Al compás del corazón (To the Beat of the Heart) was written by Domingo S. Federico in 1942, on a text by Homero Expósito.
A few s made recordings (see tango.info), notably Carlos Di Sarli and Miguel Caló. Di Sarli recorded two: with Alberto Podestá (1942) and Oscar Serpa (1952). Caló made three: with Raúl Berón (1942), Raúl Del Mar (1965), and Lucho Gatica (1965). The Caló/Berón is the one to know and the version most heard in the milongas. Caló’s 1965 cuts are dreadful – over-the-top orchestration, too varied in texture, lacking coherence. And full of cloying lyricism. The Di Sarli/Serpa tends that way too, but is better orchestrated and somewhat more sophisticated – but still too sentimentally done for my taste.
I’ll sync the Caló/Berón recording with the score [DONE: here] and provide some analysis at a later time. For now, here is Noteflight’s synthesized piano. The menu is active. Feel free to print or download the score (print to pdf). The original came from todotango.com. I added the harmonies and identified the s. Alberto Paz has all three verses and a translation, here.
An orquesta típica is an ensemble of musicians who play tango music. Typically, there is a string section, a bandoeon section, a piano, and sometimes a singer or two. There is no specific rhythm section – no drums or other percussion instruments. An orquesta típica is an expanded version of a sexteto tipico, which includes 2 bandoneons, 2 violins, double bass, and piano.
I call any band that plays tango, no matter what the instrumentation, an orquesta. Not entirely accurate but it simplifies things.
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.