Los Tambores del Candombe (Coleccion Peces) (Spanish Edition) [Luis Ferreira] on *FREE* shipping on qualifying offers. Candombe is an African derived rhythm that has been an important part of in the introduction to the book “Los Tambores del Candombe” by Luis Ferreira. knowledge of the tambores and candombe is a constant inspiration. candombe , the tambores, and their rhythms generally served as a means of inserting.
|Published (Last):||10 July 2011|
|PDF File Size:||11.61 Mb|
|ePub File Size:||4.13 Mb|
|Price:||Free* [*Free Regsitration Required]|
The chico, the high-pitched drum, plays a sustained rhythm throughout the llamada.
There are also several families related to drum music and carnival comparsas which originated in these districtsamong them the Silva and Martirena families loa the Sur district, the Oviedo and Gimenez families in Ansina and the Pintos family in Cordon. For example, Cuareim plays more softly and slowly than Ansina and Cordon, while these raise the tempo and dynamic more frequently.
cel The term is generic for all black dances: In the plantations of the Americas, the slave revolts were nurtured to the rhythm of the whiplash but broke out at the rhythm of the drums. The chico, the repique and the piano form the fabric of complex rhythm, tone, melody and harmony which is known as “candombe rhythm”.
It is played on the side of the drum, a procedure known as ” hacer madera ” literally, “making wood”. The piano is a larger-sized drum with a bass sound. This “conversation” requires a given order, since the drums ccandombe “call” all at the same time; one repique must call, then another one answers, one piano calls another one, a repique calls to go faster and raise the intensity, then all the drums answer and so on. The practice of such celebrations as that of the Three Magi has persevered in both the Comparsas Lubolas Black societies of Montevideo’s Carnival and the Llamadas de Tamboriles.
It is believed that no less than ten million “ebony pieces” disembarked on the coasts of North and South America. The roots of this population were not homogeneous, but rather a multi-ethnic swath of Africa that was culturally quite varied.
In the English islands of the Carribbean, he who dared play the drum — the Devil’s instrument! African slaves were first introduced to the city in There are several master drummers who have kept Candombe alive uninterrupted for two hundred years.
Gustavo Goldman, Uruguayan musicologist. But they did know that these bewitched sounds could summon forbidden gods or even the Devil canddombe dancing to the rhythm of the drum with jingles around his ankles. Women have also started playing candombe drums and even directing cuerdas in San Hambores and Canelones. Its musical spirit sums up the sorrows of candomne unfortunate slaves, who were hastily transplanted to South America to be sold and subjected to brutal work.
Membranophones Uruguayan musical instruments. In Montevideo, the capital of Uruguay, they “go out” in street ceremonies on all public holidays throughout the year, with a grand finale at Carnival, in the parades of the Sociedades de Negros y Lubolos.
What is Candombe?
Today this contribution is quite apparent in all events linked to music. The text llos follows are excerpts from books and articles written about candombe, as well as the viewpoint of individuals who have been close to this scene. Each comparsa has its own distinctive marks, in colour, dress domino, bombachi’n, sombreros An even larger drum, called bajo or bombo very large, very low timbre, accent on the fourth beatwas once common but is now declining in use.
From a musical point of view, the style variations lie in the dynamic, the tempo, the piano toques, the order and setting of the comparsa and the proportion of each drum.
This rhythm traveled to Uruguay from Africa with black slaves, and is still going strong in the streets, halls and carnivals of this small enchanting country.
These are found in the Sur, Cordon and Palermo barrios, or in the Cuareim, Gaboto and Ansina streets of these districts.
As Lauro Ayestaran puts it, it is the Llamada’s rhythmic key. This implies a bleeding of sixty loe souls, if we consider that only one of every six victims of this human traffic ever made it alive to the harbors where they were to be auctioned.
It takes an active part in controlling the tempo and the dynamic of the Llamada. Some of these have even performed in Montevideo, for the Desfile Oficial de Llamadas, among them the comparsas from the towns of Melo, Durazno or Colonia. A typical row of five can be piano-chico-repique-chico-piano, with the row behind having repique-chico-piano-chico-repique and so on to the last row.
Madera “wood” tamboress to a phrase which comes about when the stick hits the tamboril’s barrel-shaped sound-box.
Ne-ia ne-ia cumaia-nagata Ne-ia ne-ia cumaia-nagata. During the tamboers period, the Comparsas Lubolas participate in the Llamadas parade through the barrios neighborhoods of Sur and Palermo and play on stages set up on the streets tablados.
Llamada “Armando la Llamada” is the opening of the Llamadas de tamboriles.