Reguli de pronunţie.
1. La fel ca în limba romană, într-un cuvant spaniol toate literele se pronunţă, cu excepţia lui "H"
Exemplu: hora (ora) - se pronunţă [ora]
2. "J" se pronunţă "H"
Exemplu: viaje (calatorie) - se pronunţă [viahe]
3. "Ñ" se pronunţă un "n" imuiat + "I" scurt
Exemplu: mañana (maine, dimineata) - se pronunţă maniana
3. "LL" se pronunţă un "l" slab + "I" scurt (in America Latina: Mexic, Peru, Argentina - se pronunţă "GI" slab)
Exemplu: llamar (a chema) - se pronunţă [liamar] ([giamar] in America latina)
4. "GE" se pronunţă "HE"
Exemplu: gente (lume) - se pronunţă [hente]
5. "GI" se pronunţă "HI"
Exemplu: gitano (tigan) - se pronunţă [hitano]
6. "CE" se pronunţă "SE"
Exemplu: felices (fericiti) - se pronunţă [felises]
7. "CI" se pronunţă "SI"
Exemplu: felicidad (fericire) - se pronunţă [felisidad]
8. "Z" se pronunţă un "S" peltic
Exemplu: zapato (pantof) - se pronunţă [sapato]
9. "Ü" se pronunţă "U"
Exemplu: vergüenza (rusine) - se pronunţă [verguenza]
10. "QUE" se pronunţă "CHE"
Exemplu: que (ce, care) - se pronunţă [che]
11. "QUI" se pronunţă "CHI"
Exemplu: Quijote- se pronunţă [chihote]
Abrazo embrace [ah-brah'-tho]
The tango embrace, in which the lead's right arm is around the follower's back; and the lead's left hand is clasping the follower's right hand.
1. Close Embrace: upper bodies touching or in very close proximity.
2. Open Embrace: no body contact.
Adelante forward [ah-day-lahn'-tay]
To dance or move in a forward direction.
Adorno embellishment [ah-dor'-no]
A creative movement that adorns or embellishes the dance.
Aficionado fan [ah-fe-the-o-nah'-do]
An enthusiastic follower, devotee or fan of something - in this case tango.
Aguja needle [ah-goo'-hah]
A man's embellishment in which the foot is vertical with the toe into the floor whilst pivoting.
Al costado to the side [al cos-tah'-do]
To dance or move in a sideways direction.
Amague fake [ah-ma'-geh]
Move in one direction that changes the direction at the last second.
Apilado piled on, leaning [ah-pe-lah-doh]
1. When the dancers are off axis and leaning against each other more tha usual.
2. A style of tango dancing which involves leaning.
Arrabal slum [ar-rah-bal']
A term denoting the slums, which were pivotal to the creation of the milonga and tango.
Arrabalero rough [ah-rah-bah-lay'-ro, rah]
1. Belonging to the outskirts.
3. Rough in dress or manners.
arranque start [ar-rahn'-kay]
A device for the leader to create momentum during a molinete: executed by pausing and leading the follower to the side.
Arrastre dragging [ar-ras'-tray]
ame as Barrida - see on this page.
Arrepentida repentant [ar-ray-pen-tee'-dah]
Steps which enable a couple to back away from a collision.
Atrás backward [ah-trahs']
To dance or move in a backwards direction.
Bailamos shall we dance?
A question a man may ask of a follower: shall we dance?.
Bailar dance [bah-e-lar']
The tango dance itself.
Bailarin dancer [bah-e-lah-reen']
1. A term for any dancer.
2. A very accomplished dancer.
Bailongo local dance [bah-e-lon'-go]
A Lunfardo word for a milonga.
Balanceo rocking [bah-lan-cee-o]
Same as Cadencia - see on this page.
Baldosa floor tile [bal-do'-sah]
A step sequence in the shape of a square.
An accordion-like musical instrument to create the mournful sound of modern tango music.
Barrida sweep [bar-ree'-dah]
The foot (normally of the woman) is swept with a swift movement - interchangeable with the terms Arrastre and Llevada.
Barrio neighbourhood [bar'-re-o]
A district or neighbourhood.
Basico basic [bah'-see-co]
The basic tango pattern, the most common of which is the 8-count basic.
Bicicleta bicycle [be-the-clay'-tah]
A circular movement of the feet executed by the lead.
Bien Parado well stood
A step where the motion of one dancer's feet are blocked by the other dancer. Normally executed by the lead.
Boleo whip [bo-lay'-o]
The women's ocho is swiftly changed direction, producing a whip action from her leg.
Brazo arm [brah-tho]
The arm of the tango dancer.
Cabeceo invitation [cah-bay-thay'-o]
A non-verbal invitation to dance from man to woman - the man looks at the woman and indicates with a movement of his head that he would like to dance; if she accepts she will move towards him, if she refuses she will look away.
Cabeza head [cah-bay'-thah]
The head of the dancer.
Cadena chain [cah-day'-nah]
A turning figure in which the man steps outside left or right in crossed feet and leading the lady in a change of direction to keep her in front of him as he turns.
Cadencia rhythm [cah-den'-the-ah]
1. A series of forward-and-left series of steps executed by the lead to to change direction, usually to avoid collisions.
2. A subtle shift of weight to and fro at the start of a dance to synchronize on rhythm and ensure both dancers begin on the correct foot.
CaiΤa fall [cah-ee'-dah]
Executed by the lead such that he steps backward and crosses his free leg in front of the supporting leg without a weight transfer, while the follower is led to the outside position to cross her free leg behind her supporting leg also without a weight transfer.
Calesita carousel, merry-go-round [cah-lay-see'-tah]
The lead ensures the follower is upright on her axis, and dances around her whilst she pivots on her supporting leg. The follower's free leg is generally held in the Cuatro position.
Cambio change [cahm'-be-o]
The lead executes a cambio when he pivots both feet in the same direction (either clockwise or anticlockwise), usually as the follower performs a molinete. Often called Cambio de Frente (Change of Front).
Caminada walk [cah-me-nah'-dah]
Series of steps that walk forward.
Caminado Valseado carried walk
A sequence of steps, as part of step 3 of the Eight Count Basic (see this page), wherein the lead steps forward right, forward left and continues the the follower to the cross.
Caminar to walk [cah-me-nar']
Similar to a natural step, with the ball of the foot placed first instead of the heel; the body is in balance over the forward foot.
A drum based dance which originated from the descendants of black slaves in the Rio de la Plata region and still performed today.
Cangrejo crab [can-gray'-ho]
A pattern of dance steps where the lead advances turned nearly sideways to the follower.
An old-guard style of tango from the early 1900s, still danced today.
Dance of tango with many interruptions or cortes.
Caricia caress [cah-ree'-the-ah]
Stroking with the leg or shoe part of the partner's body.
Carpa tent [car'-pah]
Same as Apilado - see on this page.
Castigada seduction [cas-tee'-ga'-dah]
An embellishment in which the follower caresses her supporting leg with her free leg.
Chiche delicate ornament [chee'-chay]
An embellishment in which small beats are executed by the free foot in time with the music.
Cintura waist [thin-too'-rah]
The waist of the tango dancer.
Co code [co'-de-go]
The code of behavior, such as cabeceo, in the milongas of Buenos Aires.
Colgada hanging [col-gah'-dah]
Fast turns which takes the woman off her axis or plays with her axis.
Compadre honorable man
A responsible, macho and honorable working class man.
A street punk. Compadritos originally invented the tango.
Compás beat [com-pahs']
The musical beat to which tango is danced to.
A beautiful and sensual communication between lead and follower, established during a tango dance when everything fits just right: the msuic, the style, the rhythm, the ambience. In a milonga situation, all tango dancers strive for this.
Contrapaso contra step [con-trah-pah'-so]
A step in which one foot is locked behind the other.
Corrida run [cor-ree'-dah]
A syncopated walk which will look like a run. The dancers take a series of short double-time steps so the feet appear to run while the bodies move at the same pace.
Corrida Garabito covered run [cor-ree'-dah gah-rah-bee'-to]
A milonga step in which the couple alternately step between each other.
Corte cut [cor'-tay]
A sudden turn in direction, generally done by holding for several beats (or syncopating) - often in a back-and-forth action to double time.
Cortina curtain [cor-tee'-nah]
A musical interlude in between a tanda at a milonga.
Contrapaso backstep [con-trah-pah'-so]
Same as rabona - see on this page.
A dance in which the man steps in the same way as the women (right foot to right, left to left).
Cruzada cross [croo-thah'-dah]
Executed when a step leads to the free foot being crossed in front of or in back of the supporting foot, almost always by the follower.
Cuadrado square [coo-ah-drah-do]
Same as baldosa - see on this page.
Cuatro four [coo-ah'tro]
An embellishment in which the follower flicks one of her lower legs backwards, keeping her knees together, creating a numeral 4 in profile.
Cucharita spoon [coo-chah-ree'-tah]
The lifting of the follower's foot with a gentle scooping motion. Usually led in forward ochos to create a flicking motion of the follower's leg.
Cuerpo body [coo-err'-po]
The body of the tango dancer.
Cunita crib [coo-nee'-tah]
The rocking back and forth that can be done in order to mark time or change direction.
Dedo finger [day'-do]
The finger of the tango dancer.
Derecha right [day-ray-chah]
The right side of the body or the dance.
Derecho upright [day-ray'-cho]
To stand upright.
Despacio slowly [des-pah'-the-o]
A slowing of music or dance.
Desplazamiento displacement [des-plah-thah-me-en'-to]
Same as sacada - see on this page.
Dibujo sketch [de-boo'-ho]
Same as Rulo - see on this page.
Doble Tiempo double time [do'-blay te-em'-po]
Tango danced at twice the musical beat.
Eje axis [ay'-hay]
The physical axis of the dancer, along which the posture and balance are formed. Both lead and follower have their own axis, though in certain styles of tango the axes may align into the one.
Elevada elevated [ay-lay-vah'-do, dah]
Dancing without keeping the feet close to the floor. This was the style in the early 1900s when tango was danced on dirt surfaces and on cobble stone. When tango went to smooth surfaces, such as polished wood, dancers began to 'caress the floor'.
Embutido inlaid work [em-boo-tee'-do]
A foot swinging behind other foot.
Enganche hook [en-gahn'-chay]
Same as gancho - see on this page.
Enroscar corkscrew [en-ros-car']
The man pivots on his supporting leg whilst his free leg is either held behind him, or is hooked onto his working leg. Generally performed as the follower executes a molinete.
Entrada entrance [en-trah'-dah]
The man puts his leg between the woman's legs, without moving her or causing her to shift weight.
Entregar surrender [en-tray-gar']
Denotes that the follower has surrendered herself to the lead.
Espalda back [es-pahl'-dah]
The back of the dancer.
Espejo mirror [es-pay'-ho]
Executed when the lead and follower do mirror image steps of each other.
Fanfarrfont style="color:#DEB887 ;">fanfare [fan-far-rone']
An embellishments in which the foot is rhythmically tapped in time to the music. It is also called Chiche.
Fantasia show tango
Same as Show Tango - see on this page.
Faroliito small lantern [fah-ro-lee'to]
Same as rulo - see on this page.
Same as Adorno - see on this page.
Freno brake [fray'-no]
To stop on a step.
Gancho hook [gahn'-cho]
The action of hooking one leg around the partner's leg.
Garcha screw-up [gahr'-cha]
A lunfardo term indicating bad luck or screw-up. In tango this refers to taking a bad step causing a collision.
The Argentine Cowboy central to the development of tango.
Giro turn [hee'-ro]
The turn in tango, generally performed by the follower stepping around the lead, who pivots in the centre.
The Golden Age of tango is the period between the 1930s and 1950s, when tango was at the peak of its popularity.
Golpecito tap [gol-pay-thee'-co]
The golpecito is the most basic type of embellishment in tango, in which the free foot does one or more taps as part of a step or during a pause. It has a number of variations including the Punto, the Golpeteo, the Fanfarron, the Picado and the Zapatato.
Golpeo strike [gol-pay'-o]
Same as Punto - see on this page.
Golpeteo drumming [gol-pay-tay'-o]
This is embellishment in which lead or follower taps the underside of the free foot - in other words the heel or the ball.
A Lunfardo term for woman.
Guapo handsome [goo-ah'-po]
A handsome and desirable man. Also denotes a compadre - see on this page.
An Afro-Cuban dance which contributed to tango.
Hamaca hammock [ah-bah-nay'-rah]
Same as Cunita - see on this page.
Inclinado inclined [in-cle-nah'-do]
Same as Apilado - see on this page.
The intrusion is executed by briefly placing the free foot between the partner's legs, often in the form of a 'quick kick'.
It takes two to tango
A phrase, coined as a result of the 1952 song by Al Hoffman and Dick Manning named Takes Two to Tango, implying that some activity cannot be successfully completed unless both parties are united in a common objective.
Izquierda left [ith-keer'-dah]
The left side of the body.
Junta close [hoon'-tah]
The essence of elegant tango is ankles and knees that pass by each other closely between each step.
Lápiz pencil [lah'-pith]
Same as Rulo - see on this page.
Latigazo whipping [la-te-gah'-tho]
The whipping action of the leg during a boleo.
Lento slow [len'-to]
In tango, refers to a dance or music that has a slow beat.
Liso smooth [lee'-so]
1. A smooth dance.
2. Tango Liso was the early term for Tango de Salon.
Llevada carrying [lyay-vah'-dah]
Executed when when the lead uses his thigh or foot to carry the follower's leg to the next step.
Buenos Aires slang. Many of the words are now used for tango.
Lustrada polish [loos-trah-dah']
An embellishment executed by the follower lifting her free leg and caressing the supporting leg of the lead - either in an upward action, downwards, or very commonly both. The inside or outside of any part of the lead's leg, including his foot, may be caressed.
Marcar mark [mar-car']
Media Luna half moon [may'-de-ah loo'-nah]
A half turn - the man creates a back, side, and forward for the women which makes the shape of a half moon.
Media Vuelta half turn [may'-de-ah voo-el'-tah]
Same as media luna - see on this page.
1. The meeting place to dance tango.
2. A fast paced form of the tango with 2/4 beat.
1. A tango fanatic, a person whose life revolves around tango, a title given to someone who has mastered tango.
2. Another name for Apilado style of tango - see on this page.
An affectionate name for a woman attending a milonga.
Mina bird [mee'-nah]
An informal name in Lunfardo for a woman.
Molinete windmill [mo-le-nay'-tay]
The woman dances around the man side-back-side-forward using forward and backwards ochos.
Mordida bite [mor-dee'-dah]
Same as Sandwiche - see on this page.
Ocho eight [o'-cho]
The basic turn in tango, executed by a turn that is first one way, then reversed, wherein the torso is disassociated from the top of the body. An ocho can be either forward (Ocho Defrente) or backward (Ocho Para Atrás).
Ocho Cortado cut eight [o'-cho cor-tah'-do]
Performed when the action of the turn is interrupted and reversed. Upon reversal, the leader displaces the follower's space and pivots the follower, who then executes a cruzada (cross). Note that despite the name of this step, generally it is not the ocho that is interrupted but other turns such as the milonete.
1. The historical outskirts of Buones Aires.
2. A style of tango synonymous with Canyengue. See Canyengue on this page.
Orquesta orchestra [or-kes'-tah]
In tango, this is the orchestra playing the music. In the Golden Age of tango, the band was often referred to as the Orquesta Tipica.
Palanca lever [pah-lahn'-cah]
The lead levers, or assists, the follower during jumps and lifts in Show Tango
Parada stop [pah-rah'-dah]
Any stopping action in any direction.
A dance in which the lead steps in the mirror image of the follower: him on his left foot, her to her right foot.
Pareja couple [pah-ray'-hah]
The two dancers in tango.
Pasada passing over [pah-sah'-dah]
The lead peforms a parada with his foot and leads the follower forward to pass over his foot; affords an excellent opportunity for the woman to adorn.
Paso step [pah'-so]
The basic tango step.
Patada kick [pah-tah'-dah]
A kick during or between steps, most often executed by the follower.
The couple hold their position for two or more beats.
Pecho chest [pay'-cho]
The chest of the dancer.
Picado chop [pe-cah'-do]
An embellishment executed by an upwards flick of the heel, done when stepping forwards or in the turn, typically an ocho.
Pie foot [pe-ay']
The foot of the dancer.
Pierna leg [pe-err'-nah]
The leg of the dancer.
Pinta appearance [peen'-tah]
The overall appearance and grooming of the dancer.
Pisar to step [pe-sar']
The chest of the dancer.
Piso floor [pee'-so]
The dance floor (masculine).
Pista floor [pees'-tah]
The dance floor (feminine).
This word actually means ironing lady; in tango it refers to a woman who sits all night at a milonga without being requested to dance.
Planeo pivot [plah-nay'-o]
A step used by the lead when he has stepped forward then pivots, tracing his foot on the floor, with the follower dancing around him.
Historically, this refers to a ruffian who lived in the port city of Buenos Aires.
Postura posture [pos-too'-rah]
The posture of the dancer. For successful dancing, it is considered critical to have correct posture.
Práctica practice [prahc'-te-cah]
A casual practice session, different to a milonga in that dancers help each other and work on their style.
Punto point [poon'-to]
The punto is an embellishment executed by tapping the toe of the free foot. During a step the lead or follower may tap once or twice. During a pause, the lead or follower may tap any number of times.
Quebrada break [kay-brah'-dah]
A variation of the corte: a sudden turn in direction, generally done by holding the follower for several beats (or syncopating) and bending her at the waist - often in a back-and-forth action to double time.
Rabona play hookey [rah-bo'-nah]
A series of steps in which the free foot is crossed across the supporting leg in a cruzada, repeated on each beat.
Resolucifont style="color:#DEB887 ;">resolution [ray-so-loo-the-on']
The finale (steps 6, 7 and 8) to the eight basic pattern.
Ritmo rhythm [reet'-mo]
The rhythmic structure of the music.
Ronda round [ron'-dah]
This is the outer-most lane where dancers move counter-clockwise around the perimeter of the floor - in most milongas this is right up against the tables, and dancers in the ronda have the right-of-way.
Rulo circle [roo'-lo]
An embellishment executed by drawing one or more circles on the floor with the free leg, either as part of a movement or during a pause in dancing.
Sacada take out [sah-cah'-dah]
A displacement of the woman's free leg - when the leader places their foot or leg against the leg of their partner, transfers the weight to their own leg, and moves into the space of their partner's leg.
Salida beginning [sah-lee'-dah]
The first steps of the dance or step.
Saltito small hop [sal-tee'-to]
A tango step in which either the lead or follower (rarely both) execute a small hop on the floor.
Sándwiche sandwich [sanwi ʧe]
To sandwich a partner's foot between your own.
Sánduche / Sánguche sandwich
Same as Sándwiche - see on this page.
Seguidilla merry dance [say-gee-deel'-lyah]
Tiny quick steps.
Seguir to follow [say-geer']
Following the lead: this is considered an exquisite art-form in tango.
Sentada sit [sen-tah'-dah]
An embellishment executed by the follower mounting, or appearing to mount, the lead's supporting leg. It is sometimes used as a dramatic embellishment at the end of the dance.
The term used for exhibition and competitive tango dancing characterized by a choreographed performance.
Suave smooth [soo-ah'-vay]
Smooth, steady and a very chic style. Considered a critical goal to attain in tango, particularly for the lead.
Sube y Baja raise and lower
A milonga sequence in which lead and follower dance first forwards with chest turned in towards each other, then backwards with chest turned out towards each other.
A subdivision of a beat caused typically by stressing the weak beat rather than the accent. In Spanish: sincopado.
Tanda group [tanh'-dah]
A set of dance music which can be either three, four or five songs, separated by a cortina.
Tango de Salon
An inclusive term for the tango style danced at 'salons' (ballrooms) - in other words, milonga halls. It is characterized more by a wide variation than by a specific position; it is the style owned, practiced and shaped by the collective masses on the floor.
Someone who is passionate about tango.
A step in which the free leg is crossed in front of the supporting leg, and left there, so that it may be used for the next step.
Titubeo hesitation [te-too-bay'-o]
Same as pausa - see on this page.
Trabada connected [trah-bah'-dah]
Same as cruzada - see on this page
Traspi頼font style="color:#DEB887 ;">trip, stumble [trahs-pe-ay']
A sequence of steps which are syncopated. For example milonga traspie indicates a form of milonga in which the dancers step between the beats.
Truco trick [troo'-co]
Tricks or stunts, particularly in Show Tango.
Vals waltz [vahls]
Argentine tango form of waltz in 3/4 beat.
Vareador one who beats with a pole [vah-ray-ah-dor']
A lead who flirts with all the followers but does not get seriously involved with any of them.
Vra viper [vee'-bo-rah]
The man places his right leg between the woman's legs, and takes a sacada to her left and her right in succession using a back and forth action.
Volcada capsize [vol-cah'-dah]
The leader causes the follower to lean forward and drop from her axis before he catches her. Generally this also involves sweeping the follower's leg as a result of the off-axis motion.
Same as boleo - see on this page.
Zapatazo stamp of the foot [thah-pah-tah'-tho]
An embellishment in which the shoes are tapped together.
Zarandeo shaking [thah-ran-day'-o]
Swinging back-and-forth or pivoting one the same place.