What makes us recognize that a tango is a tango even when it is performed by a jazz pianist, a bolero singer or a Cuban orchestra and does not include the typical 2 × 4 dance rhythm or the emblematic sound of the bandoneon? From Bach to Stravinsky, in academic music, composers are the gods to love and respect. But in the field of popular music –including tango–, the heroes are the performers, those artists who, from their originality, give the works a personal and non-transferable imprint. However, the infinite variety of interpretations imaginable are still based on the unavoidable and forceful compositions that are recognizable by different types of elements. Pablo Kohan deals with these compositional features in tango between 1920 and 1935. In a pleasant and accessible way, he analyzes the styles that, as composers rather than as interpreters, developed by key figures such as Carlos Gardel, Enrique Santos Discépolo, Juan Carlos Cobián, Enrique Delfino, Anselmo Aieta, Pedro Maffia and Raúl de los Hoyos. A useful book for musicians and specialists, but also for the common reader interested in tango who wants to achieve a new approach to the genre.