Thesis – The Piano, and the Essence of Tango

Thesis – The Piano, and the Essence of Tango

162 Pages · 2014 · 5.11 MB · English

which I wrote the arrangements for; and Tangos of Piazzolla for a piano duo; and a clarinet and piano The Tango techniques and characteristics ceased to be just information to exert a function. I became .. Another pointed reference is to the journal publication – Tango Renovation: On the Uses of

Thesis – The Piano, and the Essence of Tango free download

Tango, from Perception to Creation: A pianist’s quest to capture and embody Tango in performance and composition Kim Cécile Elton B Mus Queensland Conservatorium Arts, Education and Law Griffith University Submitted in fulfilment of the requirements fo r the degree of Doctor of Musical Arts February 2014 2 3 I decla re that the exegesis and portfolio are my own work and has not been subm itted previously for a degree or diploma to any university To the best of my knowledge I believe it d oes not contain any material previously published, written or composed by another person except where I have made direct reference to an author in the exegesis itself Kim Cécile Elton , February 2014 4 Exegesis Table of Contents Acknowledgments …………………………… ……………………………………………………… ……14 Autography /Glossary ………………………………………………………………………………… … 15 Abstract ……………………………………………………………………………………………………… 16 Introduction Prelude ………………………………………………………………………………… 17 My life as a pianist …………………………………………………………… 20 Theory and Method ……………………………………………………………… 23 Scope and Limitations ………………………………………… 28 Chapter summary………………………………………………………………… 30 Chapter 1 Literature review ……………………………………………… 31 Chapter summary……………………………………………………………………… 42 Chapter 2 Per ception of Paradigms in Pianism Origins of Tango ………………………………………………………………………… ………43 The Arrangement Tradition ………… …………………………………………… 44 Distinctive Technical and Stylistic Features ………………………………… ………46 Contributions of Prominent Argentinean Pianists ……………………… …………60 Chapter Summary ……………………………………………………………………… ………64 5 Chapter 3 A Musician’s Presence Interview s with Tango musicians………………………………………… 65 Pathway s Leading to Tango ………………………………………………… ………… …… 67 The Influence of the Great Masters……………………………………………………… 70 Style s of Playing …………… ………………………………………………………… ………… 73 Tango in Instrumental Ensemble s……………………………………………………… 76 Song, Dance, and Philoso phy………………………………………………………………78 The Survival of Tango as a Cultural F orm……………………… ………… ………… 81 Chapter Summary ……………………………………………………………………… ……… 83 Chapter 4 Developing Skills to Play Tango Preludio …………………………………………………………………………………… …………84 Delivering of Phrases …………………………………………………………………… …… 85 Tango: Piano T echnique and Physiology ………………………… ……… ………… … 89 Emotion s and Tango ………………………………………………………………… ………94 Feeling in Tango Dance ……………………………………………………………… ……… 97 Comparisons to other Genres …………………………………………………… ……… 100 Tributary to the Tango: The Co presence of Milonga ………………………… …102 Chapter Summary ……………………………………………………………… 103 6 Ch apter 5 Tango Arrangement Overview ………………………………………………………………………………… ………104 Carlos di Sarli – Bahí a Blanca …………………………………………………… ………106 Aní bal Troilo – Responso …………………………………………………………… ……… 113 Juli án Plaza – Payadora ……………………………………………………………… …… 123 Rosit a Melo – Desde el Alma ……………………………………………………… ………129 Chapter Summary ……………………………………………………………………… ………135 Chapter 6 Creatio n of Original Tango The Process – Tango, amor y dolor ………………………… ……… ………………… 136 Metaphor and Embodiment ……………………………………………………… ………139 Ch apter Summary ……………………………………………………………………… ………142 Conclusion ………………………… ……………………………………………………………………143 Coda ………………………………………………………………………………………… ………145 Reference List 146 Music Score and Selected Discography ……………………………………… ………148 Programs and Posters ……………………………… ………………………………………152 7 List of Figures Figure 1: Bahí a Blanca : Bars 1 3, melody, doubling octaves Figure 2: Bahí a Blanca : Bars 25 frasea do in the bass Figure 3 : Siga el Corso : Q uasi recited singing style , take off your mask ! Figure 4: Adi ós Nonino : S yncopation before bar line Figure 5: Pelotita : A cceleration in phrasing , ping pong ball Figure 6: Efectos de campana : Bar 34 36, bell effects , Bahí a Blanca Figure 7: Octavados : Bars 18 21 , octave decoration , Bahí a Blanca Figure 8: Bordoneo 332: B as s string of guitar, pedal point Figure 9: Arrastre : Chromatic pick ups, bar 1 Figure 10: Marcado en cuatro : A ccompaniment, marked in four Figure 11: Marcado 332: Accompaniment, marked three three two Figure 12: Arrastre : E ighth note approach an octave below Figure 13: Mi noche triste , My Sorrowful Night , Contursi’s lyrics Figure 14 : Salg án: O riginal score, 4 bars B section, A Don Agust ín Bardi Figure 15 : Minetti: Transcription, A Don Agust ín Bardi Figure 16 : Salg án: Performance transcription, A Don Agust ín Bardi Figure 17 : Elton: Improvisation transcription, A Don Agust ín Bardi Figure 18 : Technique: Marked in four, M arcado en cuatro, 9 de julio 8 Figure 19 : Lyrics: Mi Gordo Triste , My Sad Fat Man, Troilo, Ferrer Figure 20 : Lyrics: La mariposa , The B utterfly , Flores Figure 21 : Romantic music: Comparison, summary Figure

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