2070 Rhythms in tango
Date: Tue, 9 Dec 2003 11:53:59 -0800
From: Philip Seyer <philipseyer@ILOVEMUSIC.COM>
Subject: Rhythms in tango
Hmm. The rhythm in ballroom is often SSQQS" not always. Be careful of
oversimplifcation and "always." For example, the rhythm in nightclub two
step is often QQS QQS, but not *always.* Same goes for salsa.
There are many rhythmic possibilities in ballroom tango, especially in
American balroom tango, which has a more improvised style. One ballrom
rhythm was even coined the "Argentine walk." One version of the
"Argentine walk" is SSQQ SSQQ QQQQQQS.
This is, to us, of course, quite funny. The ballroom people like to have
specific names for various steps to help make them memorable.
I said that American tango has a more improvised style. Don't get me wrong.
It does not compare at all with the improvisation done in Argentine tango.
----- Original Message -----
Date: Tue, 17 Jul 2007 23:09:02 -0700
From: romerob@telusplanet.net
Subject: [Tango-L] On the influence of european rhythms in Tango
To: tango-l@mit.edu
>On European rhythms which influenced Tango:
By Pompeyo Camps , "Tango and Ragtime: a parallel in time and distance"
Cultural Service of the United States of America, Buenos Aires
1976
publication, "The African influence in Tango has been primorial" Newspaper "La
Opinion", Buenos Aires, March 12, 1977.
....The band - that historical institution of the United States with its
marching pieces and polkas of european origin. They furnished black pianists
the emulsifying agent of the music of a dual race. It was the 2/4 measure "in
tempo de marcia", the way music was notated by Joplin ( or Slow march tempo)
with the classic accompaniment of the double bass in 1/4 notes and music chords
in contratempo of 1/8 notes. This corresponds to the pianist's playing with his
left hand, while with the right hand plays the cut sincopations and the
displaced accents, which are characteristic of the African rhythms.
On the working class who created tango:
If you mean the first forms of Tango you might be referring to soldiers and
women of black descent who appeared to be a subclass within a working class.
Regards,
Bruno
Date: Wed, 18 Jul 2007 08:49:20 -0700
From: "Konstantin Zahariev" <anfractuoso@gmail.com>
Subject: Re: [Tango-L] On the influence of european rhythms in Tango
To: tango-l@mit.edu
<ade549600707180849o7e14ddd1q498a0cd290a43e49@mail.gmail.com>
On 7/17/07, romerob@telusplanet.net <romerob@telusplanet.net> wrote:
> >On European rhythms which influenced Tango:
>
> By Pompeyo Camps , "Tango and Ragtime: a parallel in time and distance"
> Cultural Service of the United States of America, Buenos Aires
> 1976
> publication, "The African influence in Tango has been primorial" Newspaper "La
> Opinion", Buenos Aires, March 12, 1977.
>
> ....The band - that historical institution of the United States with its
> marching pieces and polkas of european origin. They furnished black pianists
> the emulsifying agent of the music of a dual race. It was the 2/4 measure "in
> tempo de marcia", the way music was notated by Joplin ( or Slow march tempo)
> with the classic accompaniment of the double bass in 1/4 notes and music chords
> in contratempo of 1/8 notes. This corresponds to the pianist's playing with his
> left hand, while with the right hand plays the cut sincopations and the
> displaced accents, which are characteristic of the African rhythms.
This seems to be about US bands and seems to desribe ragtime. What are
you trying to say?
> On the working class who created tango:
> If you mean the first forms of Tango you might be referring to soldiers and
> women of black descent who appeared to be a subclass within a working class.
I was talking about working class families living in conventillos, and
gathering each night in the large interior yards to socialize, play
music, dance.
With best regards,
Konstantin
Victoria, Canada
Sent: Wednesday, July 18, 2007 10:01 AM
To: tango-l@mit.edu
Subject: Re: [Tango-L] On the influence of european rhythms in Tango
On 7/17/07, romerob@telusplanet.net <romerob@telusplanet.net> wrote:
> >On European rhythms which influenced Tango:
>
> By Pompeyo Camps , "Tango and Ragtime: a parallel in time and distance"
> Cultural Service of the United States of America, Buenos Aires
> 1976
> publication, "The African influence in Tango has been primorial" Newspaper "La
> Opinion", Buenos Aires, March 12, 1977.
>
> ....The band - that historical institution of the United States with its
> marching pieces and polkas of european origin. They furnished black pianists
> the emulsifying agent of the music of a dual race. It was the 2/4 measure "in
> tempo de marcia", the way music was notated by Joplin ( or Slow march tempo)
> with the classic accompaniment of the double bass in 1/4 notes and music
chords
> in contratempo of 1/8 notes. This corresponds to the pianist's playing with
his
> left hand, while with the right hand plays the cut sincopations and the
> displaced accents, which are characteristic of the African rhythms.
This seems to be about US bands and seems to desribe ragtime. What are
you trying to say?
> On the working class who created tango:
> If you mean the first forms of Tango you might be referring to soldiers and
> women of black descent who appeared to be a subclass within a working class.
I was talking about working class families living in conventillos, and
gathering each night in the large interior yards to socialize, play
music, dance.
With best regards,
Konstantin
Victoria, Canada
