History and Musicality of Argentine Tango

History and Musicality History and Musicality of Argentine Tangoof Argentine Tango

A sad thought that can be A sad thought that can be danceddanced

Bob Barnes, Mandragora Tango Orchestra http://www.mandragoratango.com

AgendaAgenda

A Quick gloss of Tango HistoryA Quick gloss of Tango History Telling Tango from Vals from MilongaTelling Tango from Vals from Milonga Micro-Tango: Tango BeatsMicro-Tango: Tango Beats Middle-Tango: Texture and CounterpointMiddle-Tango: Texture and Counterpoint Macro-Tango: Phrasing and StructureMacro-Tango: Phrasing and Structure

Talking about music is Talking about music is like dancing about like dancing about

architecturearchitectureLaurie AndersonLaurie Anderson

A Brief A Brief History of History of

TangoTango

What Is TangoWhat Is Tango Classical music you can Classical music you can

dance todance to A sad thought that can A sad thought that can

be dancedbe danced A vertical expression of A vertical expression of

a horizontal desirea horizontal desire Couple’s dancing where Couple’s dancing where

contact isn’t broken contact isn’t broken and hips are not shakenand hips are not shaken

The only Latin music The only Latin music without drumswithout drums

Argentine Melting PotArgentine Melting Pot Much like the US, but Spanish speakingMuch like the US, but Spanish speaking Founded by Spanish in 1500sFounded by Spanish in 1500s Country of immigrants. Country of immigrants. Most Argentines have Italian namesMost Argentines have Italian names Most Argentines claim to have one cousin Most Argentines claim to have one cousin

in New York and one in Italy (it’s a joke!)in New York and one in Italy (it’s a joke!) Slavery was not a huge economic factor, Slavery was not a huge economic factor,

so much less African influence.so much less African influence.

The Origins The Origins of Tangoof Tango

Cuban Cuban “Habanera”“Habanera”

Italian Opera & Italian Opera & Neapolitan Neapolitan SongsSongs

Eastern Eastern European PolkaEuropean Polka

Spanish GuitarSpanish Guitar

Tangos first appeared in Tangos first appeared in BrothelsBrothels

Buenos Aires had Buenos Aires had twice as many men as twice as many men as women in the 1890swomen in the 1890s

Bars and Brothels Bars and Brothels were social spots for were social spots for working class menworking class men

Taxi dancing for a Taxi dancing for a TandaTanda

Men would dance with Men would dance with each other while each other while waiting for womenwaiting for women

Needless to say, tango Needless to say, tango was looked down upon was looked down upon by polite societyby polite society

La Guardia Vieja (Old La Guardia Vieja (Old Guard)Guard)

Quartets of Flute, Guitar, Quartets of Flute, Guitar, Bando & ViolinBando & Violin

Pianos and basses added Pianos and basses added much latermuch later

A-B-A-Trio form, just like a A-B-A-Trio form, just like a march or ragtimemarch or ragtime

Firpo, Maglio, Berdi, Orquesta Firpo, Maglio, Berdi, Orquesta Tipica VictorTipica Victor

Here is “Sabado Ingles” Here is “Sabado Ingles” (English Saturday)(English Saturday)

Juan “Pacho” Maglio, 1917Juan “Pacho” Maglio, 1917

Tango goes to ParisTango goes to Paris

Right after WW1, Tango takes Right after WW1, Tango takes Europe by StormEurope by Storm

Huge fad that remains to this Huge fad that remains to this dayday

All of a sudden, Tango becomes All of a sudden, Tango becomes “respectable” in Buenos Aires“respectable” in Buenos Aires

Finnish Tango starts at this time Finnish Tango starts at this time but diverges over the 20but diverges over the 20thth CenturyCentury

Canaro en ParisCanaro en ParisFrancisco Canaro took his band Francisco Canaro took his band

to Paris and became to Paris and became superstars.superstars.

When the Scarpino brothers When the Scarpino brothers heard about this, they wrote heard about this, they wrote “Canaro en Paris“Canaro en Paris” to celebrate” to celebrate

Warning: In Warning: In 1917, Pope 1917, Pope Benedict XV Benedict XV

Condemned the Condemned the Tango, calling it Tango, calling it

immoral and immoral and lascivious. Your lascivious. Your

mileage may mileage may vary.vary.

Garlos GardelGarlos Gardel Born 1887Born 1887 Either in France or Either in France or

Uruguay Uruguay Do not mention France to Do not mention France to

an Uruguyan. The French an Uruguyan. The French don’t really care, though. don’t really care, though.

One of the first Latin One of the first Latin mega-recording stars mega-recording stars

First Latin matinee idolFirst Latin matinee idol Killed in a plane crash in Killed in a plane crash in

Medellln, Columbia in Medellln, Columbia in 19351935

They say he sounds They say he sounds better every daybetter every day

Gardel’s grave is Gardel’s grave is always tended and always tended and he usually has a lit he usually has a lit cigarette in his handcigarette in his hand

Here is “Mi Buenos Here is “Mi Buenos Aires querido”Aires querido”

Epoca de Oro (Golden Age)Epoca de Oro (Golden Age)

1930-1950 (Roughly)1930-1950 (Roughly) When someone says they dance “Argentine When someone says they dance “Argentine

Tango”, this is what they meanTango”, this is what they mean Orquesta Tipica: 4 Bandos, 4 Violins, Bass, Orquesta Tipica: 4 Bandos, 4 Violins, Bass,

Piano and a Singer.Piano and a Singer. 3-4 minutes. 3-4 minutes. Singer starts half way though. Singer starts half way though. Chan-chan at the endChan-chan at the end Bahia Blanca by Carlos DiSarliBahia Blanca by Carlos DiSarli Garua by Anibal TroiloGarua by Anibal Troilo

Transitional PeriodTransitional Period After WW2, Argentina After WW2, Argentina

was very rich from was very rich from selling food (mostly selling food (mostly beef) to Europebeef) to Europe

Political instabilityPolitical instability Juan and Eva (Evita) Juan and Eva (Evita)

PeronPeron Tango became more Tango became more

complex and more for complex and more for listeninglistening

Osvaldo Pugliese: La Osvaldo Pugliese: La YumbaYumba

Astor Piazzolla and the New Astor Piazzolla and the New TangoTango

Born in Mar del Plata Born in Mar del Plata in 1921in 1921

Moved to New York Moved to New York when he was 5when he was 5

Spoke better English Spoke better English than Spanish!than Spanish!

NY Errand Boy for NY Errand Boy for GardelGardel

Cameo in “Rubias de Cameo in “Rubias de Nueva York”Nueva York”

Astor Piazzolla, cont.Astor Piazzolla, cont. Moved to Paris to study Moved to Paris to study

classical compositionclassical composition Moved back to Buenos Moved back to Buenos

Aires and started playing Aires and started playing tango his waytango his way

Merged Tango, Classical Merged Tango, Classical and Jazz.and Jazz.

Dancers and Dancers and traditionalists hated ittraditionalists hated it

Now a national heroNow a national hero Most played classical Most played classical

composer of second half composer of second half of 20of 20thth. century . century

““Muerte del Angel”Muerte del Angel”

Near Death Experience of Near Death Experience of TangoTango

Went out of fashionWent out of fashion Urban vs. Rural tension w/ JuntasUrban vs. Rural tension w/ Juntas Rock and Folklorico Rock and Folklorico In BsAs, there are many more places In BsAs, there are many more places

to dance Salsa than Tangoto dance Salsa than Tango Tango became a listening genreTango became a listening genre Dramatic singers and big orchestrasDramatic singers and big orchestras ““Tango for Export”Tango for Export”

Rebirth of TangoRebirth of Tango End of military Juntas in 1982End of military Juntas in 1982 Luis Bravo’s “Forever Tango” in 1985 Luis Bravo’s “Forever Tango” in 1985

popularized it in Europe and N. Americapopularized it in Europe and N. America Popularity of PiazzollaPopularity of Piazzolla Collapse of Argentine economyCollapse of Argentine economy Tourism Tourism Danced all over the planet. Extremely Danced all over the planet. Extremely

popular in France, Finland, Germany, popular in France, Finland, Germany, Turkey, and JapanTurkey, and Japan

About 300 tango dancers in Mpls.About 300 tango dancers in Mpls. Check out mntango.com to learn moreCheck out mntango.com to learn more

Furrowed Brow Scale

Less Intense

MoreIntense

CanaroFresedo

Guardia ViejaBallroom Tango

PugliesePiazzolla

De Angelis(Fernandez Fierro)

DeCaroLaurenz

D’ArienzoBiaggi

TroiloCalo

Tanturi

Guardia Vieja (Old Guard)

CanaroFirpo

MaglioO.T.V.

Tango SongCarlos Gardel

Epocha Decarana (“New Guard”)

DeCaroLaurenzBiaggi

Fresedo

International (Ballroom)

TangoRussian / French /Turkish / Finnish /

Japanese / American

Golden Age Lyrical

CaloEarly Troilo

Tanturi

Golden Age Rhythmic

D’ArienzoDiSarli

Early Pugliese

Evolutionary Tango (“Tango

for Export”)Sassone

De AngelisLate Troilo

Revolutionary TangoPiazzolla

Salgan / Quinteto RealLate Pugliese

Tango NuevoPiazzollaGarello

Tango RebirthColor TangoEl Arranque

Fernandez FierroEsquela de Tango

1900 1920 1935 1950 1965 1985

What Dancers in Buenos Aires

Actually Dance To

1895 1917 1935 1946 1955 1982 1986 20011910

Prostitutes and Johns

French Dandies

American, Finnish, Russian,

Japanese, Turkish

Paleo-Hipsters

Non-Whoring Argentines& Gardel

Fans

Golden Age(Epocha de oro)

PeronLong decline into

Cultural irrelavancy

Hard-core old-time Milongueros and

European Music Fans

“Tango Forever”

Founding of Mandragora

Tango

Folks who got into

Tango after it’s rebirth

Youare

here

Argentines who don’t likeElvis or

the Beatles

Sub

ject

ive

Mea

sure

of T

ango

Pop

ular

ity

Guardia Vieja(Old Guard)

TangoRebirth

WW1 WW2

Most Argentines

Guardia Neuva(New Guard)

“Tango forExport”

Tango Tango MusicalityMusicality

Telling Tango from Vals from Telling Tango from Vals from MilongaMilonga

Vals is easy: Can you say Oom-pah-pah to the Vals is easy: Can you say Oom-pah-pah to the beat (i.e. count 1-2-3, 1-2-3…)beat (i.e. count 1-2-3, 1-2-3…)

Milonga: Can you say “Pan y Vino” (“Bread Milonga: Can you say “Pan y Vino” (“Bread and wine”)? Is the beat a bit fast to walk? You and wine”)? Is the beat a bit fast to walk? You can say “Bread and Chocolate” in English.can say “Bread and Chocolate” in English.

Tango: Walking tempo. Count 1-2-3-4. Not a Tango: Walking tempo. Count 1-2-3-4. Not a vals or milonga.vals or milonga.

(except with drums, electronic instruments or (except with drums, electronic instruments or live music)live music)

Micro-Micro-Tango:Tango:BeatBeat

Micro-Micro-Tango:Tango:BeatBeat

A bar (compas) is 4 equal A bar (compas) is 4 equal stepssteps

1 2 3 4

4 quarter notes in a bar 4 quarter notes in a bar is called 4/4 time.is called 4/4 time.

““Nothing Nothing Swings like Swings like 4/4 Time”4/4 Time”

A band will put different A band will put different weights on different beats. weights on different beats.

This is “En 4”This is “En 4”

1

23

4

1 2 3 4

If you have 4 beats and play If you have 4 beats and play them with the same weight, 3 them with the same weight, 3

of them will be wrongof them will be wrong

This is “En 2”. Note how This is “En 2”. Note how there is just the slightest there is just the slightest

hint of 2 & 4hint of 2 & 4

1

2

3

4

This is the opposite of Rock This is the opposite of Rock and Swing!and Swing!

1

2

3

4

A heavy 2 & 4 is called a “Backbeat” and does not exist in tango.Hips should not sway with the music.

Example: “Hit the Road, Jack”

Tangos mix up “En Dos” and “En Tangos mix up “En Dos” and “En Quattro”Quattro”

1 2 3 4 1 2 1 2 3 4 1 2

To subdivide a beat, musicians say To subdivide a beat, musicians say “and”:“and”:

1 2 3 4&& & &

A Sincopa (syncopation) is when the A Sincopa (syncopation) is when the accent shifts by ½ beat. Notice that accent shifts by ½ beat. Notice that

there is no 2there is no 2ndnd or 4 or 4thth beat. beat.

This can be used to go from parallel to cross system!

1 3& &

A Sincopa can be used to move between A Sincopa can be used to move between beatsbeats

1 2 3 4 1 21 3& & 1 3& &

A series of bars will end with a “Chan-A series of bars will end with a “Chan-chan”chan”

We will spend a lot of time learning to stop on We will spend a lot of time learning to stop on these beatsthese beats

1 2 3 4 1 2 3 4 1 2 3 4 1CHAN

CHAN

An “arrastre” (drag) is sometimes used An “arrastre” (drag) is sometimes used to accent the first beat of a bar (but not to accent the first beat of a bar (but not

in every bar!)in every bar!)It can sound like a growlIt can sound like a growl

Here is an example of a break in the Here is an example of a break in the music. This pause is like storing up music. This pause is like storing up

potential energy that the arrastre can potential energy that the arrastre can be used to dissipatebe used to dissipate

12 3

41

& 2 34

1

Middle-Tango: Middle-Tango: PhrasingPhrasing

PhrasingPhrasing

Basic building blocks of musical formBasic building blocks of musical form Traditionally, a phrase is how much a Traditionally, a phrase is how much a

person can sing on one breath.person can sing on one breath. Usually 4 barsUsually 4 bars Phrases can leave you in the air Phrases can leave you in the air

(Antecedent)(Antecedent) Phrases can ground you (Consequent)Phrases can ground you (Consequent) In Tango a “Chan-chan” ends each In Tango a “Chan-chan” ends each

Consequent phraseConsequent phrase

Antecedent (Lifting) and Antecedent (Lifting) and Consequent (Grounding) Consequent (Grounding)

PhrasesPhrasesAmazing Grace, how sweet the sound!

That saved a wretch like me

I once was lost, but now I’m found

Was blind, but now I see

Antecedent

Antecedent

Antecedent

Consequent Stop

Benjamin Zander on Benjamin Zander on PhrasingPhrasing

From his 2010 TED talk, “The Transcormative Power of Classical Music”

Windows are the spaces Windows are the spaces between phrases.between phrases.

Some windows pause time. At the end of Some windows pause time. At the end of an antecedant. A good place for a showy an antecedant. A good place for a showy figure or a dramatic pausefigure or a dramatic pause

Some windows mark time: the end of a Some windows mark time: the end of a consequent phrase. A good place to consequent phrase. A good place to collect your feet and relax for a split collect your feet and relax for a split second.second.

Windows are a place where a solo Windows are a place where a solo instrument can fill in or the orchestra can instrument can fill in or the orchestra can leave a space for the dancer’s imaginationleave a space for the dancer’s imagination

As an exercise, listen for windows in every As an exercise, listen for windows in every tango you hear. Shout out if you hear one!tango you hear. Shout out if you hear one!

Macro-Tango:Macro-Tango:StructureStructure

Tango FormTango Form

Several phrases together make a sectionSeveral phrases together make a section A section has a “Chan-chan” at the end.A section has a “Chan-chan” at the end. Each section will have a different affectEach section will have a different affect Sections are usually called “A” and “B” and Sections are usually called “A” and “B” and

“Trio”“Trio” If one section is major (happy) the next one If one section is major (happy) the next one

will be minor (sad)will be minor (sad) You should dance each section distinctly.You should dance each section distinctly.

Antecedent ConsequentAntecedent Antecedent

Rhythmic vs. LyricalRhythmic vs. Lyrical

Murat Erdemsel’s big thing: bouba vs. kikiMurat Erdemsel’s big thing: bouba vs. kiki

Rhythmic vs. LyricalRhythmic vs. Lyrical Tango is always somewhere on this continuum.Tango is always somewhere on this continuum. Easy to hear, but takes a long time to learn to dance to it.Easy to hear, but takes a long time to learn to dance to it. Lois will talk a lot about this in her part later.Lois will talk a lot about this in her part later.

More StructureMore Structure In BsAs, no one dances at the start of a In BsAs, no one dances at the start of a

song.song. Folks stand around and flirt (dar Folks stand around and flirt (dar

priopos) for 30 seconds or sopriopos) for 30 seconds or so The band can play an intro (top) that is The band can play an intro (top) that is

out of rhythmout of rhythm The coda (tail) usually restates a main The coda (tail) usually restates a main

theme.theme. Many instrumental Tangos end with a Many instrumental Tangos end with a

bandoneon variacion bandoneon variacion Vocal tangos often have the singer drop Vocal tangos often have the singer drop

out and come back in. The return of the out and come back in. The return of the singing is your 40-second warning!singing is your 40-second warning!

Applying Structure to Applying Structure to DanceDance

Psychological theory that states that Psychological theory that states that people best remember the first few items people best remember the first few items and the last few items in a list. (Primacy and the last few items in a list. (Primacy and Recency)and Recency)

Allevare: the first move in a tango. Make Allevare: the first move in a tango. Make it count! Make it with authority and it count! Make it with authority and gravitas!gravitas!

Buena Pinatura: paint a “good picture” Buena Pinatura: paint a “good picture” with your last move. Followers dig it when with your last move. Followers dig it when the leader ends on the last beatthe leader ends on the last beat

Most likely to forget stuff in the middle. Most likely to forget stuff in the middle. Save your crappy moves for here.Save your crappy moves for here.

Example 1:Example 1:Carlos Carlos

DiSarli’sDiSarli’sBahia BlancaBahia Blanca

Form Carlos DiSarli’s Bahia Blanca

A: Antecedent ConsequentAntecedent Antecedent

ConsequentB: Antecedent Antecedent Antecedent




Example 2:Example 2:Juan Juan

D’Arienzo’sD’Arienzo’sversion ofversion ofCanaro en Canaro en

ParisParis

Form of D’arienzo’s Canaro en Paris

Intro / Bridge



Intro / Bridge

Intro / Bridge


ConsequentC: AntecedentAntecedent Antecedent


ConsequentC: AntecedentAntecedent AntecedentWith a fast variation in the Bandoneons

Example 3:Example 3:Anibal Troilo’sAnibal Troilo’s

GaruaGaruaSung by Sung by

FiorentinoFiorentino

Form of Troilo’s Garua

A:


Consequent-ishAntecedent Antecedent

ConsequentAntecedent

A: Consequent-ishAntecedent Antecedent

ConsequentAntecedent



Sung by Fiorentino

A short breakA short breakand on toand on to

the dancing!the dancing!

Thank You

Bob Barnes, Mandrágora Tango Orchestra

Documents

History and Musicality of Argentine Tango