About this ebook
El método consta de dos partes: una primera sección sobre técnicas de rasgueo y una segunda sección sobre técnicas de punteo melódico. La primera sección proporciona un método claro y preciso para aprender las habilidades "rasgueo" "repique" y "trémolo" que son fundamentales para el repertorio de Charango. La segunda sección, mientras tanto, proporciona una guía indispensable para las técnicas expresivas para embellecer las líneas melódicas, que incluyen martillos y extracciones, trinos, melodías simultáneas y arpegios.
El método es apropiado para una amplia gama de niveles de habilidad musical, desde principiantes hasta charanguistas expertos que desean mejorar sus habilidades técnicas. Los ejercicios son claros y progresivos. En el caso de que el estudiante no esté familiarizado con la teoría de la música, un apéndice aclara los conceptos básicos de la notación musical. Además de 201 ejercicios escritos para el solo de Charango, el método incluye 23 clásicos de la música folclórica sudamericana organizados para acompañar el charango y la guitarra. Por lo tanto, sirve como una herramienta pedagógica y una fuente de repertorio de rendimiento. Las partituras musicales incluidas en el método van acompañadas de una descarga de audio gratuita de ejercicios, así como un repertorio interpretado por reconocidos instrumentistas chilenos.
This is the first Charango method to use conventional musical notation, and the only bilingual (Spanish and English) text of its kind. These characteristics make the method attractive to musicians with a wide variety of cultural backgrounds, interests and skill levels.
The method is comprised of two parts: A first section regarding strumming techniques and a second section regarding melodic plucking techniques. The first section provides a clear and precise method for learning the "rasgueo" "repique" and "tremolo" skills central to the Charango repertoire. The second section, meanwhile, provides an indispensable guide to expressive techniques for embellishing melodic lines including hammer-ons and pull-offs, trills, simultaneous melodies and arpeggios.
The method is appropriate for a wide range of musical skill levels, from beginners to accomplished Charanguists who want to improve their technical chops. Exercises are clear and progressive. In the event that the student is not familiar with music theory, an appendix clarifies the basics of musical notation. In addition to 201 written exercises for the Charango solo, the method includes 23 South American folk music classics arranged for Charango and guitar accompaniment. It thus serves as both a pedagogical tool and a source of performance repertoire. The musical scores included in the method are accompanied by a free audio download of exercises as well as repertoire played by recognized Chilean Instrumentalists.
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About the author
Iwasbornthe28September1966inPu
Chile.Myparents never imagined that the toy guitar that they
gave me at the age of five would continue with me until this
day. Throughout my childhood, I used that little, out-of-tune
instrument with wire strings to accompany the musicians at
our church in the town of Concepción.
Then, in 1985, while walking through the Parque de
Santiago, playing the introduction to Victor Jara’s “La
Partida,” I fell in love with the Charango. Those were
difficult years, in which instruments of Andean origin were
banned by the military dictatorship. We young musicians
learned to play listening to recordings or watching videos
that arrived in Chile from abroad. Our Latin American
role models consisted primarily of groups from the “Nueva
Canción Chilena” movement, the majority of which were in
exile outside of the country.
My initial self-guided, empirical musical study pushed
me to look for my own solutions to the technical problems
presented by the Charango. Later, during my years at the
Facultad de Artes of the Universidad de Chile – where I
studied sound engineering – I had the opportunity to acquire
further technical knowledge and formal musicianship skills.
A particularly important experience during this time was my
work with the composer Celso Garrido Lecca, whose work
forCharango“DuoConcertante paraCharangoy Guitarra”
I premiered in 1992.
Another fundamental experience in my relationship with
the Charango was the time I spent in Tarabuco, Bolivia, in
1995.HereImetMacarioParicahua,
this little instrument on his solitary journeys through the
Andes. The relationship that Macario had with music – his
playing style and his ancestral bond with his art – moved
me profoundly, convincing me to dedicate my energies to the
development of a method for the Charango.
The outgrowth of a decade of collaboration between
Horacio and I, this method was written in the hope of
disseminating the music written for the Charango, music
that reflects the personality of one of the many beautiful
instruments developed on this side of the planet.
I was born in Antofagasta, a city in the north of Chile,
the 24th of June, 1945. I am the fourth child of a middle class
family with a long tradition of progressive politics. Along
with my brothers and sisters, I attended public schools. My
mother was a poet at heart, and the mother of six children.
Mario, my father, was an engineer assigned with maintaining
the network of roads that connected the city with the mining
settlements, the small indigenous communities and the water
sources of the region.
Mypredilection formusicis nothardto explain.Ourhouse
was a veritable temple of classical music. And the Pampa
(South American plains) and the Altiplano (high desert) had
a profound impact on my young soul.
When I was still a child, my family returned to Santiago,
Chile. In the fifth grade, my grandfather gave me a violin. He
never imagined that this gift would signify the beginning ofmy
career. Nevertheless, the violin and I never fully understood
one another, and in the end we parted ways. In 1963, my
studies in chemical engineering took me Valparaíso. In 1965
I participated in the Peña Folklórica Porteña (Valparaíso)
serving wine and empanadas. It was at this moment that I
discovered the Charango – that marvelous instrument played
by Violeta Parra – and began to explore the large repertoire
of recordings for the instrument by Jaime Torres, Ernesto
Cavour and the Peruvian Jaime Guardia.
Later on, inspired by my obsession for this little guitar,
I traveled to the land of its origin: the Andean Altiplano.
Although consumed by vocational crisis, I continued my
studies in engineering at the Universidad Técnica del Estado
of Santiago. It was at this time that I met the members
of the future Inti-Illimani. Students of chemistry and music,
we founded the group officially in 1967. It grew rapidly in
popularity: by the end of my studies in engineering in 1971,
we had released five records, worked with Victor Jara, Luis
Advis, Sergio Ortega, and Isabel Parra, toured through
Bolivia, Argentina, Perú, Ecuador and Colombia and given
hundreds of concerts.
Inti-Illimani – the group to which I have dedicated more
than fourty years of my life. So many experiences: exile in
Italy from 1973 through 1988. The return to Chile. Great
memories, journeys, sounds, life, music... Forever.