El adiós was written by Maruja Pacheco Huergo in 1938. (María Esther Pacheco Huergo. Read about her at Todo Tango.) Virgilio San Clemente wrote the lyrics. The (very, very blurry) piano music came from Todo Tango. As usual, I entered it into Noteflight, note by note.
There are three s. The first one, A, is short – only 8 s. Section B is 16 bars long and Section C is 20 bars. (Alternatively, since A is so short it may be considered an Introduction the first time it’s heard, a the next time, and a Coda the last time. Doesn’t really matter so long as we instantly recognize the individual sections when they are played).
Edgardo Donato and Francisco Canaro both recorded versions in 1938, Ángel Vargas in 1954, and Osvaldo Pugliese in 1963.
I’ve syncd. the music with Donato’s recording. He plays the sections in A-B-C-A-B-C-A order. Each section is labeled in red on the score as it occurs. (I’d like to use a larger font but the notation software uses one size and it can’t be changed.) Horacio Lagos sings the only vocal verse, to the melody in Section B, the second time through it. A translation by Derrick Del Pilar follows the score. The harmonies are marked down for each section, just the first time the sections are played.
Close the “synchronized audio/video” window before playing. Click the stop icon or any bar to stop.
Below is the translation by Derrick Del Pilar from his site Poesía de gotán. Derrick has the full text and translation. Donato uses only the second verse, so that is all I’m including here.
|En la tarde que en sombras se moría,||On an afternoon that was dying in shadows,|
|buenamente nos dimos el adiós;||we bid each other a good-natured farewell;|
|mi tristeza profunda no veías||you didn’t see my profound sadness|
|y al marcharte sonreíamos los dos…||and as you left we both were smiling…|
|y la desolación, mirándote al partir,||and then desolation, watching as you left,|
|quebraba de emoción mi pobre voz,||broke my poor voice with its emotion,|
|y el sueño más feliz moría en el adiós||and the happiest dream died with the farewell|
|y el cielo (para mí) se oscureció.||and the sky grew dark for me.|
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 bar or measure is a small segment of music containing all the number of beats as specified by the time signature.
In terms of form, a bridge is a short section used to connect two other larger sections. Usually the musical character is different but complementary and may contain elements from the preceding section and/or the next one. It is literally a "bridge" between them.