Martín Vázquez, Gitarre

GUITAR WORKSHOP

Tango music, its creole elements and links to other Argentine expressions

            The genre known as Argentine Tango evolved from rhythms, melodies and forms of creole background that used the Spanish guitar as an initial vehicle for exposition. As their European ancestors did with the cante jondo and the seguiriyas, soleares and peteneras, the payadores improvised their singing on cifras, estilos, and later milongas, in what is called „cantar por cifra“ or „cantar por milonga“, a same melody applied to different lyrics. For that purpose, they followed a design of cuartetas, sextinas, octavas or décimas (four, six, eight or ten-line strophes), structures present in the two main types of milongas: the southern or pampeana, typically rural, slower and of meditative character; and its derivative corralera or porteña, distinctive of city suburbs, faster and danceable. Such elaboration in its turn originated the tango-milonga (which finally splitted up into two well differentiated entities), and other species like the rasguido doble and the chamarrita, both peculiar to the Litoral region.

            The guitar, gradually displaced from the primitive instrumental tango orchestras by the piano, found a new role in duets, trios and/or quartets accompanying singers like Gardel, Corsini, and Magaldi, whose repertoires included traditional folk songs as well as the early sung tangos. That guitar-orchestra type of sound reshaped the personality of the instrument: in addition to keeping the groove, now it would also play lines and enrich the general texture. In that sense it meets the Cuyo region guitars, which developed a unique compìng style.

            The workshop studies those compositions of Abel Fleury and Atahualpa Yupanqui (and performing styles) related to the Pampa region, for getting a close look at the mood, character, phrasing and articulation that exerted an important influence on Tango music; and Roberto Grela´s and Ubaldo de Lío´s styles and concept for comping and soloing in duets, trios and guitar quartets, focusing on their contribution to expanding the role and capabilities of the guitar. Similarly, it considers the contact points with Litoral region and Cuyo region styles.  

 

Suggested compositions

Fleury: Te vas milonga, A flor de llanto, Milongueo del ayer, Estilo pampeano, Lejanía, Cantar de mi pago, Cifra.

Yupanqui: La estancia vieja, La milonga perdida, Los ejes de mi carreta, Campo abierto, Gramilla, La pampa de antes.

Pieces with creole influence

Tangos: Maipo (E. Arolas), Qué noche, El taura (A. Bardi), Pablo (J. Martínez), La mariposa (Maffia-Flores), Buenos Aires (M. Jovés).

Milongas: En un feca (anonymous), Chatero de aquel entonces (Ortiz-Mejías), Cargamento (Hormaza-Gallucci), No hay tierra como la mía (Cadícamo-Charlo), Tortazos (Razzano-Maroni), Milonga triste (Piana-Manzi), Milonga sentimental (Piana-Manzi), Milonga del 900 (Piana-Manzi).

Waltzes: Tu olvido (V. Spina), Temblando (A. Acuña), Tu diagnóstico (J. Betinoti), Por el camino (Flores-Lara).

Other: Pobre gallo bataraz (Estilo-J. Ricardo), Pan del agua (Rasguido doble-R. Ayala), De tinajas (Tonada-H. Herrera).

 

 

Leave a Reply

You must be logged in to post a comment.