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Music

Tango Course - 3rd. Edition

By Horacio Salgán Oficial 🎹

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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Published
Jul 14, 2026
Updated
Jul 29, 2026
Pages
29
Language
English

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
  • CHAPTER 15
  • FINAL NOTES
  • TANGO COURSE BY HORACIO SALGÁN

INCORRECT HARMONIC RESOLUTIONS, ACCEPTED IN CONVENTIONAL PRACTICE

Considering the shortness of sound in the staccato notes in the accompaniment, and considering the imprecise sound that results when all the instruments play simultaneously, the parallels and dou- blings in a progression that are considered incorrect in scholarly music harmony are not taken into account, as they are nearly imperceptible.

In the resolution of some of the voices played by the second or third violin and/or second or third bandoneon, we see that on occasion they do not go to the corresponding note.

This is due to the fact that the second violin and/or the second bandoneon plays notes that per- tain to the melody in thirds or in sixths.

In an arrangement made for three voices (for three violins and/or three bandoneons) whereby the fourth violin and/or bandoneon generally plays one octave below the first, if we only have two vio- lins and/or two bandoneons available, then we obviously must play using only the parts of the first and second violin and/or the first and second bandoneon.

So, for example, if we have to perform a passage as follows:

and given that the most common order of the voices is:

Vins. o Bds.

then we find that when lacking the third violin or the third bandoneon, the second will play in fourths with the first, as shown: