Tango Endings

Just like a gymnast needs to stick the landing at the end of the routine, a well-timed and executed ending is essential to dancing Argentine tango. This unique book unlocks the secrets to tango endings that have consistently frustrated beginner and intermediate dancers. After years of searching in vain for a class on endings, Steve Darmo took it upon himself to learn everything he could on the topic. Realizing that the music drives the steps, he extensively researched the best music from the Golden Age. He studied over 1700 tangos recorded by the 20 most popular dance orchestras in order to prepare the most comprehensive work ever written on the subject.This book gives everything you need to become an expert at tango endings and greatly improve your dancing. It is packed with tips and is written in an easy conversational voice.

The Art of Tango offers a systematic exploration of the performance, arrangement and composition of the universally popular tango. The author discusses traditional practices, the De Caro school and the pioneering oeuvre of four celebrated innovators: Pugliese, Salgán, Piazzolla and Beytelmann. With an in-depth focus on both reception and practice, the volume and its companion website featuring supplementary audio-visual materials analyse, decode, compare and discuss literature, scores and recordings to provide a deeper understanding of tango’s artistic concepts, characteristics and techniques. River Plate tango is explored through the lens of artistic research, combining the study of oral traditions and written sources. In addition to a detailed examination of the various approaches to tango by the musicians featured in this book, three compositions by the author embodying creative applications of the research findings are discussed. The volume offers numerous tools for developing skills in practice, inspiring new musical output and the continuation of research endeavours in the field. Illustrating the many possibilities of this musical language that has captivated musicians and audiences worldwide, this book is a valuable resource for everyone with an interest in tango, whether they be composers, performers, arrangers, teachers, music lovers or scholars in the field of popular music studies.

Writing this Tango Course is both an obligation and a great pleasure for me. It is an obligation because I would like to contribute something (of all the things that I owe) in return as an appreciation of having been fortunate enough to educate myself in the Orchestras, where I learned to play Tango. The Orchestras were a crucible where the ideas of its members and/or other creative musicians experimented, played, and came together to create playing styles, rhythmic forms, etc. These contributions were what took the Tango, little by little, to such a high musical level. Nowadays, it is not at all easy to belong to an Orchestra, considering the fact that so few can subsist. This makes it more difficult for those who want to have careers in Tango music to acquire the vast knowledge necessary for playing and interpreting it. Let us not forget that the Orchestras have always been the best schools for such an apprenticeship. It is also a great pleasure to be able to transmit and share that what I have learned, trying always not to leave anything out (that is my real intention) by relying on my memory which fortunately still helps me. I never intended for my conclusions to be taken as the absolute truth, nor wanted to win something over anyone, in anything. This course just shows my position, and the ideas with which I have always worked. We will deal here with the Tango in versions which, in my understanding, are genuine manifestations of itself. I love the Tango because I love good music, and I got into it to learn to play it, not to change it. If my versions and arrangements have something different about them, it is only because this is my language, and I have expressed myself through it. I will also talk about the incorporation of new contributions and changes, as long as they are authentic within the genre. The many streams of opinion may or may not coincide with what will be said in this course. Considering the broadness of the theme and the flexibility which should govern artistic creation, other concepts may prove constructive as well. I sincerely hope that this course will be useful to someone, Horacio Salgán

Regarding the Tango Dance Amalgamation, it includes the original Argentine Tango and its Genre which Musically featured its Bandonean sound, the American Tango, Continental Tango, and the International Tango, among others. This book is the story of Tango.

Born in the impoverished barrios of Buenos Aires during the late 19th Century, the tango has become one of the most important music and dance forms of our time. Tangos for Accordion presents a distinctive collection of predominantly Argentinian tangos arranged for solo piano accordion. The book’s introduction includes a brief history of the tango and an explanation of tango rhythms. Preparatory exercises explore the differences between various rhythms (habanera, marcato, etc) and how to perform them on the accordion. Includes many of the best-known tangos, such as La Cumparsita, Caminito, El Choclo, El Marne, Catamarca, La Paloma, and many more. Includes chords symbols for accompanying instruments. For intermediate to advanced players.

A gripping espionage thriller about an establishment plot to take control of 1970s Britain, by a writer who is 'poised to inherit the mantle of John le Carre' 'The thinking person's John le Carré' Tribune 'Edward Wilson seems poised to inherit the mantle of John le Carré' Irish Independent 'More George Smiley than James Bond, Catesby will delight those readers looking for less blood and more intelligence in their spy thrillers' Publishers Weekly An MI6 officer, haunted by the ghosts of an SS atrocity, kills a Nazi war criminal in the ruins of a U-boat bunker. The German turns out to be a CIA asset being rat-lined to South America. As a hungry Britain freezes in the winter of 1947, a young cabinet minister negotiates a deal with Moscow trading Rolls-Royce jet engines for cattle fodder and wood. Both have made powerful enemies with long memories. The fates of the two men become entwined as one rises through MI6 and the other to Downing Street. And as Britain stumbles into the mid-1970s, a coup d'etat is imminent. A Very British Ending is the Wolf Hall of power games in modern Britain. Senior MI6 officers, Catesby and Bone, try to outwit a cabal of plotters trying to overthrow the Prime Minister. The author once again reveals the dark underside of the Secret State on both sides of the Atlantic. 'A fantastic read' Culture Matters 'The best espionage story you'll read this year or any other' Crime Review Praise for Edward Wilson: 'Stylistically sophisticated . . . Wilson knows how to hold the reader's attention' W.G. Sebald 'A reader is really privileged to come across something like this' Alan Sillitoe 'All too often, amid the glitzy gadgetry of the spy thriller, all the fast cars and sexual adventures, we lose sight of the essential seriousness of what is at stake. John le Carré reminds us, often, and so does Edward Wilson' Independent

Examines gender bias from the perspective of readers, writers and publishers, with a focus on the top two bestselling genres in modern fiction. It is a linguistic, literary stylistic, and structurally formalist analysis of the male and female “sentences” in the genres that have the greatest gender divide: romances and mysteries. The analysis will search for the historical roots that solidified what many think of today as a “natural” division. Virginia Woolf called it the fabricated “feminine sentence,” and other linguists have also identified clear sexpreferential differences in AngloAmerican, Swedish and French novels. Do female mystery writers adopt a masculine voice when they write mysteries? Are femalepenned mysteries structurally or linguistically different from their male competitors’, and vice versa among male romance writers? The first part can be used as a textbook for gender stylistics, as it provides an indepth review of prior research. The second part is an analysis of the results of a survey on readers’ perception of gender in passages from literature. The last part is a linguistic and structural analysis of actual statistical differences between the novels in the two genres, considering the impact of the author’s gender.