Tango Transcriptions - Volver by Anibal Troilo & Astor Piazzolla

Strictly defined, a transcription is an exact note for note rendition of a piece of music written for one instrument and played on another (i.e. guitar to piano).  Literal transcriptions are rare.  More common is a rendition that seeks to retain the character of the original while making some accommodations for capabilities and limitations of the instrument upon which the music will be performed.  While this rendition may still be called a “transcription”, it is more accurately an “arrangement”.  Certain parts of the music have been “arranged” to work better on the non-native instrument.

The approach employed in an arrangement will vary depending on the style of music being arranged.  In the classical idiom, it is considered arrogant to “fix” or “rewrite” the music of brilliant composers such as Bach or Mozart.  In this instance, the most acceptable arrangement would be one of adaptation, with as little alteration as possible.   In Tango music, however, it would be good or even preferable, to stylize yet another version of “La Cumparsita”.  In this case, it would be expected that the arranger may rewrite chords, add notes and melodies, and change the form.

One example in Tango music of the reorganized and rewritten arrangement rising to the realm of art is in the "Orquesta Tipica" style, where the expertise and imagination of the arranger are central to the success of the resulting arrangement.  These versions are often more technically challenging than the original and blur the line between arrangement and composition. In the classical world, Ravel’s famous arrangement of “Pictures at an Exhibition“ from a piano solo to an orchestral piece demonstrates great imagination and creativity and is also a good example of the “art of transcription”.

Formal Tango education was fairly limited until the 1960's. The first complete bandoneon method wasn't even released until the mid-1950´s (Marcucci, Carlos y Lípesker, Félix ). By the time Tango education was in full swing again (1980's-90's), Tango had already progressed through Guardia Vieja, 1930´s Sextets, 1940's Orchestra´s Golden Era, 1950´s reduced groups, 1960´s Avant Garde, 1970´s Jazz influence and 1980´s and 1990´s New Generations. In short, Tango had essentially run through its entire evolution BEFORE the advent of formal and detailed education.

Today, if we want to learn Tango composition (or music in general), we learn mostly from written instruction. We have hundreds of books to teach us scales, chords, chord progressions, patterns, and music theory. Everything is structured and organized in straightforward pieces. And, of course, it's all written down.

While it's great that we now have so much information at our fingertips, the shift from aural to written instruction has, unfortunately, lead many students to have poorly developed aural skills. These students sound good when reading music, but if you take the music away they're lost.

For the advanced Tango player, listening, analyzing and transcribing are equally valuable tools from the same toolkit.
Although the goals may be different, and actual transcriptions, written or played may not take place, every good Tango performer has the mandate to listen in a disciplined fashion to the music of his predecessors and contemporaries.

Here is the goal of this redesign blog: promote students, professionals and Tango lovers to listen, analyze and perhaps, if skills are there, transcribe.

I could not find a better choice but to start this foundational collection with someone who has been known as "El Bandoneon Mayor de Buenos Aires" (The greatest bandoneon of Buenos Aires): Maestro Anibal Troilo.

Julian Hasse
for bandoneon books and scores visit www.tangoscores.com

Anibal Troilo

"Volver", bandoneon duo recorded by Anibal Troilo and Astor Piazzolla.

Transcription by Joaquin Alem








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