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 14
- ANALYSIS
- TANGO COURSE BY HORACIO SALGÁN
THE ARRANGEMENT OF THE TANGO "SOBRE EL PUCHO"
In order to create a favorable atmosphere in the exposition of this melodic theme, the piano begins with a chromatic passage in the low register in pianissimo which leads to a chord in both hands, also in pianissimo. The bandoneon plays in the high register of the left hand, together with the second bandoneon, violin, viola, and cello.
This chord resolves to the next measure and the theme begins.
The theme, which we said is melodic, is broadly played by the violins and the viola in its low register together with the bandoneons in the left hand in the high register. This combination is very adequate for phrases of this type (indicated as configuration "D").
The accompaniment begins in the third measure in syncopation (in pianissimo) in the piano, gui- tar, double bass, and cello. In the fifth measure the piano plays a preparatory transitional passage (see "Transitional Passages" in chapter 7) that is reinforced by the double bass, cello, and violins in the high register, all in pizzicato.
Through this transitional passage we have changed the melodic character at the beginning of the theme into a new exposition of the theme in a more rhythmic form until measure 11. At the end of this measure the strings begin a few modulatory notes (prepared by four sixteenth-notes) while the theme remains in the right hand of the bandoneons, reinforced by the piano (an octave below), fol- lowed by a response in the high register that is based on the same theme, and also played by the piano.
In the next measure the melody continues in staccato, to be taken over later by the right hand of the bandoneons, reinforced by the bass clarinet, two octaves below the first bandoneon.
This measure ends with the bandoneons playing two notes (with the left hand in the high regis- ter) which resolve in the next measure, where the entire orchestra plays.
Notice the configuration of the orchestra with the violins, viola, and cello playing lower than the right hand of the bandoneons (in measures 16 and 17, configuration indicated as “C”), whereby the first and third bandoneons play the theme in three octaves while the second and third play the chords.
A few important Annotations
There exists a natural tendency to slow the tempo in piano or pianissimo, and to accelerate the tempo in forte. This tendency, because it is natural, should be followed, but not exaggerated. For this reason, when the theme begins in piano, it is convenient that the phrase be played comfortably and in a broad manner, in this case including triplets. Notice the shorter, more incisive figures that are used in the eighth measure, which is forte.
Note the excellent sound that results in measure 15 from the ensemble of the bass clarinet with the bandoneons, despite there being distance between them.
The bow indication "suelto" for the violins, viola, and cello is convenient when requiring greater clarity in a passage, bringing out each note.
Now let us take a look at the arrangement of "Sobre el Pucho", tango by Sebastián Piana and González Castillo.