A visual reconciliation for tangueros and milongueros

Milonga compás
Milonga  tunes have repeating four-count cycles (or "bars") typically in pairs
Milonga compás is the "one" and "three" continuously throughout
The "ones" and "threes" are the most frequently stepped beats in milongas
Example 1: Demo milonga by Gabriela Elias and Victor Acho in Buenos Aires
Example 2: From 1 min 10 secs to the end, Homer and Cristina Ladas perform a didactic demo at the end of an Argentine tango class

All tango dancers should be able to adopt the compás as the default for their dance steps

"Common" milonga rhythm :
1 - (2)& - 3 - 4 - 1 - (2)& - 3 - 4

common milonga rhythm
"Common" milonga rhythm
Nearly all milonga music is based on this rhythm
To dance "lisa" milonga, step only on the "ones" and "threes" (i.e. the compas)
The "two &" half beat is a good musical place for a traspié milonga step
Example: Stephan & Era Resch dancing to "Estampa de Varon" by D'Arienzo

"Common" double-time milonga rhythm :
1 - 2 - 3 - 4 - 1 - 2 - 3 - 4

common double-time milonga rhythm
"Common" double-time milonga rhythm
Milonga music often has sections of double time rhythm  ("inviting" double time dancing)
Milonga phrases "inviting" double time steps tend to have similar strength on all (four) beats
Example: Miguel Zotto & Daiana Guspero dancing to "Reliquias Portenas" by Canaro

"Common" quadruple-time milonga rhythm :
1& - 2& - 3& - 4& - 1& - 2& - 3& - 4&

common quadrupal-time milonga rhythm
"Common" quadruple-time milonga rhythm
Some milongas have phrases with rhythms suitable for quadruple time dancing
Milonga phrases "inviting" quadruple time stepping feature eight half-beat melodies
Rarely danced socially but sometimes danced by maestros in demonstrations and performances
Example: Aoniken Quiroga y Alejandra Mantinan dancing to "Parque Patricios" by Canaro