Episode 9

When we think of tango, we usually imagine the classic orquesta típica: violins, piano, double bass, and—of course—the bandoneón. This formation defined the sound of tango’s Golden Age. Yet some orchestra leaders experimented with timbre and texture, introducing instruments rarely associated with tango. These experiments produced recordings that today sound exotic—sometimes even eccentric—while revealing the restless creativity of tango musicians.

Hawaiian Guitar in Canaro’s Orchestra

Francisco Canaro was always willing to adapt his music to popular trends. In the late 1920s and early 1930s, the Hawaiian guitar became fashionable worldwide, and Canaro incorporated it into his orchestra. Its glissando effect lent a dreamy, sentimental quality. In Mimosa track it appears around 1:08:

🎵 Francisco Canaro - Mimosa (1929)

Accordion in Donato’s Orchestra

While the bandoneón is tango’s signature instrument, Edgardo Donato occasionally used accordion—a close relative, but with a brighter and more “rustic” timbre. It appears especially in Donato’s lighter, playful numbers, adding a folk-like flavor. Just take Madrecita track and enjoy its part between 1:59 and 2:10:

🎵 Edgardo Donato - Madrecita (1939)

This choice aligned perfectly with Donato’s cheerful, dance-friendly style, which stood in contrast to the darker, more dramatic sonorities of Troilo or Pugliese.

Oboe in Lomuto’s Orchestra

Francisco Lomuto experimented with the oboe — an instrument almost unheard of in tango. Its reedy, plaintive voice added an unexpected, almost classical color, blending strangely yet beautifully with violins and bandoneones. Listen to its dialogue with the violins starting at 1:56:

🎵 Francisco Lomuto - Recuerdo (1941)

This orchestration gave Lomuto’s recordings a distinctive hue, revealing his openness to symphonic influence.

Harp and Vibraphone in Fresedo’s Orchestra

Osvaldo Fresedo was known for his refined, elegant sound. In the 1920s and early 1930s, he incorporated the harp, adding a shimmering, luxurious texture reminiscent of salon music—perfectly in tune with his reputation as the orchestra of Buenos Aires’ upscale cabarets.

🎵 Osvaldo Fresedo - Buscándote (1941)

Listen carefully and you can hear touches of vibraphone around 0:55 and harp around 1:02. These additions reinforced Fresedo’s status as the most “elegant” of tango leaders, appealing to audiences seeking sophistication and refinement.

Others: Sound Effects in Tango

It’s always a surprise to discover unusual sounds in the tango repertoire. In “El Amanecer” (1937), Roberto Firpo even used water whistles to imitate birdsong, adding a playful, almost cinematic dimension to the recording.

🎵 Roberto Firpo - El Amanecer - (1937)

For tango DJs, these tracks can be double-edged swords: unusual timbres may charm or confuse. But why not surprise your dancers from time to time—letting them smile, listen more closely, and reinterpret the music in a new way?

#tango, #TangoArgentino, #tangodancer, #milonga, #milonguero, #tangodj