ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/andina/archive/andina.199901

Internet Message Format | 1999-01-31 | 22KB

From: Bruce Mannheim <[e-mail]>
Subject: RE: (andina) Nelly Munguia
Date: 02 Jan 1999 19:33:06 -0500

This apparrently didn't get distributed the first time I sent it, but in
case any *else* is interested, here's my reply to Joel Fentin's query on
Nelly Munguia.

Sent:     Monday, December 28, 1998 10:34 PM

Nelly Munguia has a CD (entitled simply "Nelly Munguia") that was
released in the (northern hemisphere) Spring by the Peruvian record
company IEMPSA (IEMPSA 1506), a compilation of 14 songs (mainly huaynos)
that she recorded for Virrey records in the 70s and 80s. (IEMPSA has
kept Virrey's back catalogue in circulation since they went belly-up the
year before last.)

For those who don't know her music, Nelly Munguia has had a
distinguished career as one of the most influential modern interpreters
of vernacular music from the Ayacucho region of Peru, perhaps the
defining female vocalist in the region. She recorded for two of the
major Peruvian labels of the 70s, Virrey and IEMPSA (on their Lider
label).  Here are a few of her titles from the days of vinyl (most on
cassette--some which take some searching, even in Peru):

Virrey 13454        25 a=F1os: Ayer, hoy y siempre
Virrey 12852        Ayacucho en mi coraz=F3n
Virrey 13387        Plegaria
Virrey 13038        Solo recuerdos

Lider 04.06.73        Tu voz, tu canto y tu encanto (this is an EP, and I have
never seen             it on cassette, but who knows...)

and two recent cassettes for independents:

Arte y tradici=F3n 004    Concierto "todo cambia"
(no label name)         con los Hermanos Alvarado (there is more than one
cassette in             this series)

This is only the tip of the iceberg.

Her beautiful "Enga=F1os del mundo" is available on the Arhoolie reissue
of IEMPSA material, Huayno music of Peru v.1 (1949-1989) (which I
recommend to anyone who is just becoming acquainted with Peruvian
music).=20

Regards,

Bruce Mannheim

----------
Sent:     Monday, December 28, 1998 11:34 AM

Nelly Munguia sings a few songs on a CD by Pervian guitarist
Javier Echecopar. Perhaps someone out there knows if she has a CD
of her own. Thank you.
--
Joel Fentin    tel: [phone]    FAX: [phone]
=20
email: [e-mail]     web: http://efm.simplenet.com

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From: "Ken Webster" <[e-mail]>
Subject: (andina) Hi list
Date: 06 Jan 1999 15:27:15 +1100

Hi list

To help me learn to play Andean songs I try to find CDs with songs
for which I have written music, especially when it is not proper
notation and the timing is unclear.

I found 2 CDs (Los Kjarkas Lo Mejor Vol.1 and Vol.2) on a site at
http://www.cochabamba.co.jp/kjarkas.html.

These two CDs would provide another 6 songs each but are unavailable in =
Australia and the local CD shop can=27t even get them
from the US.  There are just four Los Kjarkas CDs available from the US =
but it is difficult to read the names.

    A.Los =23oo A=23os
    Tecno Andino
    Vol 1 Sentimento Andino
    Vol 2 Sentimento Andino

If anyone could tell me what songs are on these I may find them
just as good and easier for me to obtain.  Thanks in advance.

Also the above site I think is Cochabamba and I am worried about
sending money (cheques) there as I hear many stories of mail being
lost, perhaps stolen and do not want to send bank account information over =
the net.  Any suggestions how I can obtain these
CDs???

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From: Manuel Navarro <[e-mail]>
Subject: (andina) about tarkas...
Date: 12 Jan 1999 08:40:13 -0700

I have been thinking about tarkas key for a while and I realized
they have a fake key,is impossible to tell for me the key of this instrument
but I can't denied the beaty of their sound whenI play 2 or three at the
same time.
Anyone know if there is a specific key for tarkas,also when you play
tarkas,you don't use to mix it
with quenas or other winds??,I would like to know if you guys know something
else about tarkas...
later.
manuel.


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From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) about tarkas...
Date: 12 Jan 1999 07:53:47 -0800

Tarkas are native to the area surrounding the Titicaca lake, that is
to the communities in Sourthern Peru and Northern Bolivia. They are
associated with the rain and traditionally used to be played only
in the rainy season. Since urban people in the Altiplano have taken=20
on playing the tarka, it is now played during festivities all year
around. They are traditionally played with the accompaniment of a
kullu k'epi, a very large bass drum, and a snare drum. Thy are not=20
played with any other wind instruments, since natives typically
associate instruments with the seasons or particular events. Some=20
avant garde groups have used tarkas with strings though.

The tarka is a pentatonic instrument but I don't know what key it is
on. You could use an electronic tuner to figure it out, though its
pitch may likely not be at 440, or anywhere near, depending on how
it was made. Tarkas come in three different sizes, the large and=20
the small one are an octave apart, and the medium is tuned in fifths.
They are played in troops, just like many of the wind instruments
from the Altiplano. Another factor to consider for not playing tarkas
with other wind instruments is that when you play them you have to blow
very hard, which produces a lot of overtones that would practically
drown any other wind instrument. You could mix them if you blow
sofly as they produce a sweeter sound then, but for that it may be
better to use moxen~os, they are much sweeter when blown softly, or
better yet the senka-tenkana or the... darn, I just forgot the name
of the other large quena-like instrument, anyway, both of these are
pentatonic and very low, but you need long arms and fingers to play
them... not to mention that they are hard to find.

I hope this helps.

Marcelo

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From: Manuel Navarro <[e-mail]>
Subject: (andina) question
Date: 13 Jan 1999 09:47:15 -0700

Hello,I wonder if you can discribe Jaime Guardia style,,is like Cavour or
like Alejandro Camara,or Navia,etc,I don't know who is Guardia,and I would like
to get music of him.
thanks.
Manuel.
>Hi folks,
>
>I recently picked up an Arhoolie CD called "Huayno Music of Peru, Vol. 1"
>which I'm sure many of you have.
>
>There are two tracks by a group called Conjunto Los Chankas Apurimac,
>featuring two wonderful female vocalists.  Does anyone know if more
>recordings exist of this group?
>
>Likewise, there's one track featuring Trio Lira Paucina, with
>the astounding charangoist Jaime Guardia.  I have Guardia's
>El Charango Del Peru disc, but no other recordings by this trio.
>Are they available anywhere?
>
>Thanks...
>
>-Rob
>
>
>
>
>
>


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From: "Joseph Chang" <[e-mail]>
Subject: Re: (andina) question
Date: 13 Jan 1999 12:09:50 -0800

Question:


Are there any books on Andean music describing the differnt styles and
which ones are connected to which festivals and the like?

    Joe

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From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) question
Date: 13 Jan 1999 09:11:05 -0800

Jaime Guardia is one of Peru's greatest charango players. His style
uses a lot of finger picking, which captures the essence and flavor
of Peruvian music, making his charango at times sound like a mandolin=20
and others like a harp. His strumming also showcases the Peruvian
flavor and how different it is from Bolivian music. His playing is=20
clean and with very tight timing. He sings very nicely too.

Joel, would you like to comment on this?

Marcelo

> From [e-mail] Wed Jan 13 08:40:56 1999
> X-Sender: [e-mail]
> Mime-Version: 1.0
> To: [e-mail]
> From: Manuel Navarro <[e-mail]>
> Subject: (andina) question
> Date: Wed, 13 Jan 1999 09:47:15 -0700
>=20
> Hello,I wonder if you can discribe Jaime Guardia style,,is like Cavour =
or
> like Alejandro Camara,or Navia,etc,I don't know who is Guardia,and I =
would=20
like
> to get music of him.
> thanks.
> Manuel.
> >Hi folks,
> >
> >I recently picked up an Arhoolie CD called "Huayno Music of Peru, =
Vol. 1"
> >which I'm sure many of you have.
> >
> >There are two tracks by a group called Conjunto Los Chankas Apurimac,
> >featuring two wonderful female vocalists.  Does anyone know if more=20
> >recordings exist of this group? =20
> >
> >Likewise, there's one track featuring Trio Lira Paucina, with
> >the astounding charangoist Jaime Guardia.  I have Guardia's
> >El Charango Del Peru disc, but no other recordings by this trio. =20
> >Are they available anywhere?
> >
> >Thanks...
> >
> >-Rob
> >
> >
> >
> >
> >
> >
>=20
>=20
> -
>=20

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From: Joel Fentin <[e-mail]>
Subject: Re: (andina) Jaime Guardia
Date: 13 Jan 1999 12:41:03 -0800


>Jaime Guardia is one of Peru's greatest charango players.....
>
>Joel, would you like to comment on this?
>
>Marcelo

These discs are reportedly available in Lima:

JAIME GUARDIA : CHARANGO CUSQUEN~O
JAIME GUARDIA : EL CHARANGO DEL PERU
JAIME GUARDIA : JAIME GUARDIA
JAIME GUARDIA : SANGRE ANDINA 1984

In addition, Here is one I am looking for:

Cuarteto Musical Pauza (Jaime Guardia) -- El sentir del pueblo
Discos Independientes 9047

--
Joel Fentin    tel: [phone]    FAX: [phone]

email: [e-mail]     web: http://efm.simplenet.com

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From: Bruce Mannheim <[e-mail]>
Subject: (andina) Jaime Guardia
Date: 13 Jan 1999 16:03:32 -0500

Jaime Guardia recorded with Lira Paucina for the old (Peruvian) Odeon
label. Some of this material was was reissued on

IEMPSA 0077 Conjunto Lira Paucina (1994)

which also includes some recordings made as a soloist.  As the first
message in this sequence mentioned, he also has a 2 or 3-year old CD
(IEMPSA 0171) called El Charango del Peru'.

Guardia recorded two CDs for Discos Independientes:
9047 Cuarteto Musical Pauza El sentir del pueblo, (1995) a mostly
instrumental album with Fidencio Escobar Razo on harp, Wilfredo Caja on
violin, and Jose' Guardia Crispin on guitar.

and

9030 Jaime Guardia and Ricardo Alvarez, Con todo mi corazon, (also 1995)
in which Alvarez plays qina.

He also has sveral cassettes that are privately issued, some including
older recordings with Lira Paucina, but mostly recently recorded, and
several individual cuts included on two of the IEMPSA anthology cds.

My personal favorites are the Lira Paucina recording and Cuarteto
Musical Pauza because his charango style showcases best in a string
(rather than wind) setting--in my opinion anyway.

Regards,

Bruce Mannheim

----------
Sent:     Wednesday, January 13, 1999 12:11 PM

Jaime Guardia is one of Peru's greatest charango players. His style
uses a lot of finger picking, which captures the essence and flavor
of Peruvian music, making his charango at times sound like a mandolin
and others like a harp. His strumming also showcases the Peruvian
flavor and how different it is from Bolivian music. His playing is
clean and with very tight timing. He sings very nicely too.

Joel, would you like to comment on this?

Marcelo

> From [e-mail] Wed Jan 13 08:40:56 1999
> X-Sender: [e-mail]
> Mime-Version: 1.0
> To: [e-mail]
> From: Manuel Navarro <[e-mail]>
> Subject: (andina) question
> Date: Wed, 13 Jan 1999 09:47:15 -0700
>
> Hello,I wonder if you can discribe Jaime Guardia style,,is like Cavour or
> like Alejandro Camara,or Navia,etc,I don't know who is Guardia,and I would
like
> to get music of him.
> thanks.
> Manuel.
> >Hi folks,
> >
> >I recently picked up an Arhoolie CD called "Huayno Music of Peru, Vol. 1"
> >which I'm sure many of you have.
> >
> >There are two tracks by a group called Conjunto Los Chankas Apurimac,
> >featuring two wonderful female vocalists.  Does anyone know if more
> >recordings exist of this group?
> >
> >Likewise, there's one track featuring Trio Lira Paucina, with
> >the astounding charangoist Jaime Guardia.  I have Guardia's
> >El Charango Del Peru disc, but no other recordings by this trio.
> >Are they available anywhere?
> >
> >Thanks...
> >
> >-Rob
> >
> >
> >
> >
> >
> >
>
>
> -
>

-

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From: "Ken Webster" <[e-mail]>
Subject: (andina) En El Socavon
Date: 22 Jan 1999 08:56:16 +1100

Hi List

Just starting to get the hang of En El Socovon from Camaras
charango method.  I get the impression it is a theme song from
something.  So =22In The Hole=22, can anyone tell me about this?


Ken Webster   websterk=40lic.gov.au

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From: Manuel Navarro <[e-mail]>
Subject: Re: (andina) En El Socavon
Date: 21 Jan 1999 20:31:06 -0700

Well if you play a morenada in a charango solo,is like playing a saya
only with the drum and your voice,,,maybe the saya will be better.
I prefer the systen that Cavour show how to play the charango
In few days I will put some tips for charango in my web page
later andina.
manuel.



At 08:56 AM 1/22/99 +1100, you wrote:
>Hi List
>
>Just starting to get the hang of En El Socovon from Camaras
>charango method.  I get the impression it is a theme song from
>something.  So "In The Hole", can anyone tell me about this?
>
>
>Ken Webster   [e-mail]
>
>-
>
>
>


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From: "Ken Webster" <[e-mail]>
Subject: Re: (andina) En El Socavon - Reply
Date: 22 Jan 1999 15:34:55 +1100

Hi

 Please remember I don=27t have much knowledge of these things.
It is difficult to cross cultural boundaries.
can you explain, define (morenada)?
I was looking for some background information on En El Socavon,
it sounds like Camara says something like theme from In The Hole.
Is this like a movie theme??  What is it about??
As for solo, I don=27t have a choice, I try to learn what I can from
whatever I can find, guess I=27m like a sponge trying to  absorb
anything I can.

I have not finished Camaras method yet but what to do after that?
Maybe I will try the Cavour method then.


Ken Webster   websterk=40lic.gov.au


>>> Manuel Navarro <mnavarro=40mail.xmission.com> 01/22 2:31 pm >>>
Well if you play a morenada in a charango solo,is like playing a saya
only with the drum and your voice,,,maybe the saya will be better.
I prefer the systen that Cavour show how to play the charango
In few days I will put some tips for charango in my web page
later andina.
manuel.



At 08:56 AM 1/22/99 +1100, you wrote:
>Hi List
>
>Just starting to get the hang of En El Socovon from Camaras
>charango method.  I get the impression it is a theme song from
>something.  So =22In The Hole=22, can anyone tell me about this?
>
>
>Ken Webster   websterk=40lic.gov.au
>
>-
>
>
>


-



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From: Stanojevic Stanislav <[e-mail]>
Subject: Re: (andina) En El Socavon - Reply
Date: 22 Jan 1999 12:50:11 +0100

Ken Webster wrote:

> Hi
>
>  Please remember I don't have much knowledge of these things.
> It is difficult to cross cultural boundaries.
> can you explain, define (morenada)?
> I was looking for some background information on En El Socavon,
> it sounds like Camara says something like theme from In The Hole.
> Is this like a movie theme??  What is it about??
> As for solo, I don't have a choice, I try to learn what I can from
> whatever I can find, guess I'm like a sponge trying to  absorb
> anything I can.
>
> I have not finished Camaras method yet but what to do after that?
> Maybe I will try the Cavour method then.
>
> Ken Webster   [e-mail]



I don't know Camara's method, although it must be a very good one
because he is a great charango player and artist.

Bolivian and andean music in general is based on strictly defined
rhythmical templates. Morenada is the name of one of these numerous
rhythms. The essential thing is to learn basic timing and accents and to
start to feel it. So, before playing any piece, try to find out its
basic rhythmical pattern. If you have always in mind its rules, then it
will be much easier to play solo on any instrument.

Try to listen as much as you can to other musicians and groups. Try as
well to distinguish various rhythms without looking names of the pieces
on the cover of the recording. Cavour's method is based on these tips.
It trains your ear and develops your technical skills for basic charango
playing.

Feel free to contact me in case you need any further advice or help.
Stanislav


emails:

[e-mail] (office)
[e-mail] (home)

web:

http://www.fortunecity.com/tinpan/humperdinck/358/index.htm



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From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) En El Socavon
Date: 22 Jan 1999 08:27:37 -0800

"El Socavon" is the name given to the mines... which have played
such important role in the history of Bolivia. The song you are
referring to is an old piece that talks about the perils and
sorrows of being a miner.

Marcelo

> From [e-mail] Thu Jan 21 13:51:38 1999
> Date: Fri, 22 Jan 1999 08:56:16 +1100
> From: "Ken Webster" <[e-mail]>
> To: [e-mail]
> Subject: (andina) En El Socavon
> MIME-Version: 1.0
> Content-Transfer-Encoding: quoted-printable
> Content-Disposition: inline
>=20
> Hi List
>=20
> Just starting to get the hang of En El Socovon from Camaras
> charango method.  I get the impression it is a theme song from
> something.  So "In The Hole", can anyone tell me about this?
>=20
>=20
> Ken Webster   [e-mail]
>=20
> -
>=20

-



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From: Manuel Navarro <[e-mail]>
Subject: Re: (andina) En El Socavon - Reply
Date: 22 Jan 1999 12:05:04 -0700

Oppp!! sorry Ken,I think that I didn't understand your comment,I will
check with my english dictionary,okay?
I thought that you don't like the sound of El Socavon in a charango,
the song,or the chords,but I was tottaly out of subject....
Anyway,I will never discourage anyone to learn such a beautifull
instruments,,keep it up Ken!!!!
Later.
manuel.

At 03:34 PM 1/22/99 +1100, you wrote:
>Hi
>
> Please remember I don't have much knowledge of these things.
>It is difficult to cross cultural boundaries.
>can you explain, define (morenada)?
>I was looking for some background information on En El Socavon,
>it sounds like Camara says something like theme from In The Hole.
>Is this like a movie theme??  What is it about??
>As for solo, I don't have a choice, I try to learn what I can from
>whatever I can find, guess I'm like a sponge trying to  absorb
>anything I can.
>
>I have not finished Camaras method yet but what to do after that?
>Maybe I will try the Cavour method then.
>
>
>Ken Webster   [e-mail]
>
>


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From: "Ken Webster" <[e-mail]>
Subject: Re: (andina) En El Socavon - Reply - Reply
Date: 27 Jan 1999 09:41:07 +1100

Hi Manuel, Stanojevic and list

Thanks for the replies.


>Oppp=21=21 sorry Ken,I think that I didn=27t understand your comment

That=27s OK Manuel, no problem=21
Differences in culture, language etc make life richer and more
interesting.  Occasionally misunderstandings will happen.

Yes I asked about En El Socavon because I really like it.
To me it is one of the tunes that is the essence of Andean music.

Camara=27s method has no percussion but does teach strumming
rhythm patterns.  I listen to how he plays and try to copy him but it
sure would help to have a more solid description of basic rhythmical
patterns.  Some such as saya have already been discussed on this
list.  would anyone like to have go at describing  Morenada?



Ken Webster   websterk=40lic.gov.au

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From: "Joseph Chang" <[e-mail]>
Subject: Re: (andina) Quena fingering techniques
Date: 29 Jan 1999 11:59:45 -0800

Just would like to thank Ken Webster for his response on quena
fingering.
Finally I've been covering the thumb hole for the second octave, and
what a difference it makes. The high notes on the 2nd octave are more
clear and true than if you half-cover the thumb hole. Thanks again!

    Joe


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From: "Ken Webster" <[e-mail]>
Subject: (andina) CARNIVAL-SYDNEY
Date: 01 Feb 1999 11:38:55 +1100

Hi Andinos

For those in Australia the Sun Herald reports a 10 day South American =
Carnival at Bondi from Thursday.

15-Feb  12pm to 8pm South American Music Festival hosted by
    Bondi Pavilion Community Cultural Center.  Its not clear but
    it may be free=21=21=21   See (www.waverley.nsw.gov.au).
    Phone the pavilion on [phone].


Ken Webster   websterk=40lic.gov.au

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