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THE FOUR SEASONS
PIZZOLLA
FOUR SEASONS OF BUENOS AIRES
AUSTRALIAN CHAMBER
ORCHESTRA
One of the world’s most lauded
chamber ensembles, the Australian
Chamber Orchestra is renowned for
its inspired programming and
unrivalled virtuosity, energy and
individuality.
Its unique programming
extends across six centuries,
spanning popular masterworks,
adventurous cross-artform
projects and pieces specially
commissioned for the
ensemble.
Outstanding Australian
violinist Richard Tognetti has
been at the helm of the ACO
since 1989.
Began his career as a musician
and played in Tango orchestras as
a bandoneon player.
Studied composition and
orchestration which resulted in his
established style of “Nuevo Tango”
mixing Tango music with elements
of both Jazz and Classical music..
About Tango
A style of music that traditionally
comes from Latin America,
namely Argentina and some
surrounding areas.
Extremely popular in early 20th
Century with bands &venues
playing Tangos throughout not
only Latin America but into North
America &beyond.
The passion of Tango dancing has
always been intriguing and
popular.
ABOUT ASTOR PIAZZOLLA
FOUR SEASON IN BUENOS AIRES (1964- 1970)
Originally four separate tangos.
After Piazzolla’s death Russian composer Destyatnikov connected these works to those of
Vivaldi’s.
There are references to Vivaldi’s works in each of the Piazzolla movements arranged by
Destyatnikov.
It is interesting to note that Destyatnikov has matched Piazzolla’s ‘Winter’ with Vivaldi’s
‘Summer’ motifs and visa-versa given the opposite hemispheres each composer belonged
to.
The table below shows the bar references for the Vivaldi motifs that are referenced in each
movement:
Vivaldi mvt
Piazzolla mvt Reference Point
Spring
Spring
A direct quote of Vivaldi’s opening motif is at the end of
Piazzolla’s mvt (coda)
Summer
Summer
The descending scales from Vivaldi’s WINTE is heard in
Piazzolla’s mvt (b44)
Autumn
Autumn
Vivaldi’s opening motif is reference with more discords in
the final section (b113)
Winter
Winter
The rapid semiquaver motif from Vivaldi’s SUMMER is
heard in Piazzolla’s mvt (b48)
CHARACTERISTICS OF TANGO
PITCH
Because of their dramatic feel, Tangos will often be in minor
tonality/keys.
There will sometimes be a contrasting section in a major key
Because of their dramatic feel, Tangos will often be in minor
PITCH tonality/keys.
There will sometimes be a contrasting section in a major key.
Meter is usually  or  .
DURATION
Meter is usually or
Syncopation
is a
Syncopation is a defining feature of Tango.
defining
feature
of rhythmic ideas – Piazzolla’s use of the
Three main
Habanera
Tango.
3-3-2 variation is prominent in his work.
Clear strong
beat is important as this is a dance style.
Three
main Habanera
DURATION Variations of the Hanbanera rhythm can be found at
rhythmic ideas 
Tangomusicology.com
Piazzolla’s use of the 3-3-2 variation is prominent in his work.
Clear and strong beat is important as this is a dance style.
Variations of the Habanera rhythm can be found @
The basic structure of Tango has two or three sections (A-B-C).
Each section has 16 bars of  or 8 bars of  (32 “counts” for
dancers).
These sections will usually have two clear 8 bar phrases and
STRUCTURE sometimes an internal structure of two 4 bar phrases within
each.
The phrasing structure described above is called Question &
Answer phrasing.
As with most dance music, balanced phrasing is very important.
Traditionally Tango orchestras had the following
instrumentation:
2 violins; piano, double bass, bandoneons
(similar to an accordion)
Sometimes a percussionist, guitarist or vocalist is added to the
TONE COLOUR
ensemble.
Piazzolla brought the Tango tradition into the concert hall by
composing works for not only traditional instruments but also for
a concert orchestra. This brought the style known as Tango
Nuevo to all new audiences.
DYNAMICS &
EXPRESSIVE
TECHNIQUES
TEXTURE
Juxtaposition of articulations and dynamics are very prominent
in Tango.
Strong detached staccato accompaniment against smooth legato
melodic lines.
Sudden changes in dynamics from loud to very soft.
Accents are integral to emphasise the syncopated rhythms.
Use of glissandos and other expressive techniques to highlight
the dramatic nature of this style.
Traditionally ensembles had a soloist (violin perhaps) on the
melody leading while other members provided chordal
accompaniment or counter melodies.
Sometimes a soloist will play the question phrase while the
ensemble will provide the answer phrase.
The double bass provides either a stable bass line on the beat
(similar to a walking bass line) or a repeated ostinato pattern
that reinforces the habanera rhythm. This will depend on
whether there is a drummer/percussionist sometimes.
These roles are easily identifiable in the Piazzolla by looking at
the score. The soloist is often labelled and the other roles can be
seen in the various parts.
AURAL/ MUSICOLOGY
• Each sequence of Lessons
provided by the ACO will
focus on developing key
skills: PERFORMANCE,
COMPOSITION and
AURAL/MUSICOLOGY.
• This sequence of lessons
will focus on AURAL
AND COMPOSITION.
PREPARATION LISTENING ACTIVITY
Listen to the opening of the Primavera Porteña (Spring)
movement and answer these guide questions in preparation or
the composition activity we are about to complete. Use the
score excerpt to help you.
List all the instruments in this score IN THE ORDER THEY ENTER
THE PIECE–
________________ ________________ ________________
________________ ________________ ________________
The entries of the melodic parts are fugal in nature reflecting
Piazzolla’s classical training. Identify the bar that each
instrument enters in this fugal structure –
Violin 1 = ________Viola = ________Violin (solo) = ________
LISTENING ACTIVITY
Identify 2 DIFFERENT WAYS/PARTS in which the habanera rhythm is
used in the opening of this movement.
Give instrument name and bar references in your answer.
Part (instrument name)
Bar
How is it used?
reference
1.
2.
From the GENERAL CHARACTERISTICS table above, identify 3
characteristics of Tango that are in this excerpt.
Part (instrument/s name) Bar
reference
1.
2.
3.
Characteristic and how it is used
COMPOSITION ACTIVITY
Let’s use what we have
learnt to compose our
own Tango. Follow the
step-by-step instructions
to create your own Tango
piece. You will need
manuscript paper for this
activity.
There are three main
layers to compose in
order to create your
Tango.
• Rhythm (drum kit,
percussion, bass line*)
• Accompaniment
(ensemble, chords +
bass line)
• Melody
STEP 1 – RHYTHM SECTION
• Create the rhythm parts by first choosing a basic pattern
you would like to build from.
• Use one of the habanera rhythms we learnt about earlier.

• Now you get to play around with adding other percussion
layers to fill out the rhythm section*. Don’t forget that this
is not the only layer for the piece so don’t crowd it too
much. This is the foundation layer.
*Use the Percussion Cheat Sheet to help with the drum
notation if you need to.
STEP 2 – THE ACCOMPANIMENT + BASS LINE
Traditionally Tangos are in minor keys. Choose one of the chord progressions below to use as a
template for your Tango. This piece will have an A– B – C structure. SECTIONS A & C will be in A
minor and SECTION B will be in A major.
Section A & C options (Choose the order you’d like to use them in)
A minor (i)
Am – Am – E7 – E7 – E7 – E7 – Am – Am
A minor (ii)
Am – Dm – E7 – Am – Am – Dm – F – E7
Section B – A major
A major
A – A – E7 – E7 – E7 – E7 – A – A
Bass line – This can be constructed in 2 ways
Arpeggiate the chord using one of the habanera
rhythms or
Use the notes in the chord in a different order still
with the basic habanera rhythm.
Chords – Start out simply with simple note values
such as minims and then later you can make it
more complex. If you are orchestrating for
multiple instruments then divide the notes in the
chords between the instruments for a unified
sound (just as Piazzolla does).
STEP 3 – MELODY
Tango melodies are often built on step movement with some chromatic notes that help you move
from one chord to the next. When building a melody it is a good idea to but a chord note at the
beginning of each bar in your phrase and then play around with step movement from bar to bar to
create shape and cohesion. Chromatic notes every now and then add interest.
Use some of the rhythms below to help you get started:
SHARE YOUR IDEAS THROUGHOUT THE PROCESS FOR
FEEDBACK. TRY OUT A COUPLE OF IDEAS EVEN IF THEY
DON’T ALL WORK.
PERFORM THE TANGOS YOU HAVE COMPOSED.
When you go to the concert, use the knowledge and skills
we have explored and consider the following questions:
1. How do the three elements of duration (meter, tempo and
rhythm) contribute to the overall effectiveness of Tüür’s work
Action - Passion – Illusion?
2. Can you identify different ways duration has been used by
composers in the other works performed in the concert? Were
they similar or in contrast to how Tüür used duration?
3. After you have seen the concert, write down three ways you
could use elements of duration in your own composition work.
Give examples from what you saw/heard at the concert to help
you remember the techniques used by Tüür and the other
composers.
TEACHER’S NOTES
Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and
NSW Stage 6 Music 1 & Music 2 Syllabus.
General
Capabilities
Cross-Curriculum Links &
Priorities
Viewpoints
LIT – Reading the score, writing about the Concepts of Music (CoM).
NUM – Identifying and discussing meter and rhythm.
ICT – Utilising internet resources.
CCT – Critically discussing the set work/s.
PSC – Sharing personal responses to set work/s.
EU – Working collaboratively with peers in group discussions.
ICU – Discussing cultural issues surrounding the set work/s.
English, Humanities and Social Sciences, Mathematics, History, Language
2 – Extend discussions into the links between the repetitive nature of these works and
that of cultural music of Asian regions (eg; Balinese, Chinese).
TEACHER’S NOTES
NSW Stage 6 Syllabus Links –
MUSIC 1
Topic Links
MUSIC 1
Outcome
Links
Music of the 20th & 21st
Centuries
Music for Small Ensembles
Music and the Related Arts
(Hermann & Stravinsky)
P – 4,5,6,7,8,10,11
H – 4,5,6,7,8,10,11
MUSIC 2
Topic Links
MUSIC 2
Outcome
Links
Music 1900 – 1945
Music 1945-25 Years Ago
Music of the Last 25 Years (Although
the Tüür work is not Australian)
P – 4,5,6,7,8,10,11
H – 4,5,6,7,8,10,11
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