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 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.