Definition of Terms; Scheme; References Biblioigráficas.
Who has the hypothesis has variables, then all you have to clear the room "B" took a little more and it has its indicators, ie how you will measure your variables to contrast their hypotheses. Another investigative techniques that will carry out the picking up of information for the verification of the hypothesis, and that instrument is used specifically.
to work on my half of the work, all they need is to update the matrix of the investigation. and purpose. until the next semester. For section "A" if I forward my mail today and tomorrow, not another day q matrix containing up an instrument, I can check and return until Saturday. The print and complete the matrix presented on Tuesday.
not who will review the work submitted beyond the stated range 30 to December 1, until 9:00 pm. for the "A".
Cordial greetings from Quito-Ecuador in South America. From Friday 26 November 2010 has been made available public portal Ecuadorian Corporation CONMUSICA musicology under the name of http://www.ecuadorconmusica.com/ . This space is the work of the members of CONMUSICA, who have managed their own resources to investigate and collect many music materials that have occurred in our country, which have been digitized, organized and placed on a web page that can be used with unique educational and research purposes: the portal, it is specified, will not, under any circumstances, for commercial purposes. are expected later supported by a cultural organization, if this is possible, "which will develop best way work that aims to become an important virtual space for knowledge of Ecuadorian music in the cyber network.
http://www.ecuadorconmusica.com/ has several sections: the musical Journal Ecuador EDO to important articles about music, history and research. In this issue include work on the Independence of Ecuador and music, the action of the Italian musicians at the National Conservatory of Music, on the Ecuadorian national music and speeches; review of the composer Juan Agustín Guerrero; and brings also a valuable contribution from Merida, Venezuela, the daughter of composer Leonardo Paez (author of the Tuna Quito, Queen and Mrs and twelve Mass among others), Ximena Paez, compilation gives us an article on the work of the prestigious musician. The magazine can hear audio and view artwork and scores. Other researchers and composers have collaborated in this issue the American John Walker, John Mullen Sandoval, Cesar Santos, Eugenio Auz and Harold Wilson.
Portal also brings a virtual library of great value, with documents ranging from colonial times to our days. The Virtual Library: Proceedings of the Ecuadorian Music is organized into 16 racks of historical items, scores, audio, graphics, literary writings on aesthetics, nationalism, politics, etc.. The site must be researchers, educators and all those who want to know the historical references in our music. Also
has created a resource directory in order present music that musicians to showcase their activities, services and products offered from the creation, interpretation, arrays, classes at home, recording, survey scores, etc. This site also allows access to videos, audio and graphic material.
later be included as part of the portal, the Encyclopedia of Music Ecuador with more than four thousand pages of research information on composers, authors, genres, instruments and musical terminology of our country.
The Portal will be emissions tested and subject to change until January next year when it will make its official launch. Thus the Ecuadorian Corporation CONMÚSICA musicology, which has more than two decades, contributing to the research in our nation, is present in a practical way in local and global context with a committed work with the Ecuadorian music.
This site is dedicated mainly to the popular sector (although in principle is only a dedication for the poor do not always have access to computer sources): afros, local peasants, Indians and mestizos, even so, deprived of material goods are the creators of our rich musical culture and who through their efforts have raised this country. Also social activists who give their life to change the dire conditions of inequality that we have historically experienced. A youth Ecuadorian music and who seek generally our musical and cultural institutions they say it does not exist, or if there is no documentation, records and sheet music. A contemporary musicians to know their past and the traditional musicians who know contemporary proposals. Ecuadorian Migrants may find a haven for anguish of musical communication with sound recorded in their memories. At the musicians of other nationalities who want to spread the music Ecuadorian cultural proposals. And, baby, our families who have borne the brunt of these achievements, often at the cost of disarming the poor resources and opportunities family housing.
If we can create an intercultural door, where a thought can be spread against inequality and cultural imperialism and for peace, nature and music, will have served our effort. If our action, the youth of today and tomorrow can be better and happier than us then our work will be really worthwhile.
Chile and Ecuador: musical contacts the people united will never be defeated
E l people united will never be defeated, Chile and Ecuador
Fidel Pablo Guerrero http://soymusicaecuador.blogspot.com/
Following the coup of 1973 came to our private country ro many Chilean exiles, was the era of military dictatorship that overthrew democratic government of Socialist Salvador Allende (1908-1973), now ratified by do declassified was documented for both the stroke-like along the dictatorship advice and support of the U.S. Agency CIA. In these circumstances, which disappeared and tortured many people, was assassinated one of the great musicians who arose in that country: Victor Jara (1932-1973).
Victor Jara singing children. Photo courtesy of: http://listenrecovery.wordpress.com/2010/08/28/victor-jara-chile-
Since then through the Chileans (musicians) who settled temporarily or permanently in the country we approach more closely musical expressions and aspects of their culture. The chilenism or s, Chilean empanadas, a kiss on the cheek, the typical asshole (pronounced hueón ) and creations of Violeta Parra, Inti Illimani, Quilapayún, The crabs, Congress, Los Blops, and midnight sun, became part of musical knowledge regularly in our environment, especially in the city of Quito.
But contacts with the country Star So lita ria Ian are producing a long time.
A publication issued in Valparaiso in 1908 in honor of the centenary of the Independence of Chile and Ecuador.
In the nineteenth century began to dance in our country zamacueca. According to some researchers, or zamacueca zambacueca or just originated cueca in Peru, where he moved to Chile and Ecuador, but f ue in Chile where he or a constit UIRs in national dance. Alejand In 1851 French Holinski ro p pointed out that in his association of Guayaquil that "... if the traveler wants to find the banned sister of zamacueca of Lima and Sopuimpa Havana, is to be found in the open circle and nothing aristocratic. " For its part, the Englishman Ernest Charton on his visit to Quito in 1862 asserted that "it is not unusual to see a monk to forget his cassock or rolled up to the knee, to show with what grace and what flexibility you run the figures zamacueca "(Encyclopedia M usic Equator iana, v. 2, Quito , 2005).
Local versions qu and were created from that genre were soon ended up turning into another Chilean Ecuadorian denominating ana, for the parent co he kept to his earlier original.
zamacueca cover of Viva Chile, Guayaquil composer Antonio Cabezas (XIX-ca. 1919)
Dar click to view and print big. A Chilean sounded in Cuenca in 1909.
AUDIO midi: In the garden of flowers . Cuenca, 1909
If
While the Chilean was eventually absorbed by the Ecuadorian typical air in its early days, the Chilean - was a zamacueca that was played in a major key. When it became ecuatorianizó played in minor key and melodic line as, in the mountainous region were within frameworks pentatonic by the influx of musicians ca Indian and thus became part of Gender Ecuadorian Ecuadorian and Chilean . Some s original genre elements remained, such the case of rhythm and function were dance pieces, and for its registration scheduled, we have documented Chilean in compound duple (6 / 8) and ternary (three quarters), the latter he held.
To view and print large graphics to click on the scores. The monkey (Chile Ecuador) / Ezequiel Salgado.
AUDIO midi: The monkey (Chile Ecuador) / Ezequiel Salgado.
I we placed the music market here called mona The Ecuadorian composer Ezequiel Salgado, for she can fully realize the process of "ecuatorianización" of this genre. The first part is in tonal ness major and its sonority meets a Chilean of Chile, but in the second, which is in a minor key, he feels a "typical Ecuadorian accent" by features consist of a melodic pentaphony underlying harmonic sequence used in the popular musicians Ecuadorian ca. From this change, the Chilean Ecuadorian was taking its own route with your s features, however the same characterization, it seems, eventually earned him and his disappearance ended up looking for a typical air. His compass is framed in 3 / 4, kept his agile movement and dance function, its textual themes often included humorous situations as in the case of married Mal or Naides me hoarse. Today no longer up Chilean , partly I suppose because it is the gender was absorbed by the typical air also co-triad, which was making it harder the clearly identified as a different genre, as so many Chilean case If you can do forget the composer Armando Hidrobo or Ang Aldeanita love the Honorio Jiménez noted in the records as either typical air and some times as Chilean product of these genres began to merge. One of the last c Hilen created, and in the last third of the twentieth century, for the composer who made his career Messiah Chilean entitled Manzanita.
A disc or slate recorded around 1940: Mal married Chilean Manuel Mantilla. An example of when the Chilean was a genre of Ecuador.
slate disk AUDIO: Mal married (Ecuador Chile) / Manuel Mantilla Cerón.
Mal married Chilean Manuel Mantilla Cerón
/ When he was in love with you not think they should mourn, / (bis) / bitterness that would have to lose my bachelorhood happy / (bis).
/ So when I look so bad that I am married to you, / (bis) / my mom, my daddy with others, families do not want to be / (bis).
From: Mal married (Chile) [record label, album board, 78 rpm.] / Manuel Mantilla Cerón. Benitez Ortiz with the typical group Castro. Victor 83561-B . Register compiled and digitized by Fidel Pablo Guerrero.
To view and print large graphics to click on the scores. Mal married / Manuel Mantilla.
AUDIO midi: Mal married (Ecuador Chile) / Manuel Mantilla Cerón.
other contacts in Chile can also be noted that in the first year of the twentieth century, from Chile came several Italian musicians who came to lead the music school founded by Eloy Alfaro, the National Conservatory of Music. Among them was Pedro Pablo Traversari Ecuadorian musical preparation of which was made in that country and stay in that country allowed him to do some research studies about music in Chile, with several transcripts of popular pieces (at the end of this article included an example.)
The sheet music of the valse Chile and Ecuador Emilio Banda.
For his part, Emilio Banda Ecuadorian composer created his waltz Chile and Ecuador, opus 20, dedicated to the presidents of both republics, Germain Riesco ( 1854 - December 8, 1916 ) and Leonidas Plaza (1865-1932), this work must be published between 1901-1905, years in which these agents were run their countries.
In the first half of the twentieth century there were many other contacts via artist presentations. The Sucre Theater presented some events related to this issue. For example, in the 30's were presented The Chilean Huasos of those included a graph of the program in his farewell hand, in the program were involved Duo Villavicencio Ecuadorian musicians and 2 Montuvio Paez, a duo who came from Guayaquil.
action program be undertaken by the Chilean group Los 4 Huasos, Teatro Sucre in 1934. Document courtesy of Ximena Páez.
introduced in 1936 in celebration Anniversary of the Republic of Chile presenting Soto Carvajal violinists with the participation of many other local musicians.
Theater Event in Sucre. In celebration of the anniversary of the Republic of Chile, organized by the Chilean concert Soto Carvajal and dedicated to His Excellency Mr. President, Engineer Don Federico Paez, Ministers of State, Diplomatic Corps, Army Aviation and Ecuadorians. Today September 18, 1936. At 9 1 / 2 pm The best program presented in the season. The Joint Radio Theatre. Al Meidine. Azucena Empire. Armando Gomez, Emilio Santos, Ecuadorian music, for a tremendous trio Iturralde-Guerrero Echeverría providing the contest tied tr Chilean Artists. Great Orchestra Ecuadorian and foreign musicians, who have gallantly lent because it is Chile. Sarrin Orchestra Cuban music. Release of a large Chilean popular music magazine. Opening of Casino of the Teatro Sucre. Dinner at L'Ermitage.
Passing another matter. One of the leading educators qu e has had on Ecuador is Emilio Uzcategui (1899-1986), author of a large amount of literature on education. Uzcátegui originally studied music in Chile and is author of an important historical musical about the composers and musicians Chileans, in Ecuador was appointed Director of the National Conservatory of Music .
way of a news story appeared in The Battle , in which Emilio Uzcategui not granted sufficient conditions to be director of the Conservatory, He answered to allusion gives us interesting information on its relationship with the Chilean music:
"Finally, no vanity, but because my friend ZB I denied any knowledge of music, I will to know the following facts. I am not a professional musician, but I have pride in loving and somewhat familiar with the m usic selected. I studied music for some years. Not only piano, but harmony and composition at the Conservatory of Chile. Two of my great teachers were two distinguished world-renowned musicians, Enrique Soro and Humberto Allende, who have honored me by dedicating his compositions, as have some other Chilean musicians. My first book is titled "Chilean Contemporary Musicians," which was well received and so far mentioned. In The Nation of Santiago (5 XII 54), due to the recent death of Soro, transcribe a review of my book. Gaston Talamona, notable Argentine critic in the magazine We (Year XIII No. 126), said it is "an excellent and useful book", he regretted that his country would not Biera hu written a similar book, and ended by saying I have done "a commendable and useful work, with reported art service and all those who in the continent are engaged in studies of art "[. ..] The magazine Events , Zigzag and many other accolades addressed Amente of my book and most of it has been reproduced in various publications as News, web art, and in Santiago a Chilean magazine "Music" Anibal Aracena, which collaborated on several times. In Chile there was a theatrical short work of mine, whose musical arrangement also belongs to me and for many years also took the stage at the Teatro Sucre, having executed the piano no less than former director of the Conservatory, Luis H. teacher Salgado, who when the Conservatory was attached to the Faculty of Philosophy, I said that was fine, because he consisted I NDIA body of music. Also in Ecuador have lectured and written articles sob re music and music education. In Volume IV of the great Latin American Music Journal of Music Research Institute of Montevideo, see my portrait with the legend "Axis Ecuadorian musical Americanism." And this is not all, Francisco Salgado, when he was Director of the Conservatory, sought and obtained my services willingly and without charge for Methodology lecturing applied to music, a fact that the record on page 42 of Newsletter published Conservatory on his anniversary.
Humberto Allende Chilean musician who is presented in our work Lavoz the streets.
"[...] I served Mr. Luis H. Salgado's score l Voice streets as "my property, giving opportunity for this wonderful and modern work of Allende was heard in Quito [...]
" [...] Last data: the Society of Composers of Chile honored me with the designation of Honorary Member. "
"Emilio Uzcategui.
(Uzcategui, Emilio. "Referred to the 'musicians' of 'Fighting'. In: [not recorded. Perhaps the newspaper El Combate ]. Quito, March, 1955. Library Sound Archive).
We found some items Uzcategui dating from 1920 and published in the Chilean magazine Music .
Photo Emilio Uzcategui and segment of one of his articles published in a Chilean magazine.
Ecuadorian Among the musicians who went to Chile, and Uzcategui, we aim at the singer Alberto Valdivieso Alvarado "El Diablo Idle" (who already gave reason in another article of this blog), Pedro Pablo Traversari , to whom we owe a historical overview and some Chilean music transcriptions in his book Art in America , and Luis Aguilar, a violinist. Azuay In 1948 the composer Corsino Durán traveled to various South American countries including Chile, with the aim of monitoring the training experience "for symphony orchestra at that time the SEDAM and other musical organizations were promoting the creation of a National Symphony Orchestra in Ecuador. Duran contacted the Casa Amarilla, Chilean editorial published some of his works: Sad joys, Ñucanchicpac yarahui, Ecuador Romanza, etc. Both Duran and the composer was Juan Pablo Muñoz Sanz Socialist supporters, the first accounted for the opportunity to meet and be photographed with the president Salvador Allende when she visited Quito in 1971.
Chile's President Salvador Allende with Ecuadorian composer Corsino Durán. Photograph taken in the city of Quito, the Chilean president's visit, 1971.
Ecuador Another famous member is former Chilean group Inti Illimani known, Max Berrú (Cariamanga, Loja, 1942) who is one of the founders of the group and their participation, published in the Chilean magazine bicycle , No. 35 - is narrated as follows: "The football fanaticism led me to Chile in 1962 and when in Guayaquil I was embarking on the Italian ship Marco Polo, I gathered all the money I had in my pockets and buy him a guitar to an old man. I studied mechanical engineering at the Technical University of the State. Later, when the practice was vacationing in the coal mines of Lota, I met Jorge Coulon. This chance meeting has marked our lives, empezamo sa singing together that day. Soon he was living at home where I met today is my partner. The garage of the house quickly became the Inti Illimani workshop. "
Dar click to see bigger.
also in the sixties for a few days, the Choir of the House of Ecuadorian Culture, led by Carlos Bonilla Chavez traveled in 1964 by Coral Invitation Chilean Association of Choirs Festival held in Talcahuano, Concepcion and Santiago. The choir consisted of 49 people. The repertoire was included: Dancing Gerardo Guevara, Lamparilla (hallway) by Miguel Angel Casares, Apamuy Shungu, Taita Quishpe, Poor heart (sanjuanito) Shadows (aisle), my destiny Romance (corridor), earthenware vessel (dancer), The Quito Chulla (parade), Mrs. tunday Tunday (sanjuanito) Like a child (corridor). The choir would be granted the nomination of Regalón Choir, the choir is designated the most popular event.
- Cut press reports on the performance of the Choir of the House of Ecuadorian Culture in Chile. To end this short overview we will appoint some Chilean musicians remember and were living in or passing through Ecuador: Pedro Pino, a member of the group Amauta Araucanto, Threshold Taxo and lived 25 years in our country, remained here musical activities related to teaching, as arranger and instrumentalist, Thomas Lefever avant-garde musician spent time in Quito in the early 80's ; The Altiplano of Chile, led by Mauricio Vicencio, live in the city of Quito. Giannini also met Hugo, a great pianist who was a teacher conditions of the National Conservatory of Music and other music centers (missing for something like two years and no more was heard of him). Guillermo Cardenas, director of choir choirs prepared in Loja and Guayaquil, Mario Baeza, choir director, in Quito was director of the Coro del Banco Central del Ecuador if memory serves me correctly. Other musicians: Mario Manque, Juan Paredes, Julio Araya, team members Clay and many others will escape us ...
The author of the borrower entity article on the far right, when integrab ae l band Araucanto (Pedro Pino Carola and Aspe, Chile). 80's in the Band Shell d and the Villa Flora, Quit o.
AUDIO The right to live in peace / Victor Jara. Cast: Araucanto. Re tration home.
To say goodbye until the next time we write q ue (which will at some time because we are busy with Conmúsica portal: http://ecuadorconmusica.com) we will include two scores of Chilean music mu. A compiled by Pedro Pablo Traversari entitled Cueca old, found in a manuscript made in 1903 and another that was published in the U.S. of Ecuadorian composer Ricardo Romero, entitled To dance the Cueca (attachments are the audios midi so you can appreciate the works).
Chile and Ecuador, along with other p OUNTRIES the continent, have been major musical and historical ties, narrow ties that bind us as a people and enable us to understand that although countries with boundaries political geography, culturally, and twin exceed its musical richness.
To view and print large graphics to click on the scores. Cueca old / Pedro Pablo Traversari, compiler. 1903.
AUDIO midi: Cueca old / Pedro Pablo Traversari, compiler. 1903.
To view and print large graphics to click on the scores. To dance the cueca / Ricardo Romero.
AUDIO midi: To dance the cueca / Ricardo Romero. To click on play.
A picture Banda Mocha in the late nineteenth century, ca. 1897. E. Festa (travel abroad). Dar click to see bigger.
In colonial times a large numbers of Africans were brought to American territories as slaves. In our day and in our country there are two large communities of Afro (nominated as constitutionally currently used to replace the derogatory form of "black"). One such community is based in the province of Esmeraldas, on the coast, "and another group which we will discuss today, which shares space in the provinces of Imbabura and Carchi, north of the Andean highlands of Ecuador.
musical identity more representative of the Afro del Valle del Chota (Imbabura) is shown primarily in three interrelated cultural expressions:
to . Music and oral poetry expressed through a music genre called pump, which has as its main instrument a drum called pump. b . The dance that occurs through a choreography that also is called "Dance of the pump," and, c . Specific groups for music and dancing above: Banda Mocha and pump assembly.
As we will realize the pump is a fundamental element of music culture afrochoteña, the pump is a dance, an instrument and a musical genre that runs through clustering features.
A picture of 1930. Imbabura. Blacks and Indians comprise a Banda Mocha.
The "Banda Mocha" is a group that was forming from the African musical heritage and its formal structure since, in our view, the imitation of European military band. This group has very specific instruments, using pure (squash) of different sizes, some large, some medium and small as well as tree leaves and stalks, the most striking. Cigars (1) larger would become the equivalent of tubas and bombardones; the pure medium of trombones, trumpets and saxophones; rats of horses or Cabuyo (instrument made from agave), leaves and flute of cane would be the clarinets, flutes and piccolos. Banda mocha is complemented with percussion bass drum, snare drum (called "box"), flee, "donkey jaw (mandible of horses) and to the most current cymbals.
Penco, orange leaves and "Donkey Jaw" Source photo: http://www.mira.ec/paginas/Musica/bandamocha.aspx
The repertoire of this group, which has a festive and dance-function consists of instrumental pieces (although many of them have their origin in vocal). The number of male members, there has not been the case to see a woman member of the Banda Mocha is not fixed, but could reach well over twenty instruments. Your name appears next to "mop", a term popularly used to say cut, blunt, blunt and is related to the fact that the ends of the "pure" are cut or "Mocha." The "pure" are instruments or speakers resonators, whose noise emission is based on the performer's throat, which makes rhythmic sequences, and use the pumpkin as prolonging extensor sound.
1. Pure pumpkin or natural. Cuts: 2. Pumpkin with a lateral hole. 3. Pumpkin cut at both ends (Figure PGG) 4. Photo musician with his cigar Photo source: http://newsimg.bbc.co.uk/media/images/42196000/jpg/_42196380_gal13.jpg
is true that in Africa have been made with joint groups pumpkins, and hence could be generated the idea for forming this group, however the pattern of sound distribution between severe and acute suggests that population, we used existing models of military bands, even the name Isabel Aretz recorded in the Chota Valley in the sixties, to big pumpkins, "low" and "barytes" may be related to low baritone, brass instruments of the bands. If so we should think that the formation of the "Bands Mochas" date of the first half of the nineteenth century, which saw the bands in the military battalions in our country (before there were only small bands of war), who accompanied armies to various parts of the territory.
musical instruments used in the Banda Mocha are natural and modest, no doubt emerge as an alternative to the rich imagination of poor people, as real instruments were unavailable to these enslaved and marginalized populations. His work and knowledge of nature provided to maximize the possibility of certain plants, there must have been born using these musical instruments, which are learned by tradition and therefore within the family affiliations.
This group-and African musical culture in general rather than give the category of Cultural Heritage should be nominated as a World Heritage Cultural Resistance, resistance of a humble people whose musical creativity and happiness are an example to all. Should be established in these towns ever forgotten a school and an archive of Afro-Ecuadorian musical memory, which not only study, the rear guard and are drawn to traditional music, but to become a laboratory for new production to expand the spectrum of musical diversity of Ecuador. An investment that contributes to this aspect certainly is an option that is urgent and indispensable for these sets and instruments are disappearing. That investment has to be done in the population environment, because if the community covers basic needs related to health, work, food and education have the possibility to protect and above all to develop their cultural heritage.
pump, drum pads. Courtesy Carlos Coba.
The "Body Pump" on the other hand, consists of the pump, we have said is a drum leather patch that is placed between the legs and runs with the palms of the hands and mark the characteristic rhythm of the genus also called pump (similar to Albaz ): black-quaver-quaver-black (with an accent [>] on the last note), in compound duple 6 / 8, are added guitars, a companion and one that performs melodic motifs (currently using the requinto, stringed instrument similar to guitar), and optionally sheet and maracas and / or gourd. This group can run instrumental instrumental pieces, but essentially is a group with vocals, solos, duets or responsorial. We have documented pieces that respond to their environment and agricultural and hacendatario Viva Pattern, Pattern José , Beet , others that operate within the scope of the chronicle as El Juncal bridge and Carpuela cute, in documenting certain events that occurred in the community about the dancing: Pasito tun tun , The caderona and, many on topics of feelings.
AUDIO: The caderona (version pump, a little more recent, there between afroesmeraldeños marimba version) / Youth Worker of the Chota and singers. Register César Santos T. to click on play and increase volume.
A pump assembly. Courtesy Carlos Coba.
Variants of bombs, which according to their mobility and the classified textual content sad pumps and pump hot , the latter being the most dynamic and tempo very happy. In the dance the couples dance single, the feet move with short steps, legs, torso and hips put more movement. The woman moves her hips and man chases, sometimes pulls out a handkerchief and Inca. There are variants such as the Dance of the bottle, which is a dance competition among women who move with a drink bottle balanced on your head.
A picture of 1968. Ecuadorian dancer Patricia Aulestia in a community of Chota watching the dance runs from the bottle.
music pump in score The nominal reference oldest pump consists in a manuscript book of music for violin dating from 1790-1848 - in which there is a notation that is called: Pump. Is it an expression of African culture at that time? So far can not confirm this, we include it anyway (with audio) to the judicious reader to draw their own assessments.
Score: Pump, contained in the manuscript: Stock gigs violin, ancient and modern divided into three parts ... composed in the year of our Lord Quito, 1848 .
Transcript: Pump
AUDIO: Pump
Those who do are safe notations -pumps of 30's-20-years are those that kindly showed us the musician Gonzalo Teang, San Antonio de Ibarra, recorded in a booklet for band that belonged to his relative Teang Víctor Manuel (1870 - ca. 1940?), sheet music for popular band . They comprise several bombs , we present a couple of them in piano reduction.
Score: Viva pattern (there is a bomb sung, compiled by Dr. Alfredo Costales whose music is similar). Click in the score to view and print big.
AUDIO: Viva my employer
Score: Beets. Dar click on the score to view and print big.
AUDIO: Beets
In Loja were also able to document a bomb Of the 30's possibly in the collection of the band director, Jose Miguel Vaca Flores. The title of the piece is The Urcuquireña (2), explicitly states that it is a bomb , although its record is found in simple duple de2 / 4 and in most cases the records are documented in 3 / 4 and 6 / 8, the latter being the measure in which there is currently.
Score: The urcuquireña. Dar click on the score to view and print big.
AUDIO: The Urcuquireña
The above is what we mentioned about musical notation, however in terms of sound recordings was apparently in 1937-since 1938 and was promoted to the disc was recorded, when the first bomb slate and so far not found a sound recording of a previous period.
home score pump Carpuela cute. On the right consist Eugenio Auz, Milton Tadeo Carcelén (composer and singer of pumps, now deceased) and Fidel Pablo Guerrero, in a tribute to Milton Tadeo, 2002.
When our good friend, the choir director Eugenio Auz, back in 1994, we contacted a person who was offering a lot of slate records, including records found interesting. There was a piece that drew attention from its title, announcing: Chota pump. When you scan the disk because the shock was greater to audition performers seemed that among the distinguished members was missing and singer and "Queen's Hall," Carlota Jaramillo, but his name did not appear in the tag or label on the disk, which was somewhat difficult to ratify the auditory impression. What is the name itself consisted of Jorge Araujo, as arranger, who became the singer's husband, so that track, plus the tone of voice and warned us that it could be Carlota Jaramillo.
Carlota Jaramillo and disc pump Chota .
Finally, some years later when he went to Guayaquil we documented several examples of songs The mosquito , 1938, which consisted not only the text of this piece, but also brought additional information explicitly named as Carlota Jaramillo performer of this piece of music. What could have happened in the disk label: it was decided not to name Jaramillo was intentional or unintentional neglect. The truth is that this is the first pump registered on slate records (once we gave it to Juan Carlos Franco for the spread in their research) is one of the most important soloists of the "national music" in the twentieth century: Carlota Jaramillo.
Songbook The Mosquito Guayaquil, where he published La Bomba del Chota. 1938.
The text we have quoted slate disc but no words hard to understand, is approximately as follows:
The Pump Chota (pump)
The mountain and the plain with penalties are and it will fly its pleasures; aura suffer Juan José the blacks because they have llora'o abandona'os by Juana that was .
/ Pump, pump, pump , Manuel / (bis 3 three times.)
Marimbas and flutes have their pain and cry penalties, plump love. Drink no longer
Juan José, the juice hurts, evitate disappointed, I well advised you
/ Pump, pump, pump , Manuel / (bis 3 three times.)
Pump, pump, Manuel pump house is sad and heaven too. Da
guarapo Juan José, pa 'drown this pain is so bitter
love because Joan was
/ Pump, pump, pump , Manuel / (bis 3 three times.)
pretends to go out, go out hacete like [give the poncho to Juan José] feeds to your wife. Juii
From: Araújo [Chiriboga], Jorge (arranger). Chota pump (pump) [record label, 78 rpm; blackboard] / Choir, Traditional Instruments .-- Victor: Side B / B. 82075 - USA NJ
Interestingly, there was a desire to imitate the format of the "pump sets." Some traditional groups use "leaf" which is a natural leaf of certain shrubs and trees that are placed between the fingers and lips pressure blows to achieve sound results in a fairly sharp as a whistle: the sound is which tried to play the violin (it may be that the performer is the composer of the violin Azuay Corsino Durán). Also you will hear a drum sound can be a bomb, though it sounds more like the sound the "kickers" on the soundboard of a harp. It is also possible that the original piece has been black repertoire and has been adapted into an arrangement by composer Jorge Araujo.
We parted with a small video where we can hear the pump sung by Carlota Jaramillo.
VIDEO: La Bomba del Chota.
Notes: 1. The purus = pure, are emptied and dried gourds, whose ends are cut to become a musical instrument speaker or resonator. 2. Urcuquí is a town adjacent to Ibarra in the province of Imbabura.
