One
Tango music is written in 4/4 time, meaning each measure contains four quarter notes, counted as 1, 2, 3, 4. The first and third beats are strong, typically where we step. The second and fourth beats are weak and are often used for ancillary movements such as crossing, weight changes, hip rotations, pivots, or embellishments.
Each quarter note can be evenly divided into two eighth notes, counted as 1-and, 2-and, 3-and, 4-and—resulting in eight eighth notes per measure. Further subdivision produces sixteenth notes, counted as 1-e-and-a, 2-e-and-a, 3-e-and-a, 4-e-and-a, creating a total of sixteen sixteenth notes per measure.
The ability to divide the notes and predict where the subdivisions fall is important, as it expands the dancer’s range of possible movements. Feeling rhythm is an internal process. The rhythm must exist in mind before it can manifest in movements. Rhythm is the most fundamental element of music. It can exist even in the absence of melody, as seen in the drumbeats of early or primitive music. At its essence, dance is the body's natural response to rhythm. We instinctively move to the beat because those accents provide structure, guiding and enhancing our movements. Without rhythm, dance cannot exist.
However, feeling rhythm becomes more challenging when syncopation is introduced. Syncopation is the way musicians add complexity to music by shifting, splitting, adding, or omitting beats. Examples include emphasizing even-numbered beats (1, 2, 3, 4), extending a beat (1 - - -), starting a note on an unaccented beat and continuing it through the next accented beat (1, 2 -, 4), splitting a note into subdivisions (1-and, 2-and, 3-and, 4-and), accenting subdivisions (1-and, 2-and, 3-and, 4-and), adding unexpected accents (1, 2, 3, 4), or omitting notes and replacing them with rests. While syncopation makes the rhythm more dynamic and expressive, it also demands more from the dancer’s sense of timing and awareness, making the music harder to follow.
Nevertheless, dancers welcome this challenge. As long as the music adheres to its time signature—allowing it to be consistently counted as 1, 2, 3, 4 throughout—it remains danceable. In fact, the most satisfying songs to dance to are not monotonous or overly simple, but rather feature intricate rhythms layered over a steady, predictable beat. This balance between complexity and danceability is a hallmark of classic tango (see The Characteristics of Classic Tango.)
Two
This began to change when some musicians started experimenting with innovative concepts such as improvisation, counterpoint, cross-rhythms, polyrhythms, compound and asymmetrical rhythms, complex harmonies, and odd-numbered meters where notes are grouped unevenly (e.g., 5/4 and 7/8 time). They also began blending duple, triple, and quadruple time signatures; layering distinct rhythms across instruments; and combining instrumental and vocal lines with divergent rhythmic structures. While these techniques are undeniably creative, they often produce rhythms that are too intricate for dancing—one of the defining features of modern music.
It's important to note that classic music is still being composed today, meaning not all music created in contemporary times qualifies as "modern." What distinguishes modern music is the incorporation of unconventional elements. While there are certainly gray areas, modern compositions consistently include at least some nontraditional aspects that render the rhythm—or parts of it—irregular, unrecognizable, unpredictable, and, consequently, undanceable.
Some argue that all music is danceable, but this isn't quite true. Perhaps anything that can be followed using two legs qualifies in the broadest sense, but fingers can move far faster than legs. An orchestra, effectively made up of dozens—or even hundreds—of fingers, can produce music of immense complexity, especially when the goal is listening rather than dancing.
For music to be truly danceable, it must offer clear, predictable, and physically followable beats. Dance is the body’s natural response to rhythm. We are drawn to rhythm because it echo recurring patterns in our lives—heartbeat, biological clock, or muscle memory of rhythmic actions like walking，facilitating our movement. Millions of years of evolution have ingrained rhythm as an aesthetic and musical pleasure, making our bodies instinctively react to rhythmic sounds.
While highly trained professionals might be able to memorize and move to irregular or unpredictable rhythms, this is not feasible for the average dancer. DJs must remember that the music they play at milongas is meant for social tango dancing—by and for ordinary dancers—not as a platform for a handful of elite performers to showcase their skills. A good DJ must prioritize the needs of the majority and resist the pressure exerted by a select few. (As a DJ myself, I am all too familiar with such pressures.)
Three
The shift in modern music is not coincidental. We live in a culture where rampant liberalism and individualism drive many to pursue uniqueness at any cost, while profit-driven commercialism relentlessly pushes for innovation, repackaging, novelty, exoticism, and boldness to boost sales. Innovation, while beneficial, also brings unintended consequences. Every time I purchase a smartphone, a newer and smarter version is released the following week. Economists call this "creating demand"—a strategy that persuades consumers to discard perfectly functional products for the latest model, resulting in tremendous waste, as illustrated in this documentary. People raised in this culture often lack depth and enduring quality. They confuse novelty with beauty, favor spectacle over substance, and constantly seek change. The following reader's comment reflects this mindset:
“Most of us did not start doing the tango in order to get the ocho just right. Most of us saw elegant, dramatic, and erotic moves in a performance that took our breath away. Then we take tango lessons and dance among older people who look down their noses at beginners for not doing the details as well as they can, who are quite conservative in their tastes, who are uptight about the eroticism, who are offended when attractive young people look better at the erotic movements than they do, and who are too weak, inflexible, heavy, and cowardly to do the more dramatic moves... The idea of dividing tango into social dance and 'show' dance trivializes efforts to be more creative and to actually do the dance that we were attracted to in the first place. Performance is not just for tourists. It includes ballet, modern dance, jazz, and other rich, culturally important forms. It can be brilliant and revolutionary, changing the way we think. It can give tango dance its Isadora Duncans, Sergei Diaghilevs, Merce Cunninghams, and Astor Piazzollas. Tango and dance have always included a conversation between performance and social dance. Both should be respected as spaces where creativity can thrive. That's how art and culture evolve in living ways.”
While I won’t explore here why the milonga is not the place for performance (see Social Tango and Performance Tango), I do want to address the role of creativity. No doubt, creativity has transformed our lives. However, despite its many contributions, we must not overlook its dark side. Human creativity is a double-edged sword. It has given us automobiles, computers, GPS, and beautiful, danceable music like classic tango—but it has also brought us weapons of mass destruction, addictive substances, high-tech crime, and unlistenable noise. Creativity can improve life when wielded with wisdom, but it can also destroy life when pursued recklessly in the name of novelty, ignoring the forces beyond human control that govern our existence—whether you call them the Cosmos, Nature, Law, Tao, or God.
Already, human ingenuity has caused enormous harm: irreversible damage to our planet, pollution, climate change, environmental catastrophes, resource depletion, ecosystem collapse, chemical, biological, and nuclear threats, countless deaths caused by inventions such as guns, drugs, automobiles, man-made viruses, modern warfare, and the polarization and dysfunction of governments fueled by our “creative” politicians.
This obsession with novelty also drives many DJs to make their music selections unconventional. They curate music that is obscure, exotic, or difficult to dance to, prioritizing their personal brand over the dancer’s experience. They embrace modernism and dismiss the classics, despite the fact that classics are time-tested masterpieces, embodying what generations of dancers have deemed beautiful and danceable. They fail to recognize that, 60 years after the Golden Age, tango dancers still cherish classic tango music, while the “revolutionary” music of the same era has long been forgotten. They overlook the reality that every generation produces both enduring classics and fleeting rubbish. They fail to understand that creativity must serve humanity’s best interests, needs, and aesthetics to have lasting value. In dance, this means prioritizing danceability over outlandishness. Although they may love music and have extensive collections, they often lack an understanding of what makes music danceable. Worst of all, they tend to play unfamiliar, erratic, and undanceable tracks at milongas simply because the danceable ones are traditional.
Dancers are not opposed to innovation. On the contrary, creativity is at the heart of how we express ourselves on the dance floor. We welcome fresh challenges that enrich our dancing. But we also expect music that we can dance to. We want our DJs to prioritize danceability, to listen to every song from beginning to end and ensure it’s fully danceable before playing it at a milonga. And we want them to serve the broader social dancing community—not just a few elites or eccentric individuals. (See My Two Cents on Music Selection.)
