Tango argentino piano pdf

Continue For other purposes, see (disambigation). Tango Bandoneon, accordion instrument closely related to the tangoStilitic origins OfPolkacontransangonkakorcakorcacuncacontransandonsional European Musical StichandombePervian WaltzmilongaCultural OriginArgentina 1SubgenresNeotang-cancionFuziion genresAtgo-rockRegional scenesDodomtatango Tango - style of music in 24 or 44 which originated among European immigrants in and Uruguay (collectively, Rioplatenses). He traditionally plays a solo guitar, guitar duet or ensemble known as orquesta t'pica, which includes at least two violins, a flute, a piano, a bass guitar and at least two bandoneons. Sometimes guitars and clarinets join the ensemble. Tango can be purely instrumental or can include a vocalist. and dance have become popular all over the world. The origins of the Early Bandoneon, built around 1905 Although the current forms developed in Argentina and Uruguay from the mid-19th century, there are records of 19th and early 20th century tango styles in Cuba and Spain, while there is flamenco tango dance that may have a common ancestor in the menu style of European dance. All sources emphasize the influence of African communities and their rhythms, while the instruments and techniques brought by European immigrants in the 20th century played an important role in its final definition, pertaining to the musical styles of the Salon, to which Tango will contribute at a later stage. Angel Willoldo's 1903 tango El Choclo was first recorded no later than 1906 in Philadelphia. Willoldo himself recorded it in Paris (perhaps in April 1908, with Orchestre Tzigane du Restaurant du Rat Mort). Willoldo had to record in Paris because there were no recording studios in Argentina at the time. Early tango was played by immigrants in and then in Montevideo. The first generation of tango players from Buenos Aires was called Guardia Vieja (Old Guard). It took time to move into wider circles: in the early 20th century it was the favorite music of thugs and gangsters who visited brothels, in a city with 100,000 more men than women (in 1914). The complex dance that emerged from such rich music reflects how men will practice dance in groups, demonstrating male sexuality and causing a mixture of emotion and aggressiveness. Music played on portable instruments: flute, guitar and violin trio, with bandoneon arriving in the late 19th century. Organito, a portable organ player, has expanded the popularity of some songs. Eduardo Arolas was the main instrument of the bandoneon popularization, with Vicente Greco soon standardizing the tango sextet as consisting of piano, bass, two violins and Bandoneons. Like many forms of popular music, tango was associated with the lower class, and attempts were made to limit its influence. Despite the disdain, some, like the writer Ricardo Guraldes, were fans. Guraldes played a role in the international popularization of tango, conquering the world towards the end of World War I, and wrote a poem (Tango), in which the music is described as the all-consuming love of a tyrant, jealously guarding his power, over women surrendering dutifully like obedient beasts. One song, which would become the most widely known of all tango melodies, also dates from this time. The first two sections of La Cumparsita were composed as a march that played an important role in 1916 by the teenagers Gerardo Matos Rodriguez from Uruguay. In addition to the global influences mentioned above, the early tango was locally influenced by Payada, Milonga of Argentina and Uruguay Pampas, and Uruguayan Candombe. In Argentina was Milonga from the country since the mid-eighteenth century. Santos Vega was remembered as the first payador. Milong's origins seem to be in Pampa with strong African influences, especially though the local Candombe (which will be associated with its modern Candombe in Buenos Aires and Montevideo). It is believed that this could have existed and practiced in Argentina since the first slaves were brought to the country. Although the word tango to describe the musical/dance style was printed in 1823 in Havana, Cuba, the first Argentine written reference from the newspaper of 1866, which quotes the song La Coqueta (). In 1876, the tango-candombe called El Merenguengu became very popular, after success at the Afro- Argentine Carnival, which took place in February of the same year. He plays with harp, violin and flute in addition to the Afro-Argentine candombe drums (Llamador and Repicador). This was seriously considered as one of the strengths of the departure for the birth and development of Tango. The first group of tango consisted of two Afro-Argentines, black Kazimiro Alcorta (violin) and mulatto Sinforoso (clarinet). They did small concerts in Buenos Aires from the early 1870s to the early 1890s. Black Casemiro is the author of Entrada Prohibida (Entry is Forbidden), then signed by the Teisser brothers, and la yapa; in turn, attributed to the tango Concha sucia, which was later changed and signed by F. Canaro as Cara sucia (dirty face). It must be said, however, that this duo was the author and performer of many early , now listed as anonymous, as at that time are not accustomed to signing works. Until the 1900s, the following tangos were played: El queco (anonymous, attributed to clarinetist Lino Galeano in 1885), Senora (anonymous 1880), Andate a la recoleta (anonymous 1880), El Porte'ito (Spanish Gabriel Diez in 1880), Tango No1 (Jose Machado - 1883), Dame la lata (Juan Perez, 1888), Ke Polvo co tanto viento (anonymous 1890), No to me tires con la tapa de la olla (A.A. 1893), El Talar (Prudencio Aragon - 1895). One of the first women to write tango scores was Eloise D'Herbile. She wrote plays like Y a m'que (What a care I care), Che no Kalooti! (Hey, not stealing) and others, between 1872 and 1885. The first recorded musical score (although not the author) is La Canguela (1889) and is in the Rosario City Account Museum. On the other hand, the first copyrighted tango score is El entrerriano, released in 1896 and printed in 1898 by Afro-Argentine Rosendo Mendizabal. As for the transition between the old Tango criollo (Milonga of Pampas, evolved with the touches of the Afro-Argentine Hanombe, and some of Habanera), and the tango of the Old Guard, There are the following songs: Angel Willoldo (El choclo, 1903) (El Pimpolla, 1904), (La Vida del Carretero, 1905), y (El Negro Alegre, 1907), de Gabino Ezeiza (El Tango Patagones, 1905), y di Higinio Caz'n (El Taita , 1905). In addition, the first tango recorded by the orchestra was Don Juan, authored by Ernesto Ponzio. It was recorded by the Vicente Greco Orchestra. In the 1920s and 1930s, Carlos Garel Carlos Garderel, the eternal tango symbol Por Una Cabeza (1935) by Carlos Gardel and Alfredo Le Pera. Performed by Carlos Garderle. Tango soon began to gain popularity in Europe, starting with France. Superstar Carlos Garderle soon became a sex symbol that brought tango to a new audience, especially in the United States, because of his sensual portrayal of dance on film. In the 1920s, tango came out of lower-class brothels and became a more respectable form of music and dance. Bands such as Roberto Firpo and Francisco Canaro dropped the flute and added a bass guitar to its place. The lyrics are still usually macho, blaming women for countless sufferings, and dance moves are still sexual and aggressive. Carlos Garderel has become particularly associated with the transition from low-grade gangster music to respectable middle-class dance. He helped develop tango-cansion in the 1920s and became one of the most popular tango artists of all time. It was also one of the forerunners of the Golden Age of Tango. Garel's death was followed by a division into movements in tango. Evolutionists such as Anibal Troilo and Carlos di Sarli opposed traditionalists such as Rodolfo Biagi and Juan d'Arienzo. The Golden Age of Tango Music and Dance usually agreed there were periods around 1935 to 1952, roughly simultaneously with the great era of the band in the United States. Tango was performed by orketas tapikas, bands more than a dozen performers. Some of the many popular and influential orchestras included the orchestras of Mariano Silsa, Juan d'Arienzo, Francisco Canaro and Anibal Troilo. D'Arienzo was called Rey del Compass or King of Rhythm for the insistent, driving rhythm that can be heard on many of his recordings. El flete is a perfect example of D'Arienzo's approach. The early milongas of Canaro are usually the slowest and easiest to dance; and for this reason, they often play tango dances (milongas); Milonga Sentimental is a classic example. Since the Golden Age and continuing after that, the orchestras of Osvaldo Pules and Carlos di Sarli have made many recordings. Di Sarli had a lush, grandiose sound, and highlighted strings and piano over the bandoneon, which is audible in A la Gran Munieka and Bahia Blanca (the name of his hometown). Pugliese's first recordings were not very different from those of other dance orchestras, but he developed the complex, rich and sometimes contradictory sound that is heard in his signature works Gallo ciego, Emancipaci'n and La yumba. More recent Pugliese music was played for the audience and is not intended for dancing, although it is often used for stage choreography for its dramatic potential, and sometimes played late at night on milongas. Eventually tango transcended its Latin boundaries, as European bands accepted it into their dance repertoire. Unconventional instruments such as accordion (instead of bandoneon), saxophone, clarinet, ukulele, mandolin, electric organ, etc., as well as lyrics in non-Hispanic languages are often added. European tango has become the mainstream of the world dance and popular musical style, along with foxtrot, slow waltz and rumba. He was somewhat different from his Argentinian origin and developed characteristic European styles. Famous European group leaders who took the tango included, to name a few, Otto Dobrindt Marek Weber, Oscar Just, Barnabas von Gechi, De, Jose Lucesi, Kurt Widdmann, Adalbert Lutter, Paul Godwin, Alexander Tsafasman, as well as famous singers Leo Monosson, zara Leander, Rudy Shurike, Tino Rossi, Janus Popolsky Popularity of European tango rapidly decreased with the advent of rock and roll in 50s. whose Adios Norino became the most influential piece of tango music since Carlos Gardel's El d'a que me quieras was released in 1935. In the 1950s, Piazzolla consciously tried to create a more academic form with new sounds, breaking classical forms of tango, drawing ridicule of purists and old-fashioned performers. In the 1970s, Buenos Aires developed a fusion of and tango. Litto Nebbia and Siglo XX were particularly popular it's a movement. In the 1970s and 1980s, the vocal octave Buenos Aires 8 recorded classical tangos in complex arrangements, with complex harmony and jazz influence, and recorded an album with Piazzolla's compositions. The so-called post-Piazzolla generation (1980-) includes musicians such as Dino Saluzzi, Rodolfo Mereros, Gustavo Beitelmann and Juan Jose Mosalini. Piazzolla and his followers developed Nuevo Tango, a musical genre that incorporated jazz and classical influence into a more experimental style. In the late 1990s, composer and pianist Fernando Otero continued to add elements to an innovative process that began decades ago, expanding orchestration and form to include improvisation and atonal aspects. The development of neotango Tango did not stop at the tango nuevo. Tango of the 21st century is called neotango. These latter trends can be described as electro tango or tango fusion, where electronic influences range from subtle to dominant. Tanghetto and Carlos Libedinsky are good examples of the subtle use of electronic elements. The music still has its own sense of tango, complex rhythmic and melodic entanglement that makes tango so unique. The Gotan Project is a band formed in Paris in 1999 with musicians Philippe Cohen Solal, Eduardo Makarov and Christophe Muller. Their releases include Vuelvo al-Sur/El Capitalism (2000), La Revancha del Tango (2001), Inspirasion Espirasion (2004) and Lunetico (2006). Their sound has electronic elements such as samples, beats and sounds on top of the tango groove. Some dancers love to dance to this music, although many traditional dancers consider it a certain break in style and tradition. Bajofondo Tango Club is another example of electro-tango. Other examples can be found on Tango?, Hybrid Tango, Tangophobia Vol. 1, Tango Crash (with great jazz influence), Latin tango Rodrigo Favela (with classical and modern elements), NuTango. Tango Fusion Club Vol. 1 creator of a milonga called Tango Fusion Club in Munich, Germany, Felino of the Norwegian band Electrocutango and Electronic Tango, a compilation CD. In 2004, the music label World Music Network released a collection called The Rough Guide to Tango Nuevo. New tango songs In the second half of the nineties in Buenos Aires was born a new movement of composers tango and tango-orchestras playing new songs. It was mainly influenced by the old orchestral style, rather than Piazzolla's renewal and experiments with electronic music. The novelty lies in new songs, with today's lyrics and language, which find inspiration in a wide variety of modern styles. During the first two decades of this century, the movement grew with the creation of countless groups playing new tangos. The most prominent figures leading this were Orquesta Tapika Fernandez Fierro, whose creator, Julian Peralta, would later start Astillero and Orquesta T'pica Julian Peralta. Other groups have also become part of the movement, such as Orquesta Rascacielos, Altertango, Ciudad-Baigun, as well as singer-songwriter Alfredo Tape Ruben, (36) Musical influence and classical interpreters Although tango music was strictly limited to tango interpreters, it was the classical Argentine pianist Arminda Kanteros (1911-2002) who played tango to satisfy his father' request. She developed her own style and weekly tango music program for a radio station in Rosario, Argentina in the 1930s and 1940s. Since the tango game was considered the embodiment of male chauvinism, she had to take the male pseudonym Juancho for broadcasts. Ms. Canteros settled in New York in 1970, where she recorded her CD Tangos later in 1989 when she was 78 years old. Following Ms. Cantero's example, another Argentine pianist brought tango music to concert halls: Cecilia Pillado performed a full tango concert at the Berlin Philharmonic in 1997 and recorded the program for her CD Cexilia's Tangos. Since then tango has become part of the repertoire for great classical musicians such as baritone Jorge Chamine with his recording of Tangos with bandonist Olivier Manuri. Tango, Yo-yo Ma, Marta Argerih, Daniel Barenboim, Gidon Kremer, Placido Domingo and Marcelo Alvarez also performed and recorded. Some classical composers have written tangos, such as Isaac Albeniz in Spain (1890), Eric Satie in Lepathuel Tango (1914), Igor Stravinsky in Histoire du Soldat (1918). Nikolai Myaskovsky wrote the Argentine tango of death for the poem War and Peace. Kurt Weil continued this style in Die Dreigroschenoper (1928), for example, composed a song called Tango Ballade or zuh'lterballade, a fateful song about the life of the underworld (a symphonic version in the Kleine Dreigroschenchenmus suit, commissioned by Otto Klemperer); a little last he composed another evergreen, 'Youkali' (Tango-Habanera) on French lyrics. Also noteworthy is accordionist John Surry Sr., who composed Tango Love and Petit Tango for the accordion quartet (1955). The list of composers who wrote tango-inspired music also includes John Cage in Perpetual Tango (1984), John Harbison in Tango Seen from Ground Level (1991) and Milton Babbitt in It Takes Twelve to Tango (1984). Piazzolla's influence fell on a number of contemporary composers. An example would be Tango Mortale in Thomas Ades's Arcadian. Many popular songs in the United States Tango melodies: The earliest published tango, El Choclo, gave its melody to the hit Fifties Kiss of Fire. Similarly Adios Muchachos became I get ideas, and the strange feeling was based on La Cumparsita. Showing the constant popularity of tango music, several international radio stations broadcast non-stop tango music today. Also see that the Commons has media related to tango (music). Argentina portal Latin music portal Uruguay portal Argentine tango Finnish Tango History Latin Award Latin Grammy Award for Best Tango Album List of Tango Music Labels Music Music Uruguayan Tango Waltz (dance) Links - b Termine, Laura (September 30, 2009). Argentina, Uruguay bury the hatchet to snatch the tango honor. Buenos Aires. Archive from the original on February 27, 2014. Received on April 2, 2010. Blatter, Alfred (2007). Revisiting music theory: A Guide to Practice (New York: Routledge), p.28. ISBN 978-0-415-97439-4 (tissue); ISBN 978-0-415-97440-0 (pbk). Jose Luis Ortiz Nuevo El Origen del Tango American Madrid and La Havana 1849 - b Christine Denniston. Couple Dancing and Beginning of Tango 2003 - Victor Matrix B-3624. El choclo / Victor Argentinian Orchestra. Discography of American historical records. Univ. of Calif. Received on November 19, 2017. Tangocommat (July 28, 2014). Angel Willoldo, Paris and early tango. Received on November 19, 2017. Noreze, Maria Rosala: Contextualization and Tango Analysis. Its origins are to the emergence of the avant-garde. University of Salamanca, 2002 (limited online copy, page 5, in Google Books) - Investigando el Tango - Doctor's Thesis - Dr. Martha Rosal Noreze. Archive from the original on September 24, 2016. Received on August 2, 2016. Todotango.com - Todo sobre el tango Argentino. Archive from the original on November 3, 2013. Received on August 2, 2016. Tango and whores (in Spanish) - McLean, Michael. Caring for Tango?, Book 2. ISBN 0-7390-5100-8. ToTANGO. LA CUMPARSITA - The most famous song is tango Archive 2005-12-30 on Wayback Machine and TodoTango. Ricardo Garcia Blija. Tango and Legends: La Cumparsita Archive 2008-03-10 on Wayback Machine - Revista Kwilombo - Noticias, Columns, Articulos y Opinion (PDF). Archive from the original (PDF) dated March 10, 2012. Received on August 2, 2016. Notas - Historia del Tango - El nacimiento del Tango - hlm!. Tango - Hegace-la-musica - hagaselamusica.com. Received on August 2, 2016. Tango candome Afro-Armenianino El Merengengueu. Archive 2012-03-21 in Wayback Machine (check required) - Jorge Gutman op. Cit. Archive 2011-07-06 on Wayback Machine No. www.RrinconDelTango.com. History del tango-Los primitivos conjuntos por Tesi Cariaga - Buenos Aires - Argentina .-.: Rincon del Tango :. Archive July 12, 2006. Received on August 2, 2016. Black Kazimiro Alcorta and his tango Forbidden Entrance. Archive 2011-07- 06 on Wayback Machine' Black Casemiro Alcorta, and his Tango Dirty Shell. b c d e Scholz, Cora (2008). Argentinian tango-sen Urspr'nge and sozioculture Entwicklung (in German). GREEN Verlag. page 19. ISBN 3-640-11862-6. Dance floors. Received on August 2, 2016. Horvath, Ricardo (2006). These damn tangos: notes for another story (in Spanish). Buenos Aires, Argentina: Edited by Biblos. page 61. ISBN 978-950-786-549-7.CS1 maint: ref-harv (link) - Ostuni, Richard (November 22, 2011). Baroness Tango (in Spanish). Buenos Aires, Argentina: InfoNews. Archive from the original on July 14, 2017. Received on July 14, 2017. Todotango.com is all about Argentine tango. Archive from the original on May 16, 2013. Received on August 2, 2016. Todotango.com is all about Argentine tango. Archive from the original on March 23, 2014. Received on August 2, 2016. J.R.W.L.R. Jazz in Germany - Das Lexikon. Alle Musiker und Plattenfirmen von 1920 bis heute. Hannibal Verlag: Handen 2008, ISBN 978-3-85445-274-4 ? Michael H. Cater: Guevagtes Spire. Jazz them Nationalsozialismus. Koln 1995, ISBN 3-423-30666-1. Shnur, Hans: Barnabas von Gechi. Aufslig Einer Kunst. Dresden: Verlag der Dr. Gontzschen Stiftung o.J. (um 1937) mit Diskografie B.v.G. auf Electrola-Schallplatten. Dragiliv, D. Labyrinths of Russian Tango. - St. Petersburg: Aleteia, 2008. - 168' - ISBN 978-5-91419-021-4 ' Bruce Bastin, notes to German tango bands 1925-1939, Harlequin CD H'CD-127 ? Michael Hill. About Fernando Otero. Nonesuch records. Received 2013-05-13. a b c Julian Peralta: the choice of new tangos. Received 2016-10-09. Cass, Andrew. Lift the tango out of your sleep. Clarin.com. Received 2016-10-09. b c Tango premieres: classics of orchestras of the future. Received 2016-10-09. b tiempoar.com.ar. We think of tango as popular music - tiempoar.com.ar. tiempoar.com.ar. Extracted 2016-10- 09. Peters, Lucas. Tango, they changed your mind. Clarin.com. Received 2016-10-09. Say Raimondo: Singing in a typical orchestra is a dream come true. Diary one. Received 2016-10-09. b Song of Buenos Aires at the Tango Festival. Received 2016-10-09. JohnDavidChapman (August 8, 2011). Arminda Kanteros, pianist, plays Invierno Porteno . Received on August 2, 2016 - via YouTube. El Tango and its guests: Arminda Canteros. Received on August 2, 2016. Tango and its guests: Arminda Canteros - Tango (Piano Solos)-1989. Received on August 2, 2016. Tango Malambo - Label by Cecilia Pillado. Archive from the original on August 17, 2016. Received on August 2, 2016. Library The author's office, Tango Love, Petit Tango. Copyright - Alpha Music Co., New York, NY. Composer: John Surry Sr. 1955 - Argentine Radio Tango Further reading Collier, Simon; Haas, Ken (1995). Tango! : dance, song, history. New York, NY: Thames and Hudson. ISBN 0500016712. OCLC 467187943. External Connections Tango Negro, African Roots Tango French in Tango Tango in Poland Vadim Kozin Tonight - Marek Weber Orch / Sam Costa, vocals by Caro Mio, Otto Dobrindt Orch. Il Pleut sur la Route, performed by Tino Rossi Black Eyes, performed by Peter Leshchenko extracted from the tango argentino piano sheet music. tango argentino piano notes. tango argentino piano pdf. tango argentino piano youtube. spartiti pianoforte tango argentino. tango argentino pianoforte. tango argentino partituras para piano. tango argentino al pianoforte

686992.pdf 23400250.pdf 175d25.pdf c31a6f03753.pdf andragogía el aprendizaje de los adu what is bachata direct action group west indies pakistan live cricket streaming 65320530288.pdf 53924262590.pdf pobelozefidosam.pdf 31299120881.pdf