[Tango-L] types of valses?

[anfractuoso anfractuoso]

Thank you for your reply, very interesting.

However I see now that maybe I should have made it clear that I don't
really have a problem identifying vals rhythm patterns. What I label
as a 'vals'  commonly is written in 3/4 and has an accent only on the
first quarter note in each measure.

My question was about the actual features of a vals musical form that
are different between the different designations of vals. Time
signature is the most basic, as is rhythm pattern and tempo (these
three would likely be the same for all vals subclasses); others could
be characteristic legati or staccati of a particular instrument, or a
particular shape and time flow of a musical phrase, or a
characteristic beginning and/or ending, etc. etc. My other question
was how many different vals designations do you guys know or have
heard of?

It might have been better to start with an example. The superstar of a
tango vals called "Desde El Alma" is given as a 'Vals Boston' - anyone
know why? What makes it so?

I don't know what Java and Redova are, but mazurka does not have a
vals rhythm pattern despite having a 3/4 time signature because the
accent there is either on the second or third quarter note in a
measure.

Rancheras also are not really valses as they have what feels like all
three quarter notes accentuated and are much slower. In my opinion
anyway.

Cheers!


On 2/22/07, Tango Tango <tangotangotango at gmail.com> wrote:
> Most people would not consider a Boston to be part of tango and the
> Waldteufel-waltzes Canaro recorded are really a novelty. I've never heard
> them played at a milonga. Rodriguez recorded EVERYTHING, so he does not
> represent a straight lineage of tango.
>
> To the Vals and Vals-Boston, you can add Mazurka, Java and Redova. All are
> 3/4.
>
> I have some Vals-Rancheras that are 3/4 and some that are 4/4 (so then is it
> still a waltz or is it a bolero?) Some switch between 3/4 and 4/4.
>
> The answer to your question is: You know it when you hear it.
>
> -Kinda like the difference between contemporary zydeco and contemporary
> cajun. You can't define it in terms of instrumentation or score but you hear
> the difference immediately.
>
> Neil
>
> On 2/22/07, anfractuoso anfractuoso <anfractuoso at gmail.com> wrote:
> >
> > Hello everybody,
> >
> > I hope there is some interest in this, more musical, type of a question. I
> > did try to search the archives on this subject but could not find anything
> > useful.
> >
> > How many types (sub-classes) of vals exist in tango and how do they differ
> > from each other?
> >
> > For example, there is "vals boston". What is it in terms of what is
> > different from a regular vals?
> >
> > Some other are more obvious - e.g. "vals viennese" (my designation) is a
> > tango vals that emulates a viennese waltz in certain characteristic
> > features. Examples exist by the Canaro and Rodriguez orchestras.
> >
> > I am interested in real sub-classes of vals that one can identify based on
> > systematic features, and I am also interested in the different sub-classes
> > as labelled on sheet music. What I mean by this distinction is that
> > sometimes the sheet music labels do not mean anything different, sometimes
> > they do.