Arnoldo Pintos and His Chayeros discography and songs: Music profile for Arnoldo Pintos and His Chayeros. All about Enseñanza de Guitarra-Tomo I by Arnoldo Pintos. LibraryThing is a cataloging and social networking site for booklovers. Arnoldo Pintos -Enseñanza de guitarra Tomo 1 Arnoldo Pintos Tomo I. February 22, | Author: juablomez78 | Category: N/A.
|Published (Last):||14 May 2010|
|PDF File Size:||6.33 Mb|
|ePub File Size:||13.64 Mb|
|Price:||Free* [*Free Regsitration Required]|
The Legacy of Mamma Lena & Dino Gustin – SONGS OF THE GAUCHO
From North to South, from East to West, throughout the land handkerchiefs flutter to the sounds of the zamba which inspired the poet to write: A landscape of emerald green mixed with the amethystine purple of vines enfolds us in the sweet fragrance of wine: It flew in through the waving handkerchiefs, connecting the past with the present, leaving behind its seed for the future. Having left the Cordoba Hills we now cross into. Time has passed but it has left the zamba pledged in pibtos hearts, as an unforgettable memory.
Thus the slave in the yerba plantation sobs, hopes This Long Playing High Fidelity record should only be played at 33 r. In the Northwest of Argentina, we enter the zone of the “carnavalitos” dances for any number of people, with simple steps and a vivid rhythm”bagualas” plaintive native songs”bailecitos” a sort of square dance, executed by couples”takiraris” a dance similar to the carnavalito anoldo, “huainos” songs of Inca-Peruvian origin, similar to the bagualas, accompanied by the slow rhythm of native drums etc.
Our plane, ship or train is already about to leave. As we proceed with our wandering our itinerary takes us to the central region of the country, to colonial Cordoba, a province where modern civilization harmonizes with the natural characteristics of the soil.
Download El Pajarito Bailecito Hnos Àbalos Arnoldo Pintos Y Su Conjunto MP3
With their typical instruments “caja”, a drum “quena” a kind of flute”charango” a small guitar made with the shield of an armadillo and with their vividly coloured costumes, their full skirts, their “chulos” helmets like woollen caps with multicoloured earflaps, used only by menand women’s little black bowler hats, they give us a vivid picture of the old Incaic culture mixed With Spanish influences as nowhere outside this region can be found.
None better than the Quilla-Huasi Singers, whose hometown is Mendoza, to perform for us the “cueca” called “El Arnoleo The rendez-vousso graceful and so full of underlying meanings Side arnolco No.
The “Pajarito” is a traditional “coya” dance which Arnoldo Pintos and His Chayeros with “quena”, “charango”, “bombo” and “sonajeros” evoked for you in a marvellously successful recording.
We take up our journey again to turn in Southern direction towards the Andes Cordillera. This chant is coloured with all the daily things dear to the people: The air, now in dark canyons, now in lush valleys, murmurs the music that rises from these places and it is “Chango Rodriguez” who, with his voice, his guitar and his songs materializes this vision for us with his interpretation of “Zamba for my Mother” Side “B” No. Julio Molina Carbral has beautifully captured the spirit of this song from Misiones where the Iguazu waterfalls splash the tropical-green carpet of the jungle and where nature itself is a.
In the course of our musical wanderings we have already taken up several contacts with Argentine zamba, without being aware, however, that we were meeting the true king of all Argentine rhythms.
Enseñanza de Guitarra-Tomo I by Arnoldo Pintos | LibraryThing
Angel Trejo Side 2. Already we are touched by the characteristic chords of the’ “Chacarera”, a folk dance in which we see the cowboys tapping out the rhythm with his boot or circling in front of the girl who, as she flirts with him, plays with her flying plaits while her long full skirts flutter over his boots.
Now we continue our imaginary journey towards the South, where the sub-tropical jungle covers with its foliage the winding tracks of the modern civilization—the asphalt road—and leads us to the sweetness of the sugarcane fields that surround villages and cities with a definite Spanish aura.
To illustrate this, our record contains the following – examples: Proudly the zamba, like a blue dress, flourishes beneath the walnut tree.
Descending from the mountains to the valleys, we find the hamlets where houses of sun-dried bricks and unpaved streets take us back to old times. As in almost pintoss the Argentine folk dances, also in this one of the partners dance individually, without touching each other and play with their handkerchiefs to the sound of the guitars.
For maximum protection it should be kept in this envelope away from heat.
The Quilla-Huasi sing for us about yet another native feature, the “yerba”, which is somehow the Argentine counterpart of the North American rodeo. That is what he sings to the world, under the cruel whip of the “capango” overseercrying over his red blood and looking towards the dawn of hope in the immensity of the night. Song of my land, singing foliage beneath the moonlight. This is the kingdom of the “cueca”. The first example is a typical song of the “Coya”, who—with only his “caja” and his voice—tells us of his joys and sorrows.
And now at last we enter the endless “pampa” prairies which cover the greater part of the centre and south of Argentina. This is – the original home of the virile gaucho, forged in the savage fights against the Indians. It’s the voice of the “Men-su” Side “B” No. They are the musical expression of the native peasants, the “Coyas”.