Bahia Blanca: A (Quick and Dirty) Musical Analysis

[tangomonkey]

Well, BTM, here it is...

Bahia Blanca, Carlos Di Sarli

The sheet music is here: http://www.todotango.com/english/las_obras/partitura.aspx?id=2601

Here is a YouTube clip:

7M44Ju5vvuU


I won’t redefine terms here. Please check the El Choclo thread if you need the definitions.

Bahia Blanca is in two sections, A and B. Both are 16 bars long with 4, 4 bar phrases. Each of these has a 2 bar Question and a 2 bar Answer. Very symmetrical. The key signature is 4/8, so read what I wrote about 4/8 in the D’Arienzo El Choclo post about his first playing of Section A if you don’t know what that means. Essentially, each bar has 4 beats and the beat is an eighth note. The tempo is andante, about 100bpm. The key is f sharp minor; minor keys being “sad” keys.

The structure is A-B-A-B-A.

I will talk about the music, its phrases , the Q&As, the melodies, and rhythms. I’ll leave the instrumentation, how Di Sarli uses the bandoneons and violins for contrast, and when the music is marcato or legato (smooth and connected notes, lyrical) to your ears to identify. I might add this info. at a later date…

Section A

Phrase Timing:
Phrase 1 - bars 1-4 (:00-:09); Phrase 2 – bars 5-9 (:09-:17); Phrase 3 – bars 9-12 (:17-:25); Phrase 4 – bars 13-16 (:25-:35)

I won’t discuss phrase by phrase here, just the main musical features as I see them. The Questions and Answers are very distinct, so I’ll write about what makes them sound that way.

The Questions are characterized by a melody which leaps up then descends. Habanera 2 rhythm (syncopation) is noticeable on beats 3 and 4 in bar 1, with an accent on its first note. The Question’s melody and harmonies are repeated without alteration in Phrases 2 and 3.

The Answers are based on the rhythm of the Question’s last three notes: sixteenth-eighth-eighth. This rhythm is played twice, the second time at a lower pitch. Repeating the Question’s concluding rhythm, while descending in pitch and volume, gives the Answer an echo quality, one of calmness. It is a distinct contrast to the Question‘s bold, forte, quality. The Answers retain their rhythmic pattern but there is some variation in pitch and harmony.

Phrase 3 (bars 9-12, :17:25) is an exact repetition of Phrase 1.

Phrase 4 (bars 13-16, :25-:35) presents new material. The question’s melody is characterized by continuous sixteenth notes moving generally upwards to sideways. Once again, its concluding rhythm is used to start then Answer. This time the last 4 note values are used, 3 sixteenths and an eighth note. This figure is played once in bar 15 then there is a strong perfect cadence (V7-i) in bars 15-16 to end the section.

Section B

Phrase Timing:
Phrase 1 - bars 17-20 (:17-:21); Phrase 2 – bars 21-24 (:43-:51); Phrase 3 – bars 25-28 (:51-1:00); Phrase 4 – bars 29-32 (1:00-1:08 )

Phrase 1 and 2 are much the same. The Question’s melody starts in a low register and ascends in a crescendoing arpeggio (playing only notes in the underlying harmony) then descending step wise (in a scale) . Habanera 2 is again a prominent rhythmic figure in beats 3 and 4 of the first bar in the Question.

The Answers use the same rhythmic pattern they did in Section A.

Phrase 3 (bars 25-28, :51-1:00): The Question is the same as in Phrase 1 but an octave higher (eight notes higher in pitch). The melody and harmonies are the same. The Answer is treated as it was in the other phrases; the rhythmic figure is used again, although the pitches and harmonies are different. Because of the higher pitch and the dramatic crescendo to forte this phrase is the climax of Section B.

Phrase 4 (bars 29-32, 1:08 ): There is no Q&A here. The melody descends in a repeated rhythmic pattern, with a decrescendo as it descends. The rhythmic figure is played 3 times. The rhythm is the 2nd and 3rd note (time) values of habanera 2 – a eighth on the offbeat of beat 1 and a sixteenth on the offbeat of beat 2. These are the most syncopated note values in the habanera 2 rhythm. The first note (time) value of habanera 2 is not played, it is a rest. This helps emphasize the syncopation. There is a strong perfect cadence (V7-i) in bars 21-32 to end Section B.


There is a lot of melodic and harmonic repetition in Bahia Blanca. I will leave it to your ears to identify how Di Sarli uses the bandoneons and violins for contrast, and how he uses marcato and legato playing, both within each section and in their repeats,to provide contrast, subtle and not so subtle shifts in mood.

[bordertangoman]

Well, BTM, here it is...

Bahia Blanca, Carlos Di Sarli

The sheet music is here: http://www.todotango.com/english/las_obras/partitura.aspx?id=2601

Here is a YouTube clip:

7M44Ju5vvuU


I won’t redefine terms here. Please check the El Choclo thread if you need the definitions.

Bahia Blanca is in two sections, A and B. Both are 16 bars long with 4, 4 bar phrases. Each of these has a 2 bar Question and a 2 bar Answer. Very symmetrical. The key signature is 4/8, so read what I wrote about 4/8 in the D’Arienzo El Choclo post about his first playing of Section A if you don’t know what that means. Essentially, each bar has 4 beats and the beat is an eighth note. The tempo is andante, about 100bpm. The key is f sharp minor; minor keys being “sad” keys.

The structure is A-B-A-B-A.

I will talk about the music, its phrases , the Q&As, the melodies, and rhythms. I’ll leave the instrumentation, how Di Sarli uses the bandoneons and violins for contrast, and when the music is marcato or legato (smooth and connected notes, lyrical) to your ears to identify. I might add this info. at a later date…

Section A

Phrase Timing:
Phrase 1 - bars 1-4 (:00-:09); Phrase 2 – bars 5-9 (:09-:17); Phrase 3 – bars 9-12 (:17-:25); Phrase 4 – bars 13-16 (:25-:35)

I won’t discuss phrase by phrase here, just the main musical features as I see them. The Questions and Answers are very distinct, so I’ll write about what makes them sound that way.

The Questions are characterized by a melody which leaps up then descends. Habanera 2 rhythm (syncopation) is noticeable on beats 3 and 4 in bar 1, with an accent on its first note. The Question’s melody and harmonies are repeated without alteration in Phrases 2 and 3.

The Answers are based on the rhythm of the Question’s last three notes: sixteenth-eighth-eighth. This rhythm is played twice, the second time at a lower pitch. Repeating the Question’s concluding rhythm, while descending in pitch and volume, gives the Answer an echo quality, one of calmness. It is a distinct contrast to the Question‘s bold, forte, quality. The Answers retain their rhythmic pattern but there is some variation in pitch and harmony.

Phrase 3 (bars 9-12, :17:25) is an exact repetition of Phrase 1.

Phrase 4 (bars 13-16, :25-:35) presents new material. The question’s melody is characterized by continuous sixteenth notes moving generally upwards to sideways. Once again, its concluding rhythm is used to start then Answer. This time the last 4 note values are used, 3 sixteenths and an eighth note. This figure is played once in bar 15 then there is a strong perfect cadence (V7-i) in bars 15-16 to end the section.

Section B

Phrase Timing:
Phrase 1 - bars 17-20 (:17-:21); Phrase 2 – bars 21-24 (:43-:51); Phrase 3 – bars 25-28 (:51-1:00); Phrase 4 – bars 29-32 (1:00-1:08 )

Phrase 1 and 2 are much the same. The Question’s melody starts in a low register and ascends in a crescendoing arpeggio (playing only notes in the underlying harmony) then descending step wise (in a scale) . Habanera 2 is again a prominent rhythmic figure in beats 3 and 4 of the first bar in the Question.

The Answers use the same rhythmic pattern they did in Section A.

Phrase 3 (bars 25-28, :51-1:00): The Question is the same as in Phrase 1 but an octave higher (eight notes higher in pitch). The melody and harmonies are the same. The Answer is treated as it was in the other phrases; the rhythmic figure is used again, although the pitches and harmonies are different. Because of the higher pitch and the dramatic crescendo to forte this phrase is the climax of Section B.

Phrase 4 (bars 29-32, 1:08 ): There is no Q&A here. The melody descends in a repeated rhythmic pattern, with a decrescendo as it descends. The rhythmic figure is played 3 times. The rhythm is the 2nd and 3rd note (time) values of habanera 2 – a eighth on the offbeat of beat 1 and a sixteenth on the offbeat of beat 2. These are the most syncopated note values in the habanera 2 rhythm. The first note (time) value of habanera 2 is not played, it is a rest. This helps emphasize the syncopation. There is a strong perfect cadence (V7-i) in bars 21-32 to end Section B.


There is a lot of melodic and harmonic repetition in Bahia Blanca. I will leave it to your ears to identify how Di Sarli uses the bandoneons and violins for contrast, and how he uses marcato and legato playing, both within each section and in their repeats,to provide contrast, subtle and not so subtle shifts in mood.

brilliant! :D

[LadyLeader]

Thanks for your analyzis for Bachia B. I have been working on this song for a while trying to understand what two couples are actually doing.

Noelia Hurtado is using nicely the possibilities in music and now I wonder if she uses the Habanera syncopation (:56 -1) I get an impression she is actually kicking the music. For me their dance is soft and intimate.

The other couple is Chicho and Lucia. More precise here but nice anyhow.

(I was not allowed to add URL )

[bordertangoman]

Thanks for your analyzis for Bachia B. I have been working on this song for a while trying to understand what two couples are actually doing.

Noelia Hurtado is using nicely the possibilities in music and now I wonder if she uses the Habanera syncopation (:56 -1) I get an impression she is actually kicking the music. For me their dance is soft and intimate.

The other couple is Chicho and Lucia. More precise here but nice anyhow.

(I was not allowed to add URL )

This one....?

8rxG3ay2oP4

[bordertangoman]

and this one?

PvQ3wgo9jLc

[tangomonkey]

Thanks for your analyzis for Bachia B. I have been working on this song for a while trying to understand what two couples are actually doing.

Noelia Hurtado is using nicely the possibilities in music and now I wonder if she uses the Habanera syncopation (:56 -1) I get an impression she is actually kicking the music. For me their dance is soft and intimate.

The other couple is Chicho and Lucia. More precise here but nice anyhow.

(I was not allowed to add URL )

Welcome to DF LadyLeader.

When watching video clips I like to notice how well the dancers move to the character of the music and the rhythms, and how they interpret shifts in the mood. I think both couples do a nice job of that.

(Thanks for putting up the the clips BTM).

[bordertangoman]

Welcome to DF LadyLeader.

When watching video clips I like to notice how well the dancers move to the character of the music and the rhythms, and how they interpret shifts in the mood. I think both couples do a nice job of that.

(Thanks for putting up the the clips BTM).

if i was a techical wizard; I'd put some kind of animated analyis on the dancers with maybe a grpahic represnetation of the music at the bottom...

instead I've envented a game ( based on a radio show game) where you sing the tune for 30s or so with the video, kill the sound watch the dancers and see if you can keep to the tune by watching how they're dancing, then after 30s bring the sound up and see how close you are to the music...

EnaXXpbGOsA

[LadyLeader]

Thanks BTM for putting up the videos - yes they are the right ones!

It is also easier to get an idea if the couple is dancing well when you kill the sound (as you said). Your brain gets more capacity for the visual and it is longing for the music - if the couple does not express phrases and flow in music your brain goes hungry! Anyhow I go to next video!

[tangomonkey]

I listened to Bahia Blanca straight through a few more times and made some notes. These are the things I find important in Di Sarli’s use of instruments and phrasing.

A Sections (bars 1-16; at :00, 1:05, 2:16):
Each one is almost exactly the same. In Phrases 1 (bars 1-4) and 2 (bars 5-8 ) the melody is played by strings, both in the Questions and Answers. The Questions begin forte (boldly) then soften and decrescendo towards the end. The Answers are mellow and gentle, echoing the rhythm heard in the last 3 note of the Question. There is a very noticeable decrescendo as the rhythm is repeated in lower pitched notes. The Answer in Phrase 2 has a little different character because the rhythm is elaborated and there is a short modulation (change of key). Each playing of the rhythmic pattern in the Answers sound light little sighs.

In Phrase 3 (bars 9-12) the bandoneon have the melody and harmonies. They play marcato and beats 1 & 3 are emphasized. Strings play the Answer as before.

It’s important to note every Answer is played by the strings. They can very subtly change the shape and feeling in every note. The quick initial note in the rhythmic pattern ( a sixteenth) is followed by a leap up to a higher, longer held note, an eighth. The strings place a slight emphasis on this note. The third note is played softly, with a decrescendo. It moves down a step (or more). The pitch is still higher than the very first note. It is an eighth, and is sustained for another eighth note count – for two whole beats in other words. These things are what create the “sigh” quality.

Phrase 4 (bars 13-16) is bolder, working towards a restrained climax as the section ends. Bandoneons play the continuous sixteenth note melody and underlying harmonies marcato.

The piano and bass function to fill in the harmonies and maintain the 4/8 beat, often emphasizing beats 1 and 3. The piano has a few spots where it plays louder with more notes, most noticeably when connecting the phrases together.

B Sections (bars 17-32; at :35, 1:42):
There is more variety in the B Sections, and overall Section B is more intense. In Phrase 1 and 2 a solo bandoneon plays the melody. Starting from a low note, the melody rises in an arpeggio (playing only the notes in the underlying harmony) then at the highest note it drops a minor 2nd (semi tone) then moves back up. These three notes (first and third being the same pitch) use the habanera 2 rhythm, and occur on the same beats they did in the Questions of Section A. This helps make a connection between the Questions in both sections. But this time, rather than falling as in the A Sections, the melody rises one more note before descending. There is a nice crescendo from the start through to the top note and a decrescendo as it drops. The Answers have a “sigh” quality too, but less so because the bandoneon plays the notes, rather than the strings, and the shape is a little different.

In Phrase 3 the strings play the melody, on octave higher and with more shape – more subtlety. The bandoneons play the rhythmic pattern in Phrase 4 in marcato, and the piano has a quasi-counter-melody

Section B2 (1:42): This time the strings play the melody, essentially the same way the solo bandoneon did previously: crescendo to the top note then decrescendo as the melody falls. There is a nice Q&A feel. In Phrase 4 (2:08 ) the violins play a new counter melody. It is in a higher register (higher pitches) and more bold with more sharply defined rhythms and phrasing. The bandoneons, piano, and bass support the violins all the way through to the cadence, gently marking the beat.

Throughout the B Sections the piano and bass function as in Section A, helping connect the phrases, filling in the harmonies, and marking the beats.


The character of Bahia Blanca, to me, is one of restraint, sadness or melancholy. There are dynamic changes but not extreme. Di Sarli was born in Bahia Blanca. The character and mood of this music strikes me as one of melancholy and longing. Maybe that’s how Di Sarli felt about his home town. I seldom make romanticized comments (because they are not objective), but I think I may be right…

P.S. This is no longer a "quick and dirty" analysis...;)