Famous Tango Orquestas - Why Do They Sound Different?
- John Lowry
- 11 hours ago
- 4 min read
We have never found ourselves bored at a good milonga, where the music is varied, and the quality of the music and audio system allows us to hear and feel all the music.
The famous Tango bands (orchestas), through to modern groups are playing the same music, often the same songs, but they eash have their own unique sound that makes it interesting to dance to different bands and orchestras during a milonga.
THE DIFFERENCE BETWEEN “MUSICAL” AND “STYLISTIC”
“Musical” describes the rhythm, melody, accompanying chords, the instruments playing at a given time… it’s what’s written in the music core.
“Stylistic” refers to the interpretative approach used to play what’s been written. It’s what each orchestra sounds different and often has a unique “style”
TEMPO
In music, “tempo” means speed. It’s the first thing we’ll be paying attention to when we listen to an orchestra or ensemble. Although we’re interested in whether an orchestra plays faster or slower, what’s truly interesting is which approach it takes, regardless of speed.
APPROACHES TO TEMPO
• Fixed-tempo orchestras play hhe most dance friendly music. (Francisco Canaro: D’Arienzo, Di Sarli, De Angelis)
• Flexible-tempo
Flexible-tempo orchestras are those which increase and decrease the tempo rather frequently, but without losing the rhythm. This is an expressive tool, of crucial importance in styles that are trying to create a less linear narrative and more space/variation for changes in emotion. (Julio De Caro: Troilo, Gobbi,Pugliese).
• Variable-tempo orchestras, where the tempo can change or disappear (Principally Osvaldo Pugliese’s orchestra)
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MARCATO IN 4. (4 beats to the bar)
Marcato in 4 is the main accompaniment pattern, used by all orchestras, in which several or all of the instruments play on all four beats of each measure. The most important characteristics of marcato in terms of defining a given style of tango are:
• Accents: all 4 beats equally (D’Arienzo, De Angelis) or on beats 1 and 3, the strong beats
(Di Sarli, Troilo).
• Bass lines: legato (Troilo, Gobbi) or staccato (Laurenz, Biagi).
• Double bass: playing with the bow and pizzicato (Troilo, Pugliese) or only pizzicato (D’Arienzo, Caló).
•Arrastres (Drags): played by the bandoneons and bass (Di Sarli, Gobbi).
MARCATO IN 2
In this version of marcato only the strong (1 and 3) are played, while the weak beats (2 and 4) are omitted. All of the orchestras use this.
Syncopation and with marcato in 4 are the most used accompaniment patterns in tango, part of its fundamental language. There are different types of syncopations, but we can clearly define two types from which all the others are derived:
• A tierra (on the downbeat): in this type of syncopation we’ll hear that the first eighth note of beat 1 is played, with more or less emphasis, but it’s always there. (Di Sarli, Tanturi, Laurenz)
• Anticipated: as opposed to a tierra syncopation. Here the accent is placed on the anticipation (exactly on the last eighth note of the previous measure) while the first eighth note of the measure is not played. This concept can be confusing for many. (Salgán, Troilo, Francini-Pontier)
OTHER PATTERNS
While all orchestras use marcato in 4 andsyncopation as principal accompaniment
patterns, orchestras with a more developed musical language also use other rhythmic variations:
• Habanera - This Spanish rhythm is common in all Latin music.
Beginning of Organito de la tarde by Di Sarli
• Corcheas. Beginning of Villeguita by Piazzolla
• 3-3-2 - Another common Spanish rhythm. It’s the basis of much Flamenco
Beginning of La guitarrita by Pugliese
• Bordoneo - Beginning of La bordona by Troilo
MELODY
Every tango orchestra constantly switches between rhythmic and cantabile melodic interpretations (melodic rhythm is one of the unique and special features of Tango). The contrasting of one with the other creates variety in the music. It creates variation and interest for dancers rhythms other dance music does not have.
• Cantabile (song-like) melody: played with longer note values, the notes connected, and with an approach similar to a singer.
• Rhythmic melody: played with short values and very articulated, with a very percussive approach.
You will hear:
The whole orchestra playing the same melody.
Only the members of one section of the orchestra playing the main melody.
One instrument playing the main melody.
The characteristics of the sound will mostly depend on the type of writing:
Strings: depending on the orchestra, this section will have violins only, or will also include viola and cello (lower strings).
• Fueyes (Bandoneons): depending on the style, they’ll take a more rhythmic or more melodic approach.
Variations:
Melodies which are subdivided into many shorter notes (mostly sixteenth notes). Variations are usually played by the bandoneons.
Layers of Information
It’s important to determine how many layers of musical information are happening at once in order to understand who’s playing what and not get lost. Normally we’llencounter 2 or 3 layers of information, each one with its own function:
2 layers of information:
• Main melody
• Accompaniment
3 layers of information:
• Main melody
• Accompaniment
• Countermelody (secondary melody)
Connectors, Ornaments and Comments
Connectors, ornaments and comments are short musical phrases that aren’t developed
enough to earn the rank of “melody.” They work as ornaments or fills and usually con-
nect one section with another. They’re most often played by the piano and sometimes by the bandoneons.
Percussive Effects
Lastly, it’s important to be aware of an interesting number of percussive effects used by the various instruments of an orquesta típica. Their use extends to all styles of tango, highlighting the rhythmic character of a given passage and adding something in terms of timbre.
The most common ones are:
• Violin: cicada, drum, and whip
• Bandoneon: tapping the box and buttons
• Bass: strapping, tapping and cordal (this word may be slang?)
[Adapted from Ignacio Varchusky Publications]
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