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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THE BANDONEON
CHAPTER 10
THE BANDONEON
The destiny of some instruments is curious and picturesque, as with the saxophone, which was created by the prestigious Belgian instrument maker Adolph Sax, and which ended up being used in the U.S.A. as a characteristic instrument of jazz.
The case of the bandoneon is similar, having been born in Germany, created by Heinrich Band. It arrived in Argentina and was somehow transformed into the instrument and image of the tango, where, through its expressiveness, it is apt for stating anything the tango needs to convey.
This ductile and precious instrument is able to play expressive passages as well as adornments or variations with the same effectiveness. Later on we will refer to the most important aspects of these possibilities.
The notes in parenthesis do not exist on this instrument.
THE MELODY
The bandoneon can play a melody in one voice, in thirds, sixths, or octaves, always with favor- able results. The melody may be stated by either single or multiple bandoneons without any prob- lems arising, and without requiring any special indication.
The beautiful sounds obtained by the left hand are particularly penetrating and attractive, start- ing approximately from middle C and higher, depending on its relevance in the surrounding context. Whether in a single voice or in multiple voices with the other bandoneons, or in passages with the entire orchestra, these sounds confer an intense expression. These notes have a sound that is very similar to that of the bassoon, in the same register.
The Melody in the Four Bandoneons
Right hand: In example #26 (from the tango "Siga el Corso"), we have a sample of the melody played by the four bandoneons in three parts, with the fourth bandoneon doubling the melody one octave below the first. This practice is very convenient, as it reinforces and highlights the melody.