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andina-digest          Tuesday, March 2 1999          Volume 01 : Number 007




----------------------------------------------------------------------

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

"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

- -

------------------------------

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

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]
>
>


- -

------------------------------

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

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

- -

------------------------------

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

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


- -

------------------------------

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

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

- -

------------------------------

Date: Mon, 1 Feb 1999 14:25:09 -0700
From: Manuel Navarro <[e-mail]>
Subject: (andina) test for [e-mail]

iando

Manuel.


- -

------------------------------

Date: Wed, 10 Feb 1999 09:23:10 +1100
From: "Ken Webster" <[e-mail]>
Subject: (andina) Re: Zamponeando

Hi Andinos

Can anyone help ?

I have been listening to this tune, trying to work out the notes.
After several hours I still can=27t keep it in my head, so no further
than the other times I=27ve tried.

Can anyone provide the zampona part please???

Ken Webster   websterk=40lic.gov.au

- -

------------------------------

Date: Tue, 9 Feb 1999 20:43:27 -0700
From: Manuel Navarro <[e-mail]>
Subject: Re: (andina) Re: Zamponeando

I don't know that song,who play tha song?
Manuel.


At 09:23 AM 2/10/99 +1100, you wrote:
>
>Hi Andinos
>
>Can anyone help ?
>
>I have been listening to this tune, trying to work out the notes.
>After several hours I still can't keep it in my head, so no further
>than the other times I've tried.
>
>Can anyone provide the zampona part please???
>
>Ken Webster   [e-mail]
>
>-
>
>
>


- -

------------------------------

Date: Wed, 10 Feb 1999 17:45:41 +1100
From: "Ken Webster" <[e-mail]>
Subject: Re: (andina) Re: Zamponeando - Reply

Ken Webster  websterk=40lic.gov.au

Zamponeando is on an old recording of Pcahacamac,
titled Music Of The Incas.  I think most of the songs on this
record are traditional but I=27m not sure if this one is.
Anyway I like it, so I ask if anyone can help, maybe I get lucky?
(grin)

They are using a split zampona separated into the left and right channels =
and I think there is another zampona which I occasionally hear doing =
harmony or something.


>>> Manuel Navarro <mnavarro=40mail.xmission.com> 02/10 2:43 pm >>>
I don=27t know that song,who play tha song?
Manuel.


At 09:23 AM 2/10/99 +1100, you wrote:
>
>Hi Andinos
>
>Can anyone help ?
>
>I have been listening to this tune, trying to work out the notes.
>After several hours I still can=27t keep it in my head, so no further
>than the other times I=27ve tried.
>
>Can anyone provide the zampona part please???
>
>Ken Webster   websterk=40lic.gov.au
>
>-
>
>
>


- -



- -

------------------------------

Date: Wed, 10 Feb 1999 07:17:53 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) Re: Zamponeando - Reply

Ken,

I know the tune you are talking about, great tune too.
I will write it out a soon as I have a few moments...

Marcelo

- -

------------------------------

Date: Thu, 11 Feb 1999 09:04:44 +1100
From: "Ken Webster" <[e-mail]>
Subject: Re: (andina) Re: Zamponeando - Reply - Reply

Thanks Marcelo, I will look forward to it.

Ken=20


>>> Marcelo Villacres =5BESRI-Redlands=5D <mvillacres=40esri.com> 02/11 =
2:17 am >>>
Ken,

I know the tune you are talking about, great tune too.
I will write it out a soon as I have a few moments...

Marcelo

- -



- -

------------------------------

Date: Thu, 11 Feb 1999 10:26:42 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: (andina) CD source

I know Andean music recordings are fairly easy to find now.
I just came across this page, I thought some of you may not
know of it.

http://www.elderly.com/recordings/30H.htm

Marcelo
P.S. Avoid the Fortaleza "Soy de Sangre Kolla..." album.
I wish I could erase mine and record over it.

- -

------------------------------

Date: Thu, 11 Feb 1999 13:04:20 -0700
From: Manuel Navarro <[e-mail]>
Subject: (andina) Fortaleza(soy de sangre....)

Hello list,one friend(gringo) have been listening all my cd's,included
Fortaleza(soy de sangre koya) and he love it,,,,something taht I don't like
with that cd's,is that sometimes in the harmonies they get lost in the note
and sound bad,but there are several song that I really like it.
Anyway,I would add Inkuyo to the "avoid list" the cd call ANCIENT SUN,
before Ancient Sun,all Inkuyo cd's are terrific..
later.
manuel.

At 10:26 AM 2/11/99 -0800, you wrote:
>I know Andean music recordings are fairly easy to find now.
>I just came across this page, I thought some of you may not
>know of it.
>
>http://www.elderly.com/recordings/30H.htm
>
>Marcelo
>P.S. Avoid the Fortaleza "Soy de Sangre Kolla..." album.
>I wish I could erase mine and record over it.
>
>-
>
>
>


- -

------------------------------

Date: Thu, 11 Feb 1999 13:10:34 -0700
From: Manuel Navarro <[e-mail]>
Subject: (andina) Luzmila Carpio...

I wonder if Can I get some of Luzmila Carpio music with someone in the
andina list,I have a Inti Illimani video(30 minutes live) in exchange of
any music of Luzmila Carpio.
Later.
Manuel.


- -

------------------------------

Date: Fri, 12 Feb 1999 07:41:55 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: (andina) Links to Andean sites

Here is another page everyone should take a peek:

http://www.best.com/~gibbons/bookmark.html

Be forwarned... it may lead to many hours of surfing,
so get your wet suit on and call home to say you will=20
be late for dinner... for the next couple of weeks!

Marcelo

- -

------------------------------

Date: Mon, 15 Feb 1999 07:31:04 +0100
From: Stanojevic Stanislav <[e-mail]>
Subject: (andina) Various

I read again december æ98 û february æ99 activity of the list and I
would like to ask / comment some of the tips I didnÆt have much time for
before. Sorry for being late.

1. Many thanks to Bruce Mannheim ([e-mail]) for his detailed
and more than useful information on recordings of Nelly Munguia and
Jaime Guardia. I wish there were more people like him, to share the info
they know with the others. This is primary point of the list, isnÆt it?

2. I happen to have copies of both albums : Inkuyo (ôAncient Sunö) and
Fortaleza (ôSoy de Sangre Kolla, Quechua y Aymaraö). It is true that
Fortaleza is a bit out of tune, but it is also true that it happens to a
lot of andean groups in general. In this particular recording I couldnÆt
find any other reason for bothering anybodyÆs ears . As for Inkuyo,
Gonzalo Vargas has always done specific arrangements, which one may like
or dislike.  Perhaps Manuel and Marcelo could clarify their statements,
explain why should we avoid these recordings, or point us what to pay
attention to when listening to them ?

3. Does anybody happen to know the words of  ôKaru Llaqtapiö san juanito
(in quichua ecuatoriano)? Translation in english or spanish is more than
welcome. Thanks in advance.

 Regards to everybody. Stanislav

- --

e-mails:

1. [e-mail] (office)
2. [e-mail] (home)

web:

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



- -

------------------------------

Date: Mon, 15 Feb 1999 20:19:42 -0700
From: Manuel Navarro <[e-mail]>
Subject: Re: (andina) Various

If you are going to edit a cd with your band,are you going to allow
people singing out of tune before you record everything ?  ,I think this is
business like any other business,and
because is a business many group make cd's just to get some money,and that
is a mistake,and
because is a business also you need to offer a good product to the people
who buy your creations recorded in a cd.
You are correct that any band can sing out of tune,but personally I think
that it should happen anywhre,but in the cd.
Remeber,I like that cd of Fortaleza,I am only making a comment about your
fellings :

>Fortaleza is a bit out of tune, but it is also true that it happens to a
>lot of andean groups in general. In this particular recording I couldn't
>find any other reason for bothering anybody's ears

Inkuyo is my favorite group, but the last 2 cd's are a big desapointment for
me and for several friends
who are fan of the original Inkuyo.
I just was listening "ANCIENT SUN" and  for me is just one long
song,listening the guitar in every song is the
same thing, nothing change,the same with all the instruments.The malta play
the melody in the first part of the song
and then the harmony in the second part,is like the whole cd was record with
the same feeling all the time,the intensity
in each song is the same,of course they play good their instruments.
"Personlly" is a long song without soul.

Manuel.

.  Perhaps Manuel and Marcelo could clarify their statements,
>explain why should we avoid these recordings, or point us what to pay
>attention to when listening to them ?

ps.  Inkuyo changed 3 of its original members,and of course is not going to
be the same


- -

------------------------------

Date: Tue, 16 Feb 1999 07:27:32 +0100
From: Stanojevic Stanislav <[e-mail]>
Subject: Re: (andina) Various

Manuel,

I always listen to good things and try to find out the general musical
idea on any recording.
I don't think that all musicians / groups make their CDs to get some
money and / or  for business purposes.

Anyway, it seems that we both agreed that anubody can say anything, as
long as the statement begins  with : In my personal opinion ...

Stanislav

- --

e-mails:

1. [e-mail] (office)
2. [e-mail] (home)

web:

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



- -

------------------------------

Date: Tue, 16 Feb 1999 08:38:09 +0100
From: Stanojevic Stanislav <[e-mail]>
Subject: (andina) Re : rhythms

This is in reply to Ken Webster's question about various rhythms.

Ken, try the following pages :

http://members.xoom.com/amaru/ritmos.html

http://www.100mbps.es/paco/pacoweb.html

The info is mostly in spanish. Xoom sometimes gives "unknown page 404
error" but it is wrong. Try to reload, the pages are there for shure.

Stanislav

- --

e-mails:

1. [e-mail] (office)
2. [e-mail] (home)

web:

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


- -

------------------------------

Date: Tue, 16 Feb 1999 07:29:24 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) Various

> 2. I happen to have copies of both albums : Inkuyo (=93Ancient Sun=94) =
and
> Fortaleza (=93Soy de Sangre Kolla, Quechua y Aymara=94). It is true =
that
> Fortaleza is a bit out of tune...

IMHO the voices are painfully out of tune and the overall sound is cold
and lacks character. For me it is hard to imagine that Ramiro de la =
Zerda=20
and Fernando Torrico could have created such low quality work when they=20
created fine stuff in all their years with Los Kjarkas as well as on=20
their own.

As for Inkuyo all I can say is it's a matter of taste. Gonzalo Vargas =
has
a unique style that gives his music a new-age sound while being faithful
to the roots.

As I said... this is my MHO.

Marcelo

- -

------------------------------

Date: Tue, 16 Feb 1999 08:46:50 -0800
From: Jennifer Runner <[e-mail]>
Subject: (andina) Th'aya

Hi,
can anyone tell me what a "th'aya" (windmaker) is?  I assume it's an
instrument used to make wind sounds, but what is this instrument made of
and how is it used?
Thanks!
Jennifer


- -

------------------------------

Date: Tue, 16 Feb 1999 23:04:58 +0100
From: =?iso-8859-1?Q?Jo=EBl?= Flores <[e-mail]>
Subject: Re: (andina) Various

I did not listen to the CD of Fortaleza but I fully agree with the idea=
 concerning the improvement of quality in the Andean recordings (quality of=
 interpretation, recording, choice of the lyrics, composition,...).


Joel Florse




>If you are going to edit a cd with your band,are you going to allow
>people singing out of tune before you record everything ?  ,I think this is
>business like any other business,and
>because is a business many group make cd's just to get some money,and that
>is a mistake,and
>because is a business also you need to offer a good product to the people
>who buy your creations recorded in a cd.
>You are correct that any band can sing out of tune,but personally I think
>that it should happen anywhre,but in the cd.
>Remeber,I like that cd of Fortaleza,I am only making a comment about your
>fellings :
>
>>Fortaleza is a bit out of tune, but it is also true that it happens to a
>>lot of andean groups in general. In this particular recording I couldn't
>>find any other reason for bothering anybody's ears=20
>
>Inkuyo is my favorite group, but the last 2 cd's are a big desapointment fo=
r
>me and for several friends
>who are fan of the original Inkuyo.
>I just was listening "ANCIENT SUN" and  for me is just one long
>song,listening the guitar in every song is the
>same thing, nothing change,the same with all the instruments.The malta play
>the melody in the first part of the song
>and then the harmony in the second part,is like the whole cd was record wit=
h
>the same feeling all the time,the intensity
>in each song is the same,of course they play good their instruments.
>"Personlly" is a long song without soul.
>
>Manuel.
>
>.  Perhaps Manuel and Marcelo could clarify their statements,
>>explain why should we avoid these recordings, or point us what to pay
>>attention to when listening to them ?
>
>ps.  Inkuyo changed 3 of its original members,and of course is not going to
>be the same
>
>
>-


______________________________________________________
Message sent by Joel Flores Carpio   + 33 (0)6 859 267 21

LC Music Management & Consulting
4, rue des Pretres Saint-Severin
=46 -7 5 0 0 5   P A R I S   F R A N C E
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This message is confidential; its contents do not constitute a commitment by=
 LC Music Management & Consulting except where provided for in a written=
 agreement between you and LC Music Management & Consulting. Any=
 unauthorised disclosure, use or dissemination, either whole or partial, is=
 prohibited. If you are not the intended recipient of the message, please=
 notify the sender immediately.=20



- -

------------------------------

Date: Mon, 22 Feb 1999 13:05:23 +1100
From: "Ken Webster" <[e-mail]>
Subject: (andina) Charangos

Hi Andinos

At the recent South American festival at Bondi (Sydney Australia)
there was a great variety in charangos.  These instruments did
sound different from each other but with all the noise of the festival
I could not relate sound differences to instrument design.

I know many things effect sound quality and different people have =
different preferences.  Not having much knowledge/experience myself I =
would be interested to hear how people feel about these
things, what sounds they prefer and what type of instrument best
produces that sound.

To define a few categories there is:

STRINGS

    Nylon or steel

BRIDGE PLACEMENT

    I have noticed that on guitars some have the bridge mounted
    high on the sound board while others use a wide bridge
    mounted low.  Do charangos have this variation too? Why?

MOUTH

    Single round circle, two or three slots.

SOUND BOARD

    The basic hour glass shape may be rounded of flattened
    across the base like a small classical guitar.

    Angular like a trapezium with the corners cut off.

    Can the sound board be like a mandolin?

SOUND BOX

    (Normal) rounded Armadillo shape ( deepest at the mouth).
    Tapered, deepest at the neck joint and tapering in a curve
    towards the base.

MATERIALS

    Well what a variety Ill leave this one up to others.=20


Hoping you will take up this discussion.

Ken Webster   websterk=40lic.gov.au

- -

------------------------------

Date: Sun, 21 Feb 1999 21:05:56 -0600
From: "T. M. Scruggs" <[e-mail]>
Subject: Re: (andina) Charangos

Hola colegas Andinistas,

Do any of you out there know of how the Misa Criolla was first received?
I'm wondering whether there was opposition for bringing such "lowly"
instruments and "debased" musical styles into the church.  Certainly now
the Misa Criolla is widely accepted, but does anyone know of opposition to
this new musical form of worship and/or other, for lack of a better word,
"folk masses," over the last few decades?

Muy agradecido,

TM Scruggs


<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>
 T.M. Scruggs

School of Music - VMB
University of Iowa
Iowa City, IA  52242
office:  [phone]
Fax:  [phone]
<[e-mail]>
<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>



- -

------------------------------

Date: Mon, 22 Feb 1999 08:54:41 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) Charangos

Greetings!

As you pointed out Ken, choosing a charango is highly subjective,
as it is the case with any musical instrument. I will offer some
of my personal guidelines, perhaps this will help you.

Strings: Nylon are by far the most common ones. They are becoming
easier to find and their quality has improved in recent years. In
absence of supply you can always resort to fishing line and that
works fairly well. Metal strings tend to be localized, that is
some regional rhythms and styles rely on metal strings, as it is
the case with some rhythms from Potosi. Metal strings are very
thin and they don't seem to add more tension to the bridge. However,
because they are thin they can be harder on your nails if you
strum a lot. If you have a charango with a very clear voice you
can mix nylon and metal to get a different sound. I have a
charango strung like that, each course has a nylon and a metal
string, with the nylon strings on the outer side so when I strum
my nail hits the nylon first... my nails last longer that way.
This combination works great on larger charangos (smaller than
a ronrocco though) for picking slow melodies. Jorge Laura uses
that in some mellow tunes on Rumillajta recordings. I should
also say that the quasi standard number of strings is five
pairs, some may have more or less. I have charangos with five
single strings as well as five courses of triple strings.

Bridge placement: There is no standard for making charangos.
Avant garde luthiers are using low bridges to keep the action
down, some are also using bridges similar to the one used on
classical guitars. Cheaper charangos have higher bridges.
I believe charangos with low action and classical-guitar-like
bridges have better intonation.

Mouth: This is purely an aesthetic choice. Even in the guitar
world luthiers are discovering that the size or shape of the
mouth is not as critical as its placement because most of the
sound is produced by the soundboard; thus, the more surface
there is to move the better the sound. This is not so critical
on the charango because it is in the high register. Larger
surfaces are associated with the low frequencies.

Sound boxes: The shape of the sound box is not as critical as
its size and material. Most charangos are carved in the bowl
shape of the traditional armadillo sound box. Most players
prefer this over the flat back as the latter has a flatter
sound (that is the best way I can describe it). The thickness
of the box is crucial as it can make a charango sound muffled
or very bright. Shapes vary from the hourglass to whatever odd=20
shape a luthier or a musician can conjure. The hour glass can=20
resemble the elongated vihuela, the Spanish instrument after=20
which the  charango was fashioned, or simply a classical guitar.=20
The other  popular shape is the one Mauro Nun~ez created and=20
that was  popularized by Los Kjarkas, the trapezium with the=20
corners cut off.

Materials: This gets sticky just like on guitars. Let's look
at sound boxes first. The traditional material has been the
armadillo and here we have two kinds: the quirquicho or armadillo
from the altiplano (more especifically from the Oruro area,
hence the name of quirquinchos given to the people from Oruro)
and the tatu or armadillo from the Amazonian area. You can
recognize the quirquincho because of its hair and its scales
shaped like human finger nails, where as the tatu has a smooth
shell and scales that resemble a turtle. The quirquincho has
a thinner shell and thus produces a brighter sound. Tatus are
bigger and are used on larger charangos (Ernesto Cavour has in=20
his museum a chrango of the size of a classical guitar). Most=20
finer luthiers are not using quirquincho anymore, some say=20
because the animal is in danger of extinction but I think it=20
is more because of sound quality. You can find tons of cheap=20
quirquincho charangos in street markets, if the animal is in=20
danger of extinction people just don't care. The choice wood=20
for sound  boxes seems to be "naranjo" but don't ask me what that=20
is. This wood is quite dense and has an "orangey" color, chepar=20
charangos use a very light, almost white wood. My recommendation=20
is go for the darker wood, look through the sound hole to see if
the color is natural or if it is stained. Most luthiers, even the=20
good ones are not careful with knotts in the wood and that doesn't=20
seem to be  more than an aesthetic flaw. I have often seen sound=20
boxes that have cracks or holes that have been filled with a=20
resin/saw-dust mix. Quirquinchos and wooden chrangos have very
distinct sounds, this is a matter of choice, though most people
are going for the warmer and more subdued tone of wooden charangos.
Tops are also crucial and that is much like with guitars. The
best wood seems to be cedar. Be sure that it isn't stained nor
heavily coated (the latter will affect the sound) and also that
the fibers are very close (most are not). I also look for sound
boards made out of one single piece instead of multiple panels.
The fretboard could be either rosewood or mahogany, and the bridge=20
should match (for aestehtic purposes). Other woods seem to be OK.
Wooden charangos usually have the sound box and the neck made out
of one piece, more expensive ones will incoporate the headstock
into the one piece. The shape of the headstock varies a lot. Look
out for the angle as it influences the sound and the intonation,
just like in guitars (avoid low angles). Also pay attention to the=20
tuners, to the material and to how smoothly they turn. Cheaper=20
tuners will not hold the tuning for long and will be difficult to=20
tune. Finally, the nut will most likely be plastic. I prefer bone=20
but that is something that is easy to replace.

I must also comment on the glue that is used to fasten the bridge.
It seems it is not of very good quality. I have had the bridges of
all but one of my charangos pop off, an easy thing to repair but
something you don't want to experience just before a gig. The one
charango that didn't meet this fate has a bridge that is worth
mentioning. I have only seen this on Orozco charangos from Bolivia
and Nune~ez from Ecuador. The bridge resembles an acoustic guitar
bridge, except that strings go through holes from inside the
sound board a there are no pins to hold the strings and and you=20
have to tie each pair of strings so the knot holds them in place=20
from inside the board. This equalizes the tension of the bridge=20
against the sound board but makes it a pain to replace strings.

The sound is extremely difficult to qualify and you just have to
go with what your ears like. Most cheap charangos sound very
muffled, most good ones sound bright and balanced. Some are better
for strumming and others for picking, the best ones will do well
in both. When testing for sound I like to play as I normally would
and then vary the position up and down, left and right, turning
up and down a bit, finally I have someone else play it and I walk
away some distance.

I hope this helps!!!

Marcelo

- -

------------------------------

Date: Mon, 22 Feb 1999 09:00:37 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) Charangos

I forgot to mention one important thing.

BRACING! Make sure the sound board is adequately braced. Not all
charangos are braced. The high tension will cause the sound board
to warp if it isn't braced (an expensive thing to fix). Bracing is
done much like on classical guitars, parallel beams running=20
perpendicularly to the neck. To check the bracing insert a finger=20
throught the sound hole and touch the underside of the board, there=20
should be a brace about an inch below the hole.

Marcelo

- -

------------------------------

Date: Mon, 22 Feb 1999 13:40:20 -0700
From: Manuel Navarro <[e-mail]>
Subject: (andina) more about charangos

Hello,I am looking for a INTI  picture to  make a design in a charango.
sound hole,anyone has experience with "mother of pearl inlay"?

I am not sure if the INTI is a Sun,but I would like the closer to the original.
Thanks.
Manuel.


- -

------------------------------

Date: Mon, 22 Feb 1999 12:55:23 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) more about charangos

> I am not sure if the INTI is a Sun,but I would like the closer to the=20
> original.

Inti is the sun... and there are several represantations of it... all
basically a golden face with a halo of rays.

Marcelo

- -

------------------------------

Date: Tue, 23 Feb 1999 08:32:07 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: (andina) Re: Zamponeando - Reply

Ken, sorry for the delay, I finally got around to tabbing this tune.
Set your font to Courier to read this properly. I haven't looked at
the album to see if there is an author, but I suspect it is traditional.


        ZAMPON~EANDO
        (sikuriada - Bolivia)


Key:    1   2   3   4   5   6   7   8
        B   G   E   C   A   F#  D   B
          A   F#  D   B   G   E   C =20
          1   2   3   4   5   6   7


I-      3-3-3    3-3-3    3   2   2   3    3      5   6
             \  /     \  / \ / \ / \ /    / \    / \ / \ /
              33       33   2   1   2   33   3  44  5   6

i-        3   3   3   =20
         / \ / \ / \ /
            4   4   4
            =20
II-             55         55   3   2   2   3    3      5   6
                  \          \ / \ / \ / \ /    / \    / \ / \ /
        5 4 3 3    5 4 3 3    3   2   1   2   33   3  44  5   6

i-        3   3   3   =20
         / \ / \ / \ /
            4   4   4

III-    3   3   3   2    3      5   6
         \ / \ / \ /    / \    / \ / \ /
          3   3   2   33   3  44  5   6

i-        3   3   3   =20
         / \ / \ / \ /
            4   4   4

Notes:

Pauses between notes are represented by spaces. Notes without spaces
nor dashes (e.g. 33) are played by tapping the tongue against the roof
of the mouth, as if uttering the sound "turu" with a rolling "r."

The structure of this tune is: I-i-I-i-II-i-II-i-III-i-III-i-repeat.=20
Pachacamac seems to mimic the old Sikuriada played by Inti-Illimani.=20
The intro is: I and slide from 7 to 3 on the top row and repeat. The=20
first round skips part III and after three or four rounds the tempo=20
increases a couple of times before ending. I think the end is by slowing
down part III and doing a slide like on the intro. The drum should be
an even 1-2-3-4 with accent on the one pattern. During the "i" parts the
drum should either pause, skip beats 1 & 3 or play off beats. At the =
end,
after the sikus stop you can do a "tutum". Add a snare for more =
authentic
flavor.

=46rom what I have studied, traditional sikuriadas have a structure of:
intro-I-i-I-i-II-i-II-III-III-i-repeat-repeat...end. Note that there is
no "i" part between II and III and III. There are some variations on
the "i" part but most use the noted one here. Intros and endings seem to =
=20
be a communal signature, that is they will be used in all the sikuriadas
a particular community plays. That is how you can distinguish what
community a sikuriada belongs to. Sikuriadas don't use strings, and
if you add them then you turn the piece into a wayno-sikuri or wayno-
pandillero. The strings will thus play a (Bolivian) wayno rhythm with
the charango mimicking the accents typically done by the snare drum
during the "i" part.

Enjoy it!!!

Marcelo (V)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
aruskipasipxan~anakasakipunirakispawa                          =20
(estamos obligados a comunicarnos porque somos seres humanos) =20


- -

------------------------------

Date: Tue, 23 Feb 1999 10:53:36 -0700
From: Manuel Navarro <[e-mail]>
Subject: (andina) don't read,only a test

testiando...

Manuel.


- -

------------------------------

Date: Wed, 24 Feb 1999 09:15:27 +1100
From: "Ken Webster" <[e-mail]>
Subject: (andina) Re: Zamponeando - Reply - Reply

WOW

Marcelo thank you very much for this wonderfully detailed
instruction.  It is just the kind of thing I need, background
information structure etc. wonderfully=21

Also thanks for the notes on charango.  I suspect someday I will be
looking for a better one so this will help.  I=27ve been toying with the =
idea of building a charango from scratch just to see what it turns
out like.  Well maybe one day.

Thanks again =21=21=21

Bye
Ken Webster   websterk=40lic.gov.au


- -

------------------------------

Date: Tue, 23 Feb 1999 15:57:43 -0700
From: Manuel Navarro <[e-mail]>
Subject: (andina) charango with 6 strings.??

I wonder if anybody know about a charango call "walacata" with 6 strings.
Thanks in advance.
manuel.


- -

------------------------------

Date: Mon, 01 Mar 1999 16:32:46 +1100
From: "Ken Webster" <[e-mail]>
Subject: (andina) ANTARA questions

Hi

In the Sukay workbook the note pattern for 9 tube antara is given as
E G A C D E G A C.
It describes antaras as having 9, 12, 13 or more tubes.

My question is what is usual in extending the antaras range.
Is it usual to add base, top end or both tubes?

I play zampona with base tubes on the right.  Is the antara played
this way?

I am surprised at how easily I can improvise a tune on the antara.
It seems that any sequence of notes sound pleasant together.
The pentatonic scale obviously has some inherent relationships
that escape me at the moment. Any explanations?

Also I realized that this pattern of half steps 3 2 3 2 2 is exactly
the same as the notes missing from the zampona.
That is F G=23 A=23 C=23 D=23 F.  So given the right range and key the two =
instruments form a full chromatic set of pipes. Has anyone heard of
antaras in this tuning?


Ken Webster   websterk=40lic.gov.au

- -

------------------------------

Date: Tue, 02 Mar 1999 11:18:49 -0800
From: Jennifer Runner <[e-mail]>
Subject: Re: (andina) ANTARA questions

> I am surprised at how easily I can improvise a tune on the antara.
> It seems that any sequence of notes sound pleasant together.
> The pentatonic scale obviously has some inherent relationships
> that escape me at the moment. Any explanations?

Chromatic scale       x x x x x x x x x x x x x
Major scale (octave)  x - x - x x - x - x - x x
Pentatonic scale      x - x - x - - x - x - - x [no semitones]I've heard that a good way to learn to play the piano is to begin using only
the black keys, since they are on the pentatonic scale. That way you can concentrate on how to play without worrying about whether the
notes sound good together or not. :-) Any sequences sounds okay.
I wonder if the same advice would be helpful in learning to play Andean instruments? Would it be easiest to begin with a pentatonic
antara?

> I play zampona with base tubes on the right.  Is the antara played
> this way?

I got the idea from somewhere that Ecuadorian zamponas have the base tubes on the left and Bolivian zamponas have them on the right (or
maybe it was the other way around). Anyone know if that's correct? And would it be the same with antaras?

> Also I realized that this pattern of half steps 3 2 3 2 2 is exactly
> the same as the notes missing from the zampona.
> That is F G# A# C# D# F.  So given the right range and key the two instruments form a full chromatic set of pipes. Has anyone heard of
> antaras in this tuning?
>
> Ken Webster   [e-mail]
>
> -




- -

------------------------------

Date: Tue, 2 Mar 1999 11:43:13 -0800
From: [e-mail] (Marcelo Villacres [ESRI-Redlands])
Subject: Re: (andina) ANTARA questions

> From: Jennifer Runner <[e-mail]>
> To: [e-mail]
> Subject: Re: (andina) ANTARA questions
>=20
> > I am surprised at how easily I can improvise a tune on the antara.
> > It seems that any sequence of notes sound pleasant together.
> > The pentatonic scale obviously has some inherent relationships
> > that escape me at the moment. Any explanations?

That seems to be the nature of the pentatonic scale, and probably why
it is so commonly used by blues and rock musicians who do a lot of
improvisation. This scale is quite handy for doing intro or transitional
riffs in a lot of Adean pieces as well.
=20
> Chromatic scale       x x x x x x x x x x x x x
> Major scale (octave)  x - x - x x - x - x - x x
> Pentatonic scale      x - x - x - - x - x - - x [no semitones]I've =
heard that=20
a good way to learn to play the piano is to begin using only
> the black keys, since they are on the pentatonic scale. That way you =
can=20
concentrate on how to play without worrying about whether the
> notes sound good together or not. :-) Any sequences sounds okay.
> I wonder if the same advice would be helpful in learning to play =
Andean=20
instruments? Would it be easiest to begin with a pentatonic
> antara?

Starting with a pentatonic antara may help getting used to how to blow
and perhaps it may make it easier to transition to a diatonic antara or =
a
siku.
=20
> > I play zampona with base tubes on the right.  Is the antara played
> > this way?
>=20
> I got the idea from somewhere that Ecuadorian zamponas have the base =
tubes on=20
the left and Bolivian zamponas have them on the right (or
> maybe it was the other way around). Anyone know if that's correct? And =
would=20
it be the same with antaras?

Ecuadorians typically play sikus with the bass tube on the left, some
argue because that is how the piano is laid out. I think it is because
Otavalen~os play the rondador in that fashion and they are the ones who
started making sikus in Ecuador. Though diggings of pre-columbian
cultures show that the sikus did exist in Ecuador they practically=20
disappeared for centuries and didn't return to fashion till some short=20
20 years ago.

Peruvians and Bolivians play sikus and antaras in the ancient way, with =
the=20
bass tubes on the right. I don't know if there is a real reason for that =
but=20
someone once pointed out that if one is playing sankas or toyos and a =
drum=20
at the same time (assuming one is right handed), this configuration =
leaves
enough space for the arm to beat on the drum. If you turn the sikus =
around=20
one can still play the drum, but the bass tubes will be within the path =
of=20
the arm and a tube may get crushed against the drum.
=20
> > Also I realized that this pattern of half steps 3 2 3 2 2 is exactly
> > the same as the notes missing from the zampona.
> > That is F G# A# C# D# F.  So given the right range and key the two=20
instruments form a full chromatic set of pipes. Has anyone heard of
> > antaras in this tuning?

The third row of a chromatic siku can be used as a pentatonic antara
indeed, but as far as I know it is not a common tuning for antaras,
most are in E or A.

> > Ken Webster   [e-mail]
> >
=20

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------------------------------

End of andina-digest V1 #7
**************************