Tango Course - 3rd. Edition

TANGO COURSE

3RD. EDITION

TANGO COURSE

3RD. EDITION

TANGO COURSE BY HORACIO SALGÁN

His Background

Horacio Salgán was born in Buenos Aires, Argentina, on June 15, 1916. He began his piano studies early on with Professor Luppo. At age 13 he entered the conservatory Conservatorio Municipal, where he took harmony classes with Maestro Serrallach, music theory and solfege with Professor de Ricci, and piano with Maestro Laffratti and Mrs. Amelia Coq de Weigand. Afterward he furthered his training in harmony with Maestro Pedro Rubbione, in counterpoint with Maestro Marcolli, and in piano with Vicente Scaramuzza, Raúl Spivack, and Alejandro Borovsky.

He began his career as a professional musician at 14 years of age, playing piano in the movie theater Cine Universal de Villa Devoto (then a theater for silent movies). Also deserving of mention is his performance as an organist, which got its start in the church Iglesia San Antonio de Villa Devoto, continuing later on the radio station “El Mundo", where he was a permanent organist, and in the movie theater Gran Cine Florida.

As a pianist of popular music, his career was multi-faceted, performing as a soloist or accompanist at numerous radio stations (Belgrano, Excelsior, Prieto, Stentor, etc.), as well as in small ensembles and orchestras, able to perform an abundant and varied repertoire of jazz, folk, tango, tropical rhythms, waltzes, milongas, etc.

He formed part of Juan Puey's orchestra, accompanied the Martínez-Ledesma duet, participated in the typical tango orchestra of Roberto Firpo, in that of Alberto Cima, and in the "Tropical" orchestra of Juan Ryera, among others.

The Orchestras

He formed his own first typical tango orchestra in 1944, performing in that same group until 1947. With this orchestra he played on the radio station "El Mundo", in tango bars such as Germinal, Nacional, Marzzotto, Tango-Bar, in neighborhood clubs, music halls, and cabaret halls.

Besides having great instrumentalists, his orchestra was noted for it's singers, including Lucio Tabares, Carlos Bermúdez, Edmundo Rivero, Héctor Insúa, Oscar Serpa, y Jorge Durán. Horacio Salgán was the person who "discovered" Edmundo Rivero, whose professional singing career began as soon as he joined the orchestra.

The ensemble's repertoire was made up mostly of traditional tango arrangements made by Salgán himself. Through the arrangements, he presented a new concept of style which is original and personal, yet solidly linked to the authentic roots of the genre of tango. His renovating tango style made a big impact at the time. The introduction of his first orchestra marks the beginning of the "Salgán Era” as part of the history of the tango, and leads the way for an avant-garde change within the genre.

His second orchestra performed between 1950 and 1957. In 1950 Salgán recorded his first record which had two instrumental tangos: "La Clavada" by Zambonini, y "Recuerdo" by Pugliese. Among the singers who performed with the orchestra were: Héctor Insúa, Angel Díaz, Horacio Deval, and Roberto Goyeneche, who, like Rivero before him, was launched into his professional career thanks to Salgán. That same year, in response to a request made by Agha Khan, High Commisioner for Refugees-U.N., the United Nations included the Salgán orchestra on a record entitled "All Stars", which was made public at the Expo '70 in Osaka, where musicians of the highest caliber came

• INDEX
• TANGO COURSE
• A PROLOGUE
• SECTION 1
• CHAPTER 1: TANGO COURSE
• The word "Tango'

The Use of Different Time Signatures in Tango Writing An Indisputable Influence

Special Characteristics of the Tango Accompaniment

CHAPTER 2: THE EVOLUTION OF THE TANGO

The Decarean Period

The Decade of the 1940's

CHAPTER 3: THE CREATION OF DIFFERENT TYPES OF POPULAR MUSIC --28

• CHAPTER 4: DIFFERENT TYPES OF TANGO
• Melodic Tango
• The Melody

Exposition of the Theme by the Piano

The Accompaniment in the Melodic Tango

The Bass in the Harmony and Accompaniment

Rhythmic Tango

CHAPTER 5: FREQUENTLY-USED ELEMENTS IN THE TANGO

• The Counterpart or Counter-melody
• The Variation
• Phrasing
• Percussion effects
• Freestyle Percussion Effects

The Percussion Effect of the Double Bass

Frequently-used Rhythmic Patterns In The Accompaniment ---46 Variants of the "Four" and the "Syncope"

• CHAPTER 6: HARMONY
• Closing Chords and Transitional Chords Review
• SECTION 2: INSTRUMENTATION
• Accents, Ties, and Typical Tango Phrasing
• CHAPTER 7: THE PIANO

The Piano's Roles in a Tango Orchestra

Accompaniment

Accompanying the Staccato Passages

The Piano in the Slurred Passages of the Orchestra

• Transitional Passages
• Bell Effects
• The Melody in the Piano
• Review
• The Variation played by the Piano
• CHAPTER 8: THE STRING INSTRUMENTS
• The Melody
• Violins Alone
• Violins and Viola in Unison
• Violins, Viola, and Cello in Unison

The Melody played by the Strings in Two Octaves

The Melody played by the Strings in Three Octaves Chord Tones Reinforced by the Strings

• Rhythmic Motives
• The Variation
• The Melody in Multiple Instruments
• Harmonic Background played by the Strings
• String Instruments playing Pizzicato
• The Cello
• The Double Bass
• The Accompaniment in the Strings
• CHAPTER 9: THE SLIDE
• TANGO COURSE BY HORACIO SALGÁN

• The Cello
• The "Anticipation" in the Bandoneons
• The "Anticipation" in the Piano
• The "Anticipation" in the Syncope
• CHAPTER 10: THE BANDONEON
• The Melody
• The Melody in all Four Bandoneons
• Harmonic Background
• The Variation
• "Canto y Bajo"
• CHAPTER 11: THE GUITAR
• CHAPTER 12: THE BASS CLARINET
• CHAPTER 13: THE ORCHESTRA
• CHAPTER 14: ANALYSIS

Arrangement of the Tango "Sobre el Pucho"

A few important Annotations

Arrangement of the Tango "Soy del '90" (by Tito Ribero and Waiss) 115

• "Soy del '90", Second Fragment (special)
• Arrangement of the Tango "Trenzas"
• Arrangement of the Tango "El Motivo"

Arrangement of the Tango "Chiclana" by De Caro

CHAPTER 15: FINAL NOTES

Incorrect Harmonic Resolutions, accepted in Conventional Practice -133

• Some Guidelines for making an Arrangement
• APPENDIX
• ADDITIONAL MUSICAL EXAMPLES
• CD CONTENTS
• BIBLIOGRAPHY

CHAPTER 1

CHAPTER 1

TANGO COURSE

Upon making the decision to prepare this tango course, there were two things to consider. I had to choose between merely explaining how to deal with the elements that make up an arrangement, accompaniment, or instrumentation, (without adding too many comments to the examples of each) or elaborating upon those examples in order to give a clear idea of how to properly use such materi- al. I have opted for the latter, considering the fact that the intention of this book is not only to inform but to also fundamentally educate the scholar, and given the need to clarify certain concepts.

In other words, to have musical information, for example knowing many chords, is the same as having the pieces of a big puzzle. The puzzle may only be put together correctly with the proper musical training.

Thus, with the intent of this course being the performance of the tango rather than an exhaustive study of its history, we will only dwell on those aspects which are useful for its performance. Our learning will be based on clear and definitive concepts.

Before getting into the material at hand, I need to touch on the difference between the early tango, accompanied by the Habanera rhythm, and the tango in its more modern version, with a 4/4 accompaniment. The latter rhythm in "four" has since had many varieties of rhythmic figures added to it.

The difference between one tango period and the other is such that at times it is difficult to estab- lish a connection between the two, save for the melodies. This is due to evolutionary changes which have had their effect on the genre.

Below is a reference to the Habanera rhythm, the earliest accompaniment to the tango.

In the ANTOLOGÍA DEL TANGO RIOPLATENSE, an excellent anthology by the INSTITUTO NACIONAL DE MUSICOLOGÍA "CARLOS VEGA", we find the following information:

"Most certainly originating from the English Country Dance, we find it warm- ly received in France toward the end of the 17th Century; later it heads to America, where it is transformed into the Cuban contradanza in the 19th Century. This pro- duces two sub-species: one of them, the 2/4, later results in the Habanera... The Habanera is taken to Europe and is widely accepted; the stylized version is then converted into a ballroom dance, arriving in Río de La Plata, where it is taken in as one of the celebrated dances... This complex process of coming and going will be repeated several times during the course of the period which our analysis will cover. Alejo Carpentier, known musicologist and Cuban writer, pointed out this mechanism..."

That is to say, the tango's first form of accompaniment was the Habanera, stylized in Europe, with the connection between them perhaps being furthered by the Tango Andaluz and the Zarzuela music from Spain. Many fans of the Zarzuela consider it to be among the first genres to have tango composers, for example Don Feliciano Latasa, born in San Sebastian, Spain, who wrote the tango "Gran Hotel Victoria".

• THE DECAREAN PERIOD
• CHAPTER 2
• THE EVOLUTION OF THE TANGO

TANGO COURSE BY HORACIO SALGÁN

The musicians Juan Maglio "Pacho", Eduardo Arolas, Agustín Bardi, Carlos Posadas, Roberto Firpo, and others whose names have come to be known through the research for this book, have all contributed their talent to the period of the Habanera accompaniment. With the appearance of the "four" pattern we will gradually pass from the Guardia Vieja to the “Decarean" period.

Between these two eras, more elements are added which lead us to the Decarean. It should be made clear that when we mention the Decarean period, we are not only referring to Julio De Caro, but also to Francisco De Caro, Pedro Laurenz, Enrique Delfino, Juan Carlos Cobián, and other com- posers and performers who created the style, atmosphere, and pieces that shaped the new style in the orchestra of Julio De Caro.

In this chapter we will talk about the contribution of these artists and we will analyze the expres- sive, rhythmic, and melodic content of their works. (See "El Tango Romanza" by Dr. Luis A. Sierra.)

The so-called "Tango Romanza" of Francisco De Caro, the beautiful counter-melody of Julio De Caro (which had been incorrectly labeled as harmony), the bravura phrases of Pedro Laurenz, along with many other subtleties and additions all help classify this period as one of the richest and most fundamental milestones in the history of the Tango.

The Decarean period represented a new advance in the progression of the tango which consist- ed of ideas and ways of playing that were deeply lyrical.

Let us not forget that music is based on tradition, and that its creators receive from their prede- cessors and then give to those who follow. Aníbal Troilo, Alfredo Gobbi, Carlos Di Sarli, Osvaldo Fresedo, Enrique Mario Francini, and many others contributed to the furthering of the tango and enriched it through their talent and personal style.

Let us not forget them.

THE DECADE OF THE 1940'S

After the Decarean era we come to the decade of the 1940's, which benefits from all the riches that were poured into the tango by the masters of the previous epoch.

The decade of the 1940's represents the culmination of all that was handed down from the most proficient and thoroughly trained performers and arrangers who extended the panorama of the tango, and whose influence continues into the present.

It's what is on the inside of the tango where its greatest merits and riches lie. This richness and strength of spirit are what have made it possible for the tango to remain current and to prevail among other noteworthy popular types of music.

The early groups were small. They were comprised of a single flute, guitar, bandoneon, etc. Later, the typical orchestras included four violins, viola, cello, double bass, four bandoneons, and piano. The sound of these groups remained relatively small compared to the larger ensembles which had a more driving sound thanks to the addition of more powerful instruments such as trumpets, trombones, saxophones, and all kinds of percussion instruments including those used in other gen- res. We are surprised and amazed by the success of the tango in diverse countries throughout the

• CHAPTER 3
• THE CREATION OF DIFFERENT
• TYPES OF POPULAR MUSIC

TANGO COURSE BY HORACIO SALGÁN

This chapter will deal with the creation of various types of popular music once each type is identified as something distinctive and identifiable within its own genre.

It is a known fact that most musical genres, especially the popular ones, are generally formed through the influence of various elements from diverse trends. In some cases, with the indispensa- ble input of their creators, these concurrences have gradually been defined as genres with their own identity. They may appear later as a new entity with few or no traces of their inception.

The formation of a genre is based on the coming together of diverse elements which then changed and evolved. The Antología del Tango Rioplatense opportunely asserts that when regarding the tango, "it serves no purpose to try and determine a unilateral, retrospective lineage that leads to its origins." It is a proven fact that there are elements, trends, and influences of various types and from different sources that all converge to produce a musical genre. Such is the case with the tango and its early accompaniment, the Habanera rhythm. There may be exceptions to this tendency, for example in places where people have developed an independent culture without external influences due to geographic isolation by mountains, seas, or deserts.

So now, if we admit as valid the theory of the convergence of various elements required to form a musical genre, then it is another thing entirely to examine that genre. Considering that it man- aged to create a new identity for itself, it should govern itself according to its own parameters.

Even though art can be defined as exercising free creation, without limits, there are musical gen- res which are most clearly established and do not admit that which goes against their very essence and feeling.

Some musical styles offer an infinite range of expressions and subtleties which may be recog- nized by those who have sufficient talent and the ability to do so. As an example, a waltz does not fit in a 4/4 time signature. Another example is how, in jazz, one of the most important requirements is the ability to improvise. Many of its greatest performers were memorable improvisers. This aspect, though inherent to jazz, is not typical of the tango. Throughout its history, those who attempt- ed to improvise on the tango generally resorted to passages and embellishments from earlier times (with a few exceptions) and as a result fell into ambiguity.

Up until now, improvisation in tango music has not prospered, though no one knows what the future has in store for us. We should not discard the possibility of successful results by future per- formers, however. For instance, who would have thought that the trombone could actually "sing", if it weren't for the extraordinary Tommy Dorsey?.

What is valid during a musical genre's formation ceases to apply once that musical style becomes a defined entity.

The lessons of history and the conclusions of experts tell us that two important elements must be present for a Musical Genre to materialize:

1º) A common human feeling in a certain time and place

CHAPTER 4

DIFFERENT TYPES OF TANGO

TANGO COURSE BY HORACIO SALGÁN

Just as we emphasized the fact that the accompaniment of the tango is based on its melody, each Tango should be considered on an individual basis, even those by the same author.

This individuality is precisely what makes it impossible to settle upon a uniform accompaniment. In other types of popular music we generally find a uniform accompaniment. In order to clari- fy this concept, we will divide the Tango into two general groups: Melodic Tangos and Rhythmic Tangos.

Tangos are almost always made up of two or three sections. (Though a tango may have several sections, there is no set rule which limits how many of them may be used.).

Some tangos begin with a melodic section, and then do not necessarily continue in a melodic style in the second or third section, or vice versa. These are mixed tangos because they combine both rhythmic and melodic sections. Instead of categorizing these as either rhythmic or melodic tangos, we will deal with each section individually, based on its tendencies, whether rhythmic or melodic. Some tangos begin with a melodic section, and then do not necessarily continue in a melodic style in the second or third section, or vice versa. These are mixed tangos because they combine both rhyth- mic and melodic sections. Instead of categorizing these as either rhythmic or melodic tangos, we will deal with each section individually, based on its tendencies, whether rhythmic or melodic.

There is a another type of tango in addition to the previous ones. Sometimes a theme is followed by a sort of Fantasy. The Fantasy is an exception within the genre because it does not maintain the rhythmic continuity that is so common to the tango. The Fantasy may be used as an introduction.

For example, see my arrangement of "La Casita de mis Viejos" by Cobián and Cadícamo, or my arrangement in the form of a Fantasy of "Flores Negras", the great tango by Francisco De Caro for strings, bass clarinet, and piano.

We must bear in mind that these are exceptions, and that the tango should not usually be played in this manner. It should be played “in time”, as long as its variations are appropriate and permissi- ble, and as long as they are required for its character or expression.

MELODIC TANGO

Almost all the examples which follow in this chapter have been written for the piano. I have chosen to use it because of all the instruments, its score is the easiest to visualize.

The chapter on instrumentation will include examples for orchestra.

The Melody

Many tangos have beautiful melodies, some of which are incredibly lyrical and have poetic inspiration.

The melody should be shown with total clarity. Due to questions of style, the melodic tango should not have any notes, passages, variations, or adornments added to it which affect or distort its melody.

CHAPTER 5

FREQUENTLY-USED ELEMENTS IN THE TANGO

TANGO COURSE BY HORACIO SALGÁN

Various elements and resources have been incorporated into the tango that help emphasize its rhythmic and expressive attributes.

We will point out some of these elements which have been used with more or less frequency, depending on the era.

THE COUNTERPART OR COUNTER-MELODY

What has commonly been mislabeled as “harmony” is actually a secondary melody or counter- melody comprised of a single musical line, being either original or having been written by another composer. It is very common for a rhythmical section of a tango to be initially played on its own and for it to later be accompanied by its counter-melody when it repeats. This secondary melody may be used in any part of the composition, as long as it comes after the exposition of the original theme.

At one time this practice was very popular, and some of these counterpart melodies have remained forever in the history of the tango. We recall the beautiful counter-melodies that Julio De Caro composed for his own tangos such as "Boedo", "Orgullo Criollo", "Mala Junta", etc., just to cite a few.

As we mentioned, it is also the case of those counter-melodies which were not written by the original composer and are incorporated as permanent elements of that specific tango because they fit so well.

A counter-melody may also be contrasting, like the one I composed for the arrangement of "El Entrerriano". In this tango the theme and development are comprised of a succession of rhythmic patterns that are quite loud. This prompted me to incorporate a counter-melody to serve as a sort of dynamic.

• Audio example #5: "El Entrerriano".

THE VARIATION

This resource has some characteristics which are similar to those of the counter-melody. The variation usually consists of setting four thirty-second notes against each eighth note in a measure of 2/4, or in modern terminology, writing four sixteenth notes per beat in a 4/4 time signature.

One should take into account the character of some of the previous sections in a tango and base the variation on those sections.

Though it usually is written using four figures per beat, this is not a strict rule; triplets and sex- tuplets may also be used.

The variation is commonly used as a means of expressing dynamics, and is usually found at the end of a piece, though, as we said earlier, it may be used in any section.

The simultaneous use of the variation and the countermelody has shown to have a splendid effect and has resulted in very beautiful endings.

CHAPTER 6

HARMONY

TANGO COURSE BY HORACIO SALGÁN

In the early stages of the tango, as one would assume, the harmonic resources that were used were very limited when compared to those of today.

However, some tonal contrasts based on a simple harmony allowed for certain inspired moments in the compositions.

It is clear that the musicians of the time were not preoccupied with harmonic effects, but rather were concerned for the beauty of the melody and rhythm and were concerned with being expressive. As we get closer to the Decarean period, the importance of the harmonic effects and their charm becomes more and more evident in the tango. From the 1940's on, there was no limit to the amount or type of chords that were inserted.

We should be thankful for the music of films from the U.S.A. for introducing a multitude of important harmonies to our music.

There was so much gravitation toward this harmonic language, and it was identified so much with jazz and those movies, that they were labeled as "American chords". These chords were essen- tially unknown previously in our popular music.

It should be made very clear that the lack of an understanding of harmony was found only with popular musicians at the time, who, with few exceptions, did not have formal music training. Conversely, the classical musicians and composers who were involved with symphonies and cham- ber music did have knowledge of harmony, thanks to their schooling and training. They studied works from the Classical, Romantic, and above all the French Impressionist composers such as Debussy and Ravel.

I would like to point out that even though they did not have proper music theory training, many tango musicians have left us incredibly worthwhile creations. We know that this lack of training was the case and always occurs in any given period and given genre. We also know that the intuition of some composers may surpass that of a theoretical knowledge, sometimes with advantages over oth- ers with less natural ability.

The United States, with a grand vision for the future, and through the teachings of great musi- cians, facilitated highly educated musicians who acquired thorough knowledge and mastery of harmony.

Impressionist harmony has come to be almost a universal language, thanks to its constant, wide- spread use, and is commonly used in many other types of music.

The appealing charm of harmonic language is an important factor in tango music, but it should not be incorporated as if harmony were the only thing that matters. We have already mentioned the essential values of the tango, and the harmony should serve to complement them.

A fundamental premise that should always be used as a guide is to not use the same chord pro- gressions that are used in other musical genres, otherwise there will be an immediate association to another type of music through those chords, and the result will be a hybrid.

This can be avoided by simply using the chords in a different order, a different sequence, if you will.

Using chords prudently will enhance a composition, but abusing them will detract from the com- position and distort it. Given that each musical genre has identifying elements that distinguish it from others, so should the harmony in the accompanying chords be fitting to the genre in which they are

INSTRUMENTATION

CHAPTER 7

THE PIANO

TANGO COURSE BY HORACIO SALGÁN

In this chapter we will deal specifically with the role of the piano in the tango orchestra. The examples and remarks that follow pertain to the use of the piano in a full orchestra as seen today, formed by four violins, viola, cello, double bass, four bandoneons, and piano. They may also be use- ful when taken into account for smaller ensembles, for which certain modifications may be neces- sary.

THE PIANO'S ROLES IN A TANGO ORCHESTRA

Of all the functions the piano has in a tango orchestra, the most important and most notable will be pointed out here. There are naturally other diverse roles that the piano has. We will touch on some of them and listen to them in the audio examples.

Accompaniment

As an example of the piano's function as an accompaniment within the orchestra, we should look back at chapter 5, under the section "Frequently-Used Rhythmic Patterns In The Accompaniment". There we talked about the basic forms of accompaniment and its variants. As already mentioned, it is important to listen to the audio examples that illustrate this material as well as recordings from the great orchestras such as those of Alfredo Gobbi, Carlos Di Sarli, Aníbal Troilo, etc.

Accompanying the Staccato Passages

The examples mentioned above from chapter 5 adequately show the accompaniment of staccato passages.

However, in some cases the piano may also play along with the melody of the orchestra, while it accompanies with the left hand. This accompaniment, when doubled in the left hand of the ban- doneons and in the double bass gives a sufficient rhythmic base to sustain any melodic staccato passage.

The accompaniment played by the left hand of the piano may consist of chords or simply the coinciding bass line of the double bass.

The Piano in the Slurred Passages of the Orchestra

It is common for the piano to double the melody of the orchestra, usually in octaves, when the passage is slurred. This technique can be very effective because it not only reinforces the melody, but it also helps to pronounce the dynamics, thereby making it more expressive. This applies to forte passages as well as those in piano.

One may decide to take advantage of adding certain chords to these passages. This may be done not only on the strong beats of a measure, but also anywhere else that the style and expressiveness of the pieces requires it and/or allows it. Be careful to not overuse this technique so that the given passage does not become clumsy and so that the melody does not become too obscured.

CHAPTER 8

THE STRING INSTRUMENTS

When dealing with the strings in an orchestration or arrangement for a typical tango orchestra, we will be referring to the formation comprised of four violins, viola, and cello. The double bass will be treated independently, given the particular roles it plays in the orchestra. The indications that fol- low in this chapter have to do with this formation; a larger string section falls into a different cate- gory, and requires a distinct approach.

The practical upper range limits for the string instruments of a tango orchestra are indicated below:

• Violín
• Viola
• Violoncello
• Contrabajo

The double bass sounds one octave lower than the pitch that is written because it is a transposing instrument.

This tessitura is the one most frequently used. However, these limits are set according to cus- tom and we will see that in practice they are exceeded when the phrase requires it. We will see exam- ples of this further on.

THE MELODY

Violins Alone

When the four violins are used together and in unison, they add more body and sonority to the orchestra than one solo violin, yet they retain the general timbre of the violin.

The low register of the violins is not used very much, unless it has the support of the cello. Conversely, the high and extremely high registers are used more frequently because of their increased sound.

Given the sound limitation of this formation, an acceptable sonority may be achieved by having the violins play in octaves, distributing each part to two violins.

CHAPTER 9

THE "SLIDE"

In tango music, when the attack of either a "syncope" or a "four" or "two" pattern is anticipat- ed, we call this a "slide" or anticipation, as seen in the following illustrations:

• Anticipation on the "syncope":

Note that only the bass line or bass and chord tones should be anticipated. As we see, it consists of starting the syncope on the last eighth note of the previous measure (in 4/4 time).

This type of anticipation in the syncope began approximately in the year 1943 in the orchestra of Aníbal Troilo, and is one of the most often used in preparations for the syncope.

The slide in the "four" pattern (every two quarter-notes) is also very common. Examples:

• Slide in the "four":

• Slide every two quarter-notes:

As we can see, in the "four" the slide goes from the last quarter-note of a measure until the first quarter note of the next measure. In the case of every two quarter notes, the beginning is the same, with the addition of the slide on the second beat going to the third beat.

Besides these examples, there are other variants of the slide.

In general, a diagonal line (or two lines, in the case of the violins, viola, and/or cello) is suffi- cient indication for a slide, and it is not necessary to write out all the notes that make it up. This is a convention that facilitates the writing of the slide and makes it clearer.

Violín equivale a:

CHAPTER 10

THE BANDONEON

The destiny of some instruments is curious and picturesque, as with the saxophone, which was created by the prestigious Belgian instrument maker Adolph Sax, and which ended up being used in the U.S.A. as a characteristic instrument of jazz.

The case of the bandoneon is similar, having been born in Germany, created by Heinrich Band. It arrived in Argentina and was somehow transformed into the instrument and image of the tango, where, through its expressiveness, it is apt for stating anything the tango needs to convey.

This ductile and precious instrument is able to play expressive passages as well as adornments or variations with the same effectiveness. Later on we will refer to the most important aspects of these possibilities.

The notes in parenthesis do not exist on this instrument.

THE MELODY

The bandoneon can play a melody in one voice, in thirds, sixths, or octaves, always with favor- able results. The melody may be stated by either single or multiple bandoneons without any prob- lems arising, and without requiring any special indication.

The beautiful sounds obtained by the left hand are particularly penetrating and attractive, start- ing approximately from middle C and higher, depending on its relevance in the surrounding context. Whether in a single voice or in multiple voices with the other bandoneons, or in passages with the entire orchestra, these sounds confer an intense expression. These notes have a sound that is very similar to that of the bassoon, in the same register.

The Melody in the Four Bandoneons

Right hand: In example #26 (from the tango "Siga el Corso"), we have a sample of the melody played by the four bandoneons in three parts, with the fourth bandoneon doubling the melody one octave below the first. This practice is very convenient, as it reinforces and highlights the melody.

CHAPTER 11

THE GUITAR

TANGO COURSE BY HORACIO SALGÁN

This instrument was used profusely in the initial creative moments of the tango, though it did not maintain its presence therein (save for some exceptions) once the formation of the typical orchestra became more concrete. That is to say, since the sextets formed by two bandoneons, two violins, piano, and double bass, to which were later added more bandoneons, more violins, viola, and cello. This lack of presence nowadays is mainly due to the insufficient volume of the guitar against the sound of the other instruments. Of course, I am referring to the Spanish guitar. For this reason, when I formed the duo with Ubaldo De Lio, we had to revert to the amplification of the guitar in order to equalize its sound with that of the piano.

Though the guitar often plays the role of the accompaniment, its beautiful sound and agility make it suitable for any role. In all types of rhythm, melody, slide, etc., its many capabilities are clearly evident.

De Lio's collaboration with me for 46 years (up until 2004) was a great privilege and his knowl- edge in this genre is surpassed by very few. His efforts may be appreciated on the recordings of our duo or with my orchestra.

As one can see in the scores used in this course, we use pop chord symbols for the guitar. It is very important that the bass notes of each chord in the guitar totally coincide with the bass notes of the piano and the double bass, especially when the guitar is amplified. When amplified, the low notes of the guitar may have a lot of presence which can cloud or distort the clarity of the bass line if they do not coincide.

Note: In 1944, when I was the pianist for the guitar duo Martínez-Ledesma in "El Tronio", on Avenida Corrientes, at the intersection with Calle Florida en Buenos Aires, I noticed that when the duo came on stage, each one had their guitar and a chair for support because they played standing. When I considered the possibility to improve the image of this setup, the idea came to me to have a strap or cord that would connect to the neck and have a hook at the other end. The strap would go around the back and hook into the base of the guitar. The idea turned out to be a good one, as it improved the presentation of the duo, allowing them to play standing and have freedom of movement. This simple accessory has been widely accepted, and its use is common here and in many other countries.

CHAPTER 12

THE BASS CLARINET

The Reason I included the Bass Clarinet as a Permanent Instrument in my Orchestra.

The bass clarinet is a beautiful instrument which continues the sounds of the common clarinet into the low register. Its range of notes includes those in the following scale and, though the treble clef is most frequently used when writing for it, Richard Wagner wrote for it in the bass clef. The opinions are divided, but either way the actual range of sound in the Bb bass clarinet (which is the most common one) is as follows, in concert pitch:

Note: The Bb bass clarinet can usually play the note in parenthesis through the use of a special key.

As far as the reason for including it in my orchestra, this came about after noticing that we were missing a bass instrument that could sustain the sound in cases when, for example, the cello was play- ing with the upper strings and the double bass was marking the rhythm in pizzicato. We needed to complete the left hand bass chords in the bandoneons with a bass instrument with a full sound of a certain power.

The bass notes of the bandoneon are perfectly balanced with the sounds of the right hand and with those of the left hand, and provide a harmonious sound that is full of beauty. However, in some cases the voicing and volume of these low notes are not powerful enough to balance the force of sound of an orchestra. That is to say, when the bandoneon plays alone, its bass notes are of adequate power, but in relation to an orchestra, their sound tends to be lost.

When the cello is fulfilling another function and cannot sustain the bass line, then the bass clar- inet is completely capable of this duty.

The bass clarinet has a full, beautiful sound that merges perfectly with the voicing of the bando- neon in both the left and right hand.

There are innumerable roles that the bass clarinet may play, whether playing phrases, adorn- ments, or, of course, the bass line. Its full-bodied, non-aggressive sound allows it to either show its presence or to whisper the lightest pianissimo.

We will see examples of its use in the examples that follow:

CHAPTER 13

THE ORCHESTRA

TANGO COURSE BY HORACIO SALGÁN

In order to decipher as clearly as possible that which has to do with the position of the instru- ments when working with an orchestration, we should make use of a few simple graphs which rep- resent the main structures or those used most frequently. There are infinite possibilities in an orches- tration, and obviously we can only mention a limited number of them here. The industrious student may resort to listening to good recorded version of tangos, being that it is nearly impossible to acquire orchestrations on sheet music.

We know that nothing can replace attentive listening or live playing.

Let us begin by imagining an extension in the form of a vertical line, within which the instru- ments of the orchestra are placed as follows:

• Agudos
• Medios
• Graves

The following configurations are the most common:

• Vins.
• Vins.
• Vla.
• Vla.
• Cln.
• Vel.
• o bien
• Vel
• Viert, Cb.
• Vel.
• Baks.
• Vol.

• CHAPTER 14
• ANALYSIS
• TANGO COURSE BY HORACIO SALGÁN

THE ARRANGEMENT OF THE TANGO "SOBRE EL PUCHO"

In order to create a favorable atmosphere in the exposition of this melodic theme, the piano begins with a chromatic passage in the low register in pianissimo which leads to a chord in both hands, also in pianissimo. The bandoneon plays in the high register of the left hand, together with the second bandoneon, violin, viola, and cello.

This chord resolves to the next measure and the theme begins.

The theme, which we said is melodic, is broadly played by the violins and the viola in its low register together with the bandoneons in the left hand in the high register. This combination is very adequate for phrases of this type (indicated as configuration "D").

The accompaniment begins in the third measure in syncopation (in pianissimo) in the piano, gui- tar, double bass, and cello. In the fifth measure the piano plays a preparatory transitional passage (see "Transitional Passages" in chapter 7) that is reinforced by the double bass, cello, and violins in the high register, all in pizzicato.

Through this transitional passage we have changed the melodic character at the beginning of the theme into a new exposition of the theme in a more rhythmic form until measure 11. At the end of this measure the strings begin a few modulatory notes (prepared by four sixteenth-notes) while the theme remains in the right hand of the bandoneons, reinforced by the piano (an octave below), fol- lowed by a response in the high register that is based on the same theme, and also played by the piano.

In the next measure the melody continues in staccato, to be taken over later by the right hand of the bandoneons, reinforced by the bass clarinet, two octaves below the first bandoneon.

This measure ends with the bandoneons playing two notes (with the left hand in the high regis- ter) which resolve in the next measure, where the entire orchestra plays.

Notice the configuration of the orchestra with the violins, viola, and cello playing lower than the right hand of the bandoneons (in measures 16 and 17, configuration indicated as “C”), whereby the first and third bandoneons play the theme in three octaves while the second and third play the chords.

A few important Annotations

There exists a natural tendency to slow the tempo in piano or pianissimo, and to accelerate the tempo in forte. This tendency, because it is natural, should be followed, but not exaggerated. For this reason, when the theme begins in piano, it is convenient that the phrase be played comfortably and in a broad manner, in this case including triplets. Notice the shorter, more incisive figures that are used in the eighth measure, which is forte.

Note the excellent sound that results in measure 15 from the ensemble of the bass clarinet with the bandoneons, despite there being distance between them.

The bow indication "suelto" for the violins, viola, and cello is convenient when requiring greater clarity in a passage, bringing out each note.

Now let us take a look at the arrangement of "Sobre el Pucho", tango by Sebastián Piana and González Castillo.

• CHAPTER 15
• FINAL NOTES
• TANGO COURSE BY HORACIO SALGÁN

INCORRECT HARMONIC RESOLUTIONS, ACCEPTED IN CONVENTIONAL PRACTICE

Considering the shortness of sound in the staccato notes in the accompaniment, and considering the imprecise sound that results when all the instruments play simultaneously, the parallels and dou- blings in a progression that are considered incorrect in scholarly music harmony are not taken into account, as they are nearly imperceptible.

In the resolution of some of the voices played by the second or third violin and/or second or third bandoneon, we see that on occasion they do not go to the corresponding note.

This is due to the fact that the second violin and/or the second bandoneon plays notes that per- tain to the melody in thirds or in sixths.

In an arrangement made for three voices (for three violins and/or three bandoneons) whereby the fourth violin and/or bandoneon generally plays one octave below the first, if we only have two vio- lins and/or two bandoneons available, then we obviously must play using only the parts of the first and second violin and/or the first and second bandoneon.

So, for example, if we have to perform a passage as follows:

and given that the most common order of the voices is:

Vins. o Bds.

then we find that when lacking the third violin or the third bandoneon, the second will play in fourths with the first, as shown:

• APPENDIX
• ADDITIONAL MUSICAL
• EXAMPLES

TANGO COURSE BY HORACIO SALGÁN

Listed here is a group of counter-melodies and variants composed by Horacio Salgán for differ- ent works.

Example A: Complementary melody (counter-voice or counter-melody) from "El Entrerriano" (tango by R. Mendizábal). Audio example #5.

• Example B: Complementary melody (counter-melody) from the tango "Pimienta” (Fresedo).

• CD CONTENTS
• 1) Con Bombo Legüero 0:58
• (Salgán)

2) Los Mareados (accompaniment in four) 0:25

• (Cobián-Cadícamo)
• 3) Los Mareados (Habanera accompaniment) 0:18
• (Cobián-Cadícamo)

4) Recuerdo (rhythmic accompaniment for the variation) 0:23 (Pugliese-Moreno)

• 5) El Entrerriano (counter-melody) 1:04
• (Mendizábal)
• 6) El Marne 0:31
• (Arolas)
• 7) Dandy 0:31
• (Irusta-Fugazot-Demare)
• 8) Shusheta (final) 0:26
• (Cobián-Cadícamo)
• 9) Recuerdo (counter-melody) 0:13
• (Pugliese-Moreno)
• 10) Recuerdo (counter-melody, 2nd part) 0:14
• (Pugliese-Moreno)
• 11) Siga el Corso 0:16
• (Aieta-García Giménez)

12) La Casita de mis Viejos (introduction) 0:51

(Cobián-Cadícamo)

13) La Casita de mis Viejos (introduction, 2nd fragment) 0:37 (Cobián-Cadícamo)

• 14) La llamo silbando (variation) 0:17
• (Salgán)
• 15) A Fuego Lento (variation) 0:22
• (Salgán)
• 16) Ojos Negros 0:31
• (Greco-Porteño)

17) La Ultima Curda (1st fragment) 0:22

• (Troilo)
• 18) Boedo 0:12
• (J. De Caro-D. A. Linyera)
• 19) La Clavada 0:15
• (Zambonini)

20) La Ultima Curda (2nd fragment) 0:16 (Troilo)

21) Ojos Negros 0:30

(Greco-Porteño)

22) Oratorio Carlos Gardel, movement 7 0:38 (Salgán)

• 23) Pan 0:19
• (E. Pereyra-C. Flores)
• 24) Sobre el Pucho 0:38
• (S. Piana-G. Castillo)

25) Soy del '90 0:32

(Tito Ribero-Waiss)

26) Soy del '90 (special) 0:36 (Tito Ribero-Waiss)

• 27) Trenzas 0:19
• (A.Pontier-H. Expósito)
• 28) El Motivo 0:40
• (Cobián-Contursi)
• 29) Chiclana (fugato) 0:54
• (J. De Caro)
• 30) Chiclana (elongated theme) 1:08
• (J. De Caro)
• 31) Boedo (complementary melody) 0:45
• (J. De Caro-D. A. Linyera)
• 32) Ojos Negros 0:21
• (Greco-Porteño)
• 33) La clavada 0:25
• (Zambonini)
• 34) Tierra Querida 1:05
• (J. De Caro)

TANGO COURSE BY HORACIO SALGÁN

The recording on this CD were performed by Salgán's orchestra, with the exception of the "Oratorio Carlos Gardel", which was performed by the Orquesta Sinfónica Nacional and the Coro Polifónico Nacional, under the direction of Simón Blech, with Leopoldo Federico (bandoneon), Ubaldo De Lío (guitar), and Horacio Salgán (piano).

BIBLIOGRAPHY

Antología del Tango Rioplatense, from the Instituto Nacional de Musicología "Carlos Vega"

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