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 BASS CLARINET
CHAPTER 12
THE BASS CLARINET
The Reason I included the Bass Clarinet as a Permanent Instrument in my Orchestra.
The bass clarinet is a beautiful instrument which continues the sounds of the common clarinet into the low register. Its range of notes includes those in the following scale and, though the treble clef is most frequently used when writing for it, Richard Wagner wrote for it in the bass clef. The opinions are divided, but either way the actual range of sound in the Bb bass clarinet (which is the most common one) is as follows, in concert pitch:
Note: The Bb bass clarinet can usually play the note in parenthesis through the use of a special key.
As far as the reason for including it in my orchestra, this came about after noticing that we were missing a bass instrument that could sustain the sound in cases when, for example, the cello was play- ing with the upper strings and the double bass was marking the rhythm in pizzicato. We needed to complete the left hand bass chords in the bandoneons with a bass instrument with a full sound of a certain power.
The bass notes of the bandoneon are perfectly balanced with the sounds of the right hand and with those of the left hand, and provide a harmonious sound that is full of beauty. However, in some cases the voicing and volume of these low notes are not powerful enough to balance the force of sound of an orchestra. That is to say, when the bandoneon plays alone, its bass notes are of adequate power, but in relation to an orchestra, their sound tends to be lost.
When the cello is fulfilling another function and cannot sustain the bass line, then the bass clar- inet is completely capable of this duty.
The bass clarinet has a full, beautiful sound that merges perfectly with the voicing of the bando- neon in both the left and right hand.
There are innumerable roles that the bass clarinet may play, whether playing phrases, adorn- ments, or, of course, the bass line. Its full-bodied, non-aggressive sound allows it to either show its presence or to whisper the lightest pianissimo.
We will see examples of its use in the examples that follow: