El tango entre las cuerdas (Tango between the Guitar Strings)

Although it might not be part of the cliched images used to symbolize “el tango,” the guitar is a fixture on postcards of the history of this genre. Even though the cast-iron streetlight upon which the “guapo” leans is more famous, the 6 strings of the guitar are the foundation of the “dos por cuatro” tango rhythm. Its voice rings out from the most remote milongas, accompanies the greats and knows how to shine as a solo instrument.

Surely, the guitar arrived in Argentina in the hand of a Spaniard who wanted to bring with him a piece of his culture, and perhaps, acts as an antidote for his melancholy. Through centuries, the guitar was used to mix the rhythmic characteristics and melodies of Europeans, Africans and aborigines.

Thus was born the milonga in Las Pampas of Argentina. This rhythm, that was part of all things “criollo,” contains the African syncopation in the bass strings of the guitar and the flamenco arpeggios in the first chords. As Argentine cities grew and welcomed new influences from its distinct immigrants, the milonga quickened its step creating the origin of tango.

The first tango formations were comprised of the flute, violin and guitar. From this, you can deduce that the rhythmic responsibility certainly fell on our instrument. These trios, that little by little increased their number of musicians, would adorn fancy parties and social gatherings.

In the “pulperias” and “boliches” of the neighborhoods, the “guitarreadas” encouraged diverse inhabitants to integrate. As I write this, I can’t stop recalling the movie, “Ultimo Payador,” by Hugo del Carril interpreting Betinotti.

When the first singers begin to promote the tango song, the trio and quartet of guitars was the preferred form of accompaniment. Gardel and Razano were the architects, drawing the blueprints with strings and chords, another genesis of the first guitar formations.

Even in the 70’s when social and economic crises and new Pop music expressions attempted to drown out the great orchestras, the guitar managed to remain in the spotlight.

Roberto Grela is, perhaps, the guitarist most admired for his virtuosity and pioneering spirit. Together with Triolo, Juárez, Goyenche, Rivero and many others, he played “pua abajo” developing the characteristic attack on the instrument. “Pua abajo” is the technique of strumming only striking down on the guitar strings, instead of up and down. Aníbal Arias, Chocho Ruiz and Palermo are others worth researching to fully understand this style.

The guitar formations are a chapter apart within the Tango. Before electric amplification existed, these groups played in large pubs. The technique of attacking down on the strings with the pick developed to make up for the lack of volume of the instrument. The arrangements were made so that the “guitarron” played the base notes and the low zone of the note spectrum. The guitars played at set intervals or counterpoint to give the melody more body.

Ubaldo de Lio together with the pianist Salgan incorporated the electric guitar and a new form of playing. At moments impersonating the voilin, and at others so in sync with the piano that they sounded as one. They propell the rhythm and fascinate various generations of tangophiles.

Want to see these milongas or tango shows firsthand? Maybe pick up some tango steps along the way? See tango shows and lessons

Here are some links to various videos to listen to the artists cited in this article:
Roberto Grela

Aníbal Arias

Ubaldo de Lio

Written Diego Carlisky
Tango guitar teacher, Guitarrista, Compositor.
Translated by Madi Lang
www.baculturalconcierge.com