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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Horacio Salgán
His 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.
He began his career as a professional musician at 14 years of age, playing piano in the movie theater Cine Universal de Villa Devoto (then a theater for silent movies). Also deserving of mention is his performance as an organist, which got its start in the church Iglesia San Antonio de Villa Devoto, continuing later on the radio station “El Mundo", where he was a permanent organist, and in the movie theater Gran Cine Florida.
As a pianist of popular music, his career was multi-faceted, performing as a soloist or accompanist at numerous radio stations (Belgrano, Excelsior, Prieto, Stentor, etc.), as well as in small ensembles and orchestras, able to perform an abundant and varied repertoire of jazz, folk, tango, tropical rhythms, waltzes, milongas, etc.
He formed part of Juan Puey's orchestra, accompanied the Martínez-Ledesma duet, participated in the typical tango orchestra of Roberto Firpo, in that of Alberto Cima, and in the "Tropical" orchestra of Juan Ryera, among others.
The Orchestras
He formed his own first typical tango orchestra in 1944, performing in that same group until 1947. With this orchestra he played on the radio station "El Mundo", in tango bars such as Germinal, Nacional, Marzzotto, Tango-Bar, in neighborhood clubs, music halls, and cabaret halls.
Besides having great instrumentalists, his orchestra was noted for it's singers, including Lucio Tabares, Carlos Bermúdez, Edmundo Rivero, Héctor Insúa, Oscar Serpa, y Jorge Durán. Horacio Salgán was the person who "discovered" Edmundo Rivero, whose professional singing career began as soon as he joined the orchestra.
The ensemble's repertoire was made up mostly of traditional tango arrangements made by Salgán himself. Through the arrangements, he presented a new concept of style which is original and personal, yet solidly linked to the authentic roots of the genre of tango. His renovating tango style made a big impact at the time. The introduction of his first orchestra marks the beginning of the "Salgán Era” as part of the history of the tango, and leads the way for an avant-garde change within the genre.
His second orchestra performed between 1950 and 1957. In 1950 Salgán recorded his first record which had two instrumental tangos: "La Clavada" by Zambonini, y "Recuerdo" by Pugliese. Among the singers who performed with the orchestra were: Héctor Insúa, Angel Díaz, Horacio Deval, and Roberto Goyeneche, who, like Rivero before him, was launched into his professional career thanks to Salgán. That same year, in response to a request made by Agha Khan, High Commisioner for Refugees-U.N., the United Nations included the Salgán orchestra on a record entitled "All Stars", which was made public at the Expo '70 in Osaka, where musicians of the highest caliber came