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History and History and Musicality of Musicality of Argentine Tango Argentine Tango A sad thought that can be A sad thought that can be danced danced Bob Barnes, Mandragora Tango Orchestra http://www.mandragoratango.com

History and Musicality of Argentine Tango

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History and Musicality of Argentine Tango. A sad thought that can be danced. Bob Barnes, Mandragora Tango Orchestra http://www.mandragoratango.com. Goals. Think about musical forms like a musician Hear musical “points of inflection” where the mood or rhythm changes - PowerPoint PPT Presentation

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Page 1: 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

Page 2: History and Musicality of Argentine Tango

GoalsGoals

Think about musical forms like a musicianThink about musical forms like a musician Hear musical “points of inflection” where Hear musical “points of inflection” where

the mood or rhythm changesthe mood or rhythm changes Think of how the music tells a story, even Think of how the music tells a story, even

if you don’t speak Spanishif you don’t speak Spanish Have a bunch of “A-ha!!!” momentsHave a bunch of “A-ha!!!” moments As Socrates more or less kinda said, you As Socrates more or less kinda said, you

probably already know this on some level.probably already know this on some level.

Page 3: History and Musicality of Argentine Tango

AgendaAgenda

A brief introduction to tango A brief introduction to tango An exceedingly incomplete history of Tango An exceedingly incomplete history of Tango

Music Music An unnecessarily terse exposition of musical An unnecessarily terse exposition of musical

forms for non-musicians, with some help from forms for non-musicians, with some help from our friend, Malenaour friend, Malena

Some thoughts on the structure of the dance, Some thoughts on the structure of the dance, from “micro-tango” to “macro-tango”from “micro-tango” to “macro-tango”

I’ll give you some resources for further studyI’ll give you some resources for further study

Page 4: History and Musicality of Argentine Tango

On with dance, let joy On with dance, let joy be unconfined, is my be unconfined, is my

motto; whether there's motto; whether there's any dance to dance or any dance to dance or any joy to unconfine. any joy to unconfine.

Mark TwainMark Twain

Page 5: History and Musicality of Argentine Tango

What Is TangoWhat Is Tango No Argentine will give you a No Argentine will give you a

straight answerstraight answer Anything written by an Anything written by an

ArgentineArgentine Predominantly in minor keyPredominantly in minor key Continuation of 19Continuation of 19thth Century Century

RomanticismRomanticism Classical music you can Classical music you can

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

danceddanced A vertical expression of a A vertical expression of a

horizontal desirehorizontal desire A city in JapanA city in Japan

Page 6: History and Musicality of Argentine Tango

Tango is from ArgentinaTango is from Argentina

Page 7: History and Musicality of Argentine Tango

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!) 33rdrd biggest Jewish population on earth biggest Jewish population on earth Aboriginal Genocide: few nativesAboriginal Genocide: few natives Slavery was not a major economic factor, so Slavery was not a major economic factor, so

very few Africans (but those that were very few Africans (but those that were there had a big role in tango, as we will there had a big role in tango, as we will see)see)

Page 8: History and Musicality of Argentine Tango

The Origins of Tango

• Cuban “Habanera”

• Italian Opera & Neapolitan Songs

• Eastern European Polka

• Spanish Guitar

• African Rhythms

Page 9: History and Musicality of Argentine Tango

Tangos first appeared in Brothels

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

• Bars and Brothels were social spots for working class men

• Men would dance with each other while waiting for women

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

Page 10: History and Musicality of Argentine Tango

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

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

Pianos and basses added much laterPianos and basses added much later

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

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

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

Page 11: History and Musicality of Argentine Tango
Page 12: History and Musicality of Argentine Tango
Page 13: History and Musicality of Argentine Tango

Tango goes to Paris

• Right after WW1, Tango takes Europe by Storm

• Huge fad that remains to this day

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

Page 14: History and Musicality of Argentine Tango

Warning: In 1917, Pope Benedict XV Condemned the Tango, calling it

immoral and lascivious. My guess is that

Benedict XVI feels pretty much the

same way in 2008.

Page 15: History and Musicality of Argentine Tango

Garlos Gardel• Born 1887• Either in France or Uruguay • Do not mention France to

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

• One of the first Latin mega-recording stars

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

Medellln, Columbia in 1935

Page 16: History and Musicality of Argentine Tango

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

• Here is “Mi Buenos Aires querido”

• Listen for the arabic/flamenco trill in the first phrase

Page 17: History and Musicality of Argentine Tango

Epoca de Oro (Golden Age)

• 1930-1950 (Roughly)

• When someone says they dance “Argentine Tango”, this is what they mean

• Orquesta Tipica: 4 Bandos, 4 Violins, Bass, Piano and a Singer.

• 3-4 minutes.

• Singer starts half way though.

• Chan-chan at the end

Page 18: History and Musicality of Argentine Tango

Transitional Period• After WW2, Argentina was

very rich from selling food (mostly beef) to Europe

• Political instability• Juan and Eva (Evita)

Peron• Tango became more

complex and more for listening

• Osvaldo Pugliese• Anibal Troilo

Page 19: History and Musicality of Argentine Tango

Anibal Trolio and “Sur”

• About the southern part of BsAs

• Edmundo Rivero Sings.

Page 20: History and Musicality of Argentine Tango

San Juan y Boedo antigua y todo el cielo,Pompeya y, mas alla, la inundacion,  tu melena de novia en el recuerdo,  y tu nombre flotando en el adios...  La esquina del herrero barro y pampa,  tu casa, tu vereda y el zanjon y un perfume de yuyos y de alfalfa que me llena de nuevo el corazon.

Sur... paredon y despues...  Sur... una luz de almacen...  Ya nunca me veras como me vieras,  recostado en la vidriera y esperandote,  ya nunca alumbrare con las estrellas nuestra marcha sin querellas por las noches de Pompeya.  Las calles y las lunas suburbanas y mi amor en tu ventana todo ha muerto, ya lo se.

Ancient San Juan and Boedo streetcorner, the whole sky

Pompeya and farther down, the floods Your loose hair of a bride in my memory and your name floating in the farewell The blacksmith’s corner, mud and pampa,our house, your sidewalk, and the ditch and a scent of weeds and alfalfa that fills the heart all over again.

South, a large wall and then... South, a light from a general store... You’ll never see me again, like you saw me, reclined on the glass window and waiting for you. I’ll never illuminate with the stars  our walk without quarrels on the evenings of Pompeya... The streets and the suburban moons, and my love on your window, all is dead, I know it...

Page 21: History and Musicality of Argentine Tango
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Page 26: History and Musicality of Argentine Tango

La Yumba

• Signature Sound of Osvaldo Pugliese• Onomatopoeic Bass Sound• Extremely Percussive

Page 27: History and Musicality of Argentine Tango
Page 28: History and Musicality of Argentine Tango
Page 29: History and Musicality of Argentine Tango

Near Death Experience of Tango

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

dance Salsa than Tango• Tango became a listening genre• Dramatic singers and big orchestras• “Tango for Export”

Page 30: History and Musicality of Argentine Tango

Rebirth of Tango

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

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

France, Finland, Germany, Mexico, Turkey, Italy, etc…

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

Page 31: History and Musicality of Argentine Tango

Talking about Talking about music is like music is like

dancing about dancing about architecturearchitectureLaurie AndersonLaurie Anderson

Page 32: History and Musicality of Argentine Tango

Let’s meet my friend, Let’s meet my friend, MalenaMalena

Music by Lucio DemareMusic by Lucio DemareWords by Homero Manzi Words by Homero Manzi It has all the classic It has all the classic

elements of tango elements of tango lyrics:lyrics:

SadnessSadness PovertyPoverty Cold, unattainable Cold, unattainable

womenwomen Nostalgia/Nostalgia/

HomesicknessHomesickness Alcohol Alcohol

Page 33: History and Musicality of Argentine Tango

Malena canta el tango como ningunaMalena canta el tango como ninguna

y en cada verso pone su corazon.y en cada verso pone su corazon.

A yuyo del suburbio su voz perfuma,A yuyo del suburbio su voz perfuma, Malena tiene pena de bandoneon.Malena tiene pena de bandoneon.Tal vez, alla en la infancia, su voz de Tal vez, alla en la infancia, su voz de alondra tomo ese tono oscuro del alondra tomo ese tono oscuro del

callejon,callejon,o acaso aquel romance que solo nombrao acaso aquel romance que solo nombra cuando se pone triste con el alcohol.cuando se pone triste con el alcohol.Malena canta el tango con voz de sombraMalena canta el tango con voz de sombra Malena tiene pena de bandoneón.Malena tiene pena de bandoneón.

Tu cancion tiene el frio del ultimo Tu cancion tiene el frio del ultimo encuentro,encuentro,

Tu cancion se hace amarga en la sal del Tu cancion se hace amarga en la sal del recuerdo.recuerdo.

Yo no se si tu voz es la flor de una pena,Yo no se si tu voz es la flor de una pena,Solo se que al rumor de tus tangos, Solo se que al rumor de tus tangos, Malena,te siento mas buena,Malena,te siento mas buena, mas buena que yo.mas buena que yo.

Malena sings tango like no one elseMalena sings tango like no one elseAnd she puts her heart into every verseAnd she puts her heart into every verseHer voice is perfumed with a kind of weed that Her voice is perfumed with a kind of weed that

grows in the slumsgrows in the slumsMalena has the sorrow of the BandoneonMalena has the sorrow of the BandoneonPerhaps, back in her childhood, her lark’s voicePerhaps, back in her childhood, her lark’s voiceAcquired that dark sound of an alley,Acquired that dark sound of an alley,Or maybe it is the romance she only namesOr maybe it is the romance she only namesWhen she gets sad with alchoholWhen she gets sad with alchoholMalena sings the tango with a voice of shadowMalena sings the tango with a voice of shadowMalena has the sadness of the bandoneon.Malena has the sadness of the bandoneon.

Your song has the coldness of our last encounterYour song has the coldness of our last encounterYour song has become bitter with the salt (tears) Your song has become bitter with the salt (tears)

of remembranceof remembranceI don’t know if your voice is a flower of sadnessI don’t know if your voice is a flower of sadnessAll I know is that in the sound of your tangos, All I know is that in the sound of your tangos,

Malena, Malena, I believe you are much kinder, much kinder than I believe you are much kinder, much kinder than

II

Page 34: History and Musicality of Argentine Tango
Page 35: History and Musicality of Argentine Tango
Page 36: History and Musicality of Argentine Tango

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.

Page 37: History and Musicality of Argentine Tango

How musicians notate a How musicians notate a barbar

Whole NoteHalf NoteQuarter NoteEighth Note16th. Note32nd Note64th. Note

Most tangos are a mix of quarter eighth notes(This statement is unbelievably oversimplified!)

Page 38: History and Musicality of Argentine Tango

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

Page 39: History and Musicality of Argentine Tango

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

Page 40: History and Musicality of Argentine Tango

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

Page 41: History and Musicality of Argentine Tango

In reality, 1 & 3 are like a metronome In reality, 1 & 3 are like a metronome and 2 & 4 will be delayed ever so and 2 & 4 will be delayed ever so

slightly. This is what gives tango a slightly. This is what gives tango a “swing” (often called “Canyengue”)“swing” (often called “Canyengue”)

1

23

4

1

23

4

1

23

4

The different degrees of delay and The different degrees of delay and different stresses define the styles of different stresses define the styles of

different orchestras.different orchestras.

Page 42: History and Musicality of Argentine Tango

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

This is usually done by the bass and the This is usually done by the bass and the left hands of the piano and bandoneon. left hands of the piano and bandoneon. This is used to accent a phrase and is a This is used to accent a phrase and is a good “point of inflection” to look for.good “point of inflection” to look for.

1

& 23

4

1

& 23

4

Page 43: History and Musicality of Argentine Tango

Playing in 2 and 4 over and over again Playing in 2 and 4 over and over again will get boring sooner or later. Let’s will get boring sooner or later. Let’s

mix it up with a “sincopa” mix it up with a “sincopa” (syncopation). Notice that there is no (syncopation). Notice that there is no

“4”“4”

(This is a great (This is a great way to go from way to go from

parallel to parallel to cross-step)cross-step)

1& 3

& 1& 3

&

Page 44: History and Musicality of Argentine Tango

When you mix an arrastre with a When you mix an arrastre with a sincopa, you get one of my favorite sincopa, you get one of my favorite

figures: the “sincopa adelante”figures: the “sincopa adelante”

1&

3& & 1&

3& &

Orquesta Orquesta tipicas use this tipicas use this to great effect to great effect to change the to change the beat of a tangobeat of a tango

Page 45: History and Musicality of Argentine Tango
Page 46: History and Musicality of Argentine Tango

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

Page 47: History and Musicality of Argentine Tango

Antecedent and Consequent Antecedent and Consequent PhrasesPhrases

Amazing 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

Page 48: History and Musicality of Argentine Tango

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 the As an exercise, listen for windows in the tango music you hear this weekendtango music you hear this weekend

Page 49: History and Musicality of Argentine Tango

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”Sections are usually called “A” and “B” Guardia Vieja tangos have 3 sections: A, B and Guardia Vieja tangos have 3 sections: A, B and

Trio. This is exactly like a March, Polka or Trio. This is exactly like a March, Polka or RagtimeRagtime

Antecedent ConsequentAntecedent Antecedent

Page 50: History and Musicality of Argentine Tango

Tops and TailsTops and Tails

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 for 30 secondsFolks stand around for 30 seconds The band can play an intro (top) that is out The band can play an intro (top) that is out

of rhythmof rhythm The coda (tail) usually restates a main themeThe coda (tail) usually restates a main theme The coda will try to “telegraph” the ending. The coda will try to “telegraph” the ending. Good dancers will hear the endings coming Good dancers will hear the endings coming

and will react to them.and will react to them.

Page 51: History and Musicality of Argentine Tango

Antecedent ConsequentAntecedent Antecedent

Antecedent Consequent

Antecedent ConsequentAntecedent Antecedent

Intro

Antecedent ConsequentAntecedent Antecedent

Antecedent Consequent

Coda (end)

Typical Tango Form

A:

B:

A:

B:

A:

(These are usually sung)

Page 52: History and Musicality of Argentine Tango

Some Some Psychobabble Psychobabble

about the about the Universality of Universality of

TangoTango

Page 53: History and Musicality of Argentine Tango

Reasons for musicReasons for music Storytelling: a balladStorytelling: a ballad Praise: religious musicPraise: religious music Listening: concert musicListening: concert music Dance: um, for dancingDance: um, for dancing Most Argentines love tango for listening Most Argentines love tango for listening

and for storytelling. and for storytelling. Tango Radio is mostly vocalists singing Tango Radio is mostly vocalists singing

undanceable interpretaionsundanceable interpretaions Despite what dancers think, Astor Piazzolla Despite what dancers think, Astor Piazzolla

is a national hero and widely listened to. is a national hero and widely listened to. (But not for dance) (But not for dance)

Page 54: History and Musicality of Argentine Tango

Ipulse of WillIpulse of Will How musicians express intent to How musicians express intent to

each othereach other ““Chamber music Start”Chamber music Start” Make no small plansMake no small plans

Page 55: History and Musicality of Argentine Tango

Primacy and Recency Primacy and Recency (serial position effect)(serial position effect)

Psychological theory that states that Psychological theory that states that people best remember the first few people best remember the first few items and the last few items in a listitems and the last few items in a list

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

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

Page 56: History and Musicality of Argentine Tango

Points of InflectionPoints of Inflection From calculus. From calculus. It’s a place where the It’s a place where the

function changesfunction changes Listen to when the Listen to when the

music changes. music changes. (usually every 4 or 8 (usually every 4 or 8 bars)bars)

Section, phrase, Section, phrase, texture, beat. It’s all texture, beat. It’s all goodgood

When your figures When your figures change when the change when the music changes, you music changes, you are dancing in the are dancing in the musicmusic

Page 57: History and Musicality of Argentine Tango

Rule of 3sRule of 3s

3 is a magic 3 is a magic numbernumber

When you riff on a When you riff on a figure, don’t figure, don’t repeat it more repeat it more than 3 times. than 3 times.

Jazz musicians use Jazz musicians use this all the time.this all the time.

Page 58: History and Musicality of Argentine Tango

Tango is a Narrative Tango is a Narrative DanceDance

A 3 minute love affairA 3 minute love affair A tango should have a beginning, middle A tango should have a beginning, middle

and endand end Try to tell a story. By definition, the story Try to tell a story. By definition, the story

is abstract.is abstract. Communication between partners is the Communication between partners is the

goal of good tango. Try to say something goal of good tango. Try to say something meaningfullmeaningfull

There are some things you can’t say in There are some things you can’t say in wordswords

Page 59: History and Musicality of Argentine Tango

Nostalgia and TangoNostalgia and Tango Reminds Argentines of a time when they were Reminds Argentines of a time when they were

richer and life was simpler.richer and life was simpler. Allows ExtraAllows Extraños to pretend to be part of that ños to pretend to be part of that

time time Authentocracy: we worship the past and ignore Authentocracy: we worship the past and ignore

the present.the present. Not that much new tango. Many bands only play Not that much new tango. Many bands only play

new arrangements of old tangos. How many new arrangements of old tangos. How many Salsa bands play 100 year old songs?Salsa bands play 100 year old songs?

Live music is generally more modern than Live music is generally more modern than dancers want. There are exceptions (Berretin dancers want. There are exceptions (Berretin and Mandrágora, for instance)and Mandrágora, for instance)

Example: Troilo’s version of La cumparsitaExample: Troilo’s version of La cumparsita

Page 60: History and Musicality of Argentine Tango

Learning MoreLearning More

mandragoratango.com/djmandragoratango.com/dj 70 of the most played tangos for download70 of the most played tangos for download You can find our site by googleing “tango You can find our site by googleing “tango

band”band” Listen, Listen, Listen!!!Listen, Listen, Listen!!! Only 300-400 tangos commonly played at Only 300-400 tangos commonly played at

BsAs Milongas.BsAs Milongas. A “Classic Rock” station may only have 200 A “Classic Rock” station may only have 200

songs in its playlist.songs in its playlist. The more you hear, the more you internalize, The more you hear, the more you internalize,

and the better you dance (unless you play and the better you dance (unless you play accordion)accordion)

Page 61: History and Musicality of Argentine Tango

Thank You

Bob Barnes, Mandrágora Tango Orchestra