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
THE SLIDE
CHAPTER 9
THE "SLIDE"
In tango music, when the attack of either a "syncope" or a "four" or "two" pattern is anticipat- ed, we call this a "slide" or anticipation, as seen in the following illustrations:
• Anticipation on the "syncope":
Note that only the bass line or bass and chord tones should be anticipated. As we see, it consists of starting the syncope on the last eighth note of the previous measure (in 4/4 time).
This type of anticipation in the syncope began approximately in the year 1943 in the orchestra of Aníbal Troilo, and is one of the most often used in preparations for the syncope.
The slide in the "four" pattern (every two quarter-notes) is also very common. Examples:
• Slide in the "four":
• Slide every two quarter-notes:
As we can see, in the "four" the slide goes from the last quarter-note of a measure until the first quarter note of the next measure. In the case of every two quarter notes, the beginning is the same, with the addition of the slide on the second beat going to the third beat.
Besides these examples, there are other variants of the slide.
In general, a diagonal line (or two lines, in the case of the violins, viola, and/or cello) is suffi- cient indication for a slide, and it is not necessary to write out all the notes that make it up. This is a convention that facilitates the writing of the slide and makes it clearer.
Violín equivale a: