Need a lodge or a ride?

If you need a ride or someone to host you or if you are willing to drive or let someone sleep on your couch, please feel free to join this Facebook group:

Triangle Tango Ride Share & Hosting

This is a closed Facebook group, meaning those who are interested must send a request to join the group. Once you’re in, you may post your request to the group’s wall. Posts to the wall can only be seen by members of the group. Like other Facebook groups, members will receive notifications when others have posted to the wall.

Please spread the word about this new service for Triangle Tango members!

Talk A Tango – The Bandoneon – Part III,

Anibal Troilo “Pichuco”, also known as “El Gordo” (the fat man), was an icon of the greatest period of tango music and his name remains a symbol of both Tango and Buenos Aires. Troilo was a great bandoneón player, conductor, and composer. He inspired and continues inspiring generations of tango musicians around the world.

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Talk A Tango – The Bandoneon – Part I,

“Each 11 of July is celebrated as the National Day of the Bandoneón As homage to the birthday of anÍbal Troilo” …

Thus read a headline on a major Argentine newspaper last week. Neither Troilo’s name nor the instrument that contributed to his rising as one of the greatest tango personalities are foreign words to tango dancers around the world.  But not many tango lovers know the history of the “tango wind box”. So, let’s take advantage of the summer hiatus of our classic TALK A TANGO column to examine the major technical and historic features of the instrument considered the “soul” of tango music.

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Talk A Tango

Talk A Tango – Last Tanda,
Osvaldo Fresedo. Elegance And Refinament

The evolutionary trend initiated by Roberto Firpo had in Julio De Caro and Osvaldo Fresedo its most relevant figures. De Caro lifted tango music from the rough streets of the suburbs to the conservatory and opera houses. Fresedo dressed tango up in a tuxedo and guided it through the finest salons of Buenos Aires aristocratic nights. With the irruption of De Caro and Fresedo in the musical landscape, two distinct stylistic lines at the vanguard begun to evolve. The De Caro line, represented by brothers Julio and Francisco as well as by Pedro Maffia and Pedro Laurenz, sought a continuous exploration and expansion of tango horizons. The Decarean school, impulsive and dramatic, was the storm. In contrast, Fresedo, with a serene and harmonic style was the calm.

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Talk A Tango


After the end of WWI, tango, as other expressions of art, headed towards reform and renovation. A new generation of musicians formed under the shadow of the Old Guard began to question the dogmatic structure that prevailed in the composition and interpretation of tango music. The ample acceptance gained by the Orchestra Típica suggested new interpretative possibilities, but these possibilities stonewalled against the rigid instrumental execution in 2×4 mode. New ideas were in demand to produce popular music that would depart from the repetitive habanera-like style that had dominated tango music during the first two decades of the Twentieth Century. The anarchic style that characterized the initial times of the Guardia Vieja became outdated.

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