271 Learning Curves - Music
Date: Fri, 19 Oct 2001 17:04:09 -0400
From: Keith Elshaw <keith@TOTANGO.NET>
Subject: Learning Curves - Music
Rick Anderson wrote:
>"The biggest problem we have is too much old Tango is continuously played
>everywhere, which really puts a damper on enthusiasm & desire to dance &
>enjoyment of the evening..."
(This statement puts in perspective the other comments Rick made about the
learning process).
Dear Rick and others who would echo his comment about old music;
Welcome aboard! I'm sure you already intuit that people into Tango
everywhere around the world have much in common with you - from the learning
frustrations and excitement to the joy and satisfaction of the dancing
experience.
This dance and culture tend to attract alive, awake people. It is no
surprise that many who become enraptured also feel a calling to advance the
opportunities around them and to help others to a deeper understanding. It's
exciting to have one's life change so profoundly.
Such "actives" (I was such a one 12 years ago, for sure) can form opinions
pretty quickly. This is quite natural - like the enthusiasm of youth. Who
would want to live in a world without that?
I wonder if you would find it difficult to agree with this statement: there
is a lot to learn. In fact, as it can never "all" be learned, it's easy to
believe people who have been involved in Tango for many years (including
Master Teachers) who say the learning never stops.
The more we learn about a complex thing, the more we tend to appreciate that
we don't know very much. "I wish I knew half as much as I did when I was
18," said the 40-year-old.
The younger person just thought he knew.
Why on earth do they play all that old Tango music all the time?
Allow me to suggest that anyone who asks that question will chuckle at
themselves somewhere down the road if they stick with Argentine Tango. If
they are open enough to let it reach deep inside. If Tango becomes a way of
life.
You are on a path. Forks will appear in that path and you will have choices
to make.
As with most things in life, the seeker with an open mind will be surprised
and delighted when new inspirations are revealed in places the narrow-minded
person will never see. The greatest barrier to learning is when we are proud
of what we know (and ashamed of what we don't know).
I for one am continually impressed with how Argentine Tango is in harmony
with the "laws" of Relativity and Quantum Mechanics ("The act of measuring
alters that which you measure" was Heisenberg's hit in 1933. Pretty old,
eh?). The Tango experience is ever-changing, indefinable; powerful in ways
beyond description.
What is old? What is new?
Pugliese's Pata Ancha was recorded nearly 50 years ago (1957). Does it say
"old" to you when you hear it? To me, it says, this is life in THIS moment.
As does Triztezas De La Calle Corrientes by Caló and Berón (1942).
And Ventarron by Elvino Vardaro (1933). (Sure, I've enhanced the audio, but
I would still prefer to dance to it even unrestored than to, say, something
beautifully recorded today that lacks the spirit of invention and passion of
The Big 8).
And about 800 other Tango moments of inspiration frozen in time and
available for access to those who can hear.
I've no desire to "preach," so I won't belabour my point.
I only hope that you find yourself in the embrace of a lovely partner late
one night in a warm Milonga, with your emotions brought close to the surface
in the breath-taking way such moments come ... and they put on some "old"
Tanturi/Campos (for instance. Trust me, it is much different than listening
to it at home by yourself a 3 in the afternoon). Be prepared for your ideas
about old music to change. And your Tango world to open up.
At least, this is my wish for you and every new person to Tango.
Best,
Keith
https://ToTANGO.net
Date: Sat, 20 Oct 2001 07:06:04 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Learning Curves - Music
Rick Anderson wrote:
>"The biggest problem we have is too much old Tango is continuously played
>everywhere, which really puts a damper on enthusiasm & desire to dance &
>enjoyment of the evening..."
It it difficult to know exactly where Rick is drawing the line between
older tango recordings and a newer sound. Most of the truly modern tango
recordings do not seem to have been made with social dancing in mind, but
the evening can grow monotonous if the DJ plays too much of any one sound
all at once or too much music that is recorded with fidelity.
Low fidelity seems to create a feeling of sameness even when the orchestras
are different. A near perfect example is the Harlequin CD Instrumental
Tangos of the Golden Age. The CD contains in succession the music of Julio
De Caro, Pedro Laurenz, Juan de Dios Filiberto, Roberto Firpo, Carlos Di
Sarli, Quinteto Pirincho, Francisco Canaro and Anibal Troilo. All are
considered classic orchestra leaders with somewhat different sounds. Yet
if you were to play this CD straight through, the effect would be deadly.
The relatively low fidelity of the recordings somehow renders a strong
sense of sameness across the different orchestras.
Fortunately, there are much better options. For the most part, the classic
recordings on the Tango Argentino, EMI Reliquias, RCA Victor 100 Anos, and
Solo Tango labels have been transferred quite well. The Solo Tango CDs are
particularly impressive in their sound quality.
With the exception of an occasional piece that might be played for
historical reasons, I do not think it is really necessary for a DJ to play
low fidelity recordings to maintain authenticity. On the other hand, I
think it would be extremely difficult to put together an evening of tango
music for social dancing drawing only from recordings made after the 1950s.
With best regards,
Steve
Stephen Brown
Tango Argentino de Tejas
https://www.tejastango.com/
