Tag: philosophy

“Bailarina de Tango” by Rodolfo Biagi y su Orquesta Típica with Hugo Duval in vocals, 1951.

Hugo Duval

Singer
(December 13, 1928 – August 22, 2003)

Born in Buenos Aires, the owner of a beautiful voice, used to perform with a personal phrasing and, also, he knew how to express with a sober expression what the piece so demanded. Nearly all his show business career was linked to maestro Rodolfo Biagi with whom he achieved his most outstanding hits.

One of the greatest hits was “Bailarina de Tango”.

Hugo Duval and Jorge Ortiz were the emblematic vocalists of Rodolfo Biagi. Furthermore, they were those who recorded the greatest number of pieces with him. Continue reading at www.todotago.com…

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“La yumba” by Osvaldo Pugliese y su Orquesta Típica, 1952.

Osvaldo Pugliese

Pianist, leader, composer.
(2 December 1905 – 25 July 1995)

It was his father who taught him his first music lessons, he started his first steps with violin too, but soon he switched to piano.

In the 40s Pugliese recorded some instrumental pieces of his own which anticipated the avant-garde. Such is the case of “La yumba” (which became a sort of anthem of his orchestra).

Pugliese became the most faithful example of the De Caro style, but with a strong rhythmic beat, very appealing to the dancers but without sacrificing quality. Continue reading at www.todotango.com…

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We have lots more music and history…

“La revoltosa” by Francisco Lomuto y su Orquesta Típica, 1945.

Francisco Lomuto

Pianist, leader and composer.
(24 November 1893 – 23 December 1950)

Francisco Lomuto recorded with his orchestra, between 1922 and 1950, over 950 numbers.

His last orchestra was, undoubtedly, the best, the most evolved and the tightest he led. The bandoneon section was lined-up by Federico Scorticati, Alfredo Cordisco, Manuel Alvarez and Domingo Greco. The violins were in charge of Carlos Taverna, Ernesto Gianni, José Carli and Otelo Gasparini. The pianist was Juan Carlos Howard, the double bass player was Alberto Celenza and his singers were Alberto Rivera and Miguel Montero. Continue reading at www.todotango.com…

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We have lots more music and history…

Learn to dance Argentine Tango at Escuela de Tango de Buenos Aires.

How to best take advantage of our classes?

We recommend that you become a regular student.

We need to educate ourselves with a set of good habits, which in turn will allow us to flow through the dance floor in a comfortable manner.

The more of our classes you take, the sooner you will feel comfortable and incorporate what you are learning to be able to dance.

The best way to advantage of our classes is to take all of them, and the second best is to take as many as possible.

Asking us which one of our classes we recommend is like asking a father which one of his children he loves the most: we love all our classes. We fully engage ourselves, making each of them one-of-a-kind. In this sense, the best way to advantage of our classes is to take all of them, and the second best is to take as many as possible.

Our pricing options include class cards, which will allow you to take any of our classes with a single payment. See more information pricing options…

Private lessons:

Private lessons are a must!!!

Another advantage of becoming a regular student is that we will be able to personalize our instruction to you. In order to better personalize our instruction to you, private lessons are a must. More information about private lessons…

When making your decision, please keep in mind that learning how to dance is comparable to learning how to live:

How much of your life are you willing to give to the goal of living better?

If you are in the San Francisco Bay Area and want to learn to dance Tango, you can:

“Sábado inglés” by Juan D’Arienzo y su Orquesta Típica, 1946.

Juan Maglio “Pacho”

Bandoneonist, leader and composer
(18 November 1881 – 14 July 1934)

He was essential to the acceptance of bandoneon as a musical instrument of Tango.

Lots of people came to listen to Pacho there. The special rhythm of Pacho’s interpretations of tangos brought many of the best dancers of the time, like El Cachafáz, to listen, because it was not place to dance.

Some of his compositions are: “Armenonville”, “Un copetín”, “Quasi nada” and “Sábado inglés”.

In 1912 he started to record for Columbia. His success was so great that the word “Pacho” became a synonym of “recordings”. Continue reading at todotango.com…