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 🎹
More in this magazine
- 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
Text of this page
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.