Joropo

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Venezuelan Joropo. Drawing by Eloy Palacios (1912)
Street musicians in Caracas play Joropo on the arpa llanera
Interpretation of Joropo in Caracas, Venezuela

The Joropo is a musical style resembling the fandango, and an accompanying dance. It has African, Native South American and European influences and originated in the plains called "Los Llanos" of what is now Venezuela and Colombia.[1][2] It is a fundamental genre of música criolla (creole music). It is also the most popular "folk rhythm": the well-known song "Alma Llanera" is a joropo, considered the unofficial national anthem of Venezuela.

In 1882 it became Venezuela's national dance. Formerly, the Spanish word joropo meant "a party", but now it has come to mean a type of music and dance that identifies Venezuelans. In the 18th century the llaneros started using the word “joropo” instead of the word "fandango", which was the word used at the time for party and dance.

Venezuela[edit]

Joropo central[edit]

Propio of the central states of Venezuela, like Aragua and Miranda, Carabobo eastern and northern Guarico. The central joropo or tuyero (by practiced on the banks of the Tuy River) is sung accompanied by harp (sometimes replaced by guitar) and maracas. Unlike strings náilon the llanera harp, harp central joropo also uses metal strings, which gives her unique sound. The singer central joropo is the same as playing the maracas, dancing so they put just two performers: the harpist (or rather "arpisto", as they like to call themselves), and the maw (singer-maraquero). The central joropo him the same considerations are applied around the passage and hit burrowing joropo, except speed, which is slightly lower. Another important caveat is that the central joropo revolt, kind of colonial origin is present, basically consists of a chain of musical sections of fixed forms, in the same tone, as a Baroque suite, without interruption, but with twists surprising. The movements of revolt are called passage; input or call Yaguazo, Yaguazo, and Marisela Guabina input. Sometimes they can call Marisela added to them, and even a small coda. The revolt is thus equivalent to the batch or shift dance, and its extension is probably the reason for his gradual disuse, being replaced by the execution of the parts in isolation. The arrangement of these sections is of sequential nature, unlike blows Llanero Joropo, having a cyclic condition. The most characteristic part of tuyero joropo, the Tuyera Revuelta consists of four sections: the exhibition (passage), development (yaguazo and guabina), the instrumental coda named Marisela, and an end known as "monkey call." They are central joropo own beats flowers and quitapesares.Los most famous passages tuyeros are The Hermit Mario Diaz, Dawn tuyero of Cipriano Moreno and Pablo Hidalgo, and The Cat enmochilado Fulgencio Aquino. Caraquenos and central musicians adopted the central joropo as inspiration for his works, as in the case of Marisela Sebastián Díaz Peña, the Alma Llanera, Pedro Elias Gutierrez, valse Quitapesares Carlos Bonet and even Creole Sonatina Juan Bautista Square. The central joropo lyrics are sly, sardonic nature, in contrast to the forceful and violent own burrowing joropo, whose contrapunteos end up not infrequently in sets and fights.

East joropo[edit]

Characteristic of the northeastern region of Venezuela, specifically of Sucre, Nueva Esparta and Anzoategui and Monagas Northern states. In this particular type of joropo melodic instrument par excellence is the mandolin or mandolin. However, the eastern mandolin (eight nylon strings), violin, harmonica and a small accordion called "cuereta" also have a major role in the oriental musical folklore. The so-called "joropo with refrain" consists of two sections: the first section or "hit" is traditionally a fixed melody in 3/4 rhythm that is repeated two or more times; the second section or "chorus" is an improvised melody over a fixed harmonic rhythm cycle is 6/8. Note that in the eastern joropo, cuatro and maracas are executed in a much freer and more complex than in the rest of Venezuelans joropos way. Likewise, it is important to mention that the musical tradition of the eastern region of Venezuela has many other forms besides the eastern joropo.

guayanés joropo[edit]

Product of the interaction of llaneros and eastern Bolivar state in Venezuela , specifically in Ciudad Bolivar. It is executed with the Guyanese mandolin (eight metal strings ) , cuatro and maracas. Six Guayanés , the Josa and Rompeluto highlight among the most famous Guyanese joropos.

Joropo tucuyero[edit]

characteristic Aragua and Miranda , and Carabobo eastern and northern Guárico ( Venezuela ) . While burrowing joropo is intoned with llanera harp or mandolin, cuatro and maracas , the tuyero is sung with harp, maracas and crop. At the same time , while the harp tuyera uses metal and nylon strings, the harp burrowing joropo all strings are nylon . Another distinguishing point between the tuyero and burrowing joropo is the fact that in the first, singing is the same as running the maracas. The most characteristic of tuyero folklore piece, "The tuyera revolt" , it consists of four sections : the exhibition ( passage ) , development ( yaguaso and guabina ) , the instrumental coda (called " Marisela ") and an end known as " the call monkey . " The most famous passages are tuyeros " The Hermit " Mario Diaz, " Dawn tuyero " of Cipriano Moreno and Pablo Hidalgo and " The enmochilado cat " of Fulgencio Aquino.

Golpe Tocuyano or larense joropo[edit]

Hailing from the West Central region of Venezuela , mainly states Lara, Portuguesa ( Portuguese saw ) and Yaracuy . Played by a variety of stringed instruments ( Four , Middle Five , Five and Six ) together with Tambora and Maracas produce a very particular and unique sound among other Venezuelans joropos . Celebrity tocuyanos hits are " Amalia Rosa " , " Montilla " , " Gavilan Tocuyano " and " Ah world! Barquisimeto " , " Los Dos Gavilanes ," " The Fright " , " Little Bird Tocuyano " , " Garrote Encabullao " , " Fire Fire ", among many others. Dancing in the number of members is six couples.

Quirpa[edit]

Legend says that this type of joropo is named after Jose Antonio Oquendo , who was nicknamed " QUIRPA " . Burrowing harpist of the late nineteenth century who died of a stab wounded . The quirpa uses ternary and tertiary bars and sometimes combined, with shifts of rhythm and musical accents .

Joropo llanero[edit]

Until the mid-twentieth century, and with regard to the region of the plains of Venezuela, the joropo word referring to a social event almost a fair- for a period that could vary from a few hours and even a full week. There participating local people or coming from various places, generally attracted by trade, where the central event it was the music, dance and contrapunteos. Burrowing joropo music was provided by a basic set consisting of harp, cuatro, maracas and singing. If there was no harp, it was replaced by a mandolin or violin The genera of burrowing joropo are two: Passage: the more sedate, and generally known author. Its speed is + or - black = 152, and harmonic structure free, usually in two parts; Y Hit:. Anonymous author, although many of these strokes are attributed to composers of the early twentieth century The coup complies with certain recognizable melodic turns on fixed characteristic harmonic patterns that define its type. Singing is syllabic, that is, to each note of the melody corresponds to a syllable. The verses are octosyllabic and sometimes five syllables, all under contrafactum, ie the replacement of new texts in existing melodies. The stroke speed is greater than the passage (black = 176-192). When the song is a story of an event or fantasy called the RAN, equivalent to the old Spanish romance. The blows are the basis for the buzzes or hums contrapunteo that between two or more opponents. The most common are the six law (major key), the bird (in a minor key), six numbering or six numerao (with transport augmentations in fourth grade), the Kirpa or quirpa, Gavan (in modes major and minor), the San Rafael, carnival, Chipola, the catira, the buzz buzzing, among the best known. The entreverao is the aggregation of two strokes, with a modulation of each other, usually to sing two people with different tessitura voice (baritone and tenor). As for the steps of the most frequent dance are valsiao, escobillao and footwork, in which, unlike the central joropo, feet off the floor rise. Family tree of performers llanera harp in Venezuela since the late nineteenth century to the present

Bailando[edit]

The Joropo is played with the arpa llanera (harp), bandola, cuatro, and maracas (ibid), making use of polyrhythmic patterns, especially of hemiola, and alternation of 3/4 and 6/8 tempos. It was originally played, most often also sung, by the llaneros, the Venezuelan Llanos, (plains), and thus also called música llanera (ibid).

The singer and the harp or bandola may perform the main melody while a cuatro performs the accompaniment, adding its characteristic rhythmic, sharp percussive effect. The cuatro and the bandola are four-stringed instruments which are descendants of the Spanish guitar. The only real percussion instruments used are the maracas. Besides the genre and dance, the name joropo also means the performance, the event or occasion of performance.

Dancing[edit]

The joropo adopted and still uses the hand turn, the movement of the feet, and waltz turns. First, the partners dance a type of waltz holding each other tightly. Then they stand facing each other and make small steps forward and backward as if sweeping the floor. Lastly they hold each other's arms, and the woman does sweeping steps while the man stomps his feet along with the music’s rhythm.

Evolution and more refined forms[edit]

In modern times, several other instruments have been added to playing various parts in Joropo performances, for instance, guitar, flute, clarinet, piano, and up to a complete symphony orchestra playing Joropo arrangements.

See also[edit]

Sources[edit]

References[edit]

  1. ^ Shepherd, John and Horn, David. Bloomsbury Encyclopedia of Popular Music of the World, Volume 9: Genres: Caribbean and Latin, pp. 400-402 (Bloomsbury Publishing 2014).
  2. ^ José Portaccio Fontalvo. y su música: Canciones y fiestas llaneras. 

External links[edit]