Some YouTube links provided by opendoor: Since BTM asked for Pugliese I’ll talk about his version. A Evaristo Carriego was composed by Eduardo Rovira. Pugliese recorded this piece several times. Of these I like the 1969 version best. Unfortunately I don’t have a clip. No sheet music, so this is completely by ear. This is concert music, meant for listening. But it is danceable, provided the dancers have ample musicality and the technique to express it. A Evaristo Carriego is in three sections, A-B-A, with a solo piano introduction. It is in four, very likely 4/4, not 4/8. I won’t get into why I think so. The piano introduction has a rhythm pattern which will be used throughout the piece. It is in the upper range of the notes being played and is &2& &4&. This pattern is played by the bandoneons soon after the solo cello (or violin, depending on the version) starts the beautiful, slow, longing, lyrical melody. There are frequent dynamic changes, from loud with a thick texture - lots of instruments playing simultaneously - to very soft, sometimes only a solo instrument. Rhythm patterns provide a hard driving forward sensation, even though the melody is slow and lyrical. Patterns are sometimes &2& &4&, played by bandoneons and piano. The bass plays on beats 1 and 3. Often there is a continuous marking of the four count, with beats 1 and 3 emphasized. At times the melody stops for several bars and there is only the rhythmic drive. Sometimes there are hints of a new melody in the bandoneons during these episodes. There are frequent interludes between the main phrases. They start quiet and subdued, with a solo instrument which uses rubato, meaning it plays with the beat, slowing it down or speeding it up. Not a lot, it is very subtle. As the other instruments join in, there is a building crescendo and a rhythmic drive played by bandoneons and piano and bass, underpinning the melody. There are also some ritardandos at the end of phrases or the interludes, meaning the music slows down bit by bit. Again, not a lot but it is noticeable. And there are pauses. Section B begins in a brighter, hopeful sounding mood. There’s a new, tentative sounding melody in the strings and an increasing rhythmic, pulsing drive in the bandoneons as they play continuous eighth notes. Section A returns. This time the texture is thicker. The string section plays the melody, not just a solo cello or violin. And there is a solo bandoneon playing new material. It is fast and continues to the end of the piece, without the strings. I’m sure there’s much more happening, but that’s enough for a rough analysis.