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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- 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