Here is my collection of milonga tandas, with two exceptions. Francisco Canaro recorded so many great milongas that I have them all listed here. I have also created collections of candombe milongas and mixed orchestra milonga tandas and Alternative Milongas.

Here are some of my favorite Juan d'Arienzo tandas with singers Enrique Carbel, Alberto Echagüe, Alberto Reynal, and Héctor Mauré.

To hear some music by D'Arienzo, visit our Practice Music page.

Learn more about Juan d'Arienzo on our Tango Orchestra Biographies page.

Creating great tandas is an art form. Below are some of my favorite tandas. Feel free to use them or just reference them for new ideas and inspiration. I am always interested in feedback and comments, so feel free to contact me at clint@tangology101.com.

Wonderful interpretation of Malandraca by Beba Pugliese with her dad watching... I love when she speeds it up at 1.05... you can really hear the jazz/African influence.

Most of the best dances of my life have been to Pugliese.

To dance to Pugliese, you need exceptional balance, patience and discipline (by both partners). It takes the ability to respect the silence and the moments between the steps. To dance Pugliese is to dance tango.. not to execute steps. Pugliese takes time to master. Don't be afraid of him though.. find freedom in those pauses. The big problem I think for most with Pugliese is that it requires a perfect mixture of exceptional technique and heart. One without the other will not suffice...

Pugliese is considered, by most accomplished dancers, to be a wonderful orchestra for dancing. You will hear plenty of Pugliese at the Milongas in Buenos Aires and you will see the best dancers head to the floor when they hear the first notes. That is when they find their favorite partners.

Poesía de gotán: The Poetry of the Tango is a great website that has lots of translations of some really great tango songs.

There are many differences between beginner, intermediate and advanced dancers, but one is musicality.

Beginner's step on the beat and maybe throw in some double times here and there.

Intermediate dancers change their rhythm, cadence, tiempo, energy, etc tanda to tanda depending on the orchestra being played. For example, you would not dance the same way to D'Arienzo that you would dance to Fresedo or Di Sarli. Very few dancers get to this level. I see so many people dancing exactly the same regardless of which orchestra is playing.

Advanced dancers change their rhythm, cadence, tiempo, energy, etc within the same song. There are clear shifts in most Tango songs and to be able to hear them coming and adapt your dance to them is what makes a dancer great to me.

Watch this video of Chicho and watch where he changes in energy... 22sec with the violins he goes from very energetic to much more calm and his steps get smaller and more controlled. You might even see some changes before this, but a big change again at 1.16 his energy really picks up again and he starts doing bigger and bolder moves. Around 1.57 he shifts again. Last major shift at 2.08.

BTW... To me there are two Pure Genius moments in this dance as far as musicality are concerned: The short runs at 1.10 and the foot stomps at 1.43.

The first generation of tango musicians are commonly referred to as  "La Guardia Vieja" (The Old Guard). The first Period of "La Guardia Vieja" lasted from approximately 1895 to 1910. These songs are a type of habanera blended with African and European music and are sometimes referred to as "tango-habanera," "tango criollo" or "tango-milonga."

This period saw:

• Tango being born from local, habanera, African and European influences
• Formations of musical trios
• The introduction of the bandoneon
• A formal structure for Tango emerging
• Academias y Cabarets and other public dance spaces opening
• Men learning with other men
• Tango travelling to Europe
• The introduction of recorded tango.

The music originated in the "Rioplatenese" or Río de la Plata region of Argentina and Uruguay. Some of the origins of the music would be candombe, vals criollo, habanera, flamenco, polka, milonga (different from the milonga we know today and was a type of "battle" poetry), mazurka and contradanse. In essence, you had European immigrants with their instruments being influenced heavily by Latin American and African music.

It is true that only about 8,000 black argentines existed out of a population of over 400,000 in 1887, but all it took was a few to have a great impact on tango. The best example of this was Leopoldo Ruperto Thompson. Get this, he was a bass player who played with Firpo, Canaro, Arolas, de Caro and Cobián. Many of the first bandoneon players and guitarists were black. Also, some of the earliest composers of tango including Mendizábal and Carlos Posadas, as well as many of the earliest dancers and teachers.

At this time Tango was played by solo guitar or piano, small ensembles (conjuntos) and municipal marching bands. The ensembles were usually trios and would often consist of some combination of flute, clarinet, guitar and/or violin. The guitar would often play the habanera rhythm while the flute, clarinet and/or vilolin played the melody.  Sometimes, these groups would be accompanied by male or female singers. They would play in cafés, beer houses, courtyards of conventillos (poor apartment houses) and also in brothels. The music would also have been played around the city by organitos or organ-grinders who went around the city playing portable player-organs.

Towards the end of this period we also saw the signature instrument of tango, the bandoneon, introduced to the ensembles. The bandoneon was a concertina type of instrument created in Germany for churches that could not afford an expensive organ. It made its way over to Argentina and Uruguay with the huge influx of immigrants.

During this time, tango begins to take on structure. In 1897, Anselmo Rosendo Menizábal composed, "El entrerriano (The Man from Between the Rivers)" which was the first tango structured in three distinct sections. The 1st and 3rd sections had 16 measures and the 2nd measure had thirty-two measures.

In the early 1900s, many academias and cabarets began to open around the city. Academias were places were people could learn the choreography of tango and other dances. Cabarets were public places where people could dance and play tango. Armenonville, at the corner of Avenida Alvear y Table, was one of the first of these places. Other establishments were also opening and promoting tango like Hansens which was a restaurant/café on Avenida Sarmientos. The picture on the left was taken in March of 1905 at a carnival at the Pabellón de las Rosas (Rose Pavillion), a popular dance venue in Buenos Aires.

This period also saw men dancing with other men. The primary reasons for this was that men greatly outnumbered women and so the women had their pick of the men to dance with. So, the men would get together and practice and learn from one another in order to improve so that the could attract the few women dancers. This was a time when women and men could not associate as easily as today.

Many early pioneers of rioplatense tango travelled to Europe including Angel Villoldo, Alfredo Gobbi, and his wife, Flora Hortensia Rodriguez to record ind France and Germany. Below are some of the earliest recordings of tango. These recordings are from vinyl LPs and 78s. I am working on getting them all recorded and posting as much historical information about them as possible.

Between 1906 and 1910, 850,000 immigrants arrived in Buenos Aires and the population grew to 1,500,000, setting the stage for the next period of tango's growth.

“La Morocha” (?)
Composer: Enrique Saborido
Performed by: Recording of an orginal Barrel Organ (Organito)

The original sheet music describes the song as "tango criollo." There is some debate about whether or not this or "el choclo" was the first tango to be exported to Europe. Saborido travelled to Paris and was there in 1911 teaching people how to play and dance tango. Of course, this version is an instrumental, but Angel Villoldo did add lyrics to the song.

More on Enrique Saborido: http://www.todotango.com/
More on "La Morocha:" http://www.todotango.com/

"El Sargento Cabral" (1907)
Composer: Manuel O. Campoamor
Performed by: Banda de la Guardia Republicana de Paris

The pianist and composer Manuel O. Campoamor numbered all his tangos and "El Sargento Cabral", dating from 1898 or 1899 is number 1.

Campoamor was born on November 7, 1877 in Montevideo, Uruguay, but he grew up in Buenos Aires, Argentina. He learned to play the piano by ear and never learned to write music. He composed tangos from 1898 to 1905 and kept playing piano publicly until 1922, but according to his wife he would still play at home every day until his death in 1941 of Lung Cancer. He is quoted as saying, "I didn't compose any more and don't even think of doing it; I neither have the enthusiasm nor the time to devote to that. Today the output is overwhelming and the number of composers is great. The present generation has adopted a different beat for tango, which is warmly welcome by the public; we, those who feel tango in quite a different way, have to withdraw to allow the new trends to express this new sensitivity."

"El Sargento Cabral" was published in 1899 by Gath & Chaves house where Campoamor worked for 25 years, eventually becoming manager.

It was edited by J. A. Medina e Hijo and it as dedicated to the composer Leopoldo Corretjer. According to the author, this work owes its title to a common occurrence in local dance spots of the time. Following a competition someone from the winning side would exclaim, "We have beat the enemy!" in parody of what Sargent Cabral said shortly before his own death in the battle of San Lorenzo.

The recording of Paris' Republican Band belongs to a series of recordings made specifically for the recording house, Gath & Chaves. They sent several pioneers of rioplatense tango to Europe including Angel Villoldo, Alfredo Gobbi, and his wife, Flora Hortensia Rodriguez to record because there was no recording studio in Buenos Aires.

Campoamor also worked as a pianist in the famous house of Maria "La Vasca" which can still be found at the corner of Carlos Calvo Street and Jujuy Street.

For more information on Campoamor visit: http://www.todotango.com/

"Mordeme la oreja izquierda" (Bite my left ear) (1908)
Composer: Eugenio M. de Alarcon
Performed by Banda Española

This edition of the tango dates from 1906 and belongs to the composer himself, who dedicated it "Al amigo Cesar H. Colombo" (To the friend Cesar H. Colombo). It has the odd subtitle "Canto de dos ruiseñores" (A song of two nightingales) and the classification of "tango criollo." A footnote on the cover warns that any sample that does not have the author's signature should be considered a falsification.

Alarcon, director of the national theater orchestra, enjoyed using many italianisms when indicating how to express the music; on this piece one can see words such as "expressivo", "legatissmo", "scelti", "ben ritmato", etc.

For more information: http://www.todotango.com/

"El Club Z" (1908)
Composer: Anselmo Rosendo Mendizabal
Performed by: Orquesta del Teatro Apolo Dir: Enrique Cheli

The "Z Club" was composed of a group of revelers headed by Esteban Banza and J. Guidobono. This was an exclusive group formed by forty individuals with the sole purpose of organizing a monthly dance for its members. This group existed from the end of the nineteenth century to the first decade of the twentieth century. The dances were generally held in the house of Maria La Vasca, and it was rented for the entire night for 3 pesos per hour per person. The Afro-Argentine pianist and composer Mendizabal was the usual musician, both as a soloist as well as when he played with his band, which was composed of two violins, a flute, a piano and two guitars. Mendizabal composed many tangos including "El Club Z" where an instrumental call and response surmounts a habanera accompaniment.

Due to prejudices of the time, Mendizabal signed his tangos with the pseudonym "A. Rosendo". The original score included in this anthology is edited by the author by the musical press Ortelli Hnos. Has the dedication, "A los distinguidos socios del Z Club" (To the distinguished members of the Z Club).

For more information: http://www.todotango.com/english/crea...

“El Pechador” (1909)
Composed by: Angel Gregorio Villoldo
Performed by: Linda Thelma (canto) y Arturo de Siano (piano)

Edited by the house David Poggi e Hijo, it was dedicated by Villoldo “Al celebrado autor nacional don Nemesio Trejo” (to the celebrated national author Mr. Nemesio Trejo), who was the singer and author of comic sketches (1862-1916); it was a popular tango in its time and it was also recorded by Alfredo Gobbi.

Like most, if not all, of Villoldo’s lyrics they are written in the first person and exalt the virtues of the compadrito. Although it may seem inappropriate this title is sung by a woman, the singer Linda Thelma, who has deep roots in Spanish tiples [I have no idea what this is]. She was accompanied on many an occasion by Villoldo himself while recording. Arturo de Siano, a musician who plays with Linda Thelma in this version, was a prominent musician in the theater.

More info on Angel Gregorio Villoldo: http://www.todotango.com/english/creadores/avilloldo.html
More info on Linda Thelma: http://www.todotango.com/english/creadores/lthelma.asp

“El Purrete (The Kid)” (1909)
Composed by: Jose Luis Roncallo
Performed by: Banda de la Policía de Beunos Aires Dir: Mtro. A Rivara

Basically, all bands incorporated tangos into their repertoires during the first two decades of the century. You can hear the habanera being heavily dramatized as the cymbals clash during the song. These types of bands reached their peak during these years as is demonstrated by the elevated number of recordings made. Some of the most well-known ones include: the 1st Infantry Regiment, the 5th Infantry regiment, the Atlanta, and the Buenos Aires Police.

“El Purrete”, edited by Breyer Hnos. and dedicated to “El Senor Eduardo Oliveri” (Mr. Eduardo Oliveri) was the first tango written by this author. His style was methodical and consistent with a musician trained in a conservatory. According to unverified claims, the song dates from 1901 and the score dates from some time after, 1903 to 1904.

“La Bicicleta” (1909)
Composer: Angel Gregorio Villoldo
Performed by: Angel Villoldo (canto y castañuelas)  y Manuel  O. Campoamor (piano)

The primitive form of singable rioplatense tango suffered great influences from Spanish zarzuela tango. This is very clearly detectable in the version of “La bicicleta” by Angel G. Villoldo. It has a piano accompaniment by Manuel O. Campoamor purely for melodic purposes as well as castanets played by Villoldo.

Cycling and pelota vasca were the favorite sports during 1895 and 1910, where one could find extensive bicycle caravans traveling to be exhibited in the forests of Palmero after first riding in the city center.

According to Robert Farris Thompson, "Villoldo's 'La bicicleta' (The Bicycle) of 1909 began, nobly, to mix cultures. From the famus black payador Gabino Ezeiza, Villoldo borrows jump-cuts from singing to speech. He hits certain words, like damas and ramas, with flamencolike trills, Arabized melismas that add savor to rhyme. And while he's singing, Villoldo plays castanets!"

More info on Villoldo: http://www.todotango.com/english/creadores/avilloldo.html
More info on Campoamor: http://www.todotango.com/english/crea...

“El Porteñito” (1909)
Composer: Angel Gregorio Villoldo
Performed by: Andrée Vivianne (canto) y orquesta

More info on Villoldo: http://www.todotango.com/english/creadores/avilloldo.html

“Gran Hotel Victoria” (1910)
Composer: Feliciano Latasa
Performed by: Estudiantina Centenario (trio de bandurrias y  guitarra) Dir: Vicente Abad

For more information: http://www.todotango.com/english/biblioteca/cronicas/leyenda_Hotel_Victoria.asp

"Joaquina" (1911)
Composer: Juan Bergamino
Performed by: Manuel O. Campoamor (solo piano)

Below are articles on some of the most famous Tango orchestras including biographies, videos and their most popular songs:

"La Guardia Nueva" (The New Guard) period lasted from approximately 1925 to 1935. The new musicians developing during this period would be known as "The 1925 Generation."

This period saw:

• Introduction of "El Cuatro" The Four
• Julio de Caro introduce a new style
• Tango for dancers decline
• Tango become a popular subject for films
• Tango performed live on the radio
• The introduction of quality microphones.

El Cuatro (The Four)
During this period, the habanera influence began to fade and the tempo of the music slowed down. In "Tango: The Art History of Love," tango guitarist Ubaldo de Lío says, "The earliest form of tango was a type of habanera. The tango-milonga then followed. After that came 'the four,' four quarter-notes per measure. We still ask ourselves who invented 'the four.' Some say Canaro, others say Firpo, a few claim de Caro." "The four" consists of 4 equal quarter notes (beats) with 2 strong beats (down beats) and 2 weak beats (up beats). In dancing, we usually step on beats 1 and 3 (the down beats) and not 2 and 4 (the up beats) unless we using traspíe or double-timing.

From Robert Farris Thompson's "Tango: The Art History of Love:"

"The four" arrived in force in the 1920s, with Firpo, Canaro, and de Caro. Important changes in harmony and phrasing came with it: polyphony and counterpoint emerged with de Caro. Tango was in a state of creative ferment. Black swing and black imporvisatin met innovations evolving within the Western-oriented tradition. The black composer Mendizábal, we recall, had designed the early structure of tango, involving a first and third part of sixteen bars each with a bridge of thirty-two bars in between. Now de Caro and his peers swept this away: 'After 1925 nobody writes [tangos] in three parts any more; sometimes introductions, bridge passages, and codas are added.' The trend was now to structure in two parts, doubled in execution: A B A B.

In the late 20s and early 30s, more classically trained musicians began to join and form orchestras and were influencing the largely self-taught musicians of the previous generation. Some of the older generation would say things such as "They have turned tango into church music," because they were working more with melody and harmony than rhythm.

Julio de Caro
The most famous of these was the violinist Julio de Caro who put together an orchestra  which included the bandoneonista Pedro Laurenz. He still retained an element of tango's street beginnings, but with more elegance and complex structure. He also slowed tango down even more. This new style combined with Tango Cancíon and the popularity of records meant that a larger "listening" audience was growing rather than a "dancing" audience. Orchestras no longer had to depend on dancers to pay the bills and began creating music that was not popular with dancers and tango as a dance sharply declined.

After this period, most orchestras were from one of two camps, the traditionalists or evolutionists. The traditionalists would consist of orchestras such as Francisco Canaro, Juan D'Arienzo, Edgardo Donato and Rodolfo Biagi. The evolutionists would consist of orchestras such as of Osvaldo Pugliese, Aníbal Troilo, Carlos di Sarli, Osvaldo Fresedo and Pedro Laurenz. Not that the traditionalists did not evolve as well, they just did not take it as far.

With the advent of silent films, the best tango musicians were sought after to play for the movies. For less popular films, one pianist would do, but for more popular films sometimes a trio, quartet or a sexteto típico would be employed.

Tangos were also a popular subject for films and the tango stars of the day, including Gardel, often starred or made appearances in them.

Tango orchestras were also very much in demand for the new medium of radio and would often play live and have their own weekly shows.

In the 1910s, as orchestras became more in demand to play large dances and festivals, their sizes ballooned to more than 1 dozen musicians. For a festival in 1921, Francisco Canaro presented an orchestra of 12 bandoneons, 12 violins, 2 cellos, 2 double-basses, 2 pianos, 1 flute and 1 clarinet. By the mid-1920s, the popularity of the microphone had made it so that most orchestras took the form of sextetos típicos.

Lorenzo by Julio de Caro con Luis Diaz (1926)

Amurado by Juan Felix Maglio (1927)

Flores Negras by Julio de Caro (1927)

Adios Muchachos by Orquesta Tipica Victor (1927)

Viejo Ciego by Francisco Canaro (1928)

Quejas de Bandoneon by Roberto Firpo (1928)

Felicia by Edgardo Donato (1930)

Fruta Prohibida by Orquesta Tipicia Brunswick (1931)

El Huracan by Edgardo Donato (1932)

Milonga Sentimental by Francisco Canaro (1933)

Ventarron by Orquesta Tipica Victor (1933)

Vida Mia by Osvaldo Fresedo (1933)

Siempre es Carnaval (1934)

Poema by Francisco Canaro (1935)