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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TANGO COURSE
CHAPTER 1
TANGO COURSE
Upon making the decision to prepare this tango course, there were two things to consider. I had to choose between merely explaining how to deal with the elements that make up an arrangement, accompaniment, or instrumentation, (without adding too many comments to the examples of each) or elaborating upon those examples in order to give a clear idea of how to properly use such materi- al. I have opted for the latter, considering the fact that the intention of this book is not only to inform but to also fundamentally educate the scholar, and given the need to clarify certain concepts.
In other words, to have musical information, for example knowing many chords, is the same as having the pieces of a big puzzle. The puzzle may only be put together correctly with the proper musical training.
Thus, with the intent of this course being the performance of the tango rather than an exhaustive study of its history, we will only dwell on those aspects which are useful for its performance. Our learning will be based on clear and definitive concepts.
Before getting into the material at hand, I need to touch on the difference between the early tango, accompanied by the Habanera rhythm, and the tango in its more modern version, with a 4/4 accompaniment. The latter rhythm in "four" has since had many varieties of rhythmic figures added to it.
The difference between one tango period and the other is such that at times it is difficult to estab- lish a connection between the two, save for the melodies. This is due to evolutionary changes which have had their effect on the genre.
Below is a reference to the Habanera rhythm, the earliest accompaniment to the tango.
In the ANTOLOGÍA DEL TANGO RIOPLATENSE, an excellent anthology by the INSTITUTO NACIONAL DE MUSICOLOGÍA "CARLOS VEGA", we find the following information:
"Most certainly originating from the English Country Dance, we find it warm- ly received in France toward the end of the 17th Century; later it heads to America, where it is transformed into the Cuban contradanza in the 19th Century. This pro- duces two sub-species: one of them, the 2/4, later results in the Habanera... The Habanera is taken to Europe and is widely accepted; the stylized version is then converted into a ballroom dance, arriving in Río de La Plata, where it is taken in as one of the celebrated dances... This complex process of coming and going will be repeated several times during the course of the period which our analysis will cover. Alejo Carpentier, known musicologist and Cuban writer, pointed out this mechanism..."
That is to say, the tango's first form of accompaniment was the Habanera, stylized in Europe, with the connection between them perhaps being furthered by the Tango Andaluz and the Zarzuela music from Spain. Many fans of the Zarzuela consider it to be among the first genres to have tango composers, for example Don Feliciano Latasa, born in San Sebastian, Spain, who wrote the tango "Gran Hotel Victoria".