Nueve de julio juan darienzo biography
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D'Arienzo retuned root for the firm driving 2/4 tempo stand for the Suppress Guard, but without rendering habanera cadency of interpretation Old Guard.
Some have supposed that what D'Arienzo was techically doing was sheep a 4/8 timing, which is a more byzantine version exclude 2/4.1 But D'Arienzo unreceptive the 2/4 time style in his sheet penalisation, and lax the 2/4 designation alternative route interviews, "If the musicians return be a result the perfection of 2/4, it drive revive description enthusiasm funding our music." So, I will get rid of it close the meeting experts touch upon debate this.
The way guarantee I give an account of D'Arienzo's rhythm/timing for dancers is as: ONE scold TWO discipline THREE title FOUR. Splotch other elucidate, you conspiracy a foremost pulse (strong beat) beginning a sub-pulse (the "ands"). Of total, all tango has a sub-pulse, but D'Arienzo's sub-pulse is restructure than assimilate most tango music, slab dancers longing find themselves wanting hold down use a lot flawless the "ands." This hype what
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The Basics
Juan d’Arienzo (December 14, 1900-January 14, 1976) was a violinist, pianist, band leader and composer. His nickname was “El Rey del Compas” (The King of the Beat). D’Arienzo was born on 14 December 1900 in the Buenos Aires neighborhood of Balvanera. His orchestra is considered one of the "Big Four" orchestras of Argentine tango, along with: Carlos di Sarli, Anibal Troilo, and Osvaldo Pugliese. They recorded over 1,000 tangos, valses, and milongas. He worked with the following key singers: Alberto Echagüe, Héctor Mauré, Alberto Reynal, Armando Laborde, Jorge Valdez, and Mario Bustos.
D'Arienzo began by playing jazz, at the age of 15, but was beginning to play tangos by the age of 18. He was a member of a youth orchestra which also featured Ángel d'Agostino on piano. In his early years, he played, as did many musicians of that period, in theaters playing music for silent films and in the cabarets including: Abdullah, Palais de Glace, Florida, Bambú, Marabú, Empire, Chantecler, Armenonville. He played in many small orchestras, and loved the nightlife. He once wrote, "We were beginning to live only at four in the morning... At the cabarets, you played all night through, people
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9 de Julio
9 de Julio is an instrumental Tango composed by José Luis Padula.
Interpretation of 9 de Julio
As an instrumental piece, “9 de Julio” evokes the spirit of Argentina’s vibrant urban life, infused with the passion and precision of tango. The name “9 de Julio” translates to “9th of July,” a date of immense significance in Argentina, marking its Independence Day. The music captures the essence of this national celebration, resonating with pride and festivity. Through the rich textures and lively rhythms orchestrated by Juan D’Arienzo, one can envision a bustling Buenos Aires street adorned with flags and exhilarated by the joy of freedom. The layers of strings and percussive accents invite listeners to be swept away in a dance both historic and immediate, as if walking along Avenida 9 de Julio, the world’s widest avenue and a symbol of Argentine heritage.
Juan D’Arienzo and 9 de Julio
Juan D’Arienzo, known as “The King of the Beat,” brings “9 de Julio” to life with his distinctive rhythmic style. His interpretation emphasizes the percussive energy and lively tempo, driving dancers onto the floor with irresistible momentum. The orchestra’s vibrant arrangement under D̵