Musicality in Tango Dancing – Part Seven

In the previous post on Musicality in Tango, we looked at the rhythmical style of Juan D’Arienzo, and in this post we look at Osvaldo Pugliese. I finished off the previous post with the perhaps slightly unfair comment that Pugliese chucks in odd extra notes.

This is not quite accurate. He was of course a musician, composer, and arranger so his music was deliberate, but there is something about his style which sometimes confuses dancers. His music has both dramatic rhythm and also some lovely lyrical elements too, but the way he arranges some tunes seems to lead to the odd miss-step.

La Yumba – tango

Have a listen to this tune, the famous ‘La Yumba’ written by the man himself in 1946.

For the first 1 min 15 secs we have this driving rhythm which sticks to the first two sections of a standard ABABC pattern, and in each section we have 2 phrases. So far so good with an ‘AB’. Then the tune starts of with what sounds like a repeat of ‘A’ but which turns into an entirely different ‘new’ lyrical section and we don’t get back to section A until a minute later where we get back to a familiar refrain just before the finale.

However, even then, the last phrase is a mix of lyrical and rhythmical. The pattern is therefore more like A, B, A(phrase 1), C, A(phrase 1 ‘ish’). Why is this a problem? Well it isn’t too bad if you are already familiar with ‘La Yumba’, but if you remember what I said about predictability with the typical ABABC pattern, it means that if you never heard the tune before if would be difficult to dance through the whole tune first time out because of the unpredictability Pugliese throws in with the middle lyrical section where the rhythm disappears, reappears then disappears for a while.

Once you know the tune well enough it’s not a problem in the sense that you can chose to dance the rhythmic bits or the lyrical bit when they overlay, and by knowing the tune you can anticipate the ‘rhythm or lyrical’ sections when they do not overlay.

So Pugliese is not throwing odd note in to his tunes but he defiantly breaks the traditional tune pattern which makes it sound odd and ‘dance tricky’ the first time you hear it.

Ilusión Marina – Vals

So what about Vals? Well, Pugliese didn’t write many Vals so he arranged others for his orchestra such as this one, ‘Ilusión Marina’ written by Antonio Sureda in 1947, lyrics by Gerónimo Sureda, and sung by Alberto Morán.

It has the usual Pugliese drama, but it sticks to the traditional pattern for a tango vals. From the dance point of view it’s predictable if a little brisk.

There are one or two quirks if you listen hard, such as the lovely key change at 40 secs in, just before Alberto Morán begins to sing. Whether these were due to Puglieses arrangement or written into the original tune by the composer is unclear. Someone could find the composers music script and let me know?

Un Baile a Beneficio – Milonga

I love this tune. It’s just so jolly! Have a listen to ‘Un Baile a Beneficio’ written by Juan Carlos Caccaviello recorded in 1950, lyrics by José Alfredo Fernández, and sung by Jorge Vidal.

Typical pattern for a milonga tune so again, it’s predictable and danceable, phew! Not much more to say about the tune or structure other than every milonga should play it.

So my conclusion is that if a tune has been written by Osvaldo Pugliese then there may be a few quirks and he doesn’t always stick to the traditional pattern for tango composing, making it a little more tricky to dance to than usual.

For tunes not written by Pugliese but just arranged by him, he doesn’t seem to mess with the composers tune too much so you should be OK.

A final note: In the late 1950’s, early 1960’s, when the military took over the Argentine Government they cracked down on dancing in public. Osvaldo Pugliese bowed to the pressure and began to write and arrange concert tango which is not really written to dance to. He was joined by musicians like Astor Piazolla (the subject of my next post on musicality) in this ‘pivot’ towards concert music, as the tango dance became politicised. Both Pugliese and Piazolla were criticised by the dance community for ‘selling out’, but of course they wanted to continue earning a living so it was entirely understandable.

So in the next post on Musicality I look at both early Piazolla (danceable in the traditional sense) and later Piazolla (still danceable but missing a lot of typical tango cues, especially for beginners).

Previous – Musicality in Tango Dancing Part Six

Next – Musicality in Tango Dancing Part Eight


 

 

 

 

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