TANGO II (Habanera) by Seiber | ABRSM 2025 & 2026 Grade 2 C14 Piano Tutorial

C:14 – Tango II (Habanera from Leichte Taenze I) by Mátyás Seiber (1905 – 1960)

Note from ABRSM
The signature Spanish habanera dance rhythm is introduced in the first 2 bars. Hungarian composer Mátyás Seiber influenced by jazz and various popular styles of his time in the early 20th century, wrote a collection of Easy Dances, of which this well known tango is the 2nd work. Composed in D minor, the repetitive dotted note/broken chord figure in the left hand creates a hypnotic effect. The melody enters with a melodic idea built on syncopated beats and repeated notes. The resulting effect is intriguing, which gives the music its characteristic tension and drama. It would be helpful to practice the left hand alone, assured of the rhythmic effect before combining with the melody. Most students will enjoy this piece, when played with the different dynamics and pitch patterns.

Note from channel
Difficulty evaluation (for Grade 2): 7/10

This short tango is built on a characteristic habanera rhythm, clearly established in the left-hand accompaniment. This rhythmic figure remains largely unchanged throughout the piece and should be played with steadiness and confidence, providing a firm foundation for the music’s distinctive dance character. Once this pattern is secure, it allows the performer to focus more freely on shaping the melodic and expressive elements.

Structurally, the piece is highly repetitive, with the principal melodic idea returning three times, differentiated mainly through dynamic contrast. The passages in bars 3–9, 11–17, and 27–33 are essentially identical in material, and recognising this repetition can greatly assist both learning and memorisation. Each return, however, should sound fresh, shaped by subtle changes in tone and dynamic nuance rather than by altering tempo.

The tango character depends strongly on the precision and decisiveness of the right-hand articulation. All rhythmic figures must be clearly defined, with particular attention given to the syncopated tenuto crotchets. These notes should be allowed to sing fully, held with weight and warmth to convey the sensuous, grounded quality typical of the style.

Dynamic shaping should be led primarily by the melody, while the left hand remains rhythmically stable and supportive. When balance, articulation, and rhythmic clarity are well controlled, the piece effectively captures the unmistakable pulse and elegance of the tango.

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