4790  one description of Canyengue

Date: Wed, 28 Feb 2007 20:22:22 -0800
From: romerob@telusplanet.net
Subject: [Tango-L] one description of Canyengue
To: tango-l@mit.edu

AJ wrote:

> People like AJ. Researching, researching, listening, listening, and still
> having no idea what music is Canyengue.

My 2 cents:

One of many descriptions of Canyengue:

>>From Gabriela Mari?o "Raices Tangueras de Astor Piazzola", 2001.

One example of the rhythm Canyengue is Piazzola's "Lunfardo"(1964) from the
album "Concierto de Viena".

According to Horacio Ferrer (1977):

>The rhythm Canyengue is performed over periods of eight beats as follows:

while an instrument such as piano or bandoneon or a group of bandoneons play
in Rubato, and vigorously playing the accents, another set of instruments such
as piano and bass accompanied by violin in Pizzicato plays against the tempo
(contratiempo)<

Another (Canyengue) effect played by Piazzola was the Ostinato played as a
march of four tempos by the bass, which was frequently played in even sets.
Many times this was combined with the melody played in staccato producing
certain contratempo. This technique was used by the the Anibal Troilo
orchestra, where the bass player Kicho Diaz played for 18 years.

The bass alone or together with the bandoneons performed the arrastre(sweep),
which was an effect played by the tango orchestras with tango "swing", included
also by Piazzola's musical groups.

Rubato (speeding or slowing down the tempo)

Pizzicato (plucking the strings of the violin)

Tempo (the speed or pace of a given piece)

Ostinato (repeated motif or phrase at the same pitch: a pattern, tune or
complete melody)

Contratiempo (musical note played in the weak beat and makes the music very
expressive. The contratiempo goes preceded by a silence in the strong or
strongest part of the musical note)


Cheers,

Bruno