Al compás del corazón Music/Audio Sync, Caló/Berón (1942)

I provided the unedited sheet music and some Youtube performances previously.

Even if you do not read music, following the orange bar as it moves through the score is worthwhile. The s and s – 8 and 4 bar – are identified in red. Have a listen and observe – feel – the phrases and section changes.

I will post some analysis in a while. (I have copious notes and observations written on my sheet music, but it always seems to take five times longer to type them up than it does to make them in the first place).

(Close the “synchronized audio/video” window, if on screen in your environment, then play the score. Click/tap any bar to stop playback.

Al compás del corazón, Caló/Berón (1942):


Sections are the top level element of music's form. They are the the large building blocks of tango music, typically lasting around thirty seconds or so. Each section is a unique segment of music, having a distinct musical character.

Tango music has two, occasionally three, primary sections, which we may label  “A”, “B”, “C”. Sometimes there is an "Introduction", "Bridge", a short section between two larger ones, or "Coda", a short concluding section.

Usually each section will be played consecutively in order (A then B then C), followed by various other orderings. Typically in tango songs each section is played instrumentally then each is sung, then section A is played instrumentally: A-B-A (vocal)-B (vocal)-A. But there are many exceptions and other possibilities.

Phrases exist within a section.

A short section of music with a clear start and end quality, with a consistent or complementary musical character. Generally, the character is different from what comes after or precedes it, anywhere from subtly to very obvious. more...

A bar or measure is a small segment of music containing all the number of beats as specified by the time signature.

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4 Responses to Al compás del corazón Music/Audio Sync, Caló/Berón (1942)

  1. Erico says:

    I have practised doing basic 8s while I carry my laptop and watching the score. Its lovely to see how much time one has to pause and maybe just shake the hips ( simply to illustrate!)before starting the next phrase. Then I look straight ahead repeat and then check that I am keeping time.
    When I feel a double time step coming its great to know its really working.
    requests now. La Poema. We all love it and an analysis would be great.
    Also Vals and Milonga.
    Quite simply the best blog/teaching aid I have come across on Argentine TAngo Thank you. JAntango has also given you such a warm reception and I second it. Please keep finding the time.
    I am still injured so I remain at home being able to do simple things.

  2. jantango says:

    I can only imagine the hours it took to add the lyrics and chords to this score for us. All we can do is thank you for it. It’s the first one you syncd with an actual recording. It’s one of my favorites, so I studied the lyrics because I love Raul Beron’s voice so much.

    • tangomonkey says:

      I’m quite fast now. Most of the time is spent deciphering the fuzzy and blurred sheet music.

      Malena (Demare/Miranda) and El adiós (Donato/Lagos) have the lyrics under the melody too. I might have added the lyrics sometime after first posting the syncs.

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