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Argentine Tango School

Tag: milonguero

“Una tarde cualquiera” by Miguel Caló y su Orquesta Típica with Roberto Arrieta in vocals, 1945.

“Una tarde cualquiera” by Miguel Caló y su Orquesta Típica with Roberto Arrieta in vocals, 1945.

Roberto Puccio, Argentine Tango guitarist and lyricist.

Roberto Puccio

Guitarist and lyricist (June 1, 1904 – March 30, 1959)

In 1924 he debuted as a singer’s accompanist alongside his brother Miguel Ángel Puccio. He also played in the folk group called Los Trovadores de Cuyo.

In the 30s, both brothers were staff artists in Radio El Mundo and accompanists of the Lito Bayardo and Alfredo Lucero Palacios duo. They as well backed Hugo Del Carril.

During the 40s, they appeared in Brazil.

As composer he has written several songs, among them: “Una tarde cualquiera”.

Read more about Roberto Puccio 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 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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All about Argentine Tango

Marcelo Solis dancing at a milonga in Buenos AiresWhen in an embrace with our partner, we find ourselves (in the beginning) in an unfamiliar situation.

Having a bigger, conjoined body, with four legs, with different levels of sensitivity among its duplicated parts, but demanding equal amounts of awareness in relation to them.

This is a situation that requires committed and engaged preparation, and lots of practice to be able to, first, become familiar with it, and then, fundamentally, to be able to poeticize it, to make an Art of what, otherwise, is a primordial nature call – the pleasure of being embraced by another human being.

This new body, which we freely agree to conform to, challenges us to abandon the comfortable, mundane refuge of our egos, demanding that we become something else that is not our “self”, but the couple dancing Tango on the dance floor at a good milonga.

This is a very freeing outcome of practicing the dance of Tango, a sense of liberation that can sometimes be disturbing, nevertheless enlightening.

There is a profound wisdom in the ability to dance Tango.

There is a profound wisdom in the ability to dance Tango. A wisdom that you acquire through training, by working on the way you hold your body, the way you move, paying precise attention to detail, developing a sense of awareness and careful respect in dealings with others at milongas, learning to passionately love the music that milongueros dance to, opening yourself up to music that expertly advises you on how to move in every beat.

This wisdom does not stop there. Milongueros, who have been dancing Tango for decades at the best milongas, who are all in Buenos Aires, who have been developing a familiarity with other milongueros, most of them older, listening to them, taking their advice, learning from them, developing a wisdom, a knowledge, which is at the very least hard, if not impossible, and would ultimately not make sense to explain in words.

It is in the dance of a milonguero where you will find his or her wisdom.

It is in the dance of a milonguero where you will find his or her wisdom. To learn to dance Tango, which is to learn all about Tango, is an unspeakable enterprise, in which words act mainly as signs that point you in the direction of what you need to see or feel.

Dancing embraced by a milonguero is where learning Tango begins. The rest is a preamble to it. That is how Tango reached our time in history, communicated from person to person through the embrace of brothers, sisters, cousins, uncles, aunts, fathers and mothers, grandparents and friends, in homes, at practicas in neighborhood clubs, where experienced dancers danced with and gave instruction and advice to newer ones.

Today, in accordance with the modalities of our present time, private lessons are the only effective way to learn to dance Tango.

Today, in accordance with the modalities of our present time, private lessons are the only effective way to learn to dance Tango, on a regular basis, at least once a week, the more the better. In group classes you learn and train the social aspects of Tango, the “códigos” of the milongas, to move among other couples on the dance floor, practice useful exercises, make friends and start to integrate yourself in the society of Tango. However, not everybody has the same goals regarding Tango, and this is something to keep in mind about group classes.

If your goal is to dance Tango, to become a milonguera or milonguero, private lessons is a must. Even for a leader, learning to lead from another leader is essential.

“Arrabal” by Pedro Laurenz y su Orquesta Típica, 1937.

Pedro Laurenz. Argentine music at Escuela de Tango de Buenos Aires.Pedro Laurenz

Bandoneon player, director and composer
(10 October 1902 – 7 July 1972)

In 1937 he started recording for the Víctor company, and his version of “Arrabal” by the pianist José Pascual, is considered by some scholars, as the hinge of the newly born golden epoch of the tango which would reach the top in the 40s.

Read more at www.todotango.com…

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“Milongueando en el cuarenta” by Anibal Troilo y su Orquesta Típica, 1941.

Armando Pontier. Argentine music at Escuela de Tango de Buenos Aires.Armando Pontier

Bandoneonist, leader and composer
(August 29, 1917 – December 25, 1983)

A complete musician, a good bandoneon player and a great composer, he belongs to a generation that recreates tango, consolidating the task of arranging, where, as composer, he brings a work of nicely harmonized structure with completely original melodies, sometimes simple and melodic:

“Corazón no le hagas caso”, “Trenzas”, “Tabaco” and “Claveles blancos”; others based on harmonic designs with a rhythmical treatment more complex: “Margo” and “Anoche” or even, in a definitively modern trend: “A los amigos”, possibly his masterpiece, “A Zárate” and “A tus pies bailarín”. Continue reading at www.todotango.com…

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“Te aconsejo que me olvides” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

Pedro Maffia. Argentine music at Escuela de Tango de Buenos Aires.Pedro Maffia

Bandoneonist, leader, composer, teacher
(28 August 1899 – 16 October 1967)

It is not known what secret gift made Pedro Maffia find in the core of the bandoneon sounds that nobody had discovered before.

Until the second decade of the twentieth century bandoneon players had a tendency to imitate the flute —gradually displaced in the early quartets— and the barrell organ with their instrument. Pedro Maffia was who delivered the bandoneon needed by this popular genre so to leave behind the playful Guardia Vieja (old stream) and turn serious, concentrated, fairly dreaming and frequently sad. Continue reading at www.tangomango.com…

Listen and buy:
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We have lots more music and history…