Argentine Tango School

In Argentina, Brazil and Uruguay, the most widespread proposal is that of the day when man reached the Moon (July 20, 1969).

“A los amigos” by Osvaldo Pugliese y su Orquesta Típica, 1960.

“A los amigos” by Osvaldo Pugliese y su Orquesta Típica, 1960.

Alberto Vaccarezza, Argentine Tango author and lyricists.

Día del amigo

July 20

Friend’s Day is a proposed day to celebrate friendship. It has as antecedent the World Friendship Crusade that had been established in Paraguay in 1958, and that is celebrated every July 30 under the name of Friendship Day.

In other Latin American countries it is celebrated on different dates.

In Argentina, Brazil and Uruguay, the most widespread proposal is that of the day when man reached the Moon (July 20, 1969).

Read more about “Día del amigo” at www.wikipedia.org

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We are happy to have a collaboration with the people from tangotunes.com from whom some of you may have heard, they do high-quality transfers from original tango shellacs.

It is the number 1 source for professional Tango DJs all over the world.

  • Now they started a new project that addresses the dancers and the website is https://en.mytango.online
    You will find two compilations at the beginning, one tango and one vals compilation in amazing quality.
    The price is 50€ each (for 32 songs each compilation) and now the good news!

If you enter the promo code 8343 when you register at this site you will get a 20% discount!

Thanks for supporting this project, you will find other useful information on the site, a great initiative.

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"Olivero", Argentine Tango music sheet cover.

“Olivero” by Osvaldo Pugliese y su Orquesta Típica, 1951.

“Olivero” by Osvaldo Pugliese y su Orquesta Típica, 1951.

José Martínez

Pianist leader and composer (28 January 1890 – 27 July 1939)

In 1918, together with Francisco Canaro, Vicente Greco, Rafael Tuegols, Luis Teisseire, and Samuel Castriota, he was part of the group that met in a basement in Florida at 300 to shape an organization that would defend their rights and in 1920 he became part of the first board of directors of the entity that with time would become the current SADAIC.

At the end of 1928, he retired from the musical activity.

He would die at the age of 49, but he left us a series of tangos that enrich the floors of the milongas with their beauty.

Read more about José Martínez and the History of Tango

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"Punto y coma", Argentine Tango music sheet cover.

“Punto y coma” by Osvaldo Pugliese y su Orquesta Típica, 1948.

“Punto y coma” by Osvaldo Pugliese y su Orquesta Típica, 1948.

José Martínez

Pianist and composer (28 January 1890 – 27 July 1939)

In 1919, José Martínez would leave Canaro’s orchestra to form his own. Canaro himself confessed some time after that, he thought, it would greatly weaken his orchestra:

“Bandoneonists were scarce and I turned to Minotto Di Cicco, who worked in Montevideo. And since he had nothing to envy Fresedo, he prevailed shortly after…

The problem came when José Martínez decided to form his own orchestra to premiere with it at the cabaret L’Abbaye, at Esmeralda Street. That was a regrettable casualty!

I supplanted him with Luis Riccardi, a pianist with a good technique… and I had to put up with the complaints from Royal’s clientele.

They noticed the change and missed the typical Martínez beat. It took me a lot to convince the clientele of the cabaret!”

Read more about José Martínez and the History of Tango

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"Seguime si podés", Argentine Tango music sheet cover.

“Seguime si podés” by Osvaldo Pugliese y su Orquesta Típica, 1953.

“Seguime si podés” by Osvaldo Pugliese y su Orquesta Típica, 1953.

Alejandro Scarpino

Bandoneonist, leader and composer (16 January 1904 – 27 May 1970)

He was, as a performer, a player with a very good technique and a great command of his instrument.

He used to impress his audience playing very elaborated embellishment notes —known in the milieu as «verduras»—.

One way in which he displayed his skills was playing two bandoneons, one with each hand, which were vertically placed on the floor.

As it was customary by that time, the financial situation was difficult so besides attending grade school he had to help his father who was a cobbler in the afternoon and in the evening he had to shout out the sixth edition of the newspapers in the streets.

In spite of the hard times he was little by little collecting cents to buy an accordion with only eight bass notes which he learned to play.

Then he and his brother José —who had a good voice— went out to play serenades around the neighborhood.

He composed around 200 pieces.

But with “Canaro en París” and “Seguime si podés” it would be enough to take him into account.

Read more about Alejandro Scarpino at www.todotango.com

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Mario Demarco, Argentine Tango musician and composer.

“Pata ancha” by Osvaldo Pugliese y su Orquesta Típica, 1957.

“Pata ancha” by Osvaldo Pugliese y su Orquesta Típica, 1957.

Mario Demarco, Argentine Tango musician and composer.

Mario Demarco

Bandoneonist, leader, arranger and composer (5 August 1917 – 4 February 1970)

A musician of the first level, he was definitively influenced by two tango schools of marked individuality and deeply rooted in popular taste, those led by Alfredo Gobbi and Osvaldo Pugliese.

But, this marked canyengue model with an evolved style suitable to dancing could have led him to imitation, but far from that, this excellent instrumentalist honestly thought, and so he demonstrated, that between those two esthetic positions, so perfectly evidenced, his own trend would be possible, and so it turned out.

In June 1954 he joined Osvaldo Pugliese’s orchestra.

With that orchestra, he premiered one of his best tangos: “Pata ancha”.

Read more about Mario Demarco at www.todotango.com

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