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 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.