On 10/06/10 04:28, Trini y Sean (PATangoS) wrote: > One thing he says about the accompaniment is that it is a consequence of the > melody. Thus, if someone called him and said that he had written a typical > waltz but needed an accompaniment, Salgan could basically whip it up without > hearing the melody. However, if the caller said that he needed a tango > accompaniment, Salgan would need to hear the melody first. He describes this > special relationship between melody and the accompaniment as being unique > compared to other genres of music. > He's at least partially wrong. As someone who plays accompaniment to other forms of dance music, I always fit my accompaniment to the rhythms of the melody. I _could_ lay down a bland repetitive rhythm that ignores the melody, but I wouldn't be asked back to play with a group if I did that.
In fact, there are several folk dances that are specifically fitted to the rhythms of a particular melody, so any accompaniment that fails to match the melody would actively harm the dancers ability to perform the dance, in a way that would be even more destructive than doing the same thing to a tango melody. Myk, in Canberra _______________________________________________ Tango-L mailing list [email protected] http://mailman.mit.edu/mailman/listinfo/tango-l
