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Argentine Tango School

Tag: investigation

“La milonga de Buenos Aires” by Francisco Canaro y su Orquesta Típica with Ernesto Famá in vocals, 1939.

Ivo Pelay. Argentine music at Escuela de Tango de Buenos Aires.Ivo Pelay

Lyricist, theatral writer and journalist
(5 May 1893 – 28 August 1959)

He achieved his big hits with Francisco Canaro, nearly all of them made known through his musical comedies: “El tango de la mula”, “La muchachada del centro”, “Yo no sé por qué te quiero”, “Casas viejas”, “Todo te nombra”, “Adiós, Pampa mía”, “No hay que hacerse mala sangre”, “Niebla”, tangos; “El jardín del amor”, “Un jardín de ilusión”, “Dos corazones”, “Soñar y nada más”, “Viviré con tu recuerdo”, “Bajo el cielo azul”, waltzes; the famous “Tangón”; the rancheras: “Me enamoré una vez”, “¿Dónde hay un mango?”, “Los amores con la crisis”; the marches “La ribera” and “La canción de los barrios”; “La milonga de Buenos Aires”, “Ya vendrán tiempos mejores”, “Se dice de mí” and many others. Continue reading.

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“Tu casa ya no está” by Osvaldo Pugliese y su Orquesta Típica with Roberto Chanel in vocals, 1944.

Virgilio Expósito

Pianist and composer
(3 May 1924 – 25 October 1997)

Virgilio Expósito. Argentine music at Escuela de Tango de Buenos Aires.His most outstanding compositions, according to my taste, are: “Vete de mí”, his most popular bolero with a great number of renditions, the waltzes “Absurdo” and “Tu casa ya no está”, the tangos “Farol”, “Afiches”, “Oro falso”, “Siempre París”, “Chau, no va más”, all them with lyrics by Homero, and the instrumentals, “Chau Piazzolla” and “Parisien”, in collaboration with Héctor Stamponi. Also he and his elder brother finished the posthumous work by Enrique Discépolo: “Fangal”.
He was a composer with remarkable melodies and he made a great number of his hits, either recognized by the artistic quality of his oeuvre or by the commercial acclaim. But he was a polemic character. Continue reading.

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Unveiling the Art of Argentine Tango: Qualities, Etiquette, and the Essence of a Perfect Dance

Argentine Tango dancing by Marcelo Solis and Mimi at Pulgas Water Temple, San Francisco, California.

The following are my answers to a questionnaire from the Institute of Transpersonal Psychology of Palo Alto, made in 2011.

1. What qualities characterize a good Argentine tango leader during the dance? MS: Secure, precise, smooth, gentle, patient, adaptable, intelligent, elegant, musical, respectful, protective, spontaneous, unintentional, efficient and aware.

2. What qualities characterize a poor Argentine tango leader during the dance? MS: Insecure, imprecise, rough, impatient, rigid and single-minded, silly, ignorant of the music, disrespectful, intentional, calculative and unaware.

3. What behaviors and attitudes are demonstrated by a good Argentine tango leader? MS: Asking to dance according to the etiquette, entering the floor, acknowledging others, following the line of dance, listening to the music, and knowing it well (knowing the song, the orchestra, the singer, the year of the recording, etc.), letting the dance happen rather than trying moves and steps, not talking or chatting while dancing, talking nicely between songs, at the end of the tanda accompanying his partner back to her place, not insisting on a second tanda.

4. What behaviors and attitudes are demonstrated by a poor Argentine tango leader? MS: Asking to dance in an inappropriate way, making the other person feel obliged, entering the dance floor at any time and place without acknowledging other dancers, not following the line of dance, not listening to music, not caring to learn about it, trying to do moves and steps, talking while dancing, being mean to his partner, correcting or teaching her, leaving his partner on the dance floor at the end of the tanda or insisting on another tanda.

5. What behaviors and attitudes are demonstrated by a good Argentine tango follower? MS: Listening to music, knowing it well, waiting for the lead but dancing (not just following), being present at the moment like someone who takes a challenge, and being patient.

6. What behaviors and attitudes are demonstrated by a poor Argentine tango follower? MS: Not caring about music, moving by herself without waiting for the lead or just plain following without any life in the moves, being absent-minded (for example, thinking about the next leader she wants to dance with), impatient, asking you to dance or making you feel obliged to dance with her.

7. What qualities characterize a good Argentine tango follower? MS: She likes the music and knows it well; she is elegant, natural, and spontaneous.

8. What qualities characterize a poor Argentine tango follower? MS: Does not care about music, is exaggerated and calculative.

9. By what criteria do you judge a good dance? In other words, how do you know when you have experienced a good dance? MS: A good dance is when everything happens without any intention.

10. How do you know when you have had a bad dance? MS: I never had a bad dance. If it is not good, I know it beforehand, so I pass.

11. As a teacher who has many opportunities to observe couples, what do you look for—or what do you see—in a good dance? MS: No intention.

12. What do you see in a bad dance? MS: The dancers try too hard.

Learn to dance Argentine Tango and make your life a work of art.

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“Siete palabras” by Carlos Di Sarli y su Orquesta Típica, 1945.

Las siete palabras - tango de Prudencio Aragón. Escuela de Tango de Buenos Aires' music.Prudencio Aragón

Pianist and composer
(April 28, 1887 – November 4, 1963)

He was one of the most significant figures in the early tango stage. He was regarded as a player with great precision and enormous rhythmical strength.

One of his achievements was terrific in his time and later for tango researchers until the present: he said that his first tango, “El Talar,” a reasonably successful tune by that time, was composed when he was nine years old in 1895. Nothing was demonstrated to the contrary, and the doubts and conjectures never ceased. In case that was true, he would be the youngest composer in the history of Tango. Continue reading at www.todotango.com…

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“El bulín de la calle Ayacucho” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

“El bulín de la calle Ayacucho” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

José Servidio

Bandoneonist, leader and composer (18 March 1900 – 6 June 1969)

The lyrics of “El bulín de la calle Ayacucho” belong to Celedonio Flores and the music to the brothers José and Luis Servidio.

It has been a number with a wide popular acclaim.

The brothers used to sign together without caring whose part was more important.

So there were numbers entirely composed by Luis and other ones by José.

But when José was asked about “El bulín de la calle Ayacucho” he said it entirely belonged to him.

In 1923, Celedonio sent the lyrics of this new tango to José Servidio.

Referring to Negro Cele, José said: “We were friends since childhood. He lived on Velazco Street between Malabia and Canning. I composed the music in a couple of days. The apartment really existed on 1443 Ayacucho Street. It was a cozy little room in which we did not even miss mice.”

Read more about “El bulín de la calle Ayacucho” at www.todotango.com

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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 hi-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 address 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 an 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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