Tango argentino piano pdf Continue For other purposes, see Tango (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 Argentina 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. Tango music 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 Buenos Aires 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 (Argentine tango). 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 tangos, 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.