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LOS E ST I LOS
ST YLE S
Dentro del tango podemos observar estilos que son muy diferentes entre s y que poseen caractersticas particulares. Descubrir
la riqueza de cada estilo mediante la escucha y el anlisis es una parte fundamental de la formacin del msico de tango.
Within tango we can see styles that differ greatly from each other and exhibit individual features. Discovering the richness of each
style through listening and analysis is an essential part of a tango musicians training.
Como mencionamos anteriormente, luego de la poca de As I mentioned earlier, after the era of the sextets (roughly
los sextetos (entre 1918 y 1935, aproximadamente), y del speaking between 1918 and 1935) and the crucial contribution
fundamental aporte de Julio y Francisco De Caro, tuvo of the De Caro Brothers, came the great heyday of the genre
lugar el gran auge del gnero (dcadas del 40 y 50), lo que in the 1940s and 50s. This marked the beginning of a major
dio comienzo a una importante etapa evolutiva. Entre los phase of evolution.
msicos, como tambin ya dijimos, surgi la necesidad de Among musicians, as I have said, the need arose to
diferenciarse, y as nacieron los estilos. En una discografa differentiate themselves and tango styles were born.
bsica, no debera faltar ninguno de estos artistas None of the following seminal artists should be missing from a
fundamentales: basic discography:
En cada estilo se pueden observar diferencias en el modo de Differences can be seen in each style in how to interpret
interpretar los acentos, los acompaamientos, los fraseos, accents, accompaniments, fraseos, orchestral tutti and textures.
los tuttis orquestales, las texturas. Cada estilo es un mundo Each style is a vast self-contained world of elements to
particular y vasto de elementos para descubrir. discover.
No es el fin de este libro ahondar en estas cuestiones, pero It is not the purpose of this book to delve into these questions,
incluiremos referencias bsicas y fundamentales extradas del but I will include some basic key references taken from
texto escrito por el violinista y compositor Ramiro Gallo, Historia the Historia y caractersticas distintivas: Los estilos ms
y caractersticas distintivas. Los estilos ms representativos. representativos by violinist and composer, Ramiro Gallo.
En las pginas 156-157, el cuadro comparativo seala las carac- You will find a table comparing the individual features of all
tersticas particulares de cada uno de los estilos mencionados. these styles on pages 158-159.
C U A D R O C O M PA R AT I VO D E E S T I LO S
Sexteto de O r q u e s ta d e O r q u e s ta d e O r q u e s ta d e
Julio De Caro J ua n D A r i e n zo Carlos Di Sarli Anbal Troilo
Crea los siguientes Orquesta rtmica y vigorosa, El piano es el motor Gran aporte de Goi:
recursos: con contrastes dinmicos rtmico y rellena el espacio marcato con una doble
variaciones de los permanentes. entre las frases. articulacin, rtmica en la
bandoneones, Bandoneones y violines Ornamentacin: percusin armnica
contracantos de los tocan generalmente juntos. campanitas36. y ligada en los bajos.
violines, Bajos del piano: staccato; Bandoneones y violines Grandes lneas de
arrastres en la marcacin contrabajo: pizzicato. tocan generalmente juntos, fraseo en toda la orquesta.
rtmica hacia los tiempos Tpicos solos de violn con predominio de estos Soli y solos de
1 y 3, en la cuarta cuerda, llamados ltimos. bandonen pausados.
soli de bandoneones, la vaca35. Las cuerdas cantan
solos de piano. Variaciones veloces Texturas: cambian por frases, en el registro grave, los
tocadas staccato. diferenciando claramente lo bandoneones octavan
rtmico de lo expresivo. en el agudo: flautita.
Texturas: cambian por frase. Texturas: las filas
contrastan asumiendo
roles diferentes.
35 36 37 38 Ver Glosario.
157
O r q u e s ta d e O r q u e s ta d e Horacio Salgn As t o r
Alfredo Gobbi Os v a l d o P u g l i e s e Piazzolla
FUNDADA EN 1942 FUNDADA EN 1939 FUND SU 1 ORQUESTA EN 1944 FUND SU 1 ORQUESTA EN 1946
Established the following Vigorous rhythm-based The piano is the rhythmic Major contribution from
resources: orchestra with constant engine, filling the space Goi; marcato with dual
Bandoneon variations. dynamic contrasts. between phrases. articulation: rhythmic in
Violin contracantos. Bandoneons and violins Ornamentation: campanitas the harmonic percussion
Arrastres toward the generally play together. (tinkling bells).36 and slurred in the bass.
1st and 3rd beats in time- Basses: piano: staccato; Bandoneons and violins Broad lines of fraseo
keeping. double bass: pizzicato. generally play together, the across the orchestra.
Bandoneon soli. Typical violin solos on latter predominating. Deliberate soli and
Piano solos. the fourth string: these are bandoneon solos.
known as la vaca (the cow).35 Textures: change by phrases, The strings sing low, the
Fast staccato variations. clearly distinguishing the bandoneons play descant in
rhythmic from the expressive. octaves, a practice known as
Textures: change by phrase. the flautita (little flute).
35 36 37 38 See Glossary.
159
FORMED IN 1942 FORMED IN 1939 FORMED HIS 1 ORCHESTRA IN 1944 FORMED HIS 1 ORCHESTRA IN 1946
Arrastres toward the 1st Yumba 37-style time-keeping. Rhythmic umpa-umpa 38 Rhythmic time-keeping
and 3rd beats in time- Expression: each note of time-keeping. in 4, sometimes yumba and
keeping. the melody is highlighted. Use The piano is the leader of 3-3-2.
Variations with of rubato. the orchestra. Frequently uses a slow
expressive inflections. Typical solos from the first Uses counterpoint. adagio as Theme B.
Violin solos in almost all bandoneon (Ruggiero) and Incorporates syncopation in The instrumental solos can
pieces. first violin (Camerano). melodies. be improvised.
Piano performs clusters Piano solos (Pugliese). Uses so-called special Incorporates fugue-based
of syncopated minor Displaced ternary contracantos, extremely rich passages.
seconds in the low register accentuations. countermelodies. Introduces sometimes alien
and bordoneos typical timbres like the saxophone,
of Goi. Textures: contrapuntal synthesizers, the vibraphone
richness and constant and percussion to the genre.
Textures: the filas contrast textural shifts. From the 1960s, his
taking on different roles. Great harmonic development. repertoire is based on his own
compositions.
El violn ha sido un instrumento fundamental durante The violin has been a fundamental instrument throughout
toda la historia del tango. Estuvo presente en orquestas the history of tango. It has been present in orchestras
de todas las pocas, acompaando y aportando a su from all periods, accompanying and contributing to its
evolucin. Algunos de los ms importantes compositores evolution. Some of the most important tango composers
y arregladores del tango fueron violinistas. and arrangers were violinists.
Orquesta Tpica (1905 a 1918, aproximadamente) The Orquesta Tpica (c. 19051918)
Durante la primera y segunda dcada del siglo XX, se va The instrumental formation of the tango orchestra gradually
configurando lentamente la formacin instrumental de begins to take shape over the first twenty years or so of
las orquestas de tango. Es un perodo de transicin en el the twentieth century. It is a period of transition, with the
que a veces conviven la guitarra con el piano, la flauta con guitar sometimes living alongside the piano, and the flute
el bandonen, el contrabajo y hasta la batera. El violn alongisde the bandoneon, the bass or even the drums. The
integr la mayora de los grupos de tango de esta poca. violin was a member of most tango groups in the period.
Estos conjuntos al principio se denominaban Orquesta Tpica Such groups were at first known as Orquestas tpicas Criollas
Criolla, para luego pasar a ser simplemente Orquesta Tpica. (Typical Creole Orchestras), and later simply as Orquestas
Los violinistas sobresalientes de este perodo son: Francisco tpicas. Standout violinists from the period include Francisco
Canaro, Peregrino Paulos, Vicente Pepe, Tito Roccatagliata Canaro, Peregrino Paulos, Vicente Pepe, Tito Roccatagliata (a
(violinista de la orquesta tpica Select), Agesilao Ferrazzano violinist of the orquesta tpica Select), Agesilao Ferrazzano
y Cayetano Puglisi, entre otros. and Cayetano Puglisi.
se definen los roles fundamentales del violn en el tango, fundamental roles of the violin in tango laid down in
desde el punto de vista de la articulacin, la expresin y la terms of articulation, expression and the incorporation of
incorporacin de efectos de percusin. percussion effects.
Del 60 al 90 19601990
ste es un perodo de gran retroceso del gnero, ante la This is a period of great reversals in tango music at the
avanzada de la msica global. Entre los pocos artistas que expense of global music. The few artists to navigate it
pudieron atravesarlo sosteniendo sus propuestas en la successfully and stick to their guns in adversity without
adversidad, y sin concesiones artsticas de ningn tipo, artistic concessions include Leopoldo Federico (whose
podemos mencionar a Leopoldo Federico (cuya orquesta cont orchestra contained the violin soloist, Mauricio Misse), the
con Mauricio Misse en el violn solista), el Sexteto Tango Sexteto Tango (with the violinists, Oscar Cacho Herrero
(con los violines de Oscar Cacho Herrero y Emilio Balcarce), and Emilio Balcarce), Osvaldo Puglieses orchestra (which
la orquesta de Osvaldo Pugliese (que en la dcada del 70 in the 1970s boasted Mauricio Marcelli as first violin), the
cont con el primer violn de Mauricio Marcelli), el Sexteto Sexteto Mayor (with the violinists, Mauricio Mise, Fernando
Mayor (por el que pasaron los violinistas Mauricio Mise, Surez Paz, Reynaldo Nichele and Hugo Baralis, before
Fernando Surez Paz, Reynaldo Nichele y Hugo Baralis, reaching the definitive line-ups with Mario Abramovich
hasta los definitivos Mario Abramovich y Eduardo Walczak) and Eduardo Walczak) and Eduardo Rovira (with Reynaldo
y Eduardo Rovira (con el violn de Reynaldo Nichele). Nichele on violin). But the exclusive tango figure in this
Pero la figura excluyente del tango de este perodo es, sin period was stor Piazzolla, a musician of international
dudas, Astor Piazzolla, de proyeccin artstica nacional artistic renown, whose musical evolution marked the birth
e internacional, y cuya evolucin musical constituy el of a new sound in the genre. Piazzollas violinists have had
nacimiento de un nuevo sonido en el gnero. Adems, sus the most influence over the instruments sound in tango
violinistas fueron quienes ms influyeron en el sonido del music in recent times. Each of them had their own indelible
instrumento en el tango de las ltimas pocas. Cada uno style and personality, which Piazzolla was adept at bringing
de ellos, con su estilo y personalidad propios (que Piazzolla out. In chronological order the violinists in Piazzollas
supo poner en relieve), dejaron una huella imborrable. Simn quintet were Simn Bajour, Elvino Vardaro, Antonio Agri
Bajour, Elvino Vardaro, Antonio Agri y Fernando Surez Paz and Fernando Surez Paz.
fueron cronolgicamente los violinistas de su quinteto.
Contemporary tango
Actualidad In the mid-1980s the show, Tango argentino, premiered in
A mediados de la dcada de los 80, se estren en Pars el Paris to great international acclaim. This marked the first
espectculo Tango Argentino, con un gran suceso. se fue signs of a slow resurgence which we might call revisionist,
el comienzo de un lento resurgir que primero produjo un in which the new generations of musicians tried to relearn
movimiento que podemos llamar revisionista, en el que the codes of the genre, which were about to be lost forever.
las nuevas generaciones de msicos intentaron reaprender The contact between generations old and new, and especially
los cdigos del gnero, que estaban a punto de perderse para the renewed interest in dancing tango has brought about a
siempre. El contacto entre viejas y nuevas generaciones y, process of change that is still ongoing. Without taking our
sobre todo, el renovado inters por el baile generaron un eyes off the present and future, there has been a return to
proceso de cambios que an tiene lugar. Sin dejar de mirar the sources as the only way to rescue the language of tango
el presente y el futuro, se retorn a las fuentes como el nico music from oblivion.
camino para recuperar el lenguaje antes del olvido. In the current context of tango the violin, as always, plays a
En este contexto actual del tango, el violn ocupa, como central role and is present in most modern orchestras.
siempre, un rol central, y hoy est presente en la mayora de We should therefore place an emphasis on listening to the
las orquestas modernas. major contemporary names. The luminaries of the past
Debemos entonces hacer hincapi en la importancia de should not eclipse our vision of todays leading lights, many
escuchar a los referentes contemporneos. Los grandes of whom will be the big names of tomorrow. We can listen to
nombres del pasado no deben eclipsarnos la visin de los these names live rather than on recordings, and such first-
valores de hoy, que en muchos casos sern los prceres de hand experience is priceless. Such an exchange should take
maana. Ellos, adems, pueden ser escuchados en vivo y no a place first among colleagues and then from one generation
travs de una grabacin, y eso no tiene precio. El intercambio to another if we are to ensure the continuity of the lineage of
debe darse primero entre colegas y luego de una generacin a tango music.
la otra para garantizar la continuidad de la estirpe. Amongst my colleagues of today, I cannot forget the
Entre los colegas de hoy, en el ao 2010, no podemos olvidar a abovementioned Fernando Surez Paz, Mario Abramovich,
los ya mencionados Fernando Surez Paz, Mario Abramovich, Eduardo Walczac and Mauricio Marcelli. And I should also
Eduardo Walczac y Mauricio Marcelli, y tambin debemos add Miguel ngel Bertero, Javier Casalla, Ariel Spandrio,
agregar a Miguel ngel Bertero, Javier Casalla, Ariel Spandrio, Pablo Agri, Gustavo Mul, Fabin Bertero, Brigitta Danko,
Pablo Agri, Gustavo Mul, Fabin Bertero, Brigitta Danko, Pedro Pedro Pedroso, Daniel Rivas, Leonardo Ferreyra, Guillermo
Pedroso, Daniel Rivas, Leonardo Ferreyra, Guillermo Rubino, Rubino, Humberto Ridolfi, Damin Bolotn, rica Di Salvo,
Humberto Ridolfi, Damin Bolotn, rica Di Salvo, Sebastin Sebastin Prusak, Christine Breves and Csar Rago. Not to
Prusak, Christine Breves y Csar Rago, entre tantos excelentes mention the many other excellent violinists that the tango
violinistas que el gnero sigue dando. genre continues to produce.