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 11
THE GUITAR
TANGO COURSE BY HORACIO SALGÁN
This instrument was used profusely in the initial creative moments of the tango, though it did not maintain its presence therein (save for some exceptions) once the formation of the typical orchestra became more concrete. That is to say, since the sextets formed by two bandoneons, two violins, piano, and double bass, to which were later added more bandoneons, more violins, viola, and cello. This lack of presence nowadays is mainly due to the insufficient volume of the guitar against the sound of the other instruments. Of course, I am referring to the Spanish guitar. For this reason, when I formed the duo with Ubaldo De Lio, we had to revert to the amplification of the guitar in order to equalize its sound with that of the piano.
Though the guitar often plays the role of the accompaniment, its beautiful sound and agility make it suitable for any role. In all types of rhythm, melody, slide, etc., its many capabilities are clearly evident.
De Lio's collaboration with me for 46 years (up until 2004) was a great privilege and his knowl- edge in this genre is surpassed by very few. His efforts may be appreciated on the recordings of our duo or with my orchestra.
As one can see in the scores used in this course, we use pop chord symbols for the guitar. It is very important that the bass notes of each chord in the guitar totally coincide with the bass notes of the piano and the double bass, especially when the guitar is amplified. When amplified, the low notes of the guitar may have a lot of presence which can cloud or distort the clarity of the bass line if they do not coincide.
Note: In 1944, when I was the pianist for the guitar duo Martínez-Ledesma in "El Tronio", on Avenida Corrientes, at the intersection with Calle Florida en Buenos Aires, I noticed that when the duo came on stage, each one had their guitar and a chair for support because they played standing. When I considered the possibility to improve the image of this setup, the idea came to me to have a strap or cord that would connect to the neck and have a hook at the other end. The strap would go around the back and hook into the base of the guitar. The idea turned out to be a good one, as it improved the presentation of the duo, allowing them to play standing and have freedom of movement. This simple accessory has been widely accepted, and its use is common here and in many other countries.