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Taconeando

Taconeando is a Tango written by Pedro Maffia and recorded by Carlos Gardel in 1931. The Tango Taconeando is written by Pedro Maffia, Carlos Gardel has recorded Taconeando with the singer Dir. Francisco Canaro.
The piece “Taconeando,” translated as “Tapping Heels,” captures the rhythmic beat of flamenco shoes echoing through a dimly lit room. It evokes images of dancers lost in passionate embrace, each step a heartbeat of desire and elegance. The music paints a scene where the floor vibrates with storytelling, every heel tap an exclamation of life’s vibrant dance.

Tango

Style

Carlos Gardel

Orchestra

Dir. Francisco Canaro

Singer

José Horacio Staffolani

Author

Pedro Maffia

Composer

1931/10/26

Date

Dir. Francisco Canaro
Dir. Francisco Canaro
Carlos Gardel
Carlos Gardel

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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.

Taconeando recorded by other Orchestras

Taconeando recorded by other Orchestras

1931/10/26 – La serenata de ayer – Orquesta Tipica Victor
1931/10/26 – Llorar… Por que… – Orquesta Tipica Victor
1931/10/26 – Tomo y obligo – Carlos Gardel
1931/10/26 – Yo no se que me han hecho tus ojos – Carlos Gardel
1931/10/27 – Madreselva (La polla) – Carlos Gardel
Taconeando – 1970/5/1 – Osvaldo Pugliese – Instrumental
Taconeando – 1942/6/16 – Pedro Laurenz – Juan Carlos Casas
Taconeando – 1957/1/1 – Astor Piazzolla – Instrumental
Taconeando – 1947/10/23 – Astor Piazzolla – Instrumental
Taconeando – 1931/10/26 – Carlos Gardel – Dir. Francisco Canaro
Taconeando – 1931/10/9 – Francisco Canaro – Charlo

Lyrics Translation of the Tango Taconeando

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

Letra del Tango Taconeando

Vengan a ver…

El bailongo se formó

en su ley

a la luz de un gran farol

medioeval.

Todo el barrio se volcó

en aquel

caserón, bajo el parral,

a bailar,

y al quejarse el bandoneón

se escuchó

tristes las notas de un tango

que nos hablaba de amor,

de mujer, de traición,

de milongas manchadas de sangre,

de sus malevos y el Picaflor.



Se fue el arrabal

con toda su ley.

Su historia es, tal vez,

la cruz del puñal.



Se fue el arrabal

que hablaba de amor

y aquel taconear

también se perdió.



¿Quién no sintió

la emoción del taconear

y el ardor

que provoca el bandoneón

al llorar?

Tango brujo de arrabal,

triste son

que se agita en el misal

de un querer

y en la lírica pasión

del matón.

Notas que muerden las carnes

con su motivo sensual

al volcar la pasión

que llevamos, tal vez, muy adentro,

en lo más hondo del corazón.

English lyrics of the Tango "Taconeando"

Come and see…

The dance party formed,
by its law,
under the light of a grand medieval lantern.
The whole neighborhood poured into
that mansion, beneath the grapevine,
to dance,
and as the bandoneon lamented,
there resonated,
sad notes of a tango
that spoke to us of love,
of women, of betrayal,
of milongas stained with blood,
of tough guys and the Flirt.

The suburb faded away
with all its rules.
Its story is, perhaps,
the cross of the dagger.

The suburb faded away,
that spoke of love,
and that tapping of heels
also vanished.

Who has not felt
the emotion of the heel-tapping,
and the fervor
stirred by the bandoneon
as it weeps?
Sorcerous tango of the suburb,
a sad sound
that stirs in the prayer book
of a longing
and in the lyrical passion
of the tough one.
Notes that bite the flesh
with their sensual motive
when spilling passion,
that we perhaps carry deep inside,
in the depths of the heart.

Taconeando by José Horacio Staffolani

Taconeando is a Tango written by José Horacio Staffolani and composed by Pedro Maffia.

Story behind the Tango Taconeando

“Taconeando” vividly sketches a scene in a traditional Buenos Aires neighborhood where a dance party thrives under the light of an old-fashioned lantern. The song embodies the festive pulse of the arrabal (suburb or slum area) with residents of the vicinity gathering in a large house surrounded by grapevines. The emotional centerpiece of the song comes alive with the mournful sound of the bandoneon, evoking tales of love, betrayal, and the violent shades of local milongas (dance events) marked by the presence of malevolent figures and notorious local characters.

Symbolism of Taconeando

The central symbols in “Taconeando” include the bandoneon, whose melancholic sounds stir strong emotions interpreted as both sadness and deep passion. The farol (street lantern) functions as a beacon, drawing the community together into a shared space of dance and music, symbolizing unity and tradition. The act of ‘taconear’—dance in a flamboyant, rhythmic tap of heels—stands as a powerful expression of living in the moment, embodying the fierce, uncompromised spirit of the arrabal. “Taconeando” evokes a profound yearning for a disappearing way of life, capturing nostalgia for the spontaneous meetings and raw emotions of Buenos Aires’s early 20th-century outskirts.

Taconeando in historic Context

Set against the backdrop of 1931 Argentina, a time of political and social upheaval, “Taconeando” serves as an oral archive of the suburban culture in Buenos Aires. During this era, tango music and dance were integral to expressing the identity and struggles of the lower classes and immigrants. The melancholy in the music mirrors the socio-cultural transitions of the time—where traditional values and the old way of life in the arrabales were increasingly being overshadowed by urbanization and modern pressures. The disappearance of such neighborhoods (“Se fue el arrabal”) signals a cultural loss, mourned throughout the tango.

José Horacio Staffolani

José Horacio Staffolani was an Argentine lyricist known for capturing the spirit of Buenos Aires’s suburban life through his tangos.