The second part of the Guardia Vieja period lasted from approximately 1910 to 1935. I say approximately because the styles and changes of this period blended very smoothly with the preceding and following periods. It is not as if on January 1, 1910 people started composing and playing differently.

This period saw:

• Tangomania sweep Europe and the US
• Greater acceptance by the middle and upper classes of Buenos Aires
• The formation of the Orquesta Tîpica
• Carnivals
• Tango-canción take off with Carlos Gardel
• The advent of the women's orquestas.

Tangomania
Up until the early 1910s, tango had largely been a past time of the lower classes. It had been played and danced in cafés, bordellos, restaurants, conventillos but not in the salons of the elite. After Tangomania swept Europe and the US, this all changed and tango began to be embraced by the middle and upper classes of Buenos Aires. It is impossible to understate the popularity of Tango in Europe. It was the rage of the salons and made headlines in newspapers.

Enrique Saborido, the composer of many tangos including "La Morocha," also travelled to Europe to teach people how to properly play tango and ended up also teaching people to dance:

"The marquise Reské, widow of the famous tenor Jean Reské, was willing to popularize Argentine tango among the French. It was around 1911 and I accepted such formal invitation; when in Paris, at the beginning I devoted to teaching tango playing, so that it would be correctly performed. As I had spare time and I had noticed that the high society people were really interested in it, I taught them how to dance it.
One night at the marquise palace where a reception was held I organized, with the approval of the attendance, a pericón (traditional Argentine dance) whose steps proved to be very attractive for everybody and were warmly applauded.
On another occasion I was appointed referee to demonstrate that the forlana was not more decent than tango; the dissent was even reflected in the chronicles at the papers and the Catholic paper "Le Gaulois" finally regarded tango as a beautiful graceful dance.
Thereafter the outbreak of war forced me to come back to Buenos Aires."

Acceptance
It is also impossible to understate the influence that Europe's acceptance, particularly France's, had on Buenos Aires. It is joked that, porteños were Italians that spoke Spanish, thought they were British and wished they were French. Anyone who visits Buenos Aires cannot deny the influence of French architecture.

Orquesta Tîpicas
In 1911, Vincente Greco was asked to record some tangos by Columbia and he created the first Orquesta Típica Criolla. Over time the "criolla" was dropped from the name. The original Orquesta Tîpicas were sextets which consisted of two bandoneons, two violins, a double bass and a piano (sometimes a guitar or flute were substituted).  Eventually they grew to include a string section (with violins, viola, and cello), a bandoneón section (with 3 or more bandoneons), and a rhythmic section (with piano and double bass). The piano was first added by Roberto Firpo in 1913 and the double bass by Francisco Canaro in 1917.

Around 1916, Firpo re-wrote a march by Gerardo Mattos Rodriguez as a tango. It would become the most famous of all tangos, "La Cumparsita."

Carnivals
Carnivals were huge events where massive amounts of people would come to hear the most popular orquestas of the day. Orquestas would save their best new pieces to debut them at the carnivals. Carnivals were very popular with dancers. Many dance academias would advertise to dancers, "Come and learn the best new figures for the carnival." 

Tango Canción
Up to this point, tango lyrics had been dark, but humorous.  In 1917, Carlos Gardel recorded Pascual Contursi's "Mi Noche Triste." Now Contursi could have meant the lyrics to be ironic but Gardel sang the song with melodramatic longing and sadness. This song struck a cord with the newly arrived immigrants, who were missing their countries, families and wives and was hugely successful, launching a new genre "tango-canción." Tango-canción was full of drama, sentimentality, sadness and nostalgia.

In 1920, the first tango written as a song, "Milonguita." Up until that time, tangos had been written as music first and then lyrics added later. This was the first time that a song was written as lyrics first.  It was turned into a movie in 1922 and was the first to feature the theme of the poor, country girl who leaves home to go to the big city of Buenos Aires and becomes a prostitute.

Women's Orquestas
Paquita Bernardo was the first professional female bandoneon player and Carlos Gardel said she was, "the only woman who has mastered the macho character of the bandoneon." The debuted her sextet in 1921. There were many women's orquestas and they were popular between 1920 and into the early 1930s. They often played in confiterías, cafés, bars, for weddings and parties. To the best of my knowledge, no women's Orquesta was ever recorded, but there is some film footage of one from the 1933 film, "Tango!"

“Cara Sucia” (1917)
Composer: Francisco Canaro y 'El Negro' Casimiro Alcorta
Performed by: Francisco Canaro

Some song titles and lyrics were changed because the originals were so vulgar. "Concha Sucia" was a traditional song believed to have been composed by 'El Negro' Casimiro Alcorta, a black violin player from the earliest days of tango. The title literally translates to "Dirty Shell," but concha (shell) was a common, obscene term for vagina. Canaro registered this tango, under his own name, and changed the song title to "Cara Sucia" in 1916.  Canaro is believed to have done this with several of the old tangos. The name change was probably to conform to the changing audience of tango, which was including more women and the middle class.

More on Francisco Canaro: http://www.todotango.com/...

Songs of this Period

Rosendo by Orquesta Tipica Criolla (1912)

Don Juan by Alfredo Gobbi

Miniquito by Flora Gobbi (1911)

La Montura by Genaro Exposito (1912)

Armenonville by Juan Pacho Maglio (1912)

Venus by Juan Pacho Maglio (1912)

El Estribo by Vicente Greco (1912)

El Apache Argentino by Arturo A. Mathon (1913)

El Choclo by Orquesta Tipica Portena (1913)

Mi Preferido by Orquesta Criolla Domingo Biggeri (1913)

Region Campera by Quinteto Criollo El Aleman (1913)

Pura Uva by Quinteto Garrote (1913)

Recuerdos de Zambonini by Quinteto Tano Genaro (1913)

El Jaguel by Tipica Criolla La Amonia (1913)

El Argentino by Vicente Loduca (1913)

El Fulero by Quinteto Berto (1914)

El Pollito by Quinteto Criollo Atlanta (1916)

La Cumparsita by Roberto Firpo (1916)

Cara Sucia by Francisco Canaro (1917)

Mi Noche Triste (Lita) by Carlos Gardel (1917)

Pampa by Qrquesta Ferrer-Filipotto (1918)

Beligica by Osvaldo Fresedo (1920)

Osvaldo Pedro Pugliese (Buenos Aires, December 2, 1905 – July 25, 1995) was an orchestra leader, composer and pianist.

He was known for his dramatic and passionate arrangements while still keeping the strong walking beat of salon tango. His music walked a fine line between the dance hall and concert hall. The greatest musicians of the time wanted to work with Pugliese.

One could speak, with total justice, of compositions before and after Pugliese's "Recuerdo" and the instrumentalists before and after "Recuerdo." - Horacio Ferrer

He composed his first tango "Recuerdo" in 1924 when he was only 19 years old. The title was originally "Recuerdo para mis amigos" (Memory for my friends) and was an homage to his friends that he used to hang out with in the cafe. This song is often described as a milestone of tango composition for its melodic structure and its complex density. "Recuerdo" shows Pugliese's knowledge of European classical music and his commitment to the streets of Buenos Aires, as de Caro had previously. It is no wonder that de Caro was the first orchestra to record the song.

Pugliese is often played later in the evening when the dancers want to dance more slowly, impressionistically and intimately. While being able to dance well to Pugliese's music is the mark of a truly accomplished dancer, his music is very challenging for new dancers.

Pugliese was outspoken in his political opinions and was a communist. These sympathies often brought him into conflict with the government and police. His orchestra was banned from being played on the radio on several occasions. In 1955, Perón had him jailed for six months. He was also jailed by the previous government and later governments. Whenever he was arrested his band would place a red carnation or rose on his piano as a "symbol of absence (símbolo de ausencia)." He was threatened many times during the dark days of the Proceso (1976 to 1983) but as Juan Carlos Copes explains, "he was simply too popular" to "disappear."

 During the Golden Age, many dancers would follow their favorite orchestras around like soccer fans of today. No fans were more dedicated than Pugliese's, some of whom would copy his haircut, glasses and suits. For some reason, some would wear band-aids forming a cross on their right cheeks. The women who followed Pugliese often wore Shanghai inspired dresses with slits cut on both sides along with anklets and high heels.

 "La Yumba" was another of Pugliese's major hits. It was recorded in 1946 and showed his respect for the early black musicians of tango. As mentioned before, Pugliese took tango to a new level but did not discard its roots in the streets of BA. He stated once that he was inspired to write "La Yumba" by a young black pianist, "I kept my ears open. I remember, around 1930, a young black pianist who used to hang with us. He played by ear in tango dance halls. He was marvelous. We loved this black guy. Me and him used to play, four hands on a keyboard. In Ki-Kongo, where many of the blacks of BA came from, yumba meant "to dance!" Candombe musicians and artists would yell "Oyeye yumba!" (Sing it! Dance it!).

Live Perfomances at the El Teatro Colon in Buenos Aires from 1985:

Popular Songs

• Clint's Favorite Pugliese Tandas
• Very Tango
• TODO Tango
• Tango.Info

The Basics
Juan d’Arienzo (December 14, 1900-January 14, 1976) was a violinist, pianist, band leader and composer. His nickname was “El Rey del Compas” (The King of the Beat). D’Arienzo was born on 14 December 1900 in the Buenos Aires neighborhood of Balvanera. His orchestra  is considered one of the "Big Four" orchestras of Argentine tango, along with: Carlos di Sarli, Anibal Troilo, and Osvaldo Pugliese. They recorded over 1,000 tangos, valses, and milongas. He worked with the following key singers: Alberto Echagüe, Héctor Mauré, Alberto Reynal, Armando Laborde, Jorge Valdez, and Mario Bustos.

D'Arienzo began by playing jazz, at the age of 15, but was beginning to play tangos by the age of 18. He was a member of a youth orchestra which also featured Ángel d'Agostino on piano. In his early years, he played, as did many musicians of that period, in theaters playing music for silent films and in the cabarets including: Abdullah, Palais de Glace, Florida, Bambú, Marabú, Empire, Chantecler, Armenonville. He played in many small orchestras, and loved the nightlife. He once wrote, "We were beginning to live only at four in the morning... At the cabarets, you played all night through, people danced, had fun, they stayed til sunrise and the muscicians strained themselves."

1928 to 1935

In 1928, his orchestra was playing at the Florida Cabaret. They had replaced Osvaldo Fresedo's orchestra and it is here that the famous announcer, Príncipe Cubano (The Cuban Prince) (pictured left), anointed d'Arienzo "El Rey del Compás (The King of the Beat)." As d'Arienzo explained it, 

"Mine was always a tough orchestra, with a very swinging, much nervous, vibrant beat. And it was that way because tango, for me, has three things: beat, impact and nuances. An orchestra ought to have, above all, life. That is why mine lasted more than fifty years. And when the Prince gave me that title I thought that it was OK, that he was right."

In 1928, he recorded for the first time with his own orchestra, Juan D'Arienzo y Los Siete Ases del Tango. They recorded 44 sides, with the estribillistas: Carlos Dante, Francisco Fiorentino, and, the female singer, Raquel Notar. Other notable members of the orchestra were Ciriaco Ortiz (bandoneon) and Luis Visca (piano). The beat that Príncipe Cubano was commenting on was evident in these recordings and was a return to the beat of the Guardia Vieja period, which many orchestras had abandoned. The beat of the Guardia Vieja movement had a strong driving staccato dance rhythm, D'arienzo's adherence to this would place him in the Canaro school of tango.

"Acordate Lo Que Fuiste" by Juan d'Arienzo (1928)

In 1933, he appears playing violin with his orchestra in the movie, "Tango." This was the first Argentine film recorded with sound. 

1935 to 1939 - The D'Arienzo Revolution

In order to understand, why d'Arienzo was such a big deal, we have to look at what had been going on in regards to tango music at that time.

The Tango Cancíon and Guardia Nueva Movements
In the mid-1920s, tango music had experienced a change with the emergence of the Guardia Nueva (New Guard) movement. During this period, 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. They were more avante-guard, focusing on robust, complex arrangments and a slower tempo, than that of the Guardia Vieja period.

This, along with the Tango Cancíon (Singing Tango) movement from the 1910s, meant that tango could depend on a larger audience than just tango dancers. They could play at concert halls and sell records without worrying about dancers. Tango dancing did not "die" during this time period, but it did decrease in stature and many people abandoned dancing tango, because most of the music being produced did not facilitate dancing. To understand this, let's listen to some music.

First is a typical song in the Guardia Vieja style, Francisco Canaro's "Viejo Ciego." Technically it was recorded in 1928, during the Guardia Nueva Period, but it is in the style of the Guardia Vieja period. These periods did not have sharp lines, where everyone just changed suddenly and some orchestras such as Canaro, Donato, and OTV continued playing music in the Guardia Vieja style even during the Guardia Nueva period.

"Viejo Ciego" by Francisco Canaro (1928)

Another popular style of tango at this time was Tango Cancíon, which featured the singer over the music. Tango Cancion was born, in 1917, with Gardel's recording of "Mi Noche Triste." It usually consisted of just a guitar and a singer, featuring melodramatic and sad lyrics. Dancers were not the primary concern with Tango Cancíon. Here is an example by Carlos Gardel called "Caminito" from 1926.

"Caminito" by Carlos Gardel (1926)

And finally, here is an example of a typical song from the Guardia Nueva period, by Julio de Caro called, "Flores Negras." As you can hear, it is very complicated and with no clear rhythmic beat for dancing. It is beautiful music and great for listening, but not at all for dancing tango. This caused a serious decline in tango dancing during this period.

"Flores Negras" by Julio de Caro (1927)

1935 to 1939 - The D'Arienzo Revolution
In the early 1930s, d'Arienzo's return to the clear, staccato rhythms of the Guardia Vieja period, gained him a following. And, in 1935, he returns to the recording studio and was a huge success. In later years, d'Arienzo would comment on the Guardia Nueva movement, by writing:

"Young people like me. They like my tangos because they are rhythmic, nervous up-tempos. Youth is after that: happiness, movement. If you play for them a melodic tango and out of beat, surely they won't like it. That's what happens. Now there are good musicians and great orchestras that think that what they play is tango. But it is not so. If they don't have timing there's no tango. They think they can make popular a new style and perhaps they can be lucky, but I keep on thinking that if there is no beat there is no tango. As professionals I have respect for them all. But what they dig is not tango."

Also, on the Tango Cancíon movement:

"In my point of view, tango is, above all, rhythm, nerve, strength and character. Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear. In my opinion, a good part of the blame for tango decline is on the singers. There was a time when a tango orchestra was nothing else but a mere pretext for the singers. The players, including the leader, were no more than accompanists of a somewhat popular star…

Furthermore, I tried to rescue for tango its masculine strength, which it had been losing through successive circumstances. In that way in my interpretations I stamped the rhythm, the nerve, the strength and the character which distinguished it in the music world."

From these two quotes, you can clearly tell how he felts about these movements, and also, what a modest person he was ;-). He once said, "With me one hundred thousand tango orchestras and neighborhood clubs flourished."

Of course, d'Arienzo did work with many great singers such as Hector Maure, Alberto Echague and Jorge Valdez and sometimes did put them out front. He also made himself somewhat of a star and loved to enthusiastically direct the orchestra during live performances. Below are some live videos of his orchestra from the 1960s. D'Arienzo said of his direction:

"When I direct I am justifiably natural. And I transform. As I direct I take what I feel. Simultaneously I pass on my feelings to the musicians and they, to the public... Before I directed with the baton, now with my own hands: they are more expressive.

Do not think that this is just for the public to see - it is used as a defence by me. I use it well. A look implies a mistake by someone, something that is not played well. They are used by me as a course when I see a loose element, or someone is distracted. I encourage and demand that you be aware, and encourage you with enthusiasm."

Of course, not everyone liked d'Arienzo. Many of the devotees of these movements, saw this turn to the strong beat, as simplistic, regressive and as a serious step backwards for tango music. But the dancer's loved it and between 1935 and 1939, he recorded 116 sides and sold more than Canaro and Troilo combined. In fact, his records were so popular that people were buying little else. Supposedly, some record stores required that you buy something else, in order to by one of his records.

Unfortunately, no masters from that period remain. Everything we listen to today are recordings of 78s and LPs. So, let's listen to "Hotel Victoria." It was recorded during his first recoding session, in July of 1935. Lidio Fasoli is on piano. It is a solid song and clearly shows a return to the Guardia Vieja rhythm, but is nothing "special." But, contrast this to "Flores Negras" and you can see why dancer's responded to d'Arienzo.

"Hotel Victoria" by Juan d'Arienzo (1935)

D'Arienzo and Biagi
The defining moment of d'Arienzo's career came in 1935 when he added Rodolfo Biagi as the pianist for his Orchestra. Biagi had just returned from working overseas and d'Arienzo had grown tired of Fasoli showing up late.

Together d'Arienzo and Biagi created his signature driving staccato sound. Soon after, Biagi began writing new arrangements of the songs, creating an even more staccato, uptempo sound than that of the Guardia Vieja. They also increased the orchestra size by increasing both the violins and bandoneons to five each. This filled the songs with a, thus unparalled, aggressive energy that dancers and listeners loved. Let's listen to their first recording together "Nueve de Julio."

"Nueve de Julio" by Juan d'Arienzo (1935)

Ok, so a style is developing, but what makes Biagi so special, as a piano player? Why was he given the nickname "Manos Brujas (Witchy/Magical Hands). Let's listen to another song from two years later, their interpretation of the seminal piece "El Choclo." Here, we will hear his magical hands at work connecting the phrases and adding little accents.

"El Choclo" by Juan d'Arienzo (1937)

By 1938, d"Arienzo's orchestra was at the height of its popularity. He was just 35 years old, one less than Julio de Caro, but stylistically at the other end of the musical spectrum of tango. His records were selling and they were regularly playing on radio shows. But remember, above, when I made the joke about d'Arienzo being modest? Well, audiences had been becoming bigger and bigger fans of Biagi, and at a concert later that year, after a performance of “Lágrimas and Sonrisas,” the audience clapped until Biagi finally stood up and took a bow. As the story goes, d'Arienzo walked over to him and said, “I’m the only star of this orchestra. You’re fired.”

"Lagrimas y Sonrisas" by Juan d'Arienzo (1936)

Some doubt the story surrounding Biagi's firing, and it very well may not be true, but I do find it interesting that Biagi recorded a far superior version of "Lágrimas y Sonrisas" three years later featuring some "standing ovation" worthy piano playing.

"Lagrimas y Sonrisas" by Rodolfo Biagi (1941)

However, this split did not seem to slow either of them down. In just two short months, Biagi put together a full orchestra and signed a record contract and a radio contract. D'Arienzo replaced Biagi with Juan Polito, and was back in the recording studio just two weeks later. D'Arienzo often said, "The foundation of my orchestra is the piano. I regard it as irreplaceable." Juan Polito might not have been Biagi, but he was pretty close and D'Arienzo continued down the path that he and Biagi had developed. Then two years later, Polito would be replaced with Fulvio Salamanca. Here are the major piano players that played with d'Arienzo.

Clint and Shelley's Performance to D'Arienzo:

Popular Songs:

Juan D'Arienzo Practice Playlist

Resources for this Article:

• Todo Tango, "Tango Has Three Things" by Juan d'Arienzo
• Todo Tango, "Orquesta Tipica Juan D'Arienzo"
• Juan D'Arienzo Discography from 1928 to 1975
• Wikipedia "Juan d'Arienzo"
• "Tango Stories: Musical Secrets" by Michael Lavocah
• Tango en el Espejo, "Pensalo Bien"
• Royce's Tango Thoughts Blog - Includes print out of d'Arienzo's orchestra members at different time periods
• Tango.Info
•  Very Tango Store, "Juan D'Arienzo Biography"
•  

Learn more about Juan d'Arienzo:

• Clint's Favorite d'Arienzo Tandas 

Carlos di Sarli (January 7, 1903 – January 12, 1960) was an Argentine tango musician, orchestra leader, composer and pianist. He was born in the town of Bahía Blanca and later wrote one of the most famous tangos of all time of the same name. He composed his first tango in 1919, "Meditación" which was never recorded.

In 1923, he moved to Buenos Aires and started his career playing in Osvaldo Fresedo's orchestra. By 1927, di Sarli started his first sextet. He paid homage to Fresedo by composing the song, "Milonguero Viejo" and dedicating it to Fresedo.

He is known for his smooth, clean-sound and yet powerful arrangements. His songs are often played in Tango classes and at Milongas because of their easy, danceable rhythm while being complex enough for advanced dancers to enjoy. He respected both the melody and the rhythm of Tango. His music has also been described as lyrical and playful.

The rhythms of an orchestra tell dancers how to move. d'Arienzo inspires you to make flashy figures. [But] dancing to di Sarli, you'll walk and you'll stop, making elegant pauses, because the sound of di Sarli is "downtown." - Néstor Fernández

The peak of his career was in the 1940s, but he was always well respected and popular until his death in 1960 as demonstrated by his nickname, "El Señor del Tango" (The Lord of Tango). He worked with some of the greatest voices of Tango: Roberto Rufino, Alberto Podestá, Jorge Durán, Oscar Serpa and Carlos Acuña.

"Di Sarli always avoided the extremes of the evocative traditional tango and the avant-garde, preferring to forge his own style without concession to the fashions of the day."

Popular Recordings

Learn more about Carlos di Sarli:

• Clint's Favorite di Sarli Tandas
• TODO Tango
• Tango.Info

The "Golden Age of Tango" is generally accepted as being from 1935 to 1955. Most of the music played at milongas are from the Golden Age. It is important to note that a few historians consider 1925 to be beginning of "The Golden Age of Tango" and that it can be broken down into two periods, La Guardia Nueva: I (1925-1940) and La Guardia Nueva II (1940-1955)." I am choosing to go with the majority and to begin the Golden Age with Juan D'Arienzo.

This period saw:

• Buenos Aires rejuvenated by its 400th Anniversary
• D'Arienzo bring the dance beat back
• The orchestras grow
• Huge crowds go to salons and clubs to listen and dance to tango
• Orchestras incorporating singers into the band
• The height of the craze.

In the late 1920s and early 1930s, the whole world had been in an economic slump and this included Argentina. But in 1935 Buenos Aires was preparing for the 400th anniversary if its founding as a city. This included building of a 72-meter high Obelisk and the opening of the avenida 9 de Julio. This brought a new energy and optimism to the city.

Tango had suffered in the last decade from the popularity of movies and other popular music genres such as Jazz taking over the radio. Tango music had also been becoming more complex and difficult to dance to.

In mid-1930s, Juan d'Arienzo exploded onto the scene returning to the driving beat of the Guardia Vieja. D'Arienzo was seen as a step backwards by many tango musicians and fans of the music, but the dancer's loved him and responded by returning to the dance floor and packing the dance salons. D'Arienzo issued in a return to emphasizing rhythm over melody and harmony and was given the nickname, “El Rey del Compas” (King of the Beat). Listen to his song, "Nueve de Julio" below.

The orchestras grew again during this period. De Caro grew to thirteen and many orchestras were adding symphonic instruments such as wind instruments, percussion and even harps and vibraphones.

A new partnership was forged, during this time, between the orchestras and the singers. Orchestra leaders figured out a way to incorporate in the singers without putting them in front and sacrificing the rhythm for dancers. Ángel d'Agostino and the singer Ángel Vargas is a good example of this relationship. Listen to their song, "Tres Esquinas" below.

In 1937, Aníbal Troilo's orchestra debuted with Francisco Fiorentino as the singer. Troilo was a large man and had the nickname "Pichuco." He was an innovator and kept pushing tango into new areas especially once he hired a young bandoneon player named Astor Piazzolla and made him arranger for his orchestra. Troilo was popular with both dancers and the listening public. To this day, his pictures are hanging all over Buenos Aires cafés and restaurants. Listen to his song, "Tinta Roja" below.

Other famous orchestras from the Golden Age are: Carlos di Sarli, Osavaldo Pugliese, Osvaldo Fresedo, Miguel Caló, Rodolfo Biagi, Francisco Canaro, Lucio Demare, Edgardo Donato, Roberto Firpo, Pedro Laurenz, Francisco Lomuto, Alfredo de Angelis and Enrique Rodríguez. Click here for detailed articles on each of the major orchestras of tango.

By the mid to late 1940s, tango was at its height. There were 50 or so orchestras and countless ensembles playing around the city at salons, cafés, cabarets, confiterías and social and sports clubs. They were also playing around the country and traveling internationally.

Each district of the city had its own social and sports club such as River Plate, Huracán, Atlanta, Independiente. This is where many younger people came to learn to dance and socialize. They would also hold dances at night.

Orchestras would often play at several venus per night and their hardcore fans would follow them around from club to club.

Listen to some Popular hits of the Golden Age:

Rhythmic Tango

Melodic Tango

Vals (Waltz)

Milongas

"The secret of tango is in this moment of improvisation that happens between step and step. It is to make the impossible thing possible: to dance silence. This is essential to learn in tango dance, the real dance, that of the silence, of following the melody." Carlos Gavito

One of the great things about Tango is that you don't have to move all the time. In Tango, it is perfectly fine to take a side step and pause... standing completely still for as long as you like. You can gently rock back and forth or rotate your body back and forth slightly... or just be completely still and quiet.

The quote is not just talking about this stillness.. but also about the connection with our dance partner. Our connection exists during the whole dance and goes far beyond the steps that we do.

At the end of a milonga, the women will not remember what steps you executed with them but rather how you connected with her, how your embrace felt and how you stepped rather than the pattern you stepped in.

There is No Truth to be found in Tango

The tango can be debated, and we have debates over it, but it still encloses, as does all that which is truthful, a secret. - Jorge Luis Borges

Tango did what it pleased with us and it led us and misled us and it ordered us and found us again - Jorge Luis Borges

With this section of the website, my goal is to help educate students and tango enthusiasts about the history of tango music and dance. One thing to keep in mind when reading these articles is that there is much disagreement even amongst famous tango historians. The periods of progression are very loosely defined and of course musicians of one style or period kept playing well into the next so the lines are always blurred. There are even discrepencies over who wrote which songs. People cannot even agree on the origins of the word, "tango." So, what follows is my best effort, at the moment to make sense of it all.

I have been studying Argentine Tango music and dance since 2003 and have amassed a substantial collection of over 6,000 Tango songs, 600+ Vals and 500+ Milongas including CDs, Vinyl LPs and 78s. This is still just a fraction of the Tango music that is out there. It is estimated that there are over 40,000 tango recordings.

This site will primarily focus on music for dancing from the early days of tango, through the Golden Age (1935 to 1955) and today's modern music. One thing to keep in mind is that the vast majority of tango music is not for dancing. In Buenos Aires, most everyone listens to tango but only a very small percentage of the population dances.