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RE: Section of "Derecho Viejo" (in reply to jg7238)
Wow, nice work; also Cacho Tirao's arrangements are awesome!
Just a little comment, as I was immersed in argentine tango for quite a while previously. I feel like the rubato in a couple of places does not fit well with this tango - it wants to be very rhythmical and straight/tight. Maybe it is me listening to D'Arienzo's orchestra's 1948 version so much (one of the more famous interpretations of this tango)... here it is - your section starts at about 1:50.
I also just discovered that you posted La Cumparsita arranged by Cacho Tirao as well. Amazing playing! Inspires me to start learning some tangos arranged like these.
Another general note: All Argentine tangos (specifically tangos, as opposed to milongas or valses) after about 1920 are played straight (before that they were played and written with a rhythmic pattern of dotted eighth-sixteenth, eighth-eighth - most notable in the bass line). However piano arrangements sheet music still feature the dotted eighth-sixteenth, eighth-eighth pattern - mostly because so many of the famous tangos were written before 1920. Cacho Tirao does the arrangements properly, as they are now played: eighth-eighth-eighth-eighth (if in 2/4), or , equivalently, quarter-quarter-quarter-quarter (if in 4/4) - i.e. "straight" rhythmic pattern.
Musicians in dedicated tango orchestras know this, so even if they play prima vista from the old piano arrangements sheet music, they will 'straighten' the tango as they play it. Classical orchestra musicians, however, typically play it as they see it written. It was very annoying to go to 'live tango music' events with impromptu ensembles and hear them play famous tangos WWI-era style :-)
Unfortunately the pre-1920 rhythmic pattern got fossilized in the classical guitar literature, so anything there that is called a "tango" would inevitably have the dotted eighth-sixteenth, eighth-eighth pattern.