tag:blogger.com,1999:blog-8035244062520832583.post5312315854859485589..comments2024-03-21T14:56:18.159-04:00Comments on Tango Therapist: Tango's Musical Terms: "Chicharra"Tango Therapisthttp://www.blogger.com/profile/12548118004604256736noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-8035244062520832583.post-52372706469688328072015-08-22T10:44:55.264-04:002015-08-22T10:44:55.264-04:00I am making this comment after listening much more...I am making this comment after listening much more acutely to the chicharra, and I still maintain that in all cases I have heard--including during the Golden Age of tango--that the 3/3/2 rhythm is behind the improvisation. And why wouldn't it be? This is the African link to tango, the 3/3/2 rhythm.<br />Tango Therapisthttps://www.blogger.com/profile/12548118004604256736noreply@blogger.comtag:blogger.com,1999:blog-8035244062520832583.post-21239402533078285692013-05-16T18:29:11.200-04:002013-05-16T18:29:11.200-04:00Thanks for adding that score, Mark. Nice. But I...Thanks for adding that score, Mark. Nice. But I'll bet the chicharra it shows is from the arranger and probably performer, rather than from the composer. Notice there's no composer name on that score. <a href="http://j.mp/12F0viR" rel="nofollow">This earlier version</a> shows the composers name... and no chicharra.<br /><br />Anyway, no matter - what matters is of course the sound, not sight! :)<br /><br />Thanks for that interesting article.Chrishttps://www.blogger.com/profile/08546555586986008873noreply@blogger.comtag:blogger.com,1999:blog-8035244062520832583.post-38059026644125644512013-05-09T07:24:29.558-04:002013-05-09T07:24:29.558-04:00"Chris, of course this is written into the mu..."<i>Chris, of course this is written into the music.</i>"<br /><br />Well, the chicharra isn't written in the score I have of the Golden Age example you gave (La cumparsita), or in any other classic tango score I know. If you do find an example in a classic tango, I'll be surprised.... and very interested to see it. Thanks anyway for the interesting article.Chrishttps://www.blogger.com/profile/08546555586986008873noreply@blogger.comtag:blogger.com,1999:blog-8035244062520832583.post-6475866178771689702013-05-05T07:26:01.977-04:002013-05-05T07:26:01.977-04:00Korey, this perhaps is an aspect of musical notati...Korey, this perhaps is an aspect of musical notation that is similar to cadenzas in Baroque music (often not written) and vamps in jazz -- so perhaps in tango sometimes things are not written. My sense of it is that it is indeed written. <br /><br />Regarding rhythms: I do respect your opinion. And I loved your musicality class in Denver, back in 2010 (I believe). However, if I stand mostly alone on this issue, so be it. I am starting to realize that since only a few musicians hear what I am hearing, that this phenomena merely may be an example of auditory hallucinations, voices that others do not hear. But these "voices" are telling me to hold my tanguera with respect (but with passion). They are telling me to dance often in the pulse, but yet the voices move my soul with their playfulness around this pulse. These "voices" I hear speak of a central, essential rhythm. Let me have my auditory delusions. In my discussions of this, I need to add a long list of present day musicians who discredit my assertions. I am just trying to find a few people who hear the same voices I do... but that is "delusional" perhaps. I spoke to two different musicians from Argentina -- one in DC and the other in Heidelberg. Both were leaders of their orchestras. We spoke in length and they agreed with me. LSD? :-)Tango Therapisthttps://www.blogger.com/profile/12548118004604256736noreply@blogger.comtag:blogger.com,1999:blog-8035244062520832583.post-37742787233456957662013-05-05T06:13:55.031-04:002013-05-05T06:13:55.031-04:00I think you're both right, in a way...the conc...I think you're both right, in a way...the concert footage you show from the Pan-American symphony and the Pablo Ziegler concert, I believe the effect would be written out, but in smaller ensembles I think its more often improvised, even if its agreed in rehearsal to use it in a certain spot, its probably not written precisely. Also, the idea that its always linked to 3-3-2 is for me a little dubious. Its an effect you hear often in Piazzolla, and he also likes to use asymmetrical rhythms like 332, but I don't think the link goes much further.Koreyhttps://www.blogger.com/profile/01945096646377858168noreply@blogger.comtag:blogger.com,1999:blog-8035244062520832583.post-29306395921907517202013-05-04T08:02:48.047-04:002013-05-04T08:02:48.047-04:00Chris, of course this is written into the music. ...Chris, of course this is written into the music. It is not an option nor an arranger's whim. Trust me. If you do happen to go to a live tango concert, ask the violinist. I will try to find an example and add it to the blog.Tango Therapisthttps://www.blogger.com/profile/12548118004604256736noreply@blogger.comtag:blogger.com,1999:blog-8035244062520832583.post-76070443736654082292013-05-04T06:40:28.612-04:002013-05-04T06:40:28.612-04:00"Tango composers use this sound very much lik..."<i>Tango composers use this sound very much like the popular percussion instrument...</i>"<br /><br />I'd be interested to see any evidence that tango composers used this sound, e.g. a score. I rather think instead its use was down to the performers. Or perhaps occasionally the arrangers.Chrishttps://www.blogger.com/profile/08546555586986008873noreply@blogger.com