic rhythm that characterizes the music. Salon-style tango requires that dancers exercise respect for the line of dance.
1) Basico - Basic 2A) Cambio de Peso en el Lugar - Weight Changes in Place 2B) Paso al Costado - Side Step 2C) Cadencia - Rock Step 3) Caminada - Walking 4) Ochos Para Adelante ? Forward Ochos 5) Ochos Para Atrás? Back Ochos 6) Molinete a la Derecha - Windmill to the Right 7) Molinete a la Izquierda - Windmill to the Left 8) Basico en el Sistema Cruzado - Cross System Basic 9) Caminada Variación - Walking Variation 10) Caminada Con Giro - Walking with Turn 11) Sacada con el Pie Izquierdo - Displacement with the Left Foot 12) Sacada con el Pie Derecho - Displacement with the Right Foot 13) Boleo con Cruzada en Espiral - Boleo with Spiral Cross 14) Parada, Barrida & Pasada con Gancho - Stop, Sweep, and Pass Over with Hook 15) Parada, Sandwich al Reves & Pasada con Media Luna - Stop, Reverse Sandwich, Pass Over with Half Moon
