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Download El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms

Forums New posts Search forums Guidelines Advertising. What's new New posts Latest activity. Members Current visitors. Log in Register. Search titles only. Search Advanced search…. New posts. Search forums. Log in. For a better experience, please enable JavaScript in your browser before proceeding. El Choclo: A Musical Analysis. Thread starter tangomonkey Start date Mar 19, First Prev 5 of 10 Go to page.

I suggest you print out my discussion of Section A and keep it handy. First up, the Garden Quartet: Discussion : Tempo: 70 beats per minute. The bpm range for each of the Italian names are not strictly defined, they are approximations.

Each phrase takes about seconds to play, about 30 seconds for the entire A section. Instrumentation Orchestration : Melody played by the first violin; cello plays the bass line habanera 1 rhythm throughout Section A. The second violin and viola play inner parts. Some are written in our music, some they have added for consistency of texture, to fill out the harmonies, and Moja Adrenalina - Y Dopatrzenia counterpoint.

Texture : all four instruments play more or less continuously, the texture does not change Counterpoint : The second violin plays another thematic melodic idea below the melody. It is subtle and you will notice it mostly when the main melody has a rest - in the second bar of both the question and answer bits. When the melody stops, other instruments fill the space to transition to the next melodic episode.

Melodic Elaboration Variation : none Rhythm : Habanera 1 in the bass line, every bar, played by the cello. A very noticeable and sudden drop in volume to piano soft happens with the pickup notes to phrase 3, the end of bar 8.

About More about that in Phrasing. On the music, notice all those curved lines over pairs of melody notes. Those are slurs, and they mean to smoothly connect the notes, and to make a slight separation between them and the next, unslurred, note.

So we have a pulsing sensation every two sixteenth notes, ie, every two notes in the melody, and an increase then decease in volume to end the phrase.

Phrase 3 16 : The sudden change to piano soft is not marked in the music, and I think the musicians do this to distinguish this question from the opening one in Phrase 1.

The music is identical and they do something to make it sound different to our ears. A sudden drop in volume does that — the mood is instantly changed, becoming hushed and mysterious.

There is a crescendo getting louder as the question part in Phrase 3 concludes. The answer continues to crescendo or at least remain loud until the end of Phrase 3. Recall my discussion of Phrase 3. I wrote its answer is less clearly an answer because of the melodic shape — it goes down then rises.

And because of the underlying harmony the dominant seventh of the fourth note in d minor, a type of modulationthere is tension. Combine that tension with a crescendo and the feeling becomes one of moving forward and increasing vitality.

Phrase 4 24 : Please reread my comments on Phrase 4. The dynamic is back to mezzo-forte right with the pickup notes in bar 12, so Phrase 4 begins a little quieter than Phrase 3 ended. Recall I pointed out the melody is shaped differently than in the other phrases, descending then goings sideways, and there are no rests, no pauses at all in the phrase.

And the harmonies change every bar. Looking at the music, notice the slurs stop after the first bar in the phrase, bar All remaining notes are played individually, not smoothed together, and not detached El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms. Not this performance maybe a bit.

The musicians chose to play bars with little shape and no drama. In fact they slightly decrescendo into the dominant seventh bar 15 to tonic chord bar 16 cadence at the end of the phrase and Section A.

It is subjective, but I find it a little boring. I won't bother much with the Havana Society Dance Orchestra recording. There is violin, alto saxophone I thinkclarinet and trumpet. The habanera 1 rhythm is always in I Loves You Porgy - Billie Holiday - Anthology 1944 - 1959 piano and bass. Not much more needs to be said about it.

One more comment about the Garden Quartet. Structurally, they play A-B-C-A, as indicated in the new sheet music we have. Notice at the end of the music it says D. The proper terminology should be Dal Segno al Fine, meaning go back to sign and play until the the word "fine" finished. The sign is at bar 1 as before and the "fine" is at the end of section Section A. So the quartet plays each section then repeats A as instructed.

The second time they play El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms Splendid Isolation - Niamh Ní Charra* - Ón Dá Thaobh / From Both Sides, at is essentially the same as the way they played it the first time. Except this time the final phrase has more climax and conclusion.

But they cadence and finish the performance on a major chord, it should have been d minor not D major. They do that to El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms in a bright sunny way - and I don't like it.

On to Firpo next. Shandy Member. Still hanging in there!!! Temza Member. Because of the slow tempo and minor key I feel an overall somberness and sense of restraint. I would step simply on beats 1 every other beatof the questions, pause or rock step while waiting for the answer.

Then step again on beat 1 of the answer, after the pickup notes have lead into it. Not every time — repetition is boring — but that would be the general idea. Somewhere in Phrase 3 I would start moving more, trying to pick up on the building tension, do a turn No pauses in the melody in Phrase 4, so I would not pause either.

I would probably not try to dance to the habanera rhythm. Who's next? Ok, so no one would dance to the Garden Quartet's version? On to Firpo. This is a very different performance! Fast and crisp! Firpo plays Section A three times, at, Each version is different, as it should be. Musicians find straight repetition boring. These repeats are not boring. I will discuss each version individually. Because of the fast tempo the sections are played more often — he does have to play for aboutafter all.

Section A1 Tempo : 82 bpm, much faster than the Garden Quartet, a true Andante walking pace, but maybe a bit too fast. Notice how tempo changes the character quite dramatically. This is not going In Da Beginning - Gangsta Blac - I Am Da Gangsta be a somber, restrained version.

Section A1 takes 25 seconds. Instrumentation and Texture : bandoneons I think there are 2 and piano, so the texture is thin. Both bandoneons and piano El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms the melody throughout the section. The piano also accompanies, playing sometimes on every beat, off-beats, and almost always on beat 1.

Melodic Elaboration : None. But just wait until the third time through! Rhythm : Gone almost entirely is habanera 1. Hints of habanera 1 occur now and then but not in full. It is not given any prominence. Dynamics : No sudden changes in loudness or softness. It sure is in terms of character.


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El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms

8 thoughts on “ El Choclo - Madriguera* And DArtega Orchestras* - Latin American Rhythms

  1. Oct 15,  · referencing Latin American Rhythms, 7", EP, Red, EP At least three of the four recordings on this EP date from That's when they were released on Shellac: Tico Tico (Brasilian heritage), La Cumparsita and El Choclo (both Argentinian heritage.4/4(1).
  2. Aug 27,  · Piano solo tango el choclo, Angel Villordo. The Good, the Bad and the Ugly - The Danish National Symphony Orchestra (Live) - Duration: DR Koncerthuset 33,, views.
  3. Mar 28,  · El Choclo: A Musical Analysis. the great interpretations from others is that are the result of the feedback loop between the dancers and the orchestras when they were playing every day and it was their job to keep the dancefloor hugipuresmithlainaya.infoinfo While it's certainly in El Choclo, I find that rhythm to be more common in milongas, than in tangos.
  4. Feb 05,  · The 2nd 16 bars of the Tango El Choclo demonstrated with chords and notes. If you have problems sorting the notes, timing or chords, please make .
  5. View credits, reviews, tracks and shop for the Vinyl release of Latin American Rhythms on Discogs. Label: Varsity - VLP ,Royale - VLP • Format: Vinyl LP, 10 Madriguera* And D'Artega Orchestras* - Latin American Rhythms (Vinyl) | Discogs.
  6. Explore releases from D'Artega And His Orchestra at Discogs. Shop for Vinyl, CDs and more from D'Artega And His Orchestra at the Discogs Marketplace. Latin American Rhythms (Album) 2 versions: Sonora (6), Madriguera* And D'Artega Orchestras* Madriguera* And D'Artega Orchestras* - Latin American Rhythms ‎ (10").
  7. Discover releases, reviews, track listings, recommendations, and more about Enrique Madriguera Orch.* / D'Artega & Orchestra* - Chiu Chiu / El Choclo at Discogs. Complete your Enrique Madriguera Orch.* / D'Artega & Orchestra* collection.5/5(2).
  8. Click to View: Label: Cat# Date: Format: Comments: Rating: Value: D'Artega Orchestra Latin American Rhythms A1: Tico Tico A2: La Cumparsita B1: Chiu Chiu B2: El.

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