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Sepe ñopo ripi tapa

Sepe ñopo ripi tapa is a Tango written by Fulvio Salamanca y Juan D’Arienzo and recorded by Juan D’Arienzo in 1951. The Tango Sepe ñopo ripi tapa is written by Fulvio Salamanca y Juan D’Arienzo, Juan D’Arienzo has recorded Sepe ñopo ripi tapa with the singer Alberto Echagüe.
“Sepe ñopo ripi tapa,” translated to English as “Pathways of Whispering Leaves,” invites listeners to wander through a melodic journey where notes dance softly like rustling foliage. This composition captures the delicate balance between movement and stillness, echoing the secrets that leaves might share when the wind carries their tales. It’s a tango that sways between mystery and revelation, pulling at the heart’s strings with its intricate harmonies.

Tango

Style

Juan D'Arienzo

Orchestra

Alberto Echagüe

Singer

Carlos Bahr

Author

Fulvio Salamanca y Juan D'Arienzo

Composer

1951/9/12

Date

Alberto Echagüe
Alberto Echagüe
Juan D'Arienzo
Juan D’Arienzo

Discover Other Orchestras

Miguel Caló – No son siete son catorce – 1951/11/27
Miguel Caló – Madre – 1956/6/4
Miguel Caló – Confesión – 1965/1/1
Miguel Caló – Melodía de arrabal – 1965/1/1
Miguel Caló – Corazón de papel – 1948/9/23
Adolfo Carabelli – Yo me quiero divorciar – 1933/3/15
Adolfo Carabelli – Madrileña castiza – 1933/1/1
Adolfo Carabelli – Tomala con soda – 1933/5/4
Adolfo Carabelli – No le quiero mirar – 1932/12/30
Adolfo Carabelli – Por qué te obstinas en amar a otro si hoy es lunes – 1932/12/30
Julio De Caro – Criolla linda – 1950/9/11
Julio De Caro – Colombina (Teresita) – 1928/6/28
Julio De Caro – La plegaria – 1926/1/1
Julio De Caro – Mala pata – 1936/3/13
Julio De Caro – Bulincito amigo – 1927/11/24
Francini-Pontier – Taquito militar – 1973/1/1
Francini-Pontier – Trapitos – 1946/5/17
Francini-Pontier – Azabache – 1954/4/8
Francini-Pontier – A mi madre – 1948/5/10
Francini-Pontier – Lloró como una mujer – 1949/9/27

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

1951/9/12 – La cumparsita – Juan D-Arienzo
1951/9/12 – Amarroto – Juan D-Arienzo
1951/9/12 – El Nene del Abasto – Juan D-Arienzo
1951/9/12 – Ganzua – Juan D-Arienzo
1951/9/12 – La punalada – Juan D-Arienzo

Lyrics Translation of the Tango Sepe ñopo ripi tapa

This is the translation of the Tango “Sepe ñopo ripi tapa” from Spanish to English. The English lyrics of the Tango “Sepe ñopo ripi tapa” have been done with AI.

Letra del Tango Sepe ñopo ripi tapa

Yo andaba loco por una vecina

y hablarla sola no pude jamás

pues siempre el padre, la madre o la tía

a todas horas le andaban detrás.

Y ya en trance de hablar en familia,

pues no podía callar mi pasión;

utilizando una clave sencilla

le declaré de este modo mi amor.



Sepe-ñopo-ripi-tapa,

mepe palpa-pipi-tapa

elpe copo-rapa-zón.



Sipi mepe quiepe-repe

dipi-gapa-mepe sipi

sinpi dipi-lapa-ción.



Nopo mepe depe-jepe

sinpi capa-ripi-ñopo

sepe lopo ruepe-gopo



Nopo mepe niepe-guepe

upu-napa cipi-tapa

sopo-lipi-tos, los dos.



De esta manera, la cosa fue andando

y mal y bien, le expresé mi pasión.

Y ya aunque hubiera cualquiera delante,

nos entendimos muy fácil los dos.

Y como al fin no le fui indiferente

y con la clave también practicó,

al poco tiempo la oí que sonriente

me contestaba sin vacilación:



Quepe-ripi-dipi-topo

cuipi-dapa-dipi-topo

compo mipi papa-pá



Espe-tepe lupu-nespe

apa laspa cipi-ncopo

elpe nopo espe-tá



Enpe lapa puerpe-tapa

tepe espe-pepe-ropo

conpo capa-ripi-ñopo



Nopo mepe pipi-daspa

opo-tropo bepe-sopo

quepe nopo te lo doy.

English lyrics of the Tango "Sepe ñopo ripi tapa"

I was crazy about a neighbor girl

but never could I speak to her alone,

for always her father, her mother, or her aunt

were trailing behind her all the time.

And finding myself forced to speak in the presence of family,

as I could not keep my passion silent;

using a simple code

I declared my love to her in this way.

Se-pe-ño-pi-ri-pi-ta,

me-pe pa-la-pi-pi-ta

el-pe co-ro-pa-zón.

If-pi you-pe care-re-pe

tell-pi me-pe if-pi

without-pi de-lay-tion.

Do-pi not-pe leave-re-pe me

without-pi ca-re.

I-pe be-pe-g you-pe,

Do-pi not-pe deny-re-pe

a-pe kiss-pi

alone, just us.

In this way, things progressed

and for better or worse, I expressed my passion.

And though there was always someone around,

the two of us understood each other very easily.
And as at last she was not indifferent to me

and she also practiced the code,

after a while I heard her, smiling,

respond without hesitation:

That-pe-ri-pi-di-pi-to

cu-pi-da-pi-di-to

with-pi my-pi pa-pa-pa.

This-pe Monday-pi

at-pi five o’clock-pi

he-pi is-pi not-pi there-pi

At-pi the-pi door-pi

I-pi will-pi wait-re-pi you

with-pi ca-re.

Do-pi not-pi ask-re-pi me

for-pi another-pi kiss-pi

that-pi I-pi will not give-pi.

Sepe ñopo ripi tapa by Carlos Bahr

Sepe ñopo ripi tapa is a Tango written by Carlos Bahr and composed by Fulvio Salamanca y Juan D’Arienzo.



Story behind the Tango Sepe ñopo ripi tapa

The song “Sepe ñopo ripi tapa” tells a story of a love constrained and expressed in secrecy. The protagonist is infatuated with a neighbor, but due to constant surveillance by her family, he’s unable to express his feelings openly. To circumvent this, they use a simple code to communicate their affection and intentions. This narrative cleverly captures the struggles and creativity driven by a passionate, yet forbidden love.



Symbolism of Sepe ñopo ripi tapa

The use of coded language as a means of communication in “Sepe ñopo ripi tapa” is a powerful symbol of the barriers the lovers face. This code not only shields their words from the prying ears of the woman’s family but also represents the broader theme of overcoming societal or familial obstacles in pursuit of love. The repetitive and rhythmic nature of this language creates a lyrical secrecy that binds the couple even more tightly together, symbolizing their unique connection amid external pressures.



Sepe ñopo ripi tapa in historic Context

Around the mid-20th century in Argentina, societal norms were very conservative, particularly concerning the interactions between young unmarried men and women. The song, recorded in 1951, reflects these cultural restrictions. Using a playful and innovative form of language not only illustrates the couple’s desperation to communicate but also subtly critiques the restrictive societal norms of the time. This historical backdrop adds a layer of defiance to the song’s theme, as the lovers find a way to pursue their affections despite societal barriers.



Carlos Bahr

Carlos Bahr was a prolific Argentine lyricist known for his contributions to the tango genre. His works often explore themes of love, passion, and the complexities of human relationships within the cultural context of Argentina.