Juan D'Arienzo, el Rey del Compás

How much fun is to dance to D'Arienzo/Echague tangos... What is your favorite one? I go through phases, I always loved Paciencia, but "Ansiedad" gets me going!

Comment if you are inclined in which one is your favorite D'Arienzo Echague  tango please...

In addition, please watch the following videos.

1) You can see the singer Alberto Echague and director Juan D'Arienzo, el Rey del Compás playing "Paciencia"  http://dai.ly/x6j05m

2) "Amorroto" by Juan D'Arienzo: http://youtu.be/u8GG5edNtkc

3) "Ansiedad" by Juan D'Arienzo and singer Alberto Echagüe. http://youtu.be/VxbFIdGxfVE

Juan d'Arienzo (December 14, 1900 – January 14, 1976) was an Argentine tango musician, also known as "El Rey del Compás" (King of the Beat). He was son of Italian immigrants and used more modern arrangements and instrumentation; his popular group produced hundreds of recordings.

His music is played often at milongas in Buenos Aires, and the instrumentals are the classic harder rhythmic tangos with a strong staccato dance rhythm. He also recorded many great milongas and fast valses.

His recordings were accompanied by singers such as Alberto Echagüe, Armando Laborde, and Héctor Maure, among others.

Upon his death in 1976, his body was interred in the La Chacarita Cemetery in Buenos Aires, Argentina.

http://en.wikipedia.org/wiki/Juan_d'Arienzo

Interesting info here : https://tango.info/JuanaDarie

Today is "el dia del maestro" in Argentina (Teacher's day). I feel gratitude for all my teachers, in particular I remember my first dance teacher Maria Teresa at the National School of Ballet in Argentina. She was so sweet to me. And in tango, I pay may respects to el maestro Carlos Di Sarli. Do you know who Carlos Di Sarli is?

Di Sarli's musical style[edit]

In the beginning, his music had a simple structure, but over time it matured into a more lyrical, richer, playful and more subtle style which remained popular with tango dancers as it continued to have a clear dancing beat. This clean compás made him a favorite of beginning social tango dancers, while more advanced ones could enjoy the complexity and variations of his music. Because of this, di Sarli's orchestra was among the most popular ones during Carnival balls of his age and can still be heard at milongas in Buenos Aires and around the world today.[3]

Di Sarli moved beyond the style of the guardia vieja of tango and Julio de Caro's avant-garde, preferring to forge his own style without concession to the fashions of the day. While being influenced by Fresedo early on, he soon established his own way. A talented piano player, he directed his orchestra from behind his own instrument. His recordings do not feature significant instrumental solos; the bandoneóns at times carry the melody but essentially play a rhythmical, milonguero role. Only the violins stand out, playing a short solo or a counterpoint melody. He recorded many tracks more than once over the years, often with different singers. Di Sarli's creativity was mostly limited to the left hand piano part, filling in, modulating and accenting his delicate and elegant dancing beat. His reputation for musical elegance got him his nickname El Señor del Tango (The gentleman of tango).

Some examples of his discography http://mp3.li/index.php?q=Carlos%20Di%20Sarli#.VBIPKksmVM4

http://en.wikipedia.org/wiki/Carlos_di_Sarli

The Bandoneon: the tango instrument

THE BANDONEON IN TANGO

What is the bandoneon?

The bandoneon, shown below, is a type of concertina, played by holding the instrument between both hands and pushing in or pulling out, while pressing the buttons with the fingers. It has an essential role in the tango orchestra (orquesta tipica), and in fact has become almost the symbol of tango. Its beauty is in its power; it provides a somber, sensual sound.

The bandoneon history

The bandoneon was invented about 1846 by Heinrich Band, in Krefeld Germany under the name 'bandonion' - where it was intended to play church music. It is unknown exactly when it arrived in Buenos Aires (estimated at 1870), but it became very popular at about 1890 when it was found to be extremely conducive to the sounds of tango. Its name was changed from the German 'bandonion' to the Spanish 'bandoneon'. 

The exponent of the bandoneon

Ástor Piazzolla, the late Argentinean tango composer and performer, was the leading exponent of the bandoneon in the 20th century. His 1969 'Fugata' showcases the instrument. Below is an example of the Fugata played by Black Tango Pro - with no less than three bandoneons!

The complexity of the bandoneon

The bandoneon is a most complex instrument because most of the buttons produce a DIFFERENT note when played pushing in than when played pulling out. This means that each keyboard has two layouts - one for pushing and one for pulling. Additionally, since the bandoneon is asymmetrical - the right and left hand keyboards are different - it means that four different keyboard layouts must be learned. 

Here is Astor Piazzolla giving an interview on the bandoneon:

https://www.youtube.com/watch?v=7z40MBS5gFk#t=99

Etiquette in Classes/Practicas/Milongas (circa 2006)

 

Etiquette:

·       If possible, switch partners. It helps you to learn better and faster. Argentine Tango is an improvisational dance; you need to learn how to follow and how to lead. If you always dance with the same person, you might get used to her/him and predict his/her lead.

·       THE DELAY EFFECT: Lead, wait to make sure that your follower understood the lead. When the follower goes, then you go so you both step at the same time. There is a very short delay between leading, following, and following by the leader.

·       Try to find a practice partner with whom you practice at least one hour outside the class. It does not need to be the same person every time! Either sex works. It is sometimes better to practice with someone of your same sex to share ‘expertise’, ‘problems’, etc.

·       Try to keep the line of the dance floor counter clockwise and do not run into other people. Try not to dance in the middle of the floor (as know as 'the shark zone'). Make sure that you protect your partner from collisions. DO NOT GO BACKWARDS

·       Remember that unsolicited instruction by another student does not help the dynamic of the class/milonga/practica. If you have any questions, please ask the instructor.

·       Be compassionate. If your partner makes a mistake, don’t say anything and be forgiving.

·       Shower (wash your teeth/floss) before class/milonga/practica – easy in colognes

·       Have fun! Don’t forget to enjoy it!!!

 

MILONGA ETIQUETTE

A ‘milonga’ also means a social event where people go to dance tango socially.

Try to go in a group of men and women, and promise each other to dance a number of ‘tandas’ so you know you will dance at least a little with friends.

A Tanda is a group of 3-4 tangos/milongas/waltzes generally interpreted by the same orchestra. It is etiquette to dance an entire tanda with the same person. You know that a tanda is over, because there is a “CORTINA” in between. A ‘Cortina” is a short song (30 seconds maximum) which is not tango, and in general is very different from tango that means: it is time to switch partners! Please do not dance to the Cortina.

The difference between a ‘milonga’ and a ‘practica” is the degree of formality. In a milonga, people follow the above rules very closely, and in general they are dressed more formally. In a practica, everything is more informal. There can be instruction involved (but not in the format of a class) and people can stop to try out different moves.

How to ask a woman to dance: it varies according to the location. In Buenos Aires it is rude to go to the table and ask someone to dance. You ask from the distance with a CABECEO. Here it varies. Check the people and observe how other men do it. Personally, I don’t like when men ask me to dance by holding my hand. Remember: when you finish dancing, accompany your partner until you exit the dance floor. You do not need to touch her.

A veces by Otros Aires

One of my students last night, suggested me to provide lyrics and translations of tango songs once in a while... what a great idea. For you Sachin! Please feel free to correct the English translation that was not edited by a native speaker. Why did I start with Tango Nuevo instead of traditional? Not sure, but don't worry more lyrics will come soon...


Lyrics of A veces by Otros Aires - Loose translation by Makela -



Sometimes,
On the street, in the mattress,  in the light of the forest
Sometimes in the madness,
When I hear the cries of the Abasto (tango neighborhood of B.A), in the peace of your beauty.

Sometimes,
when I manage to survive a Sunday that very seldom blossoms
Sometimes, when the world cries for peace, some times, almost all the time

Sometimes,
in the teeth of this piano, in happiness, in good fortune
Sometimes in the wrinkles
in the wide pupils, in my unpainted room

Sometimes, when I can't do anything else more than surrender
Sometimes, when left overs is the only thing left, sometimes, almost all the time

Sometimes, when I manage to travel with the sun until the sunset
Sometimes, when I start to believe again, sometimes, almost all the time...

...For sure I think of you


 Buenos Aires Sunset

**
A veces,
En la calle en el colchón, en la lumbre en la espesura
A veces en la locura,
En los gritos del Abasto, en la paz de tu hermosura.

A veces, cuando logro sobrevivir al domingo que rara vez florece
A veces, cuando el mundo pide paz, a veces, casi siempre

A veces,
En los dientes de este piano, en la dicha y la fortuna
A veces en las arrugas,
En las pupilas baldías en mi cuarto sin pintura.

A veces, cuando no hago mas que renunciar, cuando todo se detiene
A veces, cuando queda solo el resto, a veces, casi siempre

A veces, cuando logro deslizarme por el sol hasta el poniente
A veces, cuando vuelvo a creer, a veces, casi siempre...

...Seguro pienso en ti.

Letras Otros Aires

http://en.wikipedia.org/wiki/Otros_Aires

Sachin just gave me the perfect link for those interested in traditional tango lyrics in English now:
http://letrasdetango.wordpress.com/

Creativity needs time - do a huge volume of work

What a great truth about artists! 
"Nobody tells this to people who are beginners. I wish someone had told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple of years you make stuff, it's just NOT THAT GOOD. It's trying to be good, it has potential, but it's not. But your TASTE, the thing that got you into the game is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase; they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn't have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know that it's normal and the most important thing you can do is DO A LOT OF WORK. Put yourself on a deadline so that every week you finish one piece. It's only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I've ever met. It's gonna take a while. It's NORMAL to take awhile. You just gotta fight your way through." - Ira Glass

My Tango: Extrapolated Tango

My Tango: Extrapolated Tango: "What follows is a loose interpretation of the beautiful article by Ramiro Gigliotti that was published in the Argentine newspaper Clarin on..."