The book "TANGO COURSE" by Horacio Salgán is the first written from a technical-musical perspective where the Maestro delivers all his knowledge in the construction of Tango and reveals his working methods of his 85 years of career. The purpose of this work is fundamentally to train the student in the execution of Tango. It is a study of Tango; piano, orchestral, rhythmic and harmonic details. It is intended for musicians and the teaching is facilitated with examples in small scores and with audio examples. In the website that is described in the chapter "Contents of the CD" you will find the audio examples that you can download as many times as you want and also listen online. 🎹 "Music is a great Tradition and that the creators receive from their predecessors and leave for their followers. Aníbal Troilo, Alfredo Gobbi, Carlos Di Sarli, Osvaldo Fresedo, Enrique Mario Francini, and others, contributed and enriched with their talent and their personal style to the elevation of Tango. Let's not forget them. " - HORACIO SALGAN 🎹
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- HORACIO SALGANTANGO COURSE 3RD. EDITION
- HORACIO SALGÁNTANGO COURSE 3RD. EDITION
- Page 3TANGO COURSE BY HORACIO SALGÁN
- Horacio SalgánHis 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.
- Page 5INDEX TANGO COURSE
- Page 612 CHAPTER 6: HARMONY
- The Double BassThe Cello The "Anticipation" in the Bandoneons
- TANGO COURSECHAPTER 1 17
- TANGO COURSECHAPTER 1 TANGO COURSE
- Page 1026 THE DECAREAN PERIOD
- Page 1128 CHAPTER 3
- Page 1232 CHAPTER 4
- Page 1340 CHAPTER 5
- Page 1452 CHAPTER 6
- SECTION 2INSTRUMENTATION 57
- Page 1660 CHAPTER 7
- THE STRING INSTRUMENTSCHAPTER 8 THE STRING INSTRUMENTS
- THE SLIDECHAPTER 9 THE "SLIDE"
- THE BANDONEONCHAPTER 10 THE BANDONEON
- Page 20104 CHAPTER 11
- THE BASS CLARINETCHAPTER 12 THE BASS CLARINET
- Page 22108 CHAPTER 13
- Page 23110 CHAPTER 14
- Page 24134 CHAPTER 15
- Page 25138 APPENDIX
- APPENDIXCD CONTENTS 1) Con Bombo Legüero 0:58
- Page 27150 25) Soy del '90 0:32
- Page 28Thank you for being part of this journey. This book is born from the desire to see music continue to find new spaces to live in. If it accompanied you along the way, your review can help it reach other hands. You can share your experience or discover more at:
- A FUEGO LENTOEdiciones
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- 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