Creation, origin, characteristics and development of Tango music.
Naturally, we cannot develop here and now such a great topic in its entirety, but we will cover it from this chapter through several others in this website, plus the audiovisual supports in our Channels in a synergic way. Let us begin by taking this chapter as a basis and a summary of the larger studies that follow.
We firmly maintain that it is not possible to fully develop any aspect of Tango without knowing, understanding and feeling the basis and reason for its existence, which is first and foremost its music, in depth. Just as it is not possible to master an art that one does not love.
There are more than 50,000 tangos recorded, most of them from Argentina, the rest, not less important, from our Uruguayan brothers.
For their better study and understanding, which of course does not imply that we listen to every single one of them (!) we can and should group them first into their historical periods, then into individual creators and particular orchestras.
We will discover that in these different expressions there are specific «marking models», rhythms, characteristics and resources. And that yes, and it is not negotiable, we must know it, as much of course for the dancers who want to approach the interpretative bases more adjusted possible especially as for the Styles of the Tango dance as inevitably for the so called «Musicalizers» who organize the music of the current Milongas, essential thing in our corresponding courses, and to develop it is fundamental part of our …mission, at this point ….
For this we will have with us permanently the invaluable works of our friend IGNACIO VARCHAUSKY that we will be quoting and relating in a preferential way.
Ignacio Varchausky (Parkinson TeVe) (YouTube) https://www.facebook.com/groups/45157…
We will develop the exposition of the Marking Models here following the order as Ignacio exposes them one by one, which seems to us to be excellent.
As for the access to general and often particular information on musical themes, authors, directors, etc., etc., it is not necessary to develop it fully here, since it is very well conceived in our opinion the best web page on the subject, www.todotango.com, of our friend Ricardo García Blaya, Academic Member of our mother Academy, the Academia Nacional del Tango de la República Argentina,
We will connect with them when necessary so that you do not waste time searching for information that we will concentrate on expanding in the most convenient way as well as relating it to the aspects of dance technique that require it.
How did Tango music and orchestras evolve?
Let’s first look at a graph of the evolution of the orchestras:
We will work on the music itself as well as on the dance of Tango and its Genres and Styles.
Next, we will work on the «Interpretative Styles» of the orchestras. And again our general introductory guide will be another of Maestro Horacio Ferrer’s works, in this case, in this book:
And the following chart will serve to place us in that point of view:
Of course, we won’t explore it directly in these charts or in this book (among others). We only inform you of our next steps and some of our sources…
NOTE: In this chapter, as in all the others, there is a mobile agenda to deal with the subject, which is constantly updated. Explanations, videos, podcasts, workshops, various documents, etc. will be added and enriched little by little, on all in these circumstances in which this website is beginning to upload the material of its specialty, and because we also receive new questions and concerns in our interaction with the people who visit us, to which we try to respond with great pleasure.