ea ~ ACCOMPA with chord symbols and optional violin accompaniment The Fiddler Selected and arranged by EDWARD HUWS JONES BOOSEY (cy HAWKES Boosey & Hawkes Music Publishers Ltd www boosey.comGontents: Preface, notes Préface, notes Vorwort, Anmerkungen . Prefacio, notas Rodriguez: La Cumparsita Berto: La Payanca Gardel: Volver .. Piazzolla: Vuelvo al sur .. Villoldo: El Cachorrito Castellanos: La Purialada Arolas: Catamarca.. .. . Mendizabal: A la luz de los faroles Piazzolla: Chiquilin de Bachin Canaro: El Chamuyo.. Gardel: El dia que me quieras Villoldo: EZ Choclo .. Piano score 13 7 . 2 . 25 32 38 44 50 54 58 64 10 Violin accept 16 20 2h 30 = 36 42 48 53,. Pasface ‘The allure of tango — both the dance and its music — is an extraordinary and enduring phenomenon. This book brings together a collection of classic Argentinean tangos from the golden age of the 1920s, 30s and 40s, together with some more recent examples of tango nuevo by Astor Piazzolla. ‘Tango was born around the turn of the twentieth century in the bars and bordellos of the port of Buenos Aires. It was quickly taken up in fashion-hungry Paris and from there spread like wildfire throughout Europe and the ‘Americas. Its music is volatile and restless, moving between aggressive staccato, surges of legato melody and passages of glittering virtuosity. We often think of the dance in terms of choreographed displays, with all the glitz and polish of a stage show. But for ‘most tango lovers this is essentially a social dance, enjoyed on what are often crowded dance floors. The dance itself is a form of stylised walk, so the music should not be played too fast: tango is traditionally notated in 2/4 but it is often better to think of it as 4/8, with four distinct beats in the bar. ‘The music has hecome inextricably connected with the plaintive sound of the bandonedn (a kind of button accordion) but a typical tango ensemble will often include violins, piano, double bass and perhaps flute or guitar. The arrangements in this collection follow the same flexible format as other books in this series and can be performed ‘as solos, duets or larger ensembles, accompanied by piano, violin or guitar. The piano part can be readily adapted for accordion to add an additional authentic flavour. Tango musicians will often share the melodic line between instruments to create scintillating contrasts of tone and colour, which is something to bear in mind when using this book. In compiling The Tango Fiddler I have gained enormous pleasure not only from playing the music but also from going to tango dances, or milongas, as they are often known, So my special thanks go to John and Anne Baker and all at Tango York, and to my tango teacher, Tisha Baxter, for taking on a rather late starter, Thanks, too, to Andy Forest for his help with Spanish translations. Edward Huws Jones Notes La Cumparsita - Gerardo Matos Rodriguez (1897-1948) La Cumparsita has become universally familiar as the archetypal tango melody. Like many classic tangos it is built on the simplest of harmonic structures: two bars of tonic (Gm) and dominant (D7) with the oceasional subdominant (Cm) for variety. As players we ean relish the contrast between spiky staceato quavers and seductively undulating chromaticism. The title La Cumparsita refers to a group of friends or comrades taking part in a carnival procession: the original sheet music shows them striding forth in spats and bowler hats. La Payanea - Augusto Berto (1889-1953) With its concise, repeated phrases La Payanca is one of the easiest and most approachable tangos in our collection. ‘This arrangement follows the characteristic tango musicians’ practice of sharing the melodic line between the instruments, the Violin Melody taking its turn in playing countermelodies and accompaniment figures. Volver ~ Carlos Gardel (1890-1935) Carlos Gardel is an iconie figure in the story of tango. Like so many inhabitants of Buenos Aires in the early 1900s he was an immigrant: his family was from France, travelling to Argentina in search of a better life. As a singer and composer Gardel became a superstar and his death in an aeroplane crash sealed his fate as a tango legend. Volver turning back’) is a tango cancién or tango song ~ a form Gardel helped to create. More lyrical (and a little slower) than a danced tango, the music is imbued with passion and yearning. ‘Vuelvo al sur ~ Astor Piazzolla (1921-92) As a composer and bandoneén player Piazzolla is one of the most celebrated names in tango. His ambition as a young man was to become a ‘serious’ composer in the European tradition of Stravinsky or Hindemith, but his teacher in Paris, Nadia Boulanger, recognised that his roots and his voeation lay with tango: ‘This is your music. You can throw the rest away. Piazzolla went on to spearhead the development of a new style of tango composition in the 1950s and 60s, tango nuevo, The intense and brooding Vielvo al sur (I return to the south’ - words by Fernando Solanas) is ane of Piazzolla's best-Known tango songs. El Cachorrito ~ Angel Villoldo (1861-1919) Writing at the turn of the century, Villoldo was one of the pioneers of the genre, But already this music has the hallmarks of elassie tango: a dramatic opening gesture, volatile switches between lyrical and staccato, all underpinned with the instantly-recognisable rhythm of the accompaniment. The title E/ Cachorrito might. be translated as ‘the little guy’. | | | La Pufialada ~ Pintin Castellanos (1905-83) La Purtalada is in a faster form of tango rhythm known as a milonga. The title translates as ‘the stab’, perhaps a reference to the early days of tango in the low-life bars of Buenos Aires. Both the music and the dance retain something of this sense of latent aggression: indeed, one of the common tango dance steps is explicitly intended to suggest the flashing of a flick knife. Catamarea - Eduardo Arolas (1892-1924) Despite his short and tortured life — he died aged only 82 ~ Arolas is remembered as one of the pre-eminent tango ‘composers of the golden age. The opening section of Cafamarca has a quality of nervous intensity, its rhythmic complexities poised above the most restrained of bass lines. The second section and the trio have a broader melodic sweep and in this arrangement these themes are shared between Violin Melody and the accompaniment. The Catamarea of the title is a province in the north west of Argentina, A la luz de los faroles - Rosendo Mendizaibal (1868-1913) ‘Working at the turn of the century Mendizabal was, like Villoldo, one of the earliest tango composers. He inherited a fortune but quickly squandered it in a playboy lifestyle (several of his tangos are named after race horses). A la luz de los faroles ‘by the light of the street-lamps') is a sweetly sentimental melody and suggests the musie af Seott Joplin, who was his almost exact contemporary. Chiquilin de Bachin - Astor Piazzolla Piazzolla saw tango as a musical genre rather than as a dance form: he famously remarked that ‘tango is for the ears rather than for the feet’. Indeed, this ravishing waltz melody (marked canto melancdlico) should be played too slowly to be danced. Tango musicians will always try to keep to the composer's original key but in this arrangement the melody has been transposed down a fifth co the less experienced player ean perform the whole piece in first position. The title translates as ‘little child (or loved one) of Bachin’ El Chamuyo - Francisco Canaro (1888-1964) Canaro was a hugely successful band leader and violinist with a career that, according to his own published memoirs, spanned some 50 years. This beautifully characterised tango opens with a moody three-bar motif which recurs throughout the piece; this is immediately interrupted by a cheeky staceato theme, The title gives us a good idea how to play the piece: BY Chamuyo translates as ‘sweet talker’, one skilled in the art of chatting up the opposite El dia que me quieras - Carlos Gardel El dia que me quieras (‘the day you love me’) is another classic tango cancién by the master of the genre. This wonderful melody should be approached essentially as a song, with something of the freedom, nuances and spontaneity that Gardel brought to his own recorded performances. Originally in E flat to suit Gardel’s velvety baritone voice, the piece is here transposed up a fifth to enable the violin to sing in its natural eantabile register. El Choclo - Angel Villoldo Another classic from ‘the Father of Tango’, £! Choclo is one of the best-known pieces in the repertoire, second in familiarity only to La Cumparsita, There is some mystery surrounding the title: choelo means ‘corn on the cob’ and a head of maize forms part of the cover design for the original sheet music, published in 1905. But it seems that El Choclo' was also the nickname of a notorious local gangster, s0 called because of his blond hair. Ideally the performers should share the phrases of the melody between different instruments ~ as indeed I was once instructed to do, in this very piece, by an iraseible Argentinean bandonedn player!Casa Ricordi TUPORTANT NSTC To sno Cn a WhO an Ba ne RTT SST 1 Gerardo Matos Rodriguez BMG Ricordi Sp (Aidan)DS al Fine16 VIOLIN ACCOMPANIMENT La Cumparsita Tango Gerardo Matos Rodriguez sft BMG Rieordi SpA (Milan) —~ — DSal Fine ah‘Tango Augusto Berto 2 SS SSS oS Ss a (a Mal’ Moa? Ma Ife Piano mp a So s, s 7 S. Se SS , . = ees SS = obese re eye —— few e =~ ee i f SS ee © Copyright Ricordi Americano SAaS — hee eS i = SSS 7 > Am Em Bm Br 2 \—— _ = f lt ——— e9 © ss + zee 3 zoe — > |e SS. =a Ae SS Em Am#6—C4dim_—BT = SS SS = 2 | pee Per 5 = — P a Ss1920 VIOLIN ACCOMPANIMENT. Tango Augusto Berto 2 FINE 28, pizz \ — Ks : © Copyright Ricondi Americano SA,21 ‘Tango cancién Carlos Gardel © Coprright 2006 by Hoosey & Hawkes Music Publishers Ltd” fee £ pee oe |* + oo = Gm Bor oe J. ] Sf 4s 5 == . —,- == — + = one —— p dole Cm7 D7 Gm S Gtaim7 DT ty —_ __ ee = Cmé G ATDT G Cm Ftdim7? G “fie feta e | - fe |, +f _ . =S u 1 2a ees == —= = ; >24 VIOLIN ACCOMPANIMENT Volver Tango cancién Carlos Gardel (© Copyright 2006 Boosey & Hawkes Music Publishers Ltd25 LYiuelvo al sur Tango Astor Piazzolla Slow and plaintive .) = 80 mea 6S SSSF709) Bb Eb9 5 TEEEEEE. PERE EES. VERTTEE. 7) v9 be SS = ¥ fe 2° t be = Gi S55 ee SS SS SS SS \O seggags, GELEEES, GSE S0*, TEEEEEE. rae : f° og f = 24 low we seecm F719) E59 pe a On fee Tihs, tn ie GT,FIO) [hes me ‘we ! ‘we wn30 VIOLIN ACCOMPANIMENT Luelvo al sur Tango Astor Piazzolla Slow and plaintive 2) = 50 ie & Jj weeeeoesee —= —- OSES SEES ieee gepsssss SESS ES (© Copyright 2006 Boosey & Hawkes Music Publishers Lt a NY31Ae ihe FINE ‘© Copyright 2006 by Boosey & Hawkes Music Publishers Ltd_>at = » ao oy a ie te) 7+ ? Fmarcato SF Hee f wfireionDS al Fine36 VIOLIN ACCOMPANIMENT &l Cachorrito Tango Angel Villoldo— of DS al Fine ys38 La Punalada Milonga Pintin Castellanos Fast « = 108 Sr =SsSissst fa bas — olin Nive) Piano eee a eee ce GY Adim G \e 5 aUet oS s+ Spee om | |ge4 ae th ppperes (© Copyright Ricordi Americano SAares oye pe ae aes oe, atten SS= re ob |S iteg ites DT Gitttess >: oe eee ee w flegato Gm legato40 “ pet - fete rte é > ————S—= o 5 b oe a > > m4 (gre SS eg reg gt RSE SPER SS of ep $f tt ly. 45 se ou S Bry? treet tip riDS al Fine42 VIOLIN ACCOMPANIMENT La Punralada Milonga Pintin Castellanos Fast J = 108 r se oP * yr 6 Sass els. FP RR ees Pp - - tt ns it = — = ee tS es 88 gor" leer ? =—- =- — tg 2 e Oe B 2 ae tg coer erere of © Copyright Ricordi Americano SA.4 q g Hy te se “A fiir, fy |e wll 1) ey! ls f~ +1 we. ! ’ = ‘ “aa th: aw us . ta = * ral > lo) 5 +) ‘ : oye els : & it : hii 1% ‘ titel Is an ye Be t| | ih ‘ Me A re 745ay 7 & a fede tet SSS eS = =48 VIOLIN ACCOMPANIMENT Gatamarca Eduardo Arolas Bavsey & Hawkes MusiePs © Copyright 201DS al Fine50 A la luz de los, Tango Rosendo Mendizabal > =120 Viotin melody |@ 2 Easy violin (© Copyright 2006 by Boosey & Hawkes Musi Publishers Ltdpulerende OS ay i 4 Se | = pseherzando SS mee § pe f £ Gq . horn . . ° © ar \ = ts s $s \Gss as ts —— . ——— pscherzando ly & ey SS : - Se DC al Fine u m ize ‘ DC al FineVIOLIN ACCOMPANIMENT 53 AM la luz de los, faroles Rosendo Mendizabal DC al Fine Copyright 2006 by Boosey & Hawkes Musie Publishers LedGh ° by de B. /, , Waltz Slow waltz - = 116 ea sah a = —— Em{ino3) Violin ‘melody Cimies) —— Cmaj7 Og Astor Piazzolla Edim7 Am Dms6 bo SSS © Editorial Lagos (SADAIC), All rights administered by WB Musie Corp, All righte reserved, Used by permission(tome 2B Het ee Ss ee en (¢ FP ee Z aadAgdim7 Dedim7 Baim ET Am? Dr Em7(n03) Edim7 Am Em =f | ~— t € PVIOLIN ACCOMPANIMENT Cha Lh de B hi, : Slow waltz - = 116 Astor Piazzolla : bo a = a 4 = 3B : — ee . 2 © Baitorial Lagos (SADAIC), Al rights administored by WB Musie Corp. All rights reserved. Used by permission58 Tango Violin melody Easy violin 1 © Copyright Ricordi Americano SADa Gm60DS al Fine62 VIOLIN ACCOMPANIMENT El Chamuyo Tango Francisco Canaro 7s 2 P to continue to finish FINE (© Copyright Ricordi Americano SA63 so TRIO. , — 62 Pp DS al Fine64 Tango cancin Carlos Gardel Tenderly « = 58 Viotin melody Bay Piano © Copyright 2006 by Boosey & Hawkes Musie Publishers Ledpoco rit a tempo \¢" = — “r “a8 == fe P los ve on = a = 5 7 SSS Fedim7 5 2 2 $ $ a poco rit a tempoVIOLIN ACCOMPANIMENT 67 Tango cancién Carlos Gardel Tenderly « - 58 3 crese poco rit ve ote, ? See! ee . os 6 2 np — so lL a — A b — a z t wee 6 oe we * it iz | — So os 5 87 é 7 7 (© Copyright 2006 by Boosey & Hawkes Susie Publishers Lad69 SSDS al FineVIOLIN ACCOMPANIMENT. am El Ghoclo Angel Villoldo ~ st ez ee 7 oe * ze DS al Fine © Copyright 2005 by Boosey & Hawkes Music Publishers Ltd