Tango Voice

• The enjoyment of dancers at a milonga is determined to a significant degree by the choice of music made by the Tango DJ.
  • When the DJ selects Classic Tango music with a clear and consistent rhythm, many dancers are able to connect well to the music and find this rewarding.
    • The exception is dancers who focus on executing steps, often of an exhibitionist nature, independent of the music.
• Nevertheless, there are some common errors made by Tango DJs in their music selection at milongas in the USA.
  • There is music from Golden Age orchestras that does not promote connection with the music due to lack of a clear and consistent rhythm. This includes:
    • Most tango music of the Pugliese orchestra recorded during the 1950s and beyond
      • Pugliese’s instrumental tangos from the 1950s are danceable for some music knowledgeable dancers (and may be used sparingly at milongas), but after 1960, few recordings are danceable.
      • Pugliese tangos with vocals by Maciel generally are not danceable.
      • A better selection of Pugliese recordings for dancing are instrumental tangos from the 1940s. These are played somewhat regularly in the milongas of Buenos Aires.
    • There are tango recordings of the Troilo orchestra from the early 1940s to which music conscious dancers can connect, both instrumentals and with vocals by Fiorentino.
      • Nevertheless, as the 1940s proceed, there are fewer tango recordings by the Troilo orchestra that have a clear and consistent rhythm, including instrumental tangos and tangos with vocals by Fiorentino.
      • Most Troilo tangos with vocals by Marino and Ruiz are unsuitable for dancing.
    • Most tango recordings by the Di Sarli orchestra during the 1940s and 1950s are suitable for dancing because they have a clear consistent rhythm.
      • Nevertheless, tango recordings by Di Sarli during the 1950s with Pomar and with Florio as vocalists generally are unsuitable for dancing because the rhythm is often lost beneath the powerful vocals.
  • Poor music selection by Tango DJs can also occur because of disruption of dancers’ moods.
    • Tandas heterogeneous in tempo are inharmonious; in these case the first selection in a tanda represents false advertising for subsequent recordings, which may affect partner selection for the tanda.
      • Tandas of milongas recorded by Canaro or Donato often have this feature.
      • Tandas of tangos recorded by Rodriguez and Tanturi may have this feature.
    • Tangos recorded by Orquesta Tipica Victor are sluggish and are often of poor recording quality, yet OTV tandas are nearly ubiquitous in milongas in the USA, particularly at the beginning of a milonga.
    • Most milongas recorded by the D’Agostino orchestra lack the energy anticipated for milonga and are often perceived as in the tango rhythm by naïve dancers.
    • Some Rodriguez valses sound like music from the countryside and others sound like they belong in a European classical music concert hall. Canaro also recorded some valses with European classical music characteristics. These types of music are inconsistent with the urban Argentine mood of a milonga.
    • Tango DJs often select for dancing obscure music from recordings by De Caro, the Di Sarli Sextet, Firpo, Garcia, and Lomuto, among others, as well as from lesser-known recordings by more well-known Golden Age orchestras. Playing unfamiliar music makes it more difficult for dancers to connect to the music.
    • Tango DJs often include a large majority of tandas with vocals, and therefore few instrumental tandas to create a contrast in mood. Some of tandas with vocals include singers whose strong emotional renditions overwhelm the instrumentation and therefore the rhythm of the music, thus impeding connection with the music.  
• There are several reasons some Tango DJs fail to provide danceable music at milongas in the USA.
  • In creating a milonga music program, developing Tango DJs often rely on online prepared tandas. These tandas vary in quality. Their adoption leads to further imitation and proliferation.
  • Tango DJs have few good role models for music selection and fail to recognize which DJs are good models. A trip to Buenos Aires Traditional Milongas could help in this regard.
  • Tango DJs often fail to observe how dancers connect to the music, and/or fail to dance to the music themselves to determine its danceability.
  • Because tango instructors emphasize acquisition of steps, often of an exhibitionist nature, instead of connection to the music, dancers prefer dramatic music, which often lacks a clear and consistent rhythm. Tango DJs meet this demand.
  • For Community Milongas, the Tango DJs are often the milonga organizers or the friends of milonga organizers who lack skills in music selection.   

A dancer’s enjoyment in attending a milonga is dependent upon the characteristics of the milonga environment (The Role of the Milonga Organizer in Creating an Environment Promoting Argentine Tango Cultural Traditions). The dance floor needs to be smooth enough so that it does not hinder movement, yet have enough traction that dancers are not sliding. The dance floor needs to be large enough to handle the number of expected dancers at a navigable density, but not so large that it becomes an open field for exhibitionism. The heating and air conditioning system needs to create a comfortable environment for dancing. The sound system needs to transmit music that is of good quality and is neither too loud nor too soft. However, other than attracting a sufficient number of dancers with good dance ability and a nearly equal gender ratio, the most important factor in making a milonga enjoyable is the quality of the music elected for dancing.

One critical characteristic of music selected for dancing that enhances enjoyment is a clear and consistent rhythm that enables connection to the music. Another important factor in dancer enjoyment is the generation of a mood that manages the physical and mental energy over the course of the milonga; this includes the creation of an aural atmosphere characteristic of tango. These issues are elaborated upon below with regard to the DJ’s role in achieving these results at a milonga or, more specifically, the ways in which Tango DJs fail to accomplish these ends.  

Less than optimal music selection by Tango DJs may be due to inexperience. Every Tango DJ has a developmental path, although the rate of growth along this pathway varies among individuals adopting this role. In general, the suboptimal choices of music described tend to be more characteristic of DJs for a Community Milonga (comprised primarily of dancers from the local community, usually lasting 3-4 hours), than for DJs for an Aggregative Milonga (festival, marathon, encuentro, i.e., a larger group of dancers of various origins congregating for a milonga of longer duration), although these characteristics may be present in any kind of milonga.

One likely source of tandas for Tango DJs may be the numerous collections of tandas on YouTube (e.g., 2X2TANGOTV; cantando tangos;  DJ Luiji; ciaco64; Gaetano la bruna; tandas de tango), providing direct access to the music, or websites with preconstructed tandas (e.g., DDP’s Favorite Tandas, Tanda of the Week,  Tangology, Tejas Tango), or even from prepared tandas available from CDs. These may serve as a starting point for Tango DJ education, but can be very misleading, especially when tandas are labeled as ‘danceable’ or ‘bailable’, when in fact they are not. These tandas vary in quality with respect to some of the characteristics discussed below, and therefore reliance upon them without discretion will rarely produce favorable results. The ultimate tests of music appropriateness are observation of dancers and/or dancing to the tandas of music offered to the dancing public.

Examples of both acceptable and suboptimal tandas published on YouTube will be utilized in the discussions below, where appropriate. These examples may not be the best or worst tandas supporting the arguments made (they are what is available online), but they do demonstrate the kind of information that Tango DJs may use in their self-education journey.

The standard against which music selection for dancing in milongas is compared is the music played in Traditional Milongas in Buenos Aires today, in essence, Classic Tango music). 

A. Music that does not enhance Connection

It is not unusual when observing dancers at a milonga to notice that the movements of the dancers are not synchronized with the music. [Example 1: Encuentro, Regensburg, Germany; Example 2: Milonga, Ljubljana, Slovenia; Example 3: Encuentro, Tbilisi, Georgia; Example 4: Milonga, Fribourg, Switzerland]. Even tango instructors are sometimes observed having difficulty connecting to the music (Tango Festival, Tucson, Arizona).

This failure of connection to the music could be due to the dancers not paying attention to the music or lacking the ability to connect with the music; some of the latter may be due to tango instructors emphasizing the acquisition of a step repertoire rather than connection to the music in their teaching.  It is also possible that some of the music played for dancing at a milonga lacks a clear and consistent rhythm.

In dancing, there is movement within an environment of music. The music serves as a framework within which movements are structured. In its simplest form, changes of weight are coordinated with the rhythm of the music.

In (Argentine) tango dancing, the pattern of weight changes is neither constant nor entirely predictable, in contrast to, for example, ballroom dances, particularly at the beginner levels, (e.g., repeated slow-slow-quick-quick-slow for Ballroom Tango; in (Argentine) tango the dancer has the opportunity to vary the pattern of weight changes in conjunction with variation in the music, and some tango music played at milongas (e.g., of the Pugliese and Troilo orchestras) can be less rhythmically constant than that used for other social dances. It is also not uncommon for experienced tango dancers familiar with the music to coordinate their weight changes in accordance with the notes of the melody rather than with the more constant underlying rhythm. (See Tangology; Tangomojo).

This section explores some of the music commonly played at milongas in the USA (and also in Europe) that presents challenges to dancers in connecting to the music.

• 1. Osvaldo Pugliese: Drama over Danceability

Tango dancers often delight in the music of the orchestra of Osvaldo Pugliese, especially the instrumental tangos of the late 1950s and beyond. The dramatic nature of the tangos of the Pugliese orchestra recorded during these periods frequently elicits rapid expansive movements characteristic of tango performed on the stage which, in the hands of amateur dancers, typically lacks connection with the music, as well as creating navigational hazards on the dance floor.

Instrumental tango recordings of the Pugliese orchestra from the 1960s and beyond that are frequently played at milongas in the USA include A Evaristo Carriego (1969) and El andariego (1972). At times in these recordings, the tempo is inconsistent and the beat becomes indiscernible, which results in dancers moving independently of the music. These tangos can be interpreted with the insertion of dramatic pauses [Carlos Gavito & Marcela Duran], appropriate for the stage, but counterproductive (in hindering the progression of the ronda) and offensive (in attracting undue attention) in the milonga setting. These later recordings are rarely played in Buenos Aires milongas, and not at all in what are considered to be Traditional Milongas (e.g., most of those hosted at El Beso, Club Gricel, and Lo de Celia).

Here is an example of a tanda (listed as ‘bailable’) of Pugliese recordings from the 1960s with these characteristics. This music is capable of creating a high level of entropy on the dance floor. This music by the Pugliese orchestra is definitely beautiful and pleasing to the ears, but was designed for the concert hall, not for the social dance floor.

Played more frequently in milongas in the USA are tango instrumental recordings of the Pugliese orchestra from the 1950s, such as Emancipacion (1955) and Gallo ciego (1959). There are some Tango DJs in Buenos Aires who will play recordings of instrumental tangos of the Pugliese orchestra from the 1950s, often sparingly. The music of these recordings is characterized by a varying tempo, but there is a discernible beat throughout most of the musical pieces. Experienced dancers who are thoroughly familiar with the music may be able to maintain a connection with the music because they are able to anticipate the changes in tempo. However, dancers unfamiliar with the music and inexperienced dancers lack this ability. Therefore, tango DJs should take into account the skill level of the dancers at a milonga before selecting these recordings. At most Community Milongas, and even at festivals, marathons and encuentros, the majority of dancers lack this skill. Nevertheless, these recordings are played frequently in milongas in the USA, with similar consequences of eliciting on the dance floor dramatic moves made independently of the music.

Here is a tanda of Pugliese tango instrumentals from the early 1950s with a more consistent rhythm that could be managed by experienced dancers familiar with the music, but usually is still challenging for most dancers at a Community Milonga.

Instead of playing instrumental tangos from the Pugliese orchestra from the 1950s and later, selection of instrumental tangos of the Pugliese orchestra from the 1940s often provides a more consistent rhythm suitable for dancing, e.g., Recuerdo (1944) and Raza criolla (1945). Here is a tanda of 1940s tango instrumentals that has better qualities for dancing at a milonga. In the Traditional Milongas of Buenos Aires, the tangos of the Pugliese orchestra played most often are instrumentals from the 1940s.

Occasionally tango music with vocals from the Pugliese orchestra is played at milongas in the USA. Some of this music has an inconsistent tempo and sometimes an indiscernible beat, e.g., with tangos with vocals by Jorge Maciel, e.g., Cascabelito (1955) and Remembranza (1956). Here is a constructed tanda that displays these characteristics.

In contrast, there are tangos with vocals by Roberto Chanel recorded by the Pugliese orchestra in the 1940s that have a clearer rhythm, e.g., La abandone y no sabia (1944) and Corrientes y Esmeralda (1944). Here is a tanda of recordings of the Pugliese with vocals by Chanel that is more suitable for dancing.

Nevertheless, due to its complexity and some variability in tempo and distinctness of the beat, inexperienced dancers may have difficulty connecting with even the music of the Pugliese orchestra most amenable for dancing, i.e., instrumental tangos recorded during the 1940s, and Tango DJs should take this into account, particularly when selecting music for dancing at a Community Milonga. In order to connect well to the music of Pugliese, one needs to be thoroughly familiar with it. An example of superb connection to the Pugliese instrumental tango recording Malandraca (1949)  is given by Ismael Heljalil in the Lo de Celia milonga in Buenos Aires. An example of good connection of dancers at the Encuentro Milonguero in Rovinj, Croatia to the Pugliese orchestra recording La Tupugatina (1952) is shown here.

• 2. Anibal Troilo: Some Tangos Danceable, Some Not

The orchestra of Anibal Troilo is considered to be one of the most important tango orchestras of the Golden Age (4 Main Tango Orchestras, The Big 4 Tango Orchestras). The music of the Troilo orchestra is nearly always represented in the milongas of Buenos Aires, and commonly selected for dancing in milongas in the USA. However, not all of the recorded music of the Troilo orchestra is suitable for dancing.

Francisco Fiorentino was a popular vocalist with the Troilo orchestra in the early 1940s. There are some tangos of the Troilo orchestra with vocals by Fiorentino that have a clear steady beat and are suitable for dancing, e.g., Toda mi vida (1941) and Yo soy el tango (1941), although inexperienced dancers may find the complex syncopations somewhat confounding in an attempt to connect with the music. Here is a tanda of Troilo tangos with Fiorentino as vocalist that has suitable qualities for dancing at the milonga.

In contrast, there are tango recordings of the Troilo orchestra with vocals by Fiorentino that have a more complicated rhythm, including changes in tempo and moderately long pauses, as well as lacking a clear beat at some points in the music. This is one kind of tango music of the Troilo orchestra with Fiorentino singing, from the same period, where many dancers are unable to form a good connection to the music, e.g., El encopao [1942] and Barrio de tango [1941]. This is incredibly beautiful music but, similar to the Pugliese instrumental tango recordings from the 1950s, it lacks a clear and consistent rhythm. Here is a tanda of Troilo tangos with Fiorentino as vocalist (labeled as ‘bailable’) from the same period [1941-42] that lacks the requisite qualities for inclusion in a milonga music program. Tango DJs in the USA sometimes play this kind of music for dancing at a milonga.

In addition to Francisco Fiorentino, Troilo enlisted several other vocalists for the recordings of his orchestra during the Golden Age.  Tango DJs in the USA sometimes play music for dancing from the Troilo orchestra recorded in the mid and later 1940s with Alberto Marino or Floreal Ruiz as vocalists. The tango recordings including these vocalists commonly have a variable tempo and inconsistent beat, e.g., Uno (1943) and Farolito de papel (1943) with Marino, and Naranja en flor (1944) and Corazon de papel (1947) with Ruiz. In general, tango recordings of the Troilo orchestra with Marino and Ruiz are undesirable selections to be played at a milonga.

Here is an example of a tanda of tango recordings of the Troilo orchestra with Marino as vocalist that is characterized by an irregular rhythm, including some moderately long pauses. Here is a tanda with similar characteristics with Ruiz as the vocalist.

With respect to tango instrumentals recorded by the Troilo orchestra, most tangos from the mid 1940s onward typically lack a clear consistent rhythm, e.g., Color de rosa (1945) and Inspiracion (1943). Tango DJs in the USA sometimes play this kind of music for dancing at a milonga. Here is an example of a tanda of Troilo instrumental tangos with these undesirable characteristics. Some experienced dancers with good knowledge of the music can dance well-connected to this kind of music. For example, here is an example of Luis Ferré dancing to the music of the Troilo orchestra recording of Quejas de bandoneon (1944) in the Lo de Celia milonga in Buenos Aires.

Instrumental music of the Troilo orchestra recorded during the early 1940s tends to be played often at milongas in the USA and in Buenos Aires; these recordings tend to have a clearer beat and therefore are more suitable for dancing, although they may be challenging for inexperienced dancers. This includes Milongueando en el 40 (1941) and Cachirulo (1941). Here is an example of a tanda of Troilo tango instrumentals from the early 1940s that has suitable qualities for dancing at a milonga.

In general, the tango music most suitable for dancing by the Troilo orchestra was recorded in the early 1940s, and the tango instrumentals from this period, in general, are a more reliable choice to elicit dancer connection to the music than are the tangos with vocals from this period. However, because of its greater complexity, caution should be exercised in selecting the tango music of the Troilo orchestra for dancing in the first cycle of tandas (TTVTTM) at a milonga, when dancers are warming up in their dancing.

• 3. DiSarli: 1950s Tangos with Overpowering Vocals

The music of the orchestra of Carlos Di Sarli generally has been regarded as being reliably danceable in the milonga setting. There are many tango instrumentals from the Di Sarli orchestra recorded during the 1940s (tanda example) and 1950s (tanda example) that are played at milongas in Buenos Aires and in the USA. There were several excellent singers that were part of the Di Sarli orchestra during the 1940s, including Roberto Rufino (tanda), Alberto Podesta (tanda), and Jorge Duran (tanda); there are many tango recordings with these vocalists that can be used to construct excellent tandas for dancing. However, in contrast, there are some Di Sarli orchestra tango recordings with vocals from the 1950s where the usual clear and consistent rhythm characteristic of the DiSarli orchestra is absent, and these are played sometimes at milongas in the USA. These include tango recordings with the following vocalists: Mario Pomar [e.g, La capilla blanca (1952) and Corazon (1955) (tanda example)], and Roberto Florio [e.g., Adios corazon (1958) and Soñemos (1957) (tanda example)]. In these recordings the vocalist is center stage, the instrumentation (particularly the violins) appears to be designed to embellish the vocals, and the rhythm is in the background, often irregular and at times indiscernible. There is no justifiable reason to select these latter recordings of the DI Sarli orchestra for dancing at a milonga.

B. Music that Disrupts the Mood

There is a certain mood at a milonga that differentiates it from other North American social dance gatherings, e.g., Tropical Latin (salsa and bachata in contemporary dance culture), swing, country and ballroom dances. Tango music exudes passion more than most other types of music, particularly expressing emotions of romantic yearning or loss, often with a sense of loneliness and despair.

When danced well, tango shares emotion between partners (usually a range of emotions), with the potential to transform feelings of isolation into engagement, sometimes even fusion, albeit temporarily for the duration of the tanda, although relationships can begin with the shared emotion of the dance. Milonga and vals provide a reprieve from the feelings of separation and union of tango, but still reflect the environment from which liberation has been attempted. Many dancers seek tango because the close connection achievable between partners can be therapeutic for individuals lacking physical intimacy in their lives [The Intimacy of dancing Tango: Therapy for Contact Deprivation in North American Society].

The music played at a milonga can enhance or detract from this desired mood. The musical environment of the so-called ‘Alternative Milonga’ (Neolonga) certainly detracts from maintaining an Argentine tango environment. However, even when choosing Classic Tango music for dancing, the DJ can negatively affect this mood by playing music that disrupts the ambient energy of the milonga. Some of these selections are discussed here.

• 1. Heterogeneous Tandas: Inconsistency and Miscommunication

The first song of the tanda should identify the mood that will exist throughout the tanda. This is why most recommendations regarding tanda selection state something similar to “All the songs in a tanda should have a similar feel, tempo and rhythm.” (Tangology; See also Todotango). The characteristics considered to maintain this homogeneity include recordings from the same orchestra, with the same vocalist or all instrumental, from the same time period (presumably with the orchestra comprised of the same musicians). In actuality, this is a call for maintaining the same rhythm (tango, milonga, or vals) with more or less the same tempo, and a similar emotional content (the latter being somewhat subjective).

In following these criteria, the Tango DJ communicates to the dancers with the first recording of the tanda that the subsequent recordings will have a similar character. Dancers who pay attention to the music then will seek a partner who they feel will complement them best in connecting to this kind of music. If the tanda lacks homogeneity, the dancers may experience some discordance in dancing with the selected partner over the course of the tanda. At the very least, expectations of individual dancers regarding the character of the tanda may be dashed with the inclusion of heterogeneous selections or, post hoc, mood switches between songs may have created feelings of dissonance.

• a. Heterogeneous Tandas in the Milonga Rhythm (especially Canaro and Donato)

From observations at numerous milongas in the US, it appears that the mixing of tempos within a tanda occurs most commonly in tandas with the milonga rhythm, probably because there are fewer recordings in this rhythm than in the tango rhythm and homogeneity is more difficult to achieve (if one abides by the rule of constructing a tanda consisting only of recordings from the same orchestra).

Accurate communication of the forthcoming tempo in a tanda of recordings in the milonga rhythm is important because some dancers prefer to dance in the manner of Milonga con Traspie (Demo: Dany Garcia & Silvina Vals) with slower milongas, and partner selection, in theory, would be based on compatibility with regard to dancing in this manner. Likewise, a tanda of milongas with a more rapid tempo requires a partner capable of keeping up with the faster rhythm.        

The recordings of the Canaro orchestra are those most often selected for tandas of milonga, and this is a good choice, because there are numerous Canaro milonga recordings and these typically have a clear consistent rhythm. The milonga recordings of the Canaro orchestra basically fall into two tempo categories – slow and fast. This provides Tango DJs numerous opportunities to create tandas heterogeneous in tempo.

For the Canaro orchestra, slower milongas include Milonga sentimental (1933) [77 bpm] (online metronome) and Milonga del 900 (1933) [82 bpm]; faster milongas include La milonga de Buenos Aires (1939) [110 bpm] and Parque Patricios (1940) [107 bpm]. An example of a tanda of recordings of milongas by the Canaro orchestra that is heterogeneous with respect to tempo has the following songs:

• Milonga criolla [83 bpm]
• Silueta porteña [86 bpm]
• Milonga del corazon [107 bpm]

In contrast, an example of a tanda of slower milongas with similar tempos recorded by the Canaro orchestra is:

• Larga las penas [82 bpm]
• Milonga criolla [83 bpm]
• Silueta porteña [86 bpm]

An example of a tanda of faster milongas with similar tempos recorded by the Canaro orchestra is:

• No hay tierra como la mia [105 bpm]
• Parque Patricios [107 bpm]
• La milonga de Buenos Aires [110 bpm]

This phenomenon of tempo heterogeneity can also occur for tandas of milongas of the Donato orchestra. For example, consider the following milonga rhythm recordings with different tempos: slow – Papas calientes (1937) [80 bpm] (also difficult for some dancers to recognize as a milonga rhythm, therefore should not be selected as the first recording in a tanda), intermediate – Sacale punta (1938) [91 bpm], and fast – Repique del corazon (1941) [117 bpm] (which is too rapid for some dancers to stay connected to the music). An example of a tanda of milongas recorded by the Donato orchestra that has mixed tempos is:

• El torito [86 bpm]
• De punta a punta [103 bpm]
• Campo afuera [112 bpm]

A more homogeneous tanda of milongas recorded by the Donato orchestra is:

• Sacale punta [91 bpm]
• Ella es asi [96 bpm]
• La milonga que faltaba [106 bpm]

although inexperienced dancers may not recognize Sacale punta as having a milonga rhythm, and a better constructed homogeneous tanda would consist of

• Ella es asi [96 bpi]
• Cara negra [103 bpi]
• La milonga que faltaba [106 bpm]

Ella es asi is a familiar recording for most dancers and is likely to draw dancers onto the dance floor.

• b. Tandas of Tango Heterogeneous in Character

Tandas of tango that are heterogeneous in character may consist of recordings from different vocalists and/or recordings from different time periods. The occurrence of these types of heterogeneous tango tandas at a milonga are typically due to DJ inexperience. What may occur even among more experienced Tango DJs are tandas of tangos with different tempos. Some orchestras for which heterogeneous tandas of this type have been heard in milongas at least several times in the USA include recordings from the orchestras of Rodriguez and Tanturi.  

• (1) Enrique Rodriguez

The tango recordings of the orchestra of Enrique Rodriguez that are played most often in milongas in the USA and in Buenos Aires are those with Armando Moreno as vocalist. These vary somewhat in character, from a slower, somewhat relaxed Yo Tambien tuve un cariño [60 bpm] to a more energetic nature No te quiero mas [74 bpm]. Mixing Rodriguez – Moreno tango recordings with different characters creates dissonance for experienced dancers. For example, in this tanda, Como has cambiado pebeta [63 bpm] is relatively relaxed, whereas En la buena y la mala [67 bpm] is more energetic; La vi llegar is more understated, with a variable and somewhat indistinct tempo (including pauses) that is in sharp contrast to the two previous songs (and uncharacteristic of Rodriguez – Moreno tangos in general), with the final recording, Llorar por una mujer [67 bpm], once again having a more energetic nature. This change in character among successive songs in the tanda can create an uneasy feeling of dissonance.

Here is an example of a more homogeneous tanda of energetic tangos recorded by the Rodriguez orchestra. Here is an example of a tanda of relatively homogeneous lower energy tango recordings of the Rodriquez orchestra.

• (2) Ricardo Tanturi

The tango recordings of the orchestra of Ricardo Tanturi with Alberto Castillo as vocalist are suitable for dancing because typically they have a clear and consistent rhythm. However, among these recordings, there are differences in tempo and intensity that create different moods for dancing. For example Muneca brava [64 bpm] has a relatively relaxed pace and feeling, whereas La vida es corta [72 bpm] has a more rapid, frenetic feeling.

This tanda mixes the more relaxed Como se pianta la vida [62 bpm] and Cancion de Rango [63 bpm] with the more energetic Noches de Colon [69 bpm] and La vida es corta [72 bpm]. Beginning the tanda with Noches de Colon suggests to dancers that this is going to be one of the more energetic Tanturi – Castillo tandas, but this is immediately contradicted with the more relaxed Como se pianta la vida.

Here is an example of a tanda of Tanturi – Castillo tango recordings that have a relatively low key character. For those who prefer a tanda of tangos recorded by the Tanturi orchestra with a more rapid tempo, this tanda of instrumentals has that character.

• 2. Orquesta Tipica Victor Tangos: Weak Start & Mood Spoiler

Tandas of (typically instrumental) tangos recorded by the Orquesta Tipica Victor (OTV) are nearly ubiquitous in milongas in the USA. Usually these tandas are among the first played, although sometimes they are inserted into the music program later in the evening. OTV tango tandas are rarely played in Buenos Aires milongas.

The music of OTV typically lacks energy and has a (repetitive) sing-song rhythm. The violins sound particularly ‘squeaky’ (high-pitched).  OTV recordings are often of poor quality. (This tanda of OTV instrumental tangos has these characteristics.) For tangos with vocals, the singers often sound like they are trapped at the bottom of a tin can (Yira, yira). When OTV tango tandas are played later in the milonga, this can often sap the energy out of the event.

The tango recordings of the orchestra of Adolfo Carabelli are essentially indistinguishable from that of Orquesta Tipica Victor, having employed some of the same musicians (TodoTango); therefore, the recordings of these two orchestras have the same characteristics that detract from the energy of a milonga.   

One sometimes gets the impression that OTV is played as the first tanda in a Community Milonga for the purpose of announcing to the attendees that the milonga has begun and it is time to change one’s mindset from socializing with tango friends to getting out onto the floor and dancing. Many dancers will not heed the call to dance immediately, but will return to their tables and mentally prepare to dance, perhaps changing into their dance shoes at this time. In this case, the Guardia Vieja music is a throwaway tanda that will not draw many dancers onto the floor. (This can be done with other orchestras, but at a greater cost of wasting good music; e.g., playing D’Arienzo or Di Sarli with an expected empty dance floor is a violation of good Tango DJ practice.) This strategy works best when the first set of tandas follows a TTTV pattern, i.e., there are still two tandas of good tangos building up energy to the first vals tanda. Employing a strategy of a throwaway tanda is within the guidelines of acceptability at a Community Milonga where attendance is still low at the beginning of a milonga, but is an insult to dancers at an Aggregative Milonga where a potentially large group of dancers is eager to get out onto the floor. (Note: Beginning a milonga with a TTTV sequence is still acceptable at a fully attended milonga, as long as the first tanda generates sufficient incentive to enter the dance floor.)

Instead of beginning a milonga with a lackluster OTV tanda, the Tango DJ can select more inspiring music that attracts dancers onto the dance floor, such as from the orchestras of Tanturi (with Castillo vocals), Fresedo (instrumentals) or Canaro (with Maida vocals) (with Fama vocals); the Canaro led Quinteto Pirincho (aka Quinteto Don Pancho), which  offers music with Guardia Vieja characteristics but more energy and higher fidelity, is another good choice for beginning a milonga. The tandas referenced here not only have a clear and consistent rhythm, but also have sufficient energy to enhance dancers’ connection with the music.

In all fairness, there are some OTV vals recordings that are energetic and therefore quite suitable for the milonga, e.g., Sin rumbo fijo (1938) and Temo (1940); these are played frequently in milongas in Buenos Aires and in the USA. 

• 3. Milongas without Energy, especially D’Agostino

Recordings in the milonga rhythm should provide a contrast to the previous tanda of tangos. The increased tempo of milongas brings dancers to a higher energy level. Milongas also have a lighter, typically more playful feeling, relieving dancers from the gravitas of tango (e.g., OTV’s Cacareando; Canaro’s No hay tierra como la mia).

However, it is not unusual for Tango DJs to play a tanda of music by the orchestra of Angel D’Agostino that contains 3 recordings that, by their rhythm, are classified as milongas, but lack the energy of milongas by orchestras such as Canaro, D’Arienzo, Di Sarli and Donato; these D’Agostino milonga tandas typically include El porteñito ( 1943 ) [93 bpm] and Entre copa y copa ( 1942 ) [101 bpm]. (See YouTube tanda.) These milonga recordings of the D’agostino orchestra are sometimes misidentified as having a tango rhythm by inexperienced dancers.

When there are numerous recordings with energy and a clear milonga rhythm from the orchestras of Canaro, Donato, D’Arienzo and Di Sarli available for selection, playing D’Agostino milongas usually interrupts the energy flow at a milonga. Perhaps at an Aggregative Milonga, lasting 5 or more hours, a tanda of D’Agostino milongas can provide a respite later in the milonga when dancers are physically and emotionally drained; however in a 3-4 hour Community Milonga, where there may be only 2 tandas in the milonga rhythm over the course of the event, dancers who enjoy dancing milonga may be disappointed that their appetite is not being satiated.

• 4. Country and European Valses: Rodriguez and Canaro

Tango is a dance that reflects the urban life of ordinary people; therefore, tango music lacks the character of rural folk music or urban high life. The orchestra of Enrique Rodriguez played not only in Buenos Aires, but in rural areas of Argentina (as well as in other countries in South America); the repertoire of this orchestra included not only tangos, but also polkas, pasodobles, and foxtrots.

Some of the Rodriguez recordings in the vals rhythm sound like valses from the countryside, e.g., Tengo mil novias (1939) and Por aqui … por alla (1940). These vals recordings have a more upbeat and playful feeling that is uncharacteristic of urban tango valses. Other Rodriquez valses sound like European concert hall waltzes, e.g., Siempre fiel (1938) and A las tres de la mañana (1946). Tandas of recordings of Rodriguez valses with these characteristics are sometimes played in milongas in the USA (example). This music detracts from the urban Argentine ambience of a milonga.

The orchestra of Francisco Canaro recorded several valses that have the flavor of European concert hall waltzes, e.g., Etincelles (1936) and Tres Jolie (1938), both of which are compositions of the classical music composer Emile Waldteufel. A Canaro vals tanda with the characteristics of music played in a European concert hall music is presented here.

It is odd that sometimes Tango DJs will select these uncharacteristic of tango sounding valses for dancing at a milonga., when there are so many good choices of valses with a tango urban character recorded by the orchestras of D’Arienzo, Biagi, De Angelis, Calo, Tanturi, Donato, and Troilo.

• 5. Too many Vocals = Lack of sufficient Instrumentals

Instrumental tangos from the Di Sarli orchestra recorded in the 1950s [tanda example] are commonly played in milongas in the USA, apparently more frequently than in Buenos Aires. Instrumental tangos recorded by the Di Sarli orchestra in the 1940s [tanda example] are played frequently in milongas in Buenos Aires, but less so in the USA. The instrumental tangos recorded by the Di Sarli orchestra are appropriate for dancing because they have a clear and consistent rhythm. The instrumental tangos from the Pugliese orchestra recorded in the 1950s [tanda example] (and later) are also commonly played in milongas in the USA, much less so in Buenos Aires milongas, especially instrumental tangos from the 1960s and beyond. Whereas instrumental tangos recorded by the Pugliese orchestra in the 1940s [tanda example] are more appropriate for dancing, these are played less often at milongas in the USA; in contrast, these are played more often in milongas in Buenos Aires. Beyond instrumental tangos from the Di Sarli and Pugliese orchestras and, often enough, instrumental tangos from Orquesta Tipica Victor [tanda example], the inclusion of instrumentals of all rhythms (tango, milonga, vals) for dancing in a milonga music program is variable across milongas in the USA. Although experienced Tango DJs typically include instrumentals with danceable rhythms from the orchestras of D’Arienzo (tangos and valses), Troilo (early 1940s tangos), Canaro (tango, fast milongas: Milongon, Reliquias Porteñas, Arrabalera), Quinteto Pirincho, (tango, milonga, vals), Rodriguez, Biagi, Donato, and Fresedo (tangos from the last 4 mentioned), it is not uncommon to attend a 3 hour Community Milonga in the USA and hear one or two or occasionally even no tandas with instrumental recordings. Even for the favored Pugliese and Di Sarli orchestras, recordings with vocalists may be selected instead of instrumentals. Likewise, the De Angelis orchestra recorded some instrumental tangos in the 1950s that have a reasonably clear and constant rhythm (tanda example), and these are played at times in milongas in Buenos Aires, but some North American Tango DJs draw music for dancing from the De Angeles tango recordings in the 1950s with Oscar Larroca as vocalist (tanda example), not played often in Buenos Aires, that has stronger more emotional vocals and at times a less clearly defined rhythm. Other tango recordings from the 1950s with overwhelming vocals and occasionally indistinct rhythm that are sometimes played in milongas in the USA (but rarely if ever in Buenos Aires) include those from the orchestras of Hector Varela (with Argentino Ledesma; with Rodolfo Lesica) and Fulvio Salamanca (with Armando Guerrico), the latter adding shrill violin segments that assault the ears. In total, one tanda of these De Angeles or Varela or Salamanca tango recordings with vocals may be tolerable at a milonga, but when two or more of these, along with some tandas from Pugliese – Macel and/or Di Sarli – Pomar and/or Triolo – Marino are included in the milonga music program, dancers’ ears have had enough vocal intensity that fails to translate readily onto the feet.  

In Buenos Aires, instrumental tandas typically may comprise about one-third (or more) of the music played for dancing. Instrumentals provide contrast from the intense emotional content of tandas (typically of tangos) with vocals. Managing the energy in a milonga is accomplished by varying several characteristics of music for dancing – rhythm, tempo, and intensity. Including instrumental recordings provides contrast to prevent the overkill of an unabated assault of high intensity vocals without reprieve, a not uncommon feature of milongas in the USA.

• 6. Obscure Orchestras and Music

Tango DJs are usually more familiar with the diversity of tango recordings than is the average dancer at a milonga. Individual exploration and discussions with other Tango DJs often lead to increasing the data bank of recordings from which a Tango DJ draws to create tandas for use in the milonga setting. However, employing too wide a range of recordings for dancing at the milonga is counterproductive because dancers will have greater difficulty in recognizing the music to which they dance. Experienced music knowledgeable dancers, when faced with familiar music, are able to anticipate forthcoming music and construct their dance in conjunction with their expectations. In the Community Milonga setting, which has a set of dancers who attend repeatedly, it is advisable for Tango DJs to limit their music selections to a manageable set of recordings (with clear consistent rhythms) that become familiar to regular milonga attendees. This will enhance dancer connection to the music.

The collection of familiar music is only partially defined by what a local community DJ selects for dancing. It is defined by the set of recordings that are usually played across numerous milongas, not only in a community, but across communities in a region. For example, this could be the set of recordings most commonly played at Aggregate Milongas within a country (e.g., USA) or geographic region (e.g., Europe). The Gold Standard for the treasury of danceable tango recordings is the set of recordings played most often in Buenos Aires milongas. Although there are many milongas in Buenos Aires, there is a considerable amount of commonality in the recordings selected for dancing at these milongas, particularly among Traditional Milongas (where the greatest proportion of music played has a clear consistent rhythm); what primarily varies is the structure of individual tandas and the sequencing of these tandas over the course of the milonga.

To a significant degree, the preferred music selections for dancing at a milonga are drawn from a select group of orchestras. In most Buenos Aires milongas (see previous post), multiple tandas of music recorded by the D’Arienzo and Di Sarli orchestras typically are played at milongas. At least one tanda of milonga recordings of the Canaro orchestra is almost always selected for dancing. Selection of one tanda of instrumentals recorded during the 1940s by the Troilo and Pugliese orchestras is also widespread. Music from the orchestras of Tanturi, Biagi, Calo, D’Agostino, Rodriguez, Donato and Fresedo, as well as De Angelis valses are also commonly selected in Buenos Aires milongas. Even among these orchestras, there is a core set of recordings that is commonly used and thus is familiar to experienced dancers. In contrast, here is an example of a milonga playlist where, although most (but not all) of the orchestras selected are commonly heard in Buenos Aires milongas, half or more of the individual recordings are unfamiliar for experienced dancers.

Likewise, in the USA, it is not unusual to hear music played at milongas for which the orchestra is unidentifiable to most dancers, perhaps because it is from a rarely selected orchestra (e.g., Julio De Caro, Carlos Di Sarli Sextet, Roberto Firpo, Jose Garcia, Francisco Lomuto) or is unfamiliar music from a more commonly played orchestra. Tango DJs should prioritize familiar music for the dancers at a milonga.

Conclusions

The music played by a Tango DJ is an important source of enjoyment for dancers attending a milonga. For leaders who revel in exhibiting their prowess in executing conspicuous complicated movements and followers who delight in rapid and diverse ornamentation drawing from a variety of boleos and partner leg wraps, dramatic music designed for the concert hall provides them with the rewards they seek in their conception of tango. What these dancers miss in their exhibitionism is the opportunity to achieve a close physical and emotional connection with their partner that is enfolded in the music. Fortunately, over the four decades that tango music from the Golden Age has infiltrated into milongas in the USA (and Europe); for the most part, the recordings selected for dancing are from the same orchestras that are played for dancing in Buenos Aires milongas. However, what has been transmitted to a significantly lesser degree is the recognition of the best recordings of these orchestras for dancing and how to arrange them into tandas homogeneous in tempo, energy, and feeling.

Other than the desire to please the exhibitionists at the milonga, which are many in number due to the teaching methods of tango instructors, there are several additional reasons for the suboptimal selection of music for dancing at the milonga. The primary factor responsible for this is the Tango DJ educational process. An inexperienced Tango DJ cannot learn what music to select for the milonga based on what (s)he hears at the milonga, because only in rare cases are the musical selections identifiable by the naïve learner. Whereas many beginning Tango DJs assemble tandas and sequences of tandas from recordings loaded onto their laptops, likely having learned (in some workshop or online) the general rule that tandas should be homogeneous with respect to rhythm (T, V, or M), orchestra, vocalist (or all instrumental), perhaps also having learned that the dates of recording should be close in time, what developing Tango DJs often fail to do is recognize three important things about selection of music for dancing at the milonga. First, the music selected needs to have a clear and reasonably consistent rhythm. (The rhythm should not be secondary to powerful vocals that bury the rhythm.) Second, the recordings need to have sufficient energy (but not too much) to move the dancers in accordance with the rhythm (or the melody). Third, the tempo of the recordings within a tanda needs to be relatively homogeneous so that the dancers’ experience moving to the music remains relatively constant throughout the tanda; this includes the degree to which the musical selections vary in the insertion of musical pauses, a not too infrequent characteristic of tango dance music. When these characteristics of music selection are met, dancers who pay attention to the music will tend to have an enjoyable experience at the milonga.

Examples of good dancer connection to the music at milongas, when music with a clear and consistent rhythm is played, is shown in these videos:

• Canaro recording of El pollito (1931) at the Amado Encuentro Milonguero, Baden, Austria
• D’Arienzo recording (with Echagüe vocals) of La bruja (1938) at Encuentro Milonguero Rosas de Verano, Rovinj, Croatia

Dancers whose skills in connecting to the music are developing will improve these skills if the library of music at a Community Milonga is maintained at a relatively small level; it is more likely they will become familiar with the music, which enhances their ability to connect to it.

Nevertheless, the solution to Tango DJ suboptimal selection of music for dancing at milongas still remains somewhat obscure. Certainly, desire to serve as a DJ without input from expert sources, for example, by acquiring a large collection of recordings and selecting from this library music that is pleasing to the ears, in almost all cases, is insufficient in reaching the level of competency that engenders a good connection of dancers to the music. Attendance at a few Tango DJing workshops is unlikely to improve significantly this level of competency. Another likely step in the early development of Tango DJs is seeking prepared tandas available on YouTube or Tango DJ websites. Although this may provide, in some cases, useful raw material for experimentation, as demonstrated by the review conducted above, the acceptance of web-posted tandas as optimal for playing at the milonga will yield mixed results. It appears that the best solution to achieving a high level of proficiency at selecting music for dancing at the milonga is to become thoroughly familiar with Classic Tango music through repeated listening, to the point that when music is played at a milonga, the developing Tango DJ, at the very least, can identify the orchestra and the vocalist and, if possible, identify the name of the recorded piece, or at least recognize it when replayed at home. Then, what needs to be combined with this is careful observation of dancers’ connection to the music at the milonga. Another valuable component of Tango DJ education in selecting the best Classic Tango music for dancing is to attend Traditional Milongas in Buenos Aires where the most highly regarded DJs are employed and study their music selections.  

One need only attend (possibly self-identified) Traditional Milongas in Buenos Aires and the USA (and Europe) to realize that these are different music environments. In the USA (and Europe) tandas of Pugliese with Maciel vocals, Troilo with Marino vocals, Di Sarli with Florio vocals and, of course, Orquesta Tipica Victor, abound, while in Buenos Aires these find minimal, if any, play. Of course, the dancing is quite different as well. These are different tango subcultures. One possibly can justify the existence of these differences as different tango evolution in different tango environments. However, there is much to be learned from the native environment of tango. Observations of the better dancers (and there are many) in Buenos Aires milongas will indicate that tango dancing is indeed about connection to the partner and the music, not the step replication independent of the music that is so prevalent in North American and European milongas.

Having expounded in detail on this subject, there is one serous detrimental fact that diminishes hope about improving music in Euro-American milongas. As suggested from a recent Tango DJ forum, most of the dancers who attend these milongas don’t know the music and they don’t care about the music. Their primary motives are social (previous post), which is not a bad thing, but it is not everything about attending a milonga.

Another factor contributing to the perseverance of poorly selected music in milongas in the USA (and Europe) is the political nature of DJ selection. In Community Milongas, the DJ is often the milonga organizer, who may seek fame without talent. In Aggregate Milongas, the DJ often is selected on the basis of personal friendship with the organizer or perceived popularity of the DJ. None of these factors are necessarily correlated with the quality of the music played for dancing. Until DJs and organizers recognize the value of connection with the music (other than providing the impetus for exhibitionism), milongas in the USA will continue to disappoint dancers who seek this connection.