‘el asunto del tango’
TRANSCRIPT
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Jay Byrnes Final DMA Recital Saxophone Semester 6
13th April 2016 7.00pm
‘El Asunto del Tango’
figure 1.
Associate Artists Daniel Rojas – Piano Michael Kluger – Accordion Isabella Brown – Double Bass Carmen Nieves – Alto Saxophone Ben Carey – Soprano Saxophone Nathan Henshaw – Tenor Saxophone Michael Duke – Baritone Saxophone
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Program
1. From the Guardia Vieja to La Epoca de Oro
Anibal Troilo (1914-1975) Che, Bandoneon (1950)
Alto Saxophone, Accordion, Piano Arr. Jay Byrnes, Michael Kluger
Carlos Gardel (1890-1935)
Volver (1935) Baritone Saxophone, Piano
Arr. Jay Byrnes, Daniel Rojas
Gerardo Matos Rodríguez (1897-1948) La Cumparsita (1916)
Soprano Saxophone, Alto Saxophone, Piano Arr. Jay Byrnes, Fernando Muslera
Julián Plaza (1928-2003)
Nocturna Soprano Saxophone, Accordion, Piano, Double Bass
Arr. Jay Byrnes
2. Nuevo Tango – The genius of Piazzolla
Astor Piazzolla (1921-1992) Soledad (1969)
Baritone Saxophone, Alto Saxophone, Accordion, Piano, Double Bass Arr. Jay Byrnes, C. Nieves
Libertango (1974)
Baritone Saxophone, Alto Saxophone, Soprano Saxophone, Accordion, Piano, Double Bass Arr. Jay Byrnes
Resurrección del Angel (1969)
Baritone Saxophone and Saxophone Quartet Arr. Jay Byrnes
3. Vanguardia – Tango’s Future
Fernando Lerman (b. 1965)
Entongue Tango (2015) Baritone Saxophone, Accordion
Jorge Retamoza (b. 1958)
Estudio no.1 (2014) Alto Saxophone
Fernando Muslera (b.1975)
Nostalgia City (2015) Baritone Saxophone, Piano
Arr. Fernando Muslera
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Acknowledgements
I would like express my sincere gratitude to all those who made this DMA possible.
A doctoral recital is no small undertaking and without the support and commitment
from a number of people, this work could not have been achieved.
Firstly, a huge thank you to my performance supervisor, Dr. Michael Duke
who has been a great educator, supporter, advisor and friend over the past 3 and a
half years.
I am indebted to all the performers involved in this program and previous
performances, Dr. Daniel Rojas, Michael Kluger, Bella Brown, Nathan Henshaw, Ben
Carey, Michael Duke for their time and valuable musical skills. My sincere gratitude
must also go to Fernando Lerman, Jorge Retamoza and Fernando Muslera who
wrote such fabulous works for this project.
Thank you to all my family and friends who have been incredibly supportive
throughout this period of my life.
A very special thanks must go to my wife Carmen Nieves. Aside from her
stunning performance and incredible skills for arranging, her constant support and
patience have enabled this huge undertaking to be achieved.
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Preface
This recital represents three and a half years of study and research in the field
of tango performance, with a focus on the adaptation of the genre for the classical
saxophonist. The saxophone has adapted a large body of repertoire originally
intended for other instruments since its invention. These adaptations have sculpted
the saxophone’s repertoire to date. Functioning as ways of expanding repertoire, as
educational devices and to project the instrument to composers this body of
repertoire has helped shape saxophonists into informed musicians.
Saxophonists of varying backgrounds have sought to understand and
perform the diverse cultures and traditions of Latin American music including the
Argentinian tango. The dance heritage and nostalgic nature of the music has
spawned great interest in the classical community and led to tango programmed in
solo, chamber and orchestral concerts. Adaptations of tangos have offered
saxophonists the opportunity to access to this exciting music.
This recital presents a further understanding of tango performance for
saxophonists, obtained from my critical study and research during this degree. A
number of significant mediums have been used to achieve this including the
investigation into the conventions and history of transcription; a comprehensive
interpretation of stylistic practices, exploration of schizophonic mimesis (the term Feld
(1994) employs to refer to the phenomena that occurs when a cultural artefact is
removed from it’s original source and utilised elsewhere) and, an assessment of
saxophone techniques and their possible implementation into the style of tango.
This program displays tango performance on the saxophone in numerous
guises, through collaborations, personal arrangements and new works. The
performance is presented in three parts: From Guardia Vieja to La Epoca de Oro; Nuevo
Tango; and Vanguardia – Tango’s Future.
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PART 1. ‘From the Guardia Vieja to La Epoca de Oro’
The first installment of this recital comprises works written during the
tango’s first 70 years. Encompassing music from the Guardia Vieja (Old Guard) (1880-
1915) to the La Epoca de Oro (Golden Age) (1940-1955) of tango. It features some of the
most influential tango composers and bandleaders of the genres history.
The Guardia Vieja era emerged from the formative years of tango where the
influences of the Cuban Habanera, the milonga, the introduction of the Andalusian
tango from Spain, the importance of the payadas (music from the interior of
Argentina), and the value of African slave rhythms, all had a large influence on the
creation of tango. The divergence of the tango from the milonga through the use of
the distinguishable marcado rhythm is considered the true beginning of the tango and
occurred during the Guardia Vieja era. (Salgan 2001: 22-23).
During this time the tango began to be performed in peringundines, a type of
café where waitresses could be hired as dancers and presumably prostitutes.
Subsequently tango was transported to the more unsavory parts of Buenos Aires, the
bordellos.
It was during the Guardia Vieja that the bandoneon became part of what
would be labeled the orquesta típica criolla, the common tango orchestra. The
bandoneon was initially designed as a portable church organ for German
congregations and later brought to Buenos Aires by German immigrants.
Tango was transported into the homes of the population through the
invention of the phonograph towards the end of the Guardia Vieja era. These
recordings brought tango from a marginalised social environment to the broader
audiences who were beginning to embrace this genre.
In 1917 Carlos Gardel recorded his first tango song and the tango canción was
born. Tango Canción added a dimension of nostalgia and longing to a genre that had
been predominantly humorous and rhythmic. Gardel used fraseo (a way of shaping
the melody) and emotive lyrics to develop the tango from a dance into a powerful
musical expression that typified the Argentinian people.
A newfound respect for tango within Buenos Aires was established between
1925-1940 due to its international success. This era is considered La Nueva Guardia
(the New Guard). During this time classically trained musicians began to take the
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tango into new complexity, bringing about a more formal musical framework and a
new virtuosic quality.
Julian De Caro was a bandoneonist of great virtuosity; he introduced the
variación to the form of the tango. The variación is a cadenza-like passage of rapid
notes; that displays virtuosity at the end of the tango. De Caro also brought a new
approach to lyricism through his flexible and expressive phrasing known as fraseo
extendido, an exaggerated fraseo. At this time the orquesta típica became the staple
ensemble of instruments containing two violins, two bandoneons, piano and double
bass.
La Epoca de Oro, is a title used to retrospectively describe the period during
which tango was at it’s highest, between 1940 and 1955. It’s popularity was increased
by the nationalistic agenda of Argentinian President, General Perón during the
1940’s, which decreed that ‘All radio stations play Argentine music at least 50 per
cent of the time’ (Foster, M. Lockhart and D. Lockhart 1998: 124). La Epoca de Oro is
considered the time of the great orchestras and a time of great development.
The height of tango produced Great orchestras led by artists such as: Juan
D’Arienzo (1900-1976), Carlos Di Sarli (1903-1960), Aníbal Troilo (1914-1975), Alfredo
Gobbi (1912-1965), Osvaldo Pugliese (1905-1995) and Horacio Salgán (1916- ) and all
brought different elements to the tango creating their own distinct sounds.
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Che, Bandoneon (1950) Anibal Troilo (1914-1975) (Arr. Jay Byrnes, Michael Kluger)
Che, Bandoneon was composed in 1950 by the great bandleader and
composer Anibal Troilo. It laments the grief faced in love and loss and portrays the
colour of the bandoneon as representative of this anguish.
Bandoneon, tonight is a fandango night, and I can confess you the truth, drink to drink, grief to grief, tango to tango packed into the madness of alcohol and bitterness…H. Manzi
This arrangement is a celebration of typical tango traits and traditions from
the Guardia Vieja through to the La Epoca de Oro. It opens with a tango Canción style
duet between the saxophone and accordion where the saxophone assumes the role of
vocalist.
During this time the rhythm of the melodic line would be altered to ‘phrase’
the musical idea, an approach known as fraseo. Rarely scored, it is controlled not by
the way in which the composer notates the melody but by how the performer adjusts
the rhythm of the melody to suit their musical sentence.
In this example we see the opening of Che, Bandoneon as scored and then as
performed using fraseo.
figure 2.
Embellishment is another trait typical of this period of tango and we can see this in
bars 2 and 4.
After the introduction, the arrangement displays the chorus and subsequent
material in its traditional setting, a dance where the saxophone takes the melody and
the piano and accordion accompany. It is at this point that the arrangement displays
the true strength and value of rhythm in tango.
Rhythm is highly prized within many Latin music genres. At a fundamental
level the use of syncopation and beat displacement are crucial to the rhythmic cells of
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Score
Notated
Fraseo
Notated
fraseo ext
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these styles. Tango, dissimilar to other dance genres does not conventionally use
percussion instruments to establish the rhythm, therefore the rhythmic cell is usually
produced by the accompanying instruments and bass line.
Unlike the flexibility of the melodic line in tango fraseo, rhythmic cells are
notated and are strictly adhered to. The tango has used and developed many types of
rhythmic cells in its history. Most common forms of these rhythmic cells are the
habanera, síncopa, and marcado.
Habanera Síncopa Marcado
figure 3. figure 4. figure 5.
All three of these rhythmic cells are displayed in the excerpt below. The
síncopa (notated differently) in bars 39-42., the marcado in bar 43, and the habanera in
bar 44.
figure 6.
The final section of this arrangement presents the variación. The variación is a
virtuosic showing of the melody usually performed at the end of the tango work, as
the closing element to the structure. The variación was initially created by Julio de
Caro during the Nueva Guardia and became a typical element of the tango’s structure.
Michael Kluger composed the variación presented in this adaptation, with octave
adjustments by performer Jay Byrnes. The variación presents great virtuosity on
behalf of the saxophonist, as it requires control of the altissimo register, circular
breathing, rapid passages and flexibility.
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49
Figure 5.3 - Alves habanera variation chart (Alves 2002:156).
We see the most common variation of the habanera rhythm as variation 1 in the
graph. This rhythm is often referred to as the tresillo (in Cuban music) or the 3+3+2
pattern. The 3+3+2 pattern is created by tying the second note of the habanera cell to the
third, by doing so less strength is give to the 3rd quaver of the bar, creating more rhythmic
tension and syncopation.
The habanera rhythm The tresillo or 3+3+2
Figure 5.1 - Habanera rhythmic figure Figure 5.4 – The tresillo
Can also be notated as
Figure 5.5 – Tresillo alternate notation 1.
Or
Figure 5.6 – Tresillo alternate notation 2.
Looking at Alves’ graph once again we see Variation 2 as the subsequent common
rhythmic cell used. This is called the syncopa rhythm.
Beat 1 2 1Habanera
Variation.1
Variation.2
Variation.3
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Score
& 42 œ œ œ œ
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&8 .œ .œ œ
&9 œ ! ! œ ! ! Rœ !
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Score
50
Figure 5.7 – Syncopa rhythmic figure.
This rhythm creates syncopation by adding a strong note on the second semiquaver of the
bar. In this way it differs greatly to the 3+3+2 as the syncopa creates rhythmic tension with
the addition of a note where the 3+3+2 is subtracting notes.
Salgán stresses that the introduction of the ‘four’ enabled the tango to be
distinguishable from its relative the milonga. He points out that, ‘The transcending change
of accompaniment occurred when the accompaniment of four beats alternated with the
Habanera rhythm’ (Salgán 2001: 22-23).
The marcado is the placement of one note on each quaver of the bar, notated as such.9
Figure 5.8 – Descending line featuring the Marcado rhythm.
The marcado is a non-syncopated rhythm that emphasises importance to each beat of the
bar. It is important to clarify early that the Spanish word marcado meaning marked should
not be confused with the Italian word marcato also meaning marked. The Italian term is
used in music to signify an approach to articulation, whereas the Spanish marcado is used
to represent a rhythmic cell. Marcado rhythms are often performed with marcato
articulation, particularly on beats one and three but do not necessarily require it.
Vega informs us, the first recorded use of the tango marcado is seen in the orchestra
of Eduardo Arolas:
The analysed recordings of this orchestra present peculiarities in their performance which distinguish it from other [orchestas típicas]…..it’s the unmistakeable scheme of four eight[h] notes in its rhythmic foundations, generally played without emphasis. (as cited in Salgán 2001: 23)
9 Originally tango music was scored in the metre 2/4. This metre came from the influence of the Cuban Habanera, always scored in 2/4. With the introduction of the ‘four’ otherwise labelled the marcado the tango was then converted to 4/8. Whilst arguably 2/4 and 4/8 are considered to be the same as they are both divided into 4 quavers, the 4/8 time signature gives a clearer indication to the performer that the music should be felt in 4 rather than that of 2. Nowadays the tango uses the time signature of 4/4.
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Score
50
Figure 5.7 – Syncopa rhythmic figure.
This rhythm creates syncopation by adding a strong note on the second semiquaver of the
bar. In this way it differs greatly to the 3+3+2 as the syncopa creates rhythmic tension with
the addition of a note where the 3+3+2 is subtracting notes.
Salgán stresses that the introduction of the ‘four’ enabled the tango to be
distinguishable from its relative the milonga. He points out that, ‘The transcending change
of accompaniment occurred when the accompaniment of four beats alternated with the
Habanera rhythm’ (Salgán 2001: 22-23).
The marcado is the placement of one note on each quaver of the bar, notated as such.9
Figure 5.8 – Descending line featuring the Marcado rhythm.
The marcado is a non-syncopated rhythm that emphasises importance to each beat of the
bar. It is important to clarify early that the Spanish word marcado meaning marked should
not be confused with the Italian word marcato also meaning marked. The Italian term is
used in music to signify an approach to articulation, whereas the Spanish marcado is used
to represent a rhythmic cell. Marcado rhythms are often performed with marcato
articulation, particularly on beats one and three but do not necessarily require it.
Vega informs us, the first recorded use of the tango marcado is seen in the orchestra
of Eduardo Arolas:
The analysed recordings of this orchestra present peculiarities in their performance which distinguish it from other [orchestas típicas]…..it’s the unmistakeable scheme of four eight[h] notes in its rhythmic foundations, generally played without emphasis. (as cited in Salgán 2001: 23)
9 Originally tango music was scored in the metre 2/4. This metre came from the influence of the Cuban Habanera, always scored in 2/4. With the introduction of the ‘four’ otherwise labelled the marcado the tango was then converted to 4/8. Whilst arguably 2/4 and 4/8 are considered to be the same as they are both divided into 4 quavers, the 4/8 time signature gives a clearer indication to the performer that the music should be felt in 4 rather than that of 2. Nowadays the tango uses the time signature of 4/4.
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©
Score
9
figure 7.
Volver (1935) Carlos Gardel (1890-1935) (Arr. Jay Byrnes and Daniel Rojas)
Carlos Gardel composed Volver in 1935 for the one-act play Cuesta abajo by
Argentinian Gabriela Fiore. The play challenges the disguises that two individuals
adopt in the search for love, presenting insight into the complications of love later in
life. The screenplay was developed into a movie in which Gardel plays opposite the
famous American actress Rita Heyworth.
Gardel sings Volver, meaning to Return, in the movie during his farewell to
the seductive yet evil woman. He sings of a plural meaning to the phrase ‘Volver’ as
he is returning to his homeland to wait for his true and loyal love and yet ‘Al fin y al
cabo, todavía puedo volver….viente años no es nada’ (In the end, I can always return,
twenty years is nothing).
Gardel’s influence on tango and its subsequent movement to the public eye
was so unprecedented that he is now revered as an Argentinian icon. The 11th
December was made a national holiday to commemorate his birth and for many
Argentinians, ‘he represents the ideal man, personifying the rise of tango itself from
its roots in the arrabal to the heights of fashionable society’. (Azzi 1995: 122)
The version of Volver presented for this recital was arranged and adapted by
Jay Byrnes and Daniel Rojas and features on Jay Byrnes’ debut album El Asunto del
tango. The adaptation is influenced by the diverse musical backgrounds, cultures and
histories that encompass Latin America.
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10
Opening with a piano improvisation, the adaptation features pianist Daniel
Rojas. Rojas is an Australian composer and performer with Peruvian and Chilean
heritage. Regarded as a leader in the field of Latin American music interpretation,
Rojas brings his Latin culture to the fore in the introduction of the adaptation.
Throughout this improvisation Rojas harks on many Latin American styles that have
influenced his writings, and performance. Folkloric, indigenous, and popular music
all make an appearance.
The first verse is presented by the baritone saxophone and piano in a recitativo
fashion, characteristic of Gardel’s original interpretation. The saxophone uses a
combination of fraseo and simple rhythmic patterns to evoke the spoken word of this
verse. With this subtle yet effective method the saxophone voice embodies the lyrics.
Yo Adivino el parpadeo
De las luces que a lo lejos,
Van marcando mi retorno ….
Son las mismas que alumbraron,
Con sus palidos reflejos
Hondas horas de dolor…
I imagine the flickering
Of the lights that in the distance
Will be marking my return
They’re the same that lit
With their pale reflections
Deep hours of pain….
The chorus brings a twist in the adaptation where saxophone and piano
launch into a Venezuelan Vals inspired interpretation of the famous tango. The
Venezuelan Vals is unique to Latin American waltzes as it features the hemiola of
duple and triple figures found in the combination of ¾ and 6/8 time. Most Latin
American waltzes developed from the immigration of the Spanish people. They
brought with them the European waltz which over time fused with the folk music of
the region. The Venezuelan Vals is an idiomatic waltz that features the hemiola
founded in Venezuelan Joropo music. (Standich 1995: 283)
The adaptation continues with a unique and exciting piano interpretation of
the verse performed in a Vals Peruano style. The Vals Peruano, otherwise known as
the vals criollo developed in Lima in the 1920s and according to Lloréns, found its
musical roots in popular European styles as well as the mestizo musical forms such as
pregones tristes and Afro-Peruvian styles of the Central coast. (Yep 1993: 269).
Through the exploration of both the Venezuelan and Peruvian waltzes this
adaptation presents an exciting multi-cultural approach to a famous tango. The
11
adaptation concludes with a true tango marcado style, where the saxophone mimics
the performance of Gardel.
This adaptation is improvised in performance, creating an exhilarating and
daring performance experience.
La Cumparsita (1917) Gerardo Matos Rodríguez (1897-1948) (Arr. Jay Byrnes and Fernando Muslera)
La Cumparsita is one of the most recorded and performed tango compositions
of all time. Initially a simple march by the Uruguayan Gerardo Matos Rodriguez in
1917, it was inspired by music played by student groups called comparsas or murgas
throughout Montevideo. Thanks to Roberto Firpo’s interpretation the work became a
tango and although from Uruguay, La Cumparsita symbolizes the tango of Buenos
Aires1.
Since 1917, La Cumparsita has been adapted into other genres and arranged
for many combinations of instruments. Many famous tango names such as Virpy,
Gardel, Troillo and Piazzolla have adapted the music and brought something new to
the work. Such attention to this simple tune has led it becoming a symbol of tango.
The arrangement featured in today’s recital is a combination of two versions
arranged for saxophone, one by Argentinian composer, performer and arranger
Fernando Muslera and the other by Jay Byrnes. The opening cadenza is a reduced
version of Byrnes’ original adaptation made in 2015 for the album ‘El Asunto del
Tango’.
This arrangement was inspired by Ruggiero Ricci’s famous solo recording of
Argentinian violinist Vincent Zito arrangement. Establishing an approach that could
imitate the violin effects yet keep the integrity of the tango brought new challenges
to the adaption of this famous work.
Double-stops, lack of breathing options and range were all standard
adaptation considerations that needed solutions.
1 Originally a carnival march not a tango and sold for a very small amount of pesos, Roberto Firpo turned it into a tango and began performing it throughout Argentina. It would be performed by tango greats such as Gardel and taken to Paris where it hit the world stage. Not credited for the composition of the work until the 1970s Rodriguez has never truly received the fame that his humble carnival march has.
12
The use of tremolo in the opening phrase allows for the essential notes of the
chords from the 3rd quaver upbeat to be perceived and also brings a new forward
driven element to the adaptation.
figure 8.
In other areas of the adaptation the solo saxophone version takes the essential
melodic notes and abandons the harmonic function of the double stop. Where
possible the use of a grace note allows for the important harmonic line to be heard
whilst not upsetting the melodic shape.
figure 9.
Muslera’s arrangement of La Cumparsita is presented after the opening
cadenza. Muslera’s trio version for soprano saxophone, alto saxophone and piano
was adapted in 2015 for premiere at the World Saxophone Congress in Strasbourg.
At this premiere the Duo Nuñez-Muslera, an Argentinian saxophone and piano duo
featuring Fernando Muslera and Diego Nuñez performed the work alongside
celebrated Dutch saxophonist Arno Bornkamp.
Muslera effectively creates a new and exciting interpretation of this classic
tango while still acknowledging and referencing two of the greatest arrangers of the
work, Leopoldo Federico (1928-2014) and Anibal Troilo (1914-1975). The reference
to Federico’s arrangement is presented at the very beginning of Muslera’s adaptation
where he begins with a strong marcado feel in the piano. The performer is indicated
to perform this marcado pesante and with the use of accents on the 1st and 3rd beats, the
performer can create a yumba phrasing.
figure 10.
& bb 84Alto Saxjœœ@ jœœ@ jœœ@
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& bbA. Sx.
14
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& bbA. Sx.
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3
La CumparsitaGerardo Rodriguez
©2014
Score
Jay Byrnes, Vicente Zito, Ruggiero RicciFor solo saxophone
& bb 84Alto Saxjœœ@ jœœ@ jœœ@
e = 100
jœ Jœ+ Jœ+ Jœ# + œœ œ œ œn œ œ œ rœ œ œ œ Jœ+
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& bbA. Sx.
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& bbA. Sx.
9
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& bbA. Sx.
11 œ œ œ œ œ œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ rœ Jœ œ œ Jœ
& bbA. Sx.
13
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& bbA. Sx.
14
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To Coda
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22 œ œn œ œ œ œ œ œ œb œ jœœ œ# œ œ œ œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
La CumparsitaGerardo Rodriguez
©2014
Score
Jay Byrnes, Vicente Zito, Ruggiero RicciFor solo saxophone
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The most direct connection between Muslera’s adaptation and Federico’s
interpretation is the counter melody performed by the soprano saxophone at bar 45.
figure 11.
This melody presented by the violin in Federico’s version is performed freely
and with great use of fraseo. Here the soprano saxophonist is instructed that this
melody is a rhapsody, and therefore to be played in a ‘story telling’ way.
Troilo’s influence on this adaptation can be seen in the subtle alto saxophone
melody at bar 68 that passes on to the meno mosso lyrical melody in the soprano at
bar 75. This is a direct quotation from Troilo’s version:
Alto figure 12.
Soprano figure 13.
Muslera’s exciting adaptation concludes with Luis Moresco’s (1925) famous variación
presented in a canonic form by the soprano and alto saxophones. Salgán believes that
Moresco’s variation of La Cumparsita is the most famous of all variations. (Salgán
2001: 41)
figure 14.
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56
Glissandi are also used frequently on the piano either in contrary motion leading to a
down beat, or chromatically between two notes of a melody.
Figure 5.16 – Glissando notation. (Salgán 2001: 88)
The variación
Julio de Caro was the first musician to introduce the variación (variaciones, plural) into the
tango, as Finkielman informs us: ‘According to Luis Adolfo Sierra and other tango
historians, the de Caro orchestra marked a real revolution in tango playing. The orchestra
incorporated new musical techniques such as the variations’ (Finkielman 1970: 92). The
variación is a virtuosic showing of the melody usually performed at the end of the tango
work, as the closing element in the structure. Traditionally performed by the bandoneon,
the variaciones brought a new virtuosic skill set to the orquesta típicas of La Nueva Guardia
(1925-1940), leading into the La Epoca de Oro (1940-1955). By the end of the La Epoca de Oro
the variaciones were being performed by all four bandoneons of the orquesta and created a
veritable climax to the end of the work.
Salgán believes that Moresco’s variation of La Cumparsita is the most famous of all
variations. (Salgán, 2001: 41). A fragment of the variation is illustrated here in Figure 5.17
Figure 5.17 – Excerpt from Luis Moresco’s Variation – ‘La Cumparsita’.
Articulation
Articulation is another important element to the expression of tango music. Articulation
refers to the way a note is started, that is the attack of the beginning of the note. With the
use of various articulation methods we can express music in different ways from smooth,
to short and detached, and also emphasised. Terms such as staccato (short), tenuto (long)
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©
Score
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©
Score
14
Nocturna (1917) Julián Plaza (1897-1948) (Arr. Jay Byrnes)
Nocturna was composed in 1917 by Julián Plaza and is iconic of both his style
and the music of the Guardia Vieja. This tango features the habanera rhythm
throughout in both the piano and bass parts. The habanera is not just a rhythmic
motive but also a contour, demonstrated here in this example from the bass part.
figure 15.
The use of the habanera rhythm and contour throughout the work is very
characteristic of tangos of the time. The habanera rhythm was most commonly found
in milonga’s in the last quarter of the 19th Century. A style of dance found in the Rio
de Plata area of Argentina and Uruguay the milonga is considered a ‘cousin of the
tango’, as they both shared this rhythmic cell at the time. (Salgán 2001:22).
What differentiates the tango from the milonga in this case is the use of the
arrastre, seen throughout the piano, accordion and bass parts. The arrastre is an
ornamental technique that creates tension and release leading up to the down-beat of
a bar. Literally meaning ‘to drag’ in Spanish, the term denotes the gesture of the
dancers as they slide their feet to the strong beat of the bar. For the double bass
player bowing the arrastre, the performer uses a down-bows at the frog end of the
bow, as demonstrated by Isabella’s performance today.
Today’s arrangement passes the melody around the group to establish the
true chamber music nature of this work. Finishing with a chaotic presentation of the
chromatic melody in diminished 5ths.
? # # 42 4Agitado q = 130
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? b49
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? b58 œ> ! œ# œn œn œ> ! œ# œn œ# ‰ Jœ ‰ JœF‰ Jœ ‰ Jœ œ> ! œ œ œ
fœ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ
? b n# #66 œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ ! œ œ œ œ œ> œ œ> "
? # #75 œ> Œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ œ> ! œ œ œ
Arranged for J.Byrnes and El Asunto del Tango
Nocturna Julian Plaza(1897-1948)
Transcribed & edited by Jay Byrnes
©2016 Saxophone Academy Sydney
Double Bass
Intro
15
PART 2. Nuevo Tango – The Genius of Piazzolla
The scene was set for Piazzolla to evolve the tango. In 1955 Perón the
Argentinian President was ousted, marking the end of the great Epoca de Oro. The
change to Argentina’s political climate had a catastrophic effect on tango, generally
losing favour with the population. It had become known as a nationalistic music
through its connection with Argentinean culture and signified all that was Perón’s
political party. The conditions were ripe for a new tango that challenged the
traditional style and transported the music from popular music to art music.
Piazzolla is undoubtedly the greatest exponent of this time.
Piazzolla’s unique style was the combination of jazz, classical (specifically
baroque) and avant-garde music. Originally a highly regarded bandoneon player
Piazzolla had played with the biggest names of tango during La Epoca de Oro such as
Aníbal Troilo. During the early 1950’s, Piazzolla began losing interest in the
declining genre and so concentrated his energies on developing his compositional
skills within the classical genre. Initially studying with the great Argentinean
composer Alberto Ginestera (1916-1983) and then traveling to Paris to study with
Nadia Boulanger (1887-1979). This had a significant impact on Piazzolla and led to
the historical development of tango now known as Nuevo Tango. Boulanger was
unconvinced by Piazzolla’s traditional classical approach and urged him to master
the music in which he had developed a solid foundation.
Piazzolla went on to develop his style creating a complex avant-garde
approach to rhythmic morphing. He utilized standard tango rhythmic structures and
experimented with them in unusual meters. This in part created the Piazzolla sound
but also divided the Argentinean tango enthusiasts, as the melodies, metre and form
were so unfamiliar to tango dance. Over time Piazzolla became a national icon of
Argentina throughout the world and subsequently was is accepted in his homeland.
16
Soledad (1969) Astor Piazzolla (1921-1992) (Arr. Jay Byrnes and Carmen Nieves)
Piazzolla composed Soledad (solitude) as part of the Silfo y Ondina suite, for
the famous Argentinian choreographer Oscar Arraiz in 1969. Silfo y Ondina is a ballet
suite that includes two works heavily influenced by classical music Fugata and
Tangata (word plays on the combination of Tango, Fugue and Sonata). In between
the two highly energetic works sit Soledad, arguably the most beautiful, moving and
heartfelt work by the great tango composer.
The use of long extended melodies over a repetitive simple accompaniment
accentuates the sombre and lonely nature of the work. The work was originally
composed for Astor Piazzolla’s Quintet of violin (Simón Bajour), electric guitar
(Horacio Malvicino), bandoneon (Piazzolla), piano (Jaime Gosis) and double bass
(Kicho Díaz). The Quintet was formed in 1963 on Piazzolla’s return to Argentina
from Paris, and was perhaps his most successful ensemble.
Soledad begins with a soaring bandoneon melody that in this arrangement
has been passed to the baritone saxophone. The counter melody of the piano is
played very softly to allow the saxophone to sing in the upper register at a soft
dynamic. A wide slow vibrato is used to accentuate the weight of the music.
Range is one of the great challenges for any adaptation. In this version of
Soledad, the usual bandoneon melody line exceeds the range of the baritone
saxophone. The saxophone has a limited range of two and a half octaves. While the
saxophone is constructed this way, it is capable of producing a higher register known
as the altissimo. The altissimo, translated as ‘very high’ is the register above the keyed
range and is used by over-blowing specific fingerings to target a higher harmonic of
the note. The altissimo register has become a staple technique amongst well-
developed performers and is now highly featured in advanced repertoire.
This arrangement uses the altissimo register frequently in baritone saxophone
part, particularly in the final statement of the theme to approach the registers of the
bandoneon, violin and electric guitar that were part of the original instrumentation.
The Baritone saxophone is the featured instrument of this arrangement,
performing the violin solo and guitar solos in the second theme.
To conclude the arrangement the baritone saxophone plays a multiphonic.
This multiphonic is used to evoke the anguish one feels in true solitude.
17
Libertango (1979) Astor Piazzolla (1921-1992) (Arr. Jay Byrnes and Carmen Nieves)
Libertango is perhaps Piazzolla’s most famous work and has undergone
innumerable incarnations since its creation. The work’s driving rhythm is addictive
to audiences and the simple yet effective melody that sits above evokes the nostalgia
of tango. The arrangement heard today features 3 saxophones (2 players), accordion,
piano and double bass.
An important element to tango is the use of percussive sounds as tools for
communicating expression, rhythm and articulation. These sounds known as yeites
are essential to the genre. Tango, unlike other dance genres does not conventionally
use percussion to establish the rhythm. Monk explains the lack of percussion
instruments in the tango ensemble:
Tango is such a rhythmic genre in itself that paradoxically it does not always call for
additional percussion. Its rhythm is actually created and established by each one of
the instruments included in the ensemble. (Monk 2013: 25)
These yeites do not only support the rhythm but are used in an improvised
way to bring spontaneity to the music. While each tango instrument brings its own
set of yeites to the music, it is important to note that they also share and mimic each
other.
The baritone saxophone’s uses a slap tongue at the beginning of the work to
emphasis the strong pizzicato performed by the double bass. Slap tongue has long
been a technique used by saxophonists to mimic this string technique. Cottrell
explains: ‘another technique the saxophone can adopt is the slap tongue, which is a
form of percussive attack similar to the string pizzicato. (Cottrell 2013: 158)
Aside from the slap tongue at the opening, decisions had to be made to tackle
the string tango techniques (yeites) such as chicharra (scraping the over the bridge),
látigo (glissandi), tambor (percussive pizzicato) and strapatta (ricochet bow attack) that
feature in the violin part throughout Libertango. In this adaptation the soprano
saxophone adopts the violin part. The soprano saxophone entrance features an
octave slide from low f# that emulates the violin látigo. To achieve this the saxophone
player slowly moves the fingers as they adjust the oral cavity. This technique is
useful to mimic the flexibility of violin playing in tango. The soprano also uses slap
18
tongue at the end of the work, however with a different function. Rather than trying
to imitate the pizzicato, in this circumstance, the soprano uses a strong slap at the
beginning of the note in reference to the violin tambor.
Resurrección del Angel (1965) Astor Piazzolla (1921-1992) (Arr. Jay Byrnes)
Piazzolla composed Resurrección del Angel in 1965. He had long been writing
pieces that were influenced by angels and devils. A religious man, Piazzolla often
referenced these esoteric ideas in his music. Resurrección del Angel became the final
movement of his Suite del Ángel (The Angel Suite). The suite containing 5 pieces was
not initially intended as a suite, but was a series of separate compositions and
commissions.
In 1957, Piazzolla had written a Tango del Ángel, one of the first examples of
Piazzolla’s evolution/revolution of the tango. In 1962, he was contact by Alberto
Rodríguez Muñoz for permission to use his Tango del Ángel in his play El tango del
angel and to commission several new works Introducción, Milonga del Angel, and La
Muerte del Angel. Three years later, in 1965, Piazzolla decided to compose a final
movement to this suite, known as the Resurrección del Angel.
Jay Byrnes completed the arrangement for solo baritone saxophone and
saxophone quartet in 2016. A continually evolving adaptation, the influence initially
came from Emilio Colon’s version for Cello Quartet. Commissioned in 2015 by Niels
Bijl for the Baritone Institute in the Alsace Region, France, Jay Byrnes arranged the
cello quartet version for baritone saxophone ensemble. Joan-Martí Frasquier SP
premiered the adaptation as soloist at the event with Jay Byrnes as conductor of an
ensemble of nine (9) baritone saxophones.
At the beginning of 2016 the adaptation evolved further. The new version for
solo alto saxophone and saxophone orchestra was made for Portuguese saxophonist
Fernando Ramos and the Sydney Saxophone Collective.
Today you see the fourth incarnation of this adaptation featuring solo
baritone saxophone and saxophone quartet. The solo parts fraseo that would
normally be interpreted by the soloist has been notated in this adaptation. This
ensures that the fraseo is achieved in the stylistic way and makes it possible for
19
someone not adept to tango phrasing to perform the work. Here is an example of
this:
figure 16.
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p.˙ œ œ œ w œm œ œ .˙ w
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w w wP
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& # # #32œ œ# œ ˙#
dim ... e ... rall ... molto
˙Ó Acc. al - - - tempo Iœ œ œ .˙
p.˙ œ œm œ w
& # # # nnnb 4337 œm œ œ .˙ w w w w
Resurrección Del Angelfor Orchestra of Saxophones Astor Piazzolla
(1921-1992)Transcribed & edited by Jay Byrnes and
Emilio Colón
Copyright ©2015, Saxophone Academy Sydney.All Rights Reserved
SAS 0316
Alto Saxophone Solo
20
PART 3. Vanguardia – Tango’s Future
The saxophone has not had a prized place within the tango ensemble over the
tango’s history. Piazzolla famously quoted:
I enjoyed how the Stan Kenton orchestra sounded, the rhythm it had, that was what I wanted to do, work similar harmonie but with a difference: in place of brass I had strings and bandoneons. When I used trumpets, trombones, and saxes, it was horrendous. (Gorin 2001: 47)
Piazzollla would later perform tangos with baritone saxophonist Gerry
Mulligan, without doubt the largest defining moment of saxophone in tango music’s
history to date.
In recent years saxophonists, particularly from classical backgrounds, have
adopted arrangements of tango works and begun to include them in programs.
These arrangements have led to Argentinian composers of today to composing
works for saxophone in the style. Most notably, Bernando Monk and his tango
orchestra, Juan Maria Solare, Jorge Retamoza, Fernando Lerman and Duo Nuñez-
Muslera, have created a large and ever growing repertoire of new tango works for
saxophonists.
The influence of adaptations on new repertoire has been an integral part of
the saxophone repertoire list since its invention. Adolphe Sax (1814-1894) himself
used arrangements to promote the saxophone to composers that he thought could
raise the instrument to a broad acceptance and critical acclaim.
The final instalment of this recital illustrates the exciting direction that tango
saxophone music is headed in. Three works by diverse composers show a new future
for tango, with saxophone at the fore.
Entongue Tango (2015) Fernando Lerman (1965)
Entongue tango was commissioned by Jay Byrnes in 2014 for his debut album
‘El Asunto del Tango’ . Lerman and Byrnes met i when Jay Byrnes was invited to
give a masterclass and performance at the Conservatorio Astor Piazzolla in Buenos
Aires by Emiliano Barri. After hearing Jay Byrnes’ unique and exciting adaptation of
21
La Cumparsita for solo alto saxophone, Lerman began sketches for an exhilarating
tango that would challenge the boundaries and yet still reference the tango tradition.
Written for the baritone saxophone and accordion, the work starts with the
baritone saxophone in its usual function as a bass instrument. Instruction is given to
the performer to mimic the double bass tango style through the staccato/tenuto
articulation.
figure 17.
The accordion performs the melody until figure A where the baritone takes
over the agitated theme. Here the extensive use of articulation ensures the performer
adopts the tango’s rhythmic nature.
figure 18.
Multiphonics are used early in the introduction of the main theme. A
multiphonic is the production of more than one note at a time. Which by ‘using
certain fingerings, several sounds can be produced simultaneously’ (Delangle and
Michat 1998: 180). The use of the multiphonic enhances the aggression of the theme
and also simulates the dissonance of the accordion. As Monk states ‘This technique
can be used to imitate or join in the clusters of the bandoneon’ (2013: 122).
After the aggressive opening theme, a beautiful and nostalgic melody is
introduced by the bandoneon. Lerman labels this section of the work as Dolce e rubato
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22
and is referencing the Tango Canción style, particularly the lyrical nature of Carlos
Gardel. The Baritone saxophone is passed the melody which similar to the
Resurrección arrangement, fraseo has been notated.
figure 19.
By notating the fraseo through the use of triplets and syncopation, Lerman is
ensuring that the melody is played with correct tango phrasing.
A solo cadenza transports this beautiful tango canción melody back to a
restatement of the first theme, however this time containing a virtuosic unison
variación at the conclusion of the work.
Estudio no.1 (2014) Jorge Retamoza (1958)
Jorge Retamoza is a jazz trained saxophonist based in Buenos Aires who has
become regarded as a highly skilled exponent of tango performance on the
saxophone. In 2014 during the process of composing Estudio no.1, Retamoza released
one of the greatest resources for any saxophonist wanting to perform tango. His
book El Tango – Desde el Saxo. The book is a reference and method book that guides
the reader through the different musical and technical skills required for the
performance of tango on the saxophone.
Estudio no.1 is Retamoza’s first tango study for solo saxophone. The work
features a Piazzolla influenced opening that requires great technical proficiency. The
work features the use of the altissimo range as well as double tonguing.
Double-tonguing, otherwise known as double staccato is a tool used by
saxophonists in many tango adaptations to articulate at great speed. These
adaptations are a clear inspiration for Retamoza’s Estudio no.1. It is achieved by
alternating the tongues connection with the reed and the roof of the mouth.
Retamoza uses the technique regularly in his own performance to create excitement
and clarity. Monk provides the following instructions for double tonguing: ‘The tip
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23
of the tongue is placed on the tip of the reed and the back of the tongue is placed
against the palate.’ (Monk 2013: 24).
Throughout the cadenza section Retamoza includes slap tongues to mimic the tambor
of a violin.
figure 20.
Estudio no.1 is now available with a piano accompaniment however, the
version presented today is the original for solo saxophone.
Nostalgia City (2015) Fernando Muslera (1975)
Commissioned in 2014, Nostalgia City was originally composed for Baritone
saxophone and accordion as part of Jay Byrnes El Asunto del Tango project. Muslera
has extensive experience working with and composing for saxophone through the
Duo Nuñez-Muslera project, a duo featuring Argentinian saxophonist Diego Nuñez
and Fernando Muslera on piano. For this work Byrnes requested a work that would
push the boundaries and adopt avant-garde influences combined with the tradition
tango approach. Muslera was able to use techniques such as slap tongue,
multiphonics, altissimo; key clicks effectively due to his knowledge of the saxophone.
These techniques are presented in a way that references the tone colours, yeites, and
characters of tango instruments.
The work begins with an ad libitum introduction that uses the
multiphonics in an effective way to mimic the bandoneon’s dissonant clusters.
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24
figure 21.
The effective use of saxophone yeites - open slap tongue and key clicks – bring
the spontaneity of the tango tradition and are used to mimic the violins chicharra
(scraping the over the bridge), and strapatta (ricochet bow attack).
figure 22.
The middle section of the work is where Muslera has introduced the 21st
Century, avant-garde music to great effect. With the use of multiphonics seemingly
coming out of one note, as well as a screaming altissimo glissando, reminiscent of the
látigo of the violin, Muslera manages to capture the new contemporary music while
still referencing tango tradition. This part of the piece is truly a masterpiece.
figure 23.
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25
The work concludes with a variacion that not only requires great skill but the
implementation of circular breathing. ‘The technique of circular breathing consists of
continuous playing, with the pressure of air held in the mouth through the puffing of
the cheeks, while at the same time replenishing the air supply in the lungs by
breathing in through the nose’ (Londeix 1997:9). It is essential to use this technique to
complete the incredibly long phrases in Muslera’s variación.
In 2016, Muslera completed the adaptation of the work for Saxophone and
Piano that is performed today. Muslera was interested in making the work more
accessible to a larger number of performers. This version accentuates the bass line
much more and creates a new and interesting variation to the original.
26
Sources Cited
Azzi, M. S. (1995). The Golden Age and After, Tango. London, UK: Thames and Hudson.
Cottrell, S. (2013). The Saxophone. New Haven, Connecticut: Yale University
Press Delangle, C., Michat, J. D. (1998). The Contemporary Saxophone. In Ingham,
R. (Ed.) The Cambridge Companion to the Saxophone. Cambridge UK: Cambridge University Press. 161-183.
Foster, D. W., Lockhart, M. F., Lockhart, D. B. (1998). Culture and Customs of Argentina. Santa Barbara, CA: ABC Clio.
Gorin, N. (2001). Astor Piazzolla: A Memoir. Milwaukee, Wisconsin: Amadeus Press.
Londeix, J. M. (1997). Méthode pour Étudier le Saxophone Paris: Editions Henry
Lemoine.
Monk, B. (2013). The Tango Saxophone Book. Vienna, Austria: Advance Music Mainz.
Salgán, H. (2001). Tango Course. Privately Published. Standish, P. (1995). Hispanic Culture of South America. Detroit, MI: Gale Research. Yep, V. (1993). ‘El Vals Peruano.’ Latin American Music Review/Revista de
Música Latinoamericana 14.2.