(Texture and characteristic features in the speech melody)

by Javier Alem

If we consider the concept of "sound image" as a subjective impression that is formed in us from listening to the objective elements and identifiable as part of a music, in the case of Tango, this image is as familiar as complex: recognize it immediately, but not so easy to describe in words the totality of what we hear, nor reproduced without passing long hours working with our instrument. That the tango is "the total rate (the texture) is the result of the interaction between the melody and the rest of the elements that" run "underneath it. Precisely these elements and the ratio is what this article.

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Brief history of Tango

Traditionally the history of Tango has been divided into three major periods. ^[1]

The first of these, the so called "Old Guard", which stretches roughly from 1880-1920, represents the conclusion of a period of some thirty years after which, the tango emerges with defined characteristics that distinguish it from the rest of the "availability musical" ^[2] of the time of pregnancy and its further development and consolidation as a species in the musical and choreographic aspects.

The post is the "Guardia Nueva", between 1920 and 1955, which presented two streams, so to speak-antagonistic way: an "evolutionary line" and a more conservative "traditionalist." The first one opened by the pioneering work of Juan Carlos Cobian, Enrique Delfino and Julio De Caro's sextet, which leads to development of flower and consolidate elements definitely the way around the 40s, in the "time gold, with Troilo, Pugliese, Salgán, Di Sarli, Gobbi and others. Line while the other preferred patterns developed on the previous period, embodied in the figures Canaro Francisco, Roberto Firpo and then Juan Darienzo. Synchronous development between the two periods seems to experience the genre of tango-song, whose main figure is unquestionably Carlos Gardel.

The third major period, is characterized by the relative decline of the genre, after the fall of the second government of Juan Peron in 1955. Due in part to the promotion-from the political and economic power, foreign cultural patterns that do not happen to coincide with the expansion of economic, military and cultural center of the U.S. to the rest of the world, operated at the end of World War II.

In the musical aspect, the decisive event of the period is the strong impact that occurred in the genre, artists such as Astor Piazzolla and Eduardo Rovira, belonging to the stream called "La Vanguardia" - aesthetic heirs Decaro, the name by which designated the current evolutionary. That alternative in music also begins in 1955 with the creation of the famous Buenos Aires Octet, led by the brilliant musician Mar del Plata. Represents musical expression-tanguista of the roaring '60s to '75.

Perhaps the death of Astor Piazzolla in 1992 has meant the closure of the stage of "Vanguard", being then the current fourth season, which perhaps by being immersed in it, we are not yet able to clearly distinguish its guidelines specific, at least from a historical perspective. However, from the past 20 years, is operating a major revitalization and enhancement of all matters relating to Tango, especially through dance, but also the emergence of a whole new generation of young and highly skilled performers. With respect only to Argentina, this may occur as one of the many forms of cultural reaction to the various social consequences of plundering policies from the dirty and subsequent governments "democratizing" of neo-liberal court also. And perhaps in a wider area, the advancement of the "globalized world", following the dehumanizing logic of capitalism ^[3] .

It should be noted that, musically, the current stage, as it could not be otherwise, given the marginality of the genre fell at the end of the "golden age" - is being developed on the synthesis of musical elements generated in the 40s and 60s.

The Music

One of the most characteristic aspects of Tango Argentino, and probably the most difficult to put into words is referred to the texture. This is not seen as simple course of the melody on a fixed pattern of accompaniment, as in other species dance, such as the Waltz, with clear predominance of the schema of a low followed by two chords, in black, corresponding to each of the timing of a beat of 3 / 4. ^[4]

In tango the total rate is the result of the interplay between melody and accompaniment that is built specifically for her "custom", which obviously is telling us to make a proper support is necessary to know the song beforehand and without that requirement, a role that included only the chords for each box (measure) would not be very useful. In that it involved accompanying a series of rhythmic patterns characteristic and style elements that act as "axis" around which to build the texture (rhythm and harmony) and develops the accompaniment. These references serve as typical elements of which often turns into a same composition, because they in some way "reaffirm" the genre.

During the period of the Old Guard was accompanied by the Tango dominantly built around the habanera rhythm pattern in the rhythm of 2 / 4, as amply documented in the printed scores and recordings at the time:

This was implemented within the trios or quartets of the time, the guitar-chords-or the left hand on the piano, interrupted here and there with passages escalísticos up or down in eighths and sixteenths, especially applied to fill "gaps" left by the melody, which played on the bass strings of the guitar are generically called "buzzing." This designation remained even when, from 1915, the piano, because of its larger volume was shifting to that of the assemblies. However, it should be noted that at least until the appearance of pianist Roberto Firpo, the role that the piano met on the sets was similar to that fell to the guitar and performed in an identical way.

In the following example, a fragment taken from the beginning of tango Aróztegui Manuel "El apache argentino" we can see the rhythmic pattern and said hum filled the pauses of the melody:

The apache Argentina - Manuel Arostegui. (Fragment) 1st section

Like any rigid schedule, the accompanying "type habanera" had its limitations, however, which is remarkable the efforts of those pioneers to escape them ingeniously, by applying to the level of melody, abrupt cuts, accents and small displacements silences prepared with the aim to achieve in their interaction with the pattern of Havana, some rhythmic surprise that enriches the texture ^[5] . Note the following example from the tango by José Luis Roncallo "Do not believe, blond", 1903:

Or this Rosendo Mendizabal, who like the above is taken from the "Anthology of Tango Rio Plata, from its beginnings to 1920" Work published by the National Institute of Musicology Carlos Vega:

"Don Enrique" (1903)

Mendizabal thus exposes the melodic motif and consequent of a sentence. The following is a melodic almost verbatim restatement (shifted one octave below), and comes in the second and third measure the following example, a rhythmic variation that changes the perception of what is inherently a single musical thought:

The tango of this time was lively and cheerful. Most orchestras of the period (eg those of Juan Maglio "Pacho", Vincent Greco, Louis Bernstein, etc.) Held their interpretations to the tempo of MM   = 1974-1992 and accompaniment on the characteristic pattern of Havana.

The exception was the orchestra Arolas Eduardo, who dropped their "tempi" keeping them from MM   = 54-78 and used the first time in the genre, almost exclusively a score of four eighth notes per measure, without much emphasis on any of them. Arolas was all a precursor, which in its short life (he died in 1924 at age 32) composed works of great value to remain in the portfolio as long as the tango. Some traces of her music prefigured the Astor Piazzolla would half a century later ^[June] .

From Arolas, other authors begin gradually switch habanera rhythmic patterns to the four compass eighths (called "the four") often subdivide the second half, until the "four" almost completely replaced habanera , which then appears only exceptionally in tangos to evoke the past, such as in "The firulete" by Mariano Mores, or from that in the mid 30s, Sebastian Piana "rediscovered" for the portfolio of the tango orchestras and soloists, the milonga.

According to Professor Horacio Salgán, abandoning the accompanying "type habanera" represents a major change in the history of tango, because free from the restriction of a dominant rhythmic pattern "opens the new genre picture, allowing endless possibilities to express and develop, bringing it to a very high musical level hierarchy " ^[7]

With wider "four" as a bearing, the old notation in two quarters ceased to have effect, notwithstanding which, by custom remained in use long time. From the 40s-50s began to choose to write 4 / 8, understood as a subdivision of the former. This brought the issue of virtuosic variations that close many tangos, which are constructed by reducing the rhythmic values of the harmonic or melodic material of the last section, must be written in quavers, complicating the reading and making hard work of copyists orchestras. Finally, this was simplified to standardize the use of four quarters. However, in a conversational level is still referred to tango as "The 2 × 4", and even radio Tango Buenos Aires is named.

Please note that what determines the music is the musical content itself, and that the same piece written in any of the bars mentioned in the previous paragraph would not alter the auditory perception of it: it is only notational conventions, attempts that aim to combine clarity of writing with simplicity. Do not affect how quickly or slowly the music, because the movement is indicated by the speed of the "pulse" that marks the metronome.

Beyond the scope of this paper detailing at what time or an invention of those who came into use in the tango, this or that elements that today are considered as characteristic, such research, if possible, beyond certain cases are documented. Suffice to say that any creative work from a vacuum, but immersed in a tradition of which it forms part as a link in a chain.

Some of the most representative musicians were active period for the next, and began his professional life in the former. For example, the violinist Julio De Caro at the age of 18 was second violin in the orchestra of Eduardo Arolas.

Any historian or chronicler of the genus named after himself (the Decaro) to the current "evolutionary" in the New Guard, which is fair given the magnitude of their contribution to Tango, from the formation of his famous sextet, by 1924. De Caro course was not alone in his sextet: it Pedro Maffia and Pedro Laurenz laid the parameters for which all generations were formed following bandoneonists. Although their performance together was short lived and by the sextet had happened before and then Blasco Petruccelli.

His brother, Francisco De Caro, following the footsteps of Juan Carlos Cobian, in whose sextet in a sense, this is the group of De Caro, "was who set a new way to use the piano in the orchestra, which years later enriched with the contribution of the extraordinary Orlando Goñi. Francisco was also an inspired composer who is recognized as the epitome of tango-ballad form and the author of memorable compositions as "Flores negras" or "Loca Bohemia".

Emilio De Caro, another brother in the same sextet, and replacement, Manlio France, are responsible for the incorporation of countermelodies implemented in the second violin, another novelty of the time.

Like the addition of bass ^[8] in orchestras like or Canaro Firpo, who shared with the sextet of De Caro, the Moreno Leopoldo Rupert Thompson, former guitarist in some trios Old Guard. This very young musician who died accidentally, due to be replaced by Enrique Krauss.

Established the "four" as marking base, began to develop a number of stress variations around it:

Pesante 4

In the following example we see in the first bar, a particular case it is used "gravitational" in all four times on the grounds that each carries a different line.

Often, in passages where the piano accompanies "four", while the left hand (playing "legato") makes a low, with good sense of melody in unison or in octaves with the bass, do the right hand playing the first chord "Marcatto" in a middle register and the remaining three "staccato" on various investments and / or heights. That way of playing is attributed to Orlando Goñi at the time was the pianist of the orchestra of Anibal Troilo and is very characteristic of the tango of the golden era to the present.

Another variant is to remove the chords that fall in the second and fourth beat or tie the first to the second and the third quarter, doubling its value, giving rise to "two" is two chords per measure.

The "Two"

It is mainly played heavy, calm, still appropriate to accompany the beginning of a theme or just serve as background to the other instrument. In the following example we see it applied to the start of the topic of Floreal Ruiz "And you have no forgiveness" (hopefully that "Tata" forgive us for using it).

Continued in Part Two:

In the next installment we will discuss the use of syncopation, the way they are linked in the accompaniment rhythm patterns most commonly used, the "3 +3 +2, the effects of percussion and the" drag. "

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[1] The history of Tango Argentino is itself a complex issue, mainly due to the multiple edges and presenting varied angles from which you can consider an approach to the subject. We here are only going to outline very briefly the most important historical periods, so that this will provide the necessary framework within which to place the musical elements specifically want to examine in future articles.

[2] Expression coined by the Argentinian musicologist Carlos Vega, who refers to all species existing musical and current practice at the time and place of formation of which is referred to another study. In the case of Tango, these "musical availabilities" are the "habanera", "milonga", "chotis" "mazurka" "gangs", etc. More those that form part of the rich body of folklore of the campaign, as "Styles", "Figures", "vidalitas", "Cats", etc.

[3] I say this thinking about the role of dance as a facilitator of "areas of socialization, especially in places far removed geographically from Argentina, as anyone can see tracking" Milongas "on the Web, and the proliferation of young bandoneon player, he only here, but beyond our scope.

[4] This, by way of illustration. It is obvious that in the quest for variety and sustaining interest in Peru or Venezuela a waltz is played with many beautiful and ingenious rhythmic combinations. Yet it is clear the prevalence of the pattern described, and ultimately, the music can "hold" fully reducing accompanying him alone. This is a characteristic of this species is not typical Waltz or Tango practice, at least from the point of view of style.

[5] This was to be inspired or at least have a counterpart in the movement of the dancers, with their abrupt breaks, surprising changes in the direction of movement and "cuts."

[6] For example, "Cachila." Piazzolla dedicated an issue to which he titled "Juan Sebastian Arolas."

[7] Horacio Salgán "Curso de Tango", p. 23.

[8] Another original contribution of Juan Carlos Cobian, quickly joined by that time the rest of the orchestra.

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