This is the incremental syllabus we follow in our classes.
It is based on years of study and experience teaching students of different levels.
It is currently a work in progress, developed through our interactions with students, and remains incomplete and prone to change.
How the program is applied in our classes will be covered by a separate document.
Students are sorted into numbered levels so that they can work on a program suited to their experience and progress
Beginners start at level 0. Students with prior experience at other schools will be assessed based on the syllabus and placed at the appropriate level to avoid missing critical concepts.
Students progress through each level individually, regardless of their peers. They can take as much time as needed and are not forced to move forward if they do not feel ready.
How quickly each student progresses obviously depends on several factors, such as:
- Individual aptitude;
- Prior tango experience with other teachers;
- Prior experience in other dances and sports that require body coordination;
- How often they attend classes;
- Individual practice;
- How often they dance socially.
The syllabus of each level is kept small to give students a constant sense of progression and avoid feelings of stagnation
Each student, regardless of role, must demonstrate an acceptable level of understanding of the listed concepts before moving to the following level.
The first assessment is done by the students themselves. By looking at the program, a student can identify which concepts they are missing and ask about them during class. They can also practice each concept until they feel confident enough.
The second assessment is done informally with a teacher during classes or practice. We do not require students to pass formal exams.
Students only need to demonstrate an adequate level of understanding. What “adequate” means depends on the student’s aptitude and goals.
We promise not to keep students stuck at the same level indefinitely, provided they attend classes regularly. We will also not force students to progress if they don’t feel ready.
Moving to the next level will be discussed with each individual to keep a pace that fits their preferences and development.
It is not mandatory to move past any specific level or move at the same speed as other students. Each individual can choose how far to take their personal tango journey. Many dancers are content with a few sequences they can use socially and do not feel the need to progress further.
The sequences in each level are selected for didactical purposes and to give students a practical vocabulary they can use straight away
Traditionally, tango is taught through sequences, and this syllabus does not diverge from that approach. Tango sequences give dancers a common vocabulary that helps them enter the world of social dancing more quickly.
However, we also differ from the traditional approach in specific ways.
For us, sequences are not fixed choreographies with idiosyncratic conventions. That approach works only when both dancers in a couple know the same set of conventions, making it hard for people from different schools to dance together.
Instead, sequences are tools that help students understand general principles applicable to any step, an approach taught to us by our teachers, Ivan and Sara.
Therefore, the objective of this syllabus is not to cover every possible combination or to have as many levels as possible to keep students busy. Rather, the sequences in this syllabus have been selected following two objectives.
The first objective is didactic, to ensure students absorb fundamental concepts that will be useful throughout their dance evolution.
Students are encouraged to apply these concepts to learn steps, sequences, and variations not covered by this syllabus. They are also encouraged to ask how each concept they learn applies to every sequence, to deepen their understanding.
The second objective is to cover the most useful vocabulary used by most dancers in milongas and tango competitions, giving students something practical they can use straight away in their social dancing.
How to read this syllabus
Sequences in each level are sorted by increasing difficulty. Most names are in Spanish, with English translations, to align with the traditional terminology used by tango teachers worldwide.
English terms with double quotes, e.g., “eight”, are only provided for context. These tango steps are usually named in Spanish even when speaking English, e.g., ocho.
When possible, links to YouTube videos are provided to add visual feedback. However, the specific implementation of each sequence in our classes might differ. We will also film sequences in person.
To avoid ambiguity, each sequence is encoded using the structural tango notation developed by Matteo Manferdini.
Numbers indicate the strong beats in the bars of tango music, making it clear when steps need to be performed on the beat or in double tempo (in tango parlance. Musicians call it half tempo). Parentheses indicate curved/rotated movements.
Please note that learning the notation is not mandatory to follow this program. It is provided only as an aid to help students remember what they learned.
You will learn each sequence directly from us in class.
Level 0 – First steps
This is the entry point into tango and is usually achieved during the first introductory class. The objective is to learn how to generate movement and coordinate with a partner.
Concepts
- Vertical axis and posture.
- Articulation of the ankle and movement generation.
- Connecting with a partner by preparing the movement.
- Positional leading, following, and coordinated movement (forward and back).
Level 1 – Mirror sequences
Completing this level allows you to start dancing socially and adapt to the flow of the couples on the dance floor (ronda). This level can be achieved in approximately one-two months of regular classes.
- For leaders: You can dance with anyone, since you decide which steps to take, allowing you to keep it at a comfortable level.
- For followers: You can dance with teachers, students from our classes, and advanced dancers willing to adapt.
We encourage students to enter social dancing as soon as possible. We know it is intimidating, but it will remain so regardless of how many classes one takes.
Starting early helps to:
- Overcome the initial barriers.
- Improve faster.
- Assess your own skills outside a controlled environment.
Concepts
- Body spirals
- Geometry: Walk in parallel system, inside- and outside-partner.
- Managing the space in the ronda
- For leaders: respecting the flow, dancing in place, moving around corners.
- For followers: responding to straight and curved directions, allowing the leader to steer the dance and avoid bumping into other couples.
Sequences
- Baldosa interior (“tile” inside-partner)
1 2 3 4 5 6
∨ ∨ ∨ ∨ × ∨
← ↑ ↑ → ↓
∨ ∨ ∨ ∨ × ∨
- Baldosa exterior (“tile” outside-partner)
1 2 3 4 5 6
∨ \ ∨ ∨ × ∨
← ↑ ↑ → ↓
∨ / ∨ ∨ × ∨
- Baldosa interior con cambio de frente a la izquierda (“tile” inside-partner with change of front to the left)
1 2 3 4 5
∨ ∨ ∨ ∨ ∨
← ↑ (↖︎) → (↓)
∨ ∨ ∨ ∨ ∨
- Baldosa exterior con cambio de frente a la derecha (“tile” outside-partner with change of front to the right)
1 2 3 4
∨ \ ∨ ∨
← (↗︎) (↑)(↓)
∨ / ∨ ∨
- Baldosa con cunitas (“tile” with rock steps)
1 2 3 4
∨ ∨ ∨ ∨ ∨
← ↑ (↖︎)(↘︎) ←
∨ ∨ ∨ ∨ ∨
Level 2 – Signature tango steps in the parallel system
This level contains the signature tango sequences in the parallel system that everyone uses and recognizes.
Social dancers repeat these sequences often. Some are happy to stay at this level for a long time and dance simply. In particular, the cross steps require time to internalize, for both leaders and followers.
- For leaders: You remain in control of the steps you lead. Since leading the cross step is often hit-or-miss, it is important to be ready to adjust when it does not work.
- For followers: The cross step is a signature step that is often led by all leaders. As you learn to perform it, you will be able to dance with a wider range of people. However, keep in mind that some leaders will start leading you into steps you don’t yet know. Less experienced leaders are often unable to adapt when you do not respond as they expect you to.
Concepts
- Cross steps
Sequences
- Vaivén en tres en doble tiempo (“come and go” in three in double tempo)
1 2 3 4 5
∨ \ ∨ ∨ \ ∨ ∨
← ↖︎ (←) → ↗︎ (→) ←
∨ / ∨ ∨ / ∨ ∨
- Arrepentida con cambio de frente (“regret” with change of front)
1 2 3 4 5 6 7 8
v \ v v / v v v / v
← ↑ ↑ ↓ ↓ (↓) ↗︎ ↓ ↓ (↓)
v / v v \ v v v \ v
- Arrepentida y ocho cortado (“regret” and “shortened eight”)
1 2 3 4 5 6
v \ v v / v v /
← ↑ ↑ ↓ ↓ (↓) ← (↙︎)
v / v v \ v v ×
- Salida basica (basic opening)
1 2 3 4 5 6 7 8
v \ v / v v × v
← ↑ ↑ ↑ ↑ → ↓
v / v × v v × v
Level 3 – Signature tango steps in the cross system
This level contains the signature tango sequences in the cross system that everyone uses and recognizes.
Social dancers repeat these almost as often as the ones in the parallel system. Anything past this level becomes much rarer in social dancing and depends on the leader’s experience and discretion.
In particular, the salida is performed almost always in its cross-system version rather than in the parallel system.
- For leaders: Learning to dance in the cross system will help you respond more effectively to unexpected situations. One example is that inexperienced followers miss the cross step more often in the salida cruzada, since it happens faster than in the salida basica.
- For followers: The cross step in the cross system happens faster than in the parallel system. Reaching this milestone allows you to dance more fluidly. Pivots are a fundamental movement of tango for followers. Leaders pivot less than followers and only in more advanced steps. While they take time to perfect, pivots will significantly increase the number of sequences you can perform
Concepts
- Forward and back pivots
Sequences
- Ocho atrás, contrapaso, y final de la base (back “eight”, counter-step, and ending of the base)
1 2 3 4 5 6 7 8 9
v • \ \ \ • v v × v
← ↖︎ ↗︎ ↖︎ ↑ → ↓
v × v v v × v v × v
- Ocho atras y final con cunita (back “eight” and ending with rock step)
1 2 3 4 5 6 7 8 9
v • \ \ / • v v v
← ↖︎ ↗︎ ↙︎ (↖︎)(↘︎) ←
v × v v v (×) v v v
- Salida/base cruzada (base in cross system)
1 2 3 4 5 6 7 8
v • \ v / v v × v
← ↑ ↑ ↖︎ ↑ → ↓
v × v / v v × v
- Sándwich/mordida y final con cunita (sandwich and ending with rock step)
1 2 3 4 5 6 7 8 9 0 1 2
pa
v • \ \ • / • / • / v v v
← ↖︎ ↗︎ ↙︎ ↙︎ (←) ← (↖︎)(↘︎) ←
v × v v × \ • \ v (×) v v v
sa