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Category: Music History


Orquesta Antonio Rodio - Donde Estas Corazon

Wonderful song.. some of these less well known orchestra's put out some very good music, but they are difficult to find. Antonio Rodio was a violinist, who played for several well known orchesta including Calo and Maffia. He formed his own orchestras in the 1940s and recorded 16 tracks including this one.

The Structure of Argentine Tango
Part 3: Variations

In Part I of this article, we looked at the basic structure of tango which consists of 5 distinct parts: A (verse) -- B (chorus) -- A (verse) -- B (chorus) -- A (versue. It was mentioned that not all tangos, fit neatly into this structure, but that this simple structure is usually present.

Caminito
Let's start with an older tango "Caminito" performed by Francisco Canaro from 1926. This song has several variations to the basic structure, but as you will see, that basic structure is still there. This song structure goes:

intro -- verse -- pre-chorus -- chorus -- verse -- pre-chorus -- chorus -- verse

Caminito (The Whole Song)

 

Caminito (Introduction)

 

Caminito (Verse 1)

 

Caminito (Pre-Chorus and Chorus 1)

 

Caminito (Verse 2)

 

Caminito (Pre-Chorus and Chorus 2)

 

Caminito (Verse 3)

 

Introduction
"Caminito" has a cute little 8 second introduction, before the first verse begins. This is very common and happens often in tangos. Dancer's Note: This introduction actually does have a strong beat, but usually they will not, so we rarely dance to an introduction. In fact, we usually don't start dancing until the first beat of the second phrase of a typical tango song, so if the song has an introduction, we might begin dancing on the first beat of the first verse.

Pre-Chorus
After before each chorus in "Caminito," there is a pre-chorus that lasts for about 8 seconds which consists of a bandoneón solo and then a piano solo. Sometimes you can also have pre-versus which work the same way, but before the each verse. Dancer's note: This is a good time to execute a corté (break) or parada (stop) and for women to embellish. It might also be a good time for a calesita. Basically, something which keeps us from progressing.

Humming and Whistling
One other interesting note about this song, is that during the first chorus you can hear the band members humming or moaning the chorus and during the second chorus someone is whistling the chorus. This song was recorded in 1926 and singers were not added to dance orchestras until 1927, when Canaro recorded "Así es el Mundo," featuring Roberto Díaz, as a chorus singer. See my article on "The Role of the Orchestra Singer" for more information on this subject.

Poema
"Poema" is a very popular tango which was recorded in 1935 by Francisco Canaro with Roberto Maida singing. It has a very distinct variation on the basic structure, while still keeping the verse -- chorus -- verse -- chorus -- verse structure. Listen to the song and then see if you can hear what it is.

Poema (The Whole Song)

 

Poema (Verse 1)

 

Poema (Chorus 1)

 

Poema (Verse 2)

 

Poema (Chorus 2)

 

Poema (Verse 3)

 

The first verse is 32 single-time beats, as we would expect, but then the chorus is only 16. Then the second verse is a whole 64, instead of the usual 32. Then the chorus is only 16 again and the final verse is 64.

Also, listen to verse 1 and then verse 2, there is no better example of a singer performing as an instrument of the orchestra. In the 2nd verse, notice that Maida imitates the violin of the 1st verse. The singer and the violin accent almost the same notes.

Dancer's note: "Poema" is also a great example of the choruses being more rhythmic than the verses. The tempo is the same, but notice how the energy goes up. There is actually a strong beat during the verses, but the melodic rhythm is equal if not dominant. During the verses, you have an option to dance to the beat or to the melody or switch between phrases. There is less option during the chorus, there is little melody and the beat is very dominant. Below is a performance of "Poema" by Murat and Michelle Erdemsel. It includes a painting of his which visually represents the different sections of "Poema." You will see the melodic sections represented as blue circles and the more ryhtmic sections represented by a rectangle with sharper lines and deeper colors.

Below are two great performances to "Poema" by Pablo Rodriguez and Noelia Hurtado and Javier Rodriguez and Geraldine Rojas. See you can see how they shift in energy between the choruses and verses. Also, notice that they both begin with a step on the fist beat of the 2nd phrase, this is not at all necessary, but is very common.

The Structure of Argentine Tango
Part 2: Rhythm, Melody and Phrases

Rhythm vs Melody

The rhythm of a song is the basic beat, "pulse," or steady flow of the music. The rhythm is what you would clap your hands to or change weight to as you listen to a piece of music. 

The melody or melodic rhythm is the "wave" of the music or what you would hum. Melody would consist of the shape, movement and intensity of the notes to one another.

Usually, the rythm is played by the accompaniment consisting of piano, double base and one bandoneon while the rest of the instruments play the melody or solos. You might have two melodies playing at the same time, overlapping each other, such as two bandoneons playing different melodies. Also, melodies will often repeat, with variations, throughout the song.

The rhythm would be each individual sound, while the melody is the wave-form of those sounds. If you just listen to a single measure, you will not hear the melody. If you listen to a phrase then you will hear the melody. The melody might last from anywhere from one phrase (see below) to a whole section of the song. Melody is not just about the notes played, but HOW they are played and where the accents are placed.

Dancer's Note: Imagine the rhythm as being a steady base that lies underneath with the melody floating on top.

As dancers, we want to be aware of both the rhythm and the melody. We can dance to either one, but the mark of an advanced dancer is being able to hear which is dominant and be able to adapt their dance accordingly. If both are equal, then it is up to the leader.

Also, you want to hear the flow of the melody, so that you can hear the melodic accents and climaxes in the music. These accents will often correspond to a beat of the rhythm. If we are dancing to the melody, this when we want to step or perform a boleo or gancho. The accents can be placed on any beat, but almost always on the first beat of a measure. You don't necessarily have to "know" the song by heart to hear these accents coming. Since tangos often repeat themselves, if we pay attention to the first verse and to the first chorus then we should have a good idea of where the accents are going to be for the rest of the song. I say a good idea, because often accents do change from section to section.

 


 

Measures

Tango music is in 4/4 time (4 beats per measure), two upbeats and two downbeats (strong). In the graphic below, 1 is a downbeat, 2 is an upbeat, 3 is a downbeat and 4 is an upbeat. Dancer's Note: As tango dancer's we first learn to step in "single-time," which means to walk on the downbeats, so we step on the 1 and the 3. Then we learn double-time, half-time and syncopation. To dance just in single-time would be very boring. We will look at these other times the article Musicality 101.

One measure in 4/4 time:

One measure in 4/4 time

Phrases

Each of the 5 sections of a tango are made up of 4 phrases. A phrase consists of 4 measures or 8 single-time beats, so each section has 32 sing-time beats.

One phrase in 4/4 time:

One Section (Four Phrases):




Exercise: Let's listen to "Que Nunca Me Falte" by Ricardo Tanturi. In this song, you can clearly hear the ending of each phrase. You will notice that each phrase ends on the seventh walking (strong) beat and that the eight is silent. Then the next phrase begins with a strong 1.

Deeper into Phrases
The understanding of phrasing is one of the most important aspects to good musicality. I like to think of a tango as a story, each section as a paragraph, each phrase as a sentence and each beat as a word. While words (beats) do convey meaning, the sentence (phrase) is really the most important thing to express.

These sentences can convey a simple statement, exclaim strong emotion or can even ask a question. My favorite way of thinking of a section of tango music is that there is a question and then an answer (call and response). This can take many forms. The first phrase might be a question which then gets answered by phrase 2.

Let's listen to the first two phrases of "Bahía Blanca:"

Phrase 1 & 2 of "Bahía Blanca:"

 

Phrase 3 & 4 of "Bahía Blanca:"

 

I like to think that the first two phrases are a statement or question and that the last two phrases are a sharp response. You can even hear Di Sarli putting a period or exclamation mark at the end of the last phrase with the piano "ping." The last phrase of a section usually ends more dramatically with some sort of strong punctuation to let you know that the section is over and that a new section is beginning.

Dancer's Note: In my opinion, being able to hear the ebb and flow of the phrases and the resolution of phrases is one of the most important concepts to understand about the music. Notice if the phrases are flowing together or if each phrase is ending in a strong period or comma (pause) and exploit that knowledge in your dance. It is especially important to be able to hear the end of the final phrase of any section, as those mark crucial transitions within the song.

The end of sections, is where we want to pause or end an idea such as a turn or sequence. It is SUPER important not to "blur" the end of a section, if there is a pause in the music. Imagine that at the end of a section is a red light, which you need to acknowledge. The first beat of the next section is your "green light" to move again.

 


 

The Outro or Coda (tail)
The outro is usually the final verse of the song. It is usually very similar to the first two verses, but will often include an instrumental solo or some slightly different instrumentation. Often the outro will gain in energy leading up to the final chum-chum. Listen to the Outro (Verse 3) of "Pensalo Bien" and notice the bandoneón solo runs.

"Pensalo Bien" Verse 3

 

 


 

Chum-Chum
The final two notes of a tango are often referred to as chum-chum. Many orchestras put their own unique stamp on the chum-chum.

End of "Al Compas del Corazon" by Miguel Caló
Strong first chum -- pause -- soft piano notes for second chum

 

End of "Llorar Por Una Mujer" by Enrique Rodriguez
Rodriguez probably has the most famous ends, because he would only do the first chum and then skip the second chum.

 

End of "La Yumba" by Osvaldo Pugliese
Strong first chum -- pause -- Soft second chum

 

End of "La Vide Es Corta" by Ricardo Tanturi
Strong first chum -- pause -- piano note for second chum

 

Part 3: Variations

The Structure of Argentine Tango
Part 1: The Basic Structure

In this article we will learn about the basic structure of Argentine Tango. In very simple terms, most tangos consist of the following elements:

  • A typical tango consists of 5 sections
  • Each section consists of 4 phrases
  • Each phrase consists of 4 measures
  • Each measure (in 4/4 time) consists of 4 beats (2 "strong" downbeats and 2 "weak" beats).

The Basic Structure

The basic structure of a simple Argentine Tango consists of 5 sections. Some people like to describe this structure as ABAB and others say that it is ABABC, meaning that often the last section often has a little different structure than the previous A sections. Often, in this final section there will be some sort of instrumental solo. But there is nothing guaranteed. Sometimes sections are longer or shorter or have little intros to the sections. This is just a general structure to listen for and the really important thing for dancers is to hear wihen these sections are coming to an end and when a new one begins.

A Sections (or Verses)
I like to think of the A sections as verses. In popular music, this would correspond to the lyric of the song and a singer would sing all three verses. In tango, the first verse is almost always an instrumental. The second verse, is either an instrumental or sung depending on the orchestras use of a singer. The third verse, is often an instrumental with a solo, but it is occasionally sung.

In tango, the verses are usually musically similar. So, if you pay attention to the first verse, it is likely that the next verses will follow a similar pattern. Also, verses are usually more melodic in nature.

B Sections (or Chorus / Refrain)
The B section is usually repeated twice and will be the same both musically and lyrically. Once again, the first chorus is not sung in most tangos, for dancing. If the song is not an instrumental, the second chorus is almost always sung, but of course there are variations. The chorus usually has a more upbeat and more rhythmic feel than verse, but not always.

Dancer's Note: This structure helps us as dancers, if we pay attention to the first verse and the first chorus, then we will know, within reason, what to expect for the rest of the song.

Exercise: Let's listen to Carlos Di Sarli's "El Jagüel" from 1956. If you listen closely, you will clearly hear the end of each section. Di Sarli ends each section with a single ping of the piano. If you listen a few times, you will hear the music build up to the end of each section.

 


Now let's listen to two famous tangos, "Bahía Blanca" by Carlos Di Sarli from 1957 and "Pensalo Bien" by Juan D'Arienzo with Alberto Echagüe singing from 1938, and see if we can hear this structure.

 

Bahía Blanca
"Bahía Blanca" is an homage to Carlos Di Sarli's hometown, which is located in the south-west province of Buenos Aires. It is a great example of an elegant, sophisticated tango.

First, let's listen to the whole song:

Bahía Blanca (The Whole Song)

 

Next, let's listen to the 5 sections independently of each other.

Bahía Blanca (A 1)

Bahia Blanca: A 1

Bahía Blanca (B 1)

Bahia Blanca: B 1

Bahía Blanca (A 2)

Bahia Blanca: A 2

Bahía Blanca (B 2)

Bahia Blanca: B 2

Bahía Blanca (A 3)

Bahia Blanca: A 3

Now, go back and listen to A 1, A 2 and A 3 and notice the similarity. You will notice small differences in the instrumentation, but the overall structure is very similar. Then go back and listen to B 1 and B 2. You should find them very similar as well.

 


 

Pensalo Bien
Now let's examine "Pensalo Bien" in the same fashion. First, let's listen to the whole song:

Pensalo Bien (The Whole Song)

 

Next, let's listen to the 5 sections independently of each other:

Pensalo Bien (A 1)

Pensalo Bien: Verse 1

Pensalo Bien (B 1)

Pensalo Bien: Chorus 1

Pensalo Bien (A 2)

Pensalo Bien: A 2

Pensalo Bien (B 2)

Pensalo Bien: B 2

Pensalo Bien (A 3)

Pensalo Bien: A 3

The first difference that we might notice is small, but each verse begins with a slight 2 second intro played only by the bandoneon. Another noticeable difference here is that Alberto Echagüe sings the second chorus. Echagüe is playing the common role of the tango singer as an "estribillista" or chorus singer.

In the vast majority of tango songs, played for dancing, the singer will only sing a small portion of the lyric. Usually they will only begin singing during the second verse and/or the second chorus. This helps us as dancer's, because we get to hear a whole verse and chorus without singing, so that we can hear the musical structure before the singing starts. For more on the singer's role in the tango orchestra read my article: The Role of the Tango Orchestra Singer.

 


 

Tempo
One difference to notice between these two songs is the tempo. Tempo is the overall pace (beats per minute) of a piece of music. Both songs have the same amount of beats, but "Bahía Blanca" is 2:52 while "Pensalo Bien" is 2:18. What is different is the beats per minute. "Bahía Blanca" is played at approximately 56 bpm and "Pensalo Bien" is played at approximately 67 bpm. When I say beat, I am referring to the "walking beat" (aka downbeat or strong beat), which I will explain more in a moment.

Dancer's Notes: Tempo has a lot to do with our style of dancing. Below are some examples of how we might modify our dance depending on tempo. Notice that I keep using the word "might" as these are general ideas and not absolutes. We might do exactly the same steps in both, but the quality that we give to those steps might be very different.

Faster Tempo Slower Tempo
We might dance in a closer embrace. The embrace might be slightly firmer so that we stay connected while moving faster. BUT should not be too firm where the woman might not be free to move. We might feel like opening the embrace periodically for more challenging steps. The embrace might be less firm, giving her plenty of room to pivot and take larger steps.
We might walk more staccato, meaning that we might walk with shorter steps and we might begin and/or end our steps more sharply. We might walk more legato, meaning that we might feel like taking larger, longer steps and to walk more smoothly through our steps.
We might be more playful with our steps and embrace. We might be more serious and dramatic.
We might move more linearly. We might curve our steps and movements more. We might allow for more fluidity in our embrace. We might do more turning walks and more turns in general.
We might maintain a more constant flow and pause less or we might pause quickly and then begin again quickly. We might use long dramatic pauses and then begin moving again very slowly.
We might try to step on most every beat, rarely skipping beats. We might skip beats and really stretch out our steps.
We might work in quick embellishments with little flurries of their feet or quick toe taps. We might work in more long, stretched out embellishments, which the men should wait and give the women time to complete.
We might use more rebound steps with lots of quick changes of direction.  
We might use the quick, quick, slow rhythm more. We also might use the quick, quick, quick, quick, slow rhythm. We will always dance with rhythm, but that rhythm might be more sub-dued and a the "slow" of the quick, quick, slow might be stretched out a bit more.

Here are two demos from our classes that show very similar steps performed to "Bahia Blanca" and "Pensalo Bien" which should show some of the different qualities mentioned above.

Part 2: Rhythm, Melody and Phrases

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The Structure of Argentine Tango Music

My goal here is to provide a well-rounded explanation of the structure of Argentine Tango music, with a focus on the dancer. I am dealing here with tango music that is meant for dancing, starting in the mid-1920s. This is the music that you will hear at the milongas. This does not cover early tango music, tango cancion or the more modern music of Piazzolla.

The first part of this article deals with the basic structure and a discussion of tempo. The second deals with measures and phrasing and the relationship between melody and rhythm. The third part deals with more complex variations on the basic structure. In the future, there will be articles on musicality and additional subjects on Argentine Tango music.

Why is understanding this structure important for dancers? When we dance we have a connection with our partner, the other couples on the dance floor and with the music. This connection to the music is what we will explore in these articles. Most dancer's musicality ends with being able to pause and throwing in a quick-quick-slow here and there. Understanding the structure allows us to better predict when the changes in rhythm will occur, thus when to use those pauses and rhythm changes.

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The Role of the Tango Orchestra Singer

I often get asked about dancing to tangos with singers. The tango singer has had four distinctive roles over time:
 

  • National Singer (Cantor Nacional)
  • The Refrain Singer (Estbrillista)
  • The Orchestra Singer (Cantor de la Orchesta)
  • The Star Soloist

These roles are not tied to specific dates, and they often overlapped in time.

Why is this important for dancers and DJs? The role of the singer impacts the structure of the music. Understanding this structure can help us as dancers. For DJs, we should understand which tangos are meant for and are good for dancing. The tangos best for dancing are the ones which utilize the singer as estribillista or as cantor de la orchesta. I will explain why.

The National Singer (Cantor Nacional)

From the earliest days of tangos, singers would accompany guitarists (sometimes pianos) or “typical trios.” They would sing all the lyrics of a song including verses and choruses (refrain). These duos or groups would usually play tangos, valses, and milongas, along with folk songs such as zambas, rancheras, tonadas. These singers were called “cantor nacional,” and they would be able to sing in all of these styles. Below is an example of a typical tango duo Corsini y Magaldi with Ignacio Corsini singing and Agustin Magaldi on guitar. Notice that Corsini sings the full lyrics: verse, chorus, verse, chorus.

"Palomita Blanca" by Ignacio Corsini (singer) & Agustin Magaldi (guitar)

 

This type of singer would also be employed for the tango canción. These were songs that were not intended for dancing and were mostly sentimental in nature. The most famous tango canción was probably "Mi Noche Triste (My Sad Night)" recorded in 1917 by Carlos Gardel.

"Mi Noche Triste" by Carlos Gardel (1917)

 

Some of the famous "cantors  nacional" were Carlos Gardel, Ignacio Corsini, Hugo del Carril, Charlo, Agustín Magaldi, Alberto Gómez and Agustín Irusta.

The Refrain Singer (Estribillista)

When the orquesta típica was created in the early 1900s, they primarily played instrumentals. Sometimes a member of the orchestra might say something, but it was usually for humorous effect rather than singing. In his memoirs, Francisco Canaro claims that he was the first to use an estribillista in his orchestra. In 1927, he recorded his brother’s tango “Así es el Mundo,” which featured Roberto Díaz. Unfortunately, I have not yet been able to find a copy of this song.

So what defines an estribillista? An estribillista was restricted to singing a very small portion of the lyrics, usually the chorus (refrain) or just a single verse. They were considered just another instrument and were often not even mentioned on the record label and if they were then it was in very small type. Sometimes they were employed by a specific orchestra, but often they were employed by the recording label and would sing for all the orchestras under that label.
Some important estribillistas were: Ernesto Famá, Charlo, Teófilo Ibañez, Francisco Fiorentino, Roberto Ray, Carlos Dante, Agustín Irusta, Jorge Omar.

Table 1: Hearing the difference between an "estribillista" and a "cantor nacional"

Listen to these two versions of the same exact song:

"Casas Viejas" by Francisco Canaro with Roberto Maida

 

"Casas Viejas" by Francisco Canaro with Charlo y Ada Falcon

 

Would it surprise you to learn that both versions were recorded only a week apart? The Roberto Maida version was recorded on 8/16/1935 and the Charlo/Falcon version on 8/25/1935. Hmmmm... So why would Canaro do that?

Because there were two different audiences for tango music, the general public and dancers.

In the first version, Maida is acting as an "estribillista." He is at the service of the orchestra. He only sings for a short time and blends with the orchestra. Also, notice the strong walking beat (pulse) in the music. This version is for dancers. Now technically, he is not singing the chorus/refrain, he is singing the first verse of the song, but it is still just the first verse. He is not singing the full lyrics of the song (verse, chorus, verse), he is just singing 1/3 of the lyrics and does not even start singing until 1:39 into the song.

In the second version, Charlo and Ada Falcon are soloists or cantor nacional. The entire lyric gets sung, the first verse by Charlo and then Falcon joins in to make it a duet for the chorus and the final verse. The walking beat is not as clear and is in the background, the orchestra is in service of the singers. Sometimes the beat even completely disappears, this would be very difficult for dancers. This is not for dancing.


The Orchestra Singer (Cantor de la Orchesta)

In the mid-1930s and early 1940s, the role of the singer was evolving. The singer was becoming a more and more important member of the orchestra. People would come to shows or buy records to hear a particular singer. Orchestras and singers became more linked, for instance one might say Di Sarli y Rufino, Di Sarli y Podesta or Troilo y Fiorentino.

So what is the difference between an “estribillista” and a “cantor de la orchesta?” It is a combination of the emphasis put on the lyric and the length of time of the singing. For instance,  an “estribillista” would only get a single chorus or a single verse to sing (approx 30 seconds), but the “cantor de la orchesta” would get to sing a verse, a chorus and often a repeat of the chorus at the very end (60 seconds or more).  It is important to note that they were still a member of the orchestra and rarely got to sing the whole lyric. As with the "estribillista," they were still very much in service to the orchestra.

Generally, a typical tango goes verse, chorus, verse, chorus, verse, outro (coda). The “cantor de la orchesta” will generally enter the song on the 2nd verse or about 1 minute into the song. This is important for dancers! We get to hear one full verse and chorus without singing, so that we can feel the music and already be familiar with the accents of the music before the singer begins.

You can hear the transition from “estribillistas” into “cantors de la orchesta” beginning in the mid-1930s in Jorge Ortiz with Lomuto, Roberto Ray with Fresedo, Horacio Lagos with Donato and Roberto Maida with Francisco Canaro. But when we speak of “cantor de la orchesta,” some of the singers that we think of are Francisco Fiorentino and Alberto Marino with Troilo, Ángel Vargas with D’Agostino, Alberto Castillo and Enrique Campos with Tanturi, Raúl Berón with Caló, Roberto Rufino and Alberto Podesta with Di Sarli, Alberto Echagüe and Héctor Mauré with D’Arienzo.

After 1941, you can’t find many instrumentals, because of the popularity of the singers. It also marked a change in tango music to a more smooth, melodic sound.

Here are two good examples of the "cantor de la orchesta:"

"Tinta Roja" by Aníbal Troilo with Francisco Fiorentino

 

"Nada" by Carlos Di Sarli with Alberto Podesta

 

"Al Compas del Corazón" by Miguel Caló with Raúl Berón

 

"Tres Esquinas" by Ángel D'Agostino with Ángel Vargas

 

"Palomita Blanca" (1944) by Aníbal Troilo with Floreal Ruiz and Alberto Marino
This is the same song as above. In the above version, the singer sang all of the lyric and sang pretty much throughout the song. In this version, the singing does not begin until the 2 minute mark and the singers sing 1 verse and 1 chorus.

 

Table 2: Same Singer, Two Different Roles

As mentioned above, many singers transitioned from the role of the "estribillista" to that of a "cantor de la orchesta." Alberto Echagüe was one of these. Listen to the two tangos below. In "Pénsalo Bién," Echagüe is a classic example of an "estribillista." He only briefly sings the chorus. Just a year later, in "Trago Amargo," he is singing the first verse, the chorus, and a touch of the final verse. His role as expanded.

"Pénsalo Bién" by Juan d'Arienzo with Alberto Echagüe (1938)

 

"Trago Amargo" by Juan d'Arienzo with Alberto Echagüe (1939)

 

The Star Soloist

There is a reason that the vast majority of the music played at milongas is from the “golden decade (1935 to 1945)” and not from the “golden age (1935 to 1955)” of tango. In the mid-1940s, the singers began to become more important than the orchestras. In fact, many of the most popular singers left to start their own orchestras such as Alberto Castillo, Francisco Fiorentino and Ángel Vargas.

The distinguishing features of the soloist is that they are the star and the orchestra is more in the background and they sing the entire lyric of the song. This phenomenon became more pronounced as the youth of Argentina began to dance other dances and most tango music was more for listening. Some famous star soloists were Edmundo Rivero, Roberto Goyeneche, Alberto Morán, Miguel Montero, Jorge Vidal and Argentino Ledesma.

It should be noted that some orchestras, such as Di Sarli, kept a focus on the dancer while giving the singer more prestige.

"Tinta Roja" by Aníbal Troilo with Roberto Goyeneche
Notice the difference between this version and the version above. It is the same orchestra, but from a different time and with a different focus on the singer.

 

"Duelo Criollo" by Alberto Marino

 

"Sur" by Edmundo Rivero

 

Conclusion

For DJs and dancers, most of the music that we dance to has singers, but we primarily dance to singers when they are acting as an “estribillista” or “cantor de la orchesta.” Most of this music was recorded between 1935 and 1945, but there are exceptions.The main thing to listen for is if the singer sounds like he/she is above the orchestra, if the singer is much louder and you can not clearly hear the music then it is not good for dancing. Always keep in mind that the vast majority of tango music was not intended for dancers. Tango is about much more than dancing, it is also poetry, music, culture, art, etc.

Disclaimer: Yes. You might can find examples that don't fit these conclusions or time spans. What I am trying to look at here is what was the norm.

Sources
Here is a list of some of the sources that I used to put this article together:

Todo Tango's Article: The Tango Singer

Malandraca by Beba Pugliese

Wonderful interpretation of Malandraca by Beba Pugliese with her dad watching... I love when she speeds it up at 1.05... you can really hear the jazz/African influence.

Favorite Pugliese Tanda

Most of the best dances of my life have been to Pugliese.

To dance to Pugliese, you need exceptional balance, patience and discipline (by both partners). It takes the ability to respect the silence and the moments between the steps. To dance Pugliese is to dance tango.. not to execute steps. Pugliese takes time to master. Don't be afraid of him though.. find freedom in those pauses. The big problem I think for most with Pugliese is that it requires a perfect mixture of exceptional technique and heart. One without the other will not suffice...

Pugliese is considered, by most accomplished dancers, to be a wonderful orchestra for dancing. You will hear plenty of Pugliese at the Milongas in Buenos Aires and you will see the best dancers head to the floor when they hear the first notes. That is when they find their favorite partners.

 

 

Canyengue Performance

Canyengue is one of the earliest forms of Tango and was probably the style that was taken over to Paris at the turn of the century. Here is a good demonstration of this style. It is very rhythmic and danced more into the ground than we dance tango today.

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Guardia Vieja I: 1895 to 1910

The first generation of tango musicians are commonly referred to as  "La Guardia Vieja" (The Old Guard). The first Period of "La Guardia Vieja" lasted from approximately 1895 to 1910. These songs are a type of habanera blended with African and European music and are sometimes referred to as "tango-habanera," "tango criollo" or "tango-milonga."

This period saw:

  • Tango being born from local, habanera, African and European influences
  • Formations of musical trios
  • The introduction of the bandoneon
  • A formal structure for Tango emerging
  • Academias y Cabarets and other public dance spaces opening
  • Men learning with other men
  • Tango travelling to Europe
  • The introduction of recorded tango.

The music originated in the "Rioplatenese" or Río de la Plata region of Argentina and Uruguay. Some of the origins of the music would be candombe, vals criollo, habanera, flamenco, polka, milonga (different from the milonga we know today and was a type of "battle" poetry), mazurka and contradanse. In essence, you had European immigrants with their instruments being influenced heavily by Latin American and African music.

It is true that only about 8,000 black argentines existed out of a population of over 400,000 in 1887, but all it took was a few to have a great impact on tango. The best example of this was Leopoldo Ruperto Thompson. Get this, he was a bass player who played with Firpo, Canaro, Arolas, de Caro and Cobián. Many of the first bandoneon players and guitarists were black. Also, some of the earliest composers of tango including Mendizábal and Carlos Posadas, as well as many of the earliest dancers and teachers.

At this time Tango was played by solo guitar or piano, small ensembles (conjuntos) and municipal marching bands. The ensembles were usually trios and would often consist of some combination of flute, clarinet, guitar and/or violin. The guitar would often play the habanera rhythm while the flute, clarinet and/or vilolin played the melody.  Sometimes, these groups would be accompanied by male or female singers. They would play in cafés, beer houses, courtyards of conventillos (poor apartment houses) and also in brothels. The music would also have been played around the city by organitos or organ-grinders who went around the city playing portable player-organs.

Towards the end of this period we also saw the signature instrument of tango, the bandoneon, introduced to the ensembles. The bandoneon was a concertina type of instrument created in Germany for churches that could not afford an expensive organ. It made its way over to Argentina and Uruguay with the huge influx of immigrants.

During this time, tango begins to take on structure. In 1897, Anselmo Rosendo Menizábal composed, "El entrerriano (The Man from Between the Rivers)" which was the first tango structured in three distinct sections. The 1st and 3rd sections had 16 measures and the 2nd measure had thirty-two measures.

In the early 1900s, many academias and cabarets began to open around the city. Academias were places were people could learn the choreography of tango and other dances. Cabarets were public places where people could dance and play tango. Armenonville, at the corner of Avenida Alvear y Table, was one of the first of these places. Other establishments were also opening and promoting tango like Hansens which was a restaurant/café on Avenida Sarmientos. The picture on the left was taken in March of 1905 at a carnival at the Pabellón de las Rosas (Rose Pavillion), a popular dance venue in Buenos Aires.

This period also saw men dancing with other men. The primary reasons for this was that men greatly outnumbered women and so the women had their pick of the men to dance with. So, the men would get together and practice and learn from one another in order to improve so that the could attract the few women dancers. This was a time when women and men could not associate as easily as today.

Many early pioneers of rioplatense tango travelled to Europe including Angel Villoldo, Alfredo Gobbi, and his wife, Flora Hortensia Rodriguez to record ind France and Germany. Below are some of the earliest recordings of tango. These recordings are from vinyl LPs and 78s. I am working on getting them all recorded and posting as much historical information about them as possible.

Between 1906 and 1910, 850,000 immigrants arrived in Buenos Aires and the population grew to 1,500,000, setting the stage for the next period of tango's growth.

Special thanks to Allan Ditzel for helping with translations. Some of the content below and much more can be found on the Antología del tango rioplatense. Vol. 1 by the Instituto Nacional de Musicología "Carlos Vega."

“La Morocha” (?)
Composer: Enrique Saborido
Performed by: Recording of an orginal Barrel Organ (Organito)

The original sheet music describes the song as "tango criollo." There is some debate about whether or not this or "el choclo" was the first tango to be exported to Europe. Saborido travelled to Paris and was there in 1911 teaching people how to play and dance tango. Of course, this version is an instrumental, but Angel Villoldo did add lyrics to the song.

More on Enrique Saborido: http://www.todotango.com/
More on "La Morocha:" http://www.todotango.com/

"El Sargento Cabral" (1907)
Composer: Manuel O. Campoamor
Performed by: Banda de la Guardia Republicana de Paris

Manuel 0. Campoamor

The pianist and composer Manuel O. Campoamor numbered all his tangos and "El Sargento Cabral", dating from 1898 or 1899 is number 1.

Campoamor was born on November 7, 1877 in Montevideo, Uruguay, but he grew up in Buenos Aires, Argentina. He learned to play the piano by ear and never learned to write music. He composed tangos from 1898 to 1905 and kept playing piano publicly until 1922, but according to his wife he would still play at home every day until his death in 1941 of Lung Cancer. He is quoted as saying, "I didn't compose any more and don't even think of doing it; I neither have the enthusiasm nor the time to devote to that. Today the output is overwhelming and the number of composers is great. The present generation has adopted a different beat for tango, which is warmly welcome by the public; we, those who feel tango in quite a different way, have to withdraw to allow the new trends to express this new sensitivity."

"El Sargento Cabral" was published in 1899 by Gath & Chaves house where Campoamor worked for 25 years, eventually becoming manager.

It was edited by J. A. Medina e Hijo and it as dedicated to the composer Leopoldo Corretjer. According to the author, this work owes its title to a common occurrence in local dance spots of the time. Following a competition someone from the winning side would exclaim, "We have beat the enemy!" in parody of what Sargent Cabral said shortly before his own death in the battle of San Lorenzo.

The recording of Paris' Republican Band belongs to a series of recordings made specifically for the recording house, Gath & Chaves. They sent several pioneers of rioplatense tango to Europe including Angel Villoldo, Alfredo Gobbi, and his wife, Flora Hortensia Rodriguez to record because there was no recording studio in Buenos Aires.

Campoamor also worked as a pianist in the famous house of Maria "La Vasca" which can still be found at the corner of Carlos Calvo Street and Jujuy Street.

For more information on Campoamor visit: http://www.todotango.com/

"Mordeme la oreja izquierda" (Bite my left ear) (1908)
Composer: Eugenio M. de Alarcon
Performed by Banda Española

This edition of the tango dates from 1906 and belongs to the composer himself, who dedicated it "Al amigo Cesar H. Colombo" (To the friend Cesar H. Colombo). It has the odd subtitle "Canto de dos ruiseñores" (A song of two nightingales) and the classification of "tango criollo." A footnote on the cover warns that any sample that does not have the author's signature should be considered a falsification.

Alarcon, director of the national theater orchestra, enjoyed using many italianisms when indicating how to express the music; on this piece one can see words such as "expressivo", "legatissmo", "scelti", "ben ritmato", etc.

For more information: http://www.todotango.com/

"El Club Z" (1908)
Composer: Anselmo Rosendo Mendizabal
Performed by: Orquesta del Teatro Apolo Dir: Enrique Cheli

The "Z Club" was composed of a group of revelers headed by Esteban Banza and J. Guidobono. This was an exclusive group formed by forty individuals with the sole purpose of organizing a monthly dance for its members. This group existed from the end of the nineteenth century to the first decade of the twentieth century. The dances were generally held in the house of Maria La Vasca, and it was rented for the entire night for 3 pesos per hour per person. The Afro-Argentine pianist and composer Mendizabal was the usual musician, both as a soloist as well as when he played with his band, which was composed of two violins, a flute, a piano and two guitars. Mendizabal composed many tangos including "El Club Z" where an instrumental call and response surmounts a habanera accompaniment.

Due to prejudices of the time, Mendizabal signed his tangos with the pseudonym "A. Rosendo". The original score included in this anthology is edited by the author by the musical press Ortelli Hnos. Has the dedication, "A los distinguidos socios del Z Club" (To the distinguished members of the Z Club).

For more information: http://www.todotango.com/english/crea...

“El Pechador” (1909)
Composed by: Angel Gregorio Villoldo
Performed by: Linda Thelma (canto) y Arturo de Siano (piano)

Edited by the house David Poggi e Hijo, it was dedicated by Villoldo “Al celebrado autor nacional don Nemesio Trejo” (to the celebrated national author Mr. Nemesio Trejo), who was the singer and author of comic sketches (1862-1916); it was a popular tango in its time and it was also recorded by Alfredo Gobbi.

Like most, if not all, of Villoldo’s lyrics they are written in the first person and exalt the virtues of the compadrito. Although it may seem inappropriate this title is sung by a woman, the singer Linda Thelma, who has deep roots in Spanish tiples [I have no idea what this is]. She was accompanied on many an occasion by Villoldo himself while recording. Arturo de Siano, a musician who plays with Linda Thelma in this version, was a prominent musician in the theater.

More info on Angel Gregorio Villoldo: http://www.todotango.com/english/creadores/avilloldo.html
More info on Linda Thelma: http://www.todotango.com/english/creadores/lthelma.asp

“El Purrete (The Kid)” (1909)
Composed by: Jose Luis Roncallo
Performed by: Banda de la Policía de Beunos Aires Dir: Mtro. A Rivara

Basically, all bands incorporated tangos into their repertoires during the first two decades of the century. You can hear the habanera being heavily dramatized as the cymbals clash during the song. These types of bands reached their peak during these years as is demonstrated by the elevated number of recordings made. Some of the most well-known ones include: the 1st Infantry Regiment, the 5th Infantry regiment, the Atlanta, and the Buenos Aires Police.

“El Purrete”, edited by Breyer Hnos. and dedicated to “El Senor Eduardo Oliveri” (Mr. Eduardo Oliveri) was the first tango written by this author. His style was methodical and consistent with a musician trained in a conservatory. According to unverified claims, the song dates from 1901 and the score dates from some time after, 1903 to 1904.

 

 

 

“La Bicicleta” (1909)
Composer: Angel Gregorio Villoldo
Performed by: Angel Villoldo (canto y castañuelas)  y Manuel  O. Campoamor (piano)

The primitive form of singable rioplatense tango suffered great influences from Spanish zarzuela tango. This is very clearly detectable in the version of “La bicicleta” by Angel G. Villoldo. It has a piano accompaniment by Manuel O. Campoamor purely for melodic purposes as well as castanets played by Villoldo.

Cycling and pelota vasca were the favorite sports during 1895 and 1910, where one could find extensive bicycle caravans traveling to be exhibited in the forests of Palmero after first riding in the city center.

According to Robert Farris Thompson, "Villoldo's 'La bicicleta' (The Bicycle) of 1909 began, nobly, to mix cultures. From the famus black payador Gabino Ezeiza, Villoldo borrows jump-cuts from singing to speech. He hits certain words, like damas and ramas, with flamencolike trills, Arabized melismas that add savor to rhyme. And while he's singing, Villoldo plays castanets!"

More info on Villoldo: http://www.todotango.com/english/creadores/avilloldo.html
More info on Campoamor: http://www.todotango.com/english/crea...

“El Porteñito” (1909)
Composer: Angel Gregorio Villoldo
Performed by: Andrée Vivianne (canto) y orquesta

More info on Villoldo: http://www.todotango.com/english/creadores/avilloldo.html

“Gran Hotel Victoria” (1910)
Composer: Feliciano Latasa
Performed by: Estudiantina Centenario (trio de bandurrias y  guitarra) Dir: Vicente Abad

For more information: http://www.todotango.com/english/biblioteca/cronicas/leyenda_Hotel_Victoria.asp

"Joaquina" (1911)
Composer: Juan Bergamino
Performed by: Manuel O. Campoamor (solo piano)