The Exploring series allows you to travel with me as I explore various sides of Latin Jazz that are still fairly new to me. I’ve studied and performed Cuban-based Latin Jazz quite a bit, and to a lesser degree, I’ve been involved with Brazilian influenced Latin Jazz. Today’s modern Latin Jazz world encompasses much more than the music of Cuba and Brazil though, and I feel a bit behind the times. I encourage you to join me as I broaden my horizons and learn more about a variety of Latin Jazz styles.

In the last Exploring post, I looked at what makes Peruvian Jazz unique; today I’m analyzing and questioning tango. I’m stepping back from the application of Tango in jazz; instead I decided that I needed a clear understanding of the basics. I’m having trouble describing the elements that constitute Tango, so my search begins here. I can’t loose jazz altogether though, so my research revolves around immersive listening of Nuevo Tango. Argentina’s great composer Astor Piazzolla developed this modern approach and fortunately, he left a great legacy of recordings to study. Piazzolla integrated jazz extensively into his music, so the two styles remain intertwined. My analysis and questions today stem from Piazzolla’s work.

I’ve detailed three areas where I looked further into nuevo tango, as well as the resultant questions from my study:

AREA #1: The Clear Implication of a Rhythmic Structure Without Repeating Patterns

I’m accostumed to a very distinct rhythmic approach in Latin Jazz – Cuban rhythmic styles are held together by clave and every involved instrument builds its pattern upon that figure. After learning the style, the clave is easy to recognize because the rhythmic patterns of each style remain consistent between songs. Regardless of the composition or arrangement, a Cha Cha Cha rhythm has a distinct pattern that stands apart from a Rumba Guaguanco. Although you may miss the subtleties of the style, you can find a book with accurate notation and learn the different Cuban rhythms. There is a consistency to each style that makes it familiar, danceable, and instantly recognizable.

To my ears, Nuevo Tango does not have a series of textbook patterns, but it holds a distinct rhythmic feel. I recognize a certain feel that runs through a different songs, but I have yet to transcribe a specific pattern that defines tango. I’ve experienced several tango recordings that lack percussion altogether; the recordings that include drummers lack consistent percussion instrumentation. In many ways, tango avoids being pegged as a rhythmic style; instead it relies on a variety of elements to create it’s unique sound. A distinct harmonic approach, specific sonic elements, and compositional strategies all play equal parts to the music’s rhythm.

At This Point, I Ask These Questions:
Should Tango be considered a rhythmic style?
Is there a consistent underlying rhythmic structure in Tango?

AREA #2: The Massive Presence of Bandoneon
Listeners associate one sound with Nuevo Tango more than any other – the Argentinean bandoneon. An instrument similar to the accordion, the bandoneon creates a much richer tone and displays a wider emotional range. It is a free-reed instrument that utilizes a bellows to control air; the instrumentalist plays the bandoneon on the lap. Instead of a traditional piano-like keyboard, the bandoneon has a series of keys on both sides of the instrument. When the bellows bring air in, the keys produce a different note than when the instrument exhales air. Most instruments contain 71 keys, which can either be played in combination or individually. The layout of the keys make chord production relatively basic, but the execution of rapid melodic lines becomes increasingly difficult.

While the bandoneon clearly resides as the primary instrument in Nuevo Tango, it’s specific role remains unclear to me. I’ve heard the bandoneon playing chordal parts in rhythmic patterns, much like a piano player in a Cuban Jazz setting. At the same time, bandoneon players take melodic roles, much like a saxophone player or a string section. Bandoneon players take solos and skilled players can improvise fast, furious, and passionate lines. In each case, other instruments that covered these same roles shared the song with the bandoneon; it engaged each instrument in a call and response. Listening closely, the bandoneon could almost disappear and the musical roles would be covered; yet, the music would ultimately sound drastically different.

These Questions Arise Around the Bandoneon:
How could we describe the specific function of the bandoneon in Nuevo Tango?
Lacking a bandoneon player, what instrument would be the most appropriate substitute?

AREA #3: Greater Emphasis Upon Composition and Form
Nuevo Tango exists as a composed form, leaning more towards the highly structured ideas of Western European art music than the freedom of jazz. While a jazz standard may be a 32 measure series of chords repeated for improvisation, a Nuevo Tango composition involves longer structures. In many cases, these structures are repeated, but the greater number of measures guarantees variety. Each section contains specific written lines with intertwining melodies; the precise nature of this composition technique discourages embellishment. Many sections often feature an instrument playing a melodic line over a composed background part; in this context, the soloist has freedom to interpret within the composition. Nuevo Tango composers also employ “classical” composition techniques such as tempo changes, a greater range of dynamic shadings, and highly defined articulations. Overall, the composition runs the performance.

Although composition reigns supreme in Nuevo Tango, the music also contains ample room for jazz style improvisation. While these sections don’t resemble the open solo cycles of jazz, they do provide consistent foundations for improvisation. I’ve encountered examples of these improvisation “spots” utilizing different chord changes than the previous composition; at times, they move over a one-chord vamp. Whatever the harmonic foundation, Nuevo Tango composers consistently create a unique texture that spotlights the soloist’s distinct sound. From seemingly rubato chord patches to the relentless rhythmic drive of bowed strings, each solo section stands apart from the rest of the song and brings the soloist’s strengths to the forefront.

My Questions About Nuevo Tango Composition:
Jazz has 12 bar blues, rhythm changes, and more – does Nuevo Tango utilize standard forms?
How much does a composer consider the individual serving as soloist when writing sections for improvisation?

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HELP ME EXPLORE FURTHER!
I’ve had some great response to my exploration of Afro-Peruvian music and all of your input has been incredibly helpful. I know that the tango experts are out there – chime in and help us out here. Can you answer these questions or at least guide me in the right direction? Maybe you’ve got some questions of your own? LEAVE A COMMENT and guide us to more information – I think that we’d all like to know more!

Stumble it!