The pre-tango, musical genres and performers served as the background of the nowadays tango, were sheltered in the tango bars of sailors, in the Asiatic quarrels, in disreputable milongas, in dubious cabarets and brothels.

Tango as such, however, had from the beginning been oriented to stream and wide open spaces sought to achieve universality. Prudencio Aragón with the cut (1895), Entre El Rosendo Mendizabal (1897), with Don Juan Ernesto Ponzio (1898) and Manuel Campoamor with Sergeant Cabral (l899), author of the first "tangazos" of history, built the foundation on which would take life newborn and the new music building. Its independence, its personality, is given by the coincidence of how each of them described their respective work, "Tango for piano Creole."

With the word "Creole" claimed a local establishment. And with the mention of the piano, is already reporting that the tango was instrumentally enriched and had come to be interpreted in the halls.

Previously, in the last moments of its gestation, and in Buenos Aires, the Italians had added the accordion and organ, which gave its tone to tango plañidero, whining, which will undoubtedly influence subsequent teary words. This is why it is difficult to find another combination instrumental poetically as appropriate to reflect the sadness and suffering to treason or not to poverty, remedy or work or honesty.

The new product was not confined to places of dubious reputation, but that reflects the soul of the working classes, the “laburantes”, including day to day fight to survive, and all the simple people who lived on the outskirts of River Plate major cities. The people filled the “peringundines” in Buenos Aires and Montevideo academies. “Piringundines” and academies were modest local dance at the end of the nineteenth century, were major factors for the expansion of the tango as the development of his choreography, and that couples learn to dance.

 

Despite its importance, the poetry of tango is one of the least studied aspects of the genre. The literature records many vocabulary gaps that barely fall into the common place, biographies of composers, excellent lyricists and vocalists, remarkable studies on the themes and instrumental music, sociological and historical value and anthologies of the lyrics. On these, however, literature is not very wide or deep. There has not yet made a tidy and professional work that includes the prominent phenomenon of a literary genre that, as noted above, covers all aspects of human existence with very specific characteristics.

Daniel Vidart, in his work Tango and his world, makes an interesting approach to the problem in an effort to systematize the study of the letters.

Noting that it "is one of the least processed, but perhaps the most captivating one, Vidart asserts that the words" hide a whole world often discarded, which is the key depth of its being and its action in the River Plate culture. Classification is naturally limited, restricting its anarchic spontaneity, its chameleons circumstantial. But you can try an organization, provided that in this sense there are no foolproof or absolute criteria because, in the end, what matters is the quality of interpretive thinking and not the price of scaffolding formalist. "
On this basis, the author focuses its study on four different aspects of the words, the language, style, elocution and themes. In turn four types of language used in creating the lyrics of tango: the popular, slang and worship.