8.6.10

Música Llanera 3

  
Anselmo López
Esta es Mi Bandola

 
Tracks:
 
01- El Gavilán Tocuyano
02- Laguna Vieja
03- El Pajarillo
04- El Rebusco
05- La Chipola
06- Del Llano Quiero Ser Dueño
07- El Cari Cari
08- Mi Guacharaca
09- Amor Que Se Fué
10- Zapateao
11- Joropos En Bandola
12- Carmen Tea
13- La Periquera
14- Manglares Del Matiyure
15- Carnaval Espellejao
16- Guayabo Negro
17- San Rafael
18- El Gaban
19- Seis Pajueliao
20- Mosaico Llanero
      a- Copas De Vino
      b- Kirpa
      c- El Gavilan
Bandola: Anselmo López
  
 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
      
      
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
  
Anselmo López
Born: April 21, 1934 in Chaparrito, Barinas, Venezuela
Instruments: Bandola, Cuatro, Guitar
  
Anselmo López (born April 21, 1934 in Chaparrito, Barinas, Venezuela) is one of the most important bandola llanera executants in Venezuela. Is also the creator of the Jalao (Spanish for pull) technique, which applies the technique of classic guitar to the bandola. In jalao, the thumb and index fingers hold the plectrum to pick the melody, while the middle finger is used to pluck harmonic notes in the chord of the melody on the first or second strings. With this technique, Anselmo López made this instrument popular, taking it to national and international scenes. Anselmo López is a teacher and supporter of the bandola, forming new players, as well as being one of the most representative folk musicians of Venezuela. He has recorded several albums executing the bandola.
  
“ I say to myself, in the bandola, what thumb makes on the guitar, I will do it with the plectrum, and I will pick the high notes with the a finger. That was it, I started to put the the new technique into practice: a down stroke with the plectrum and jalao with the finger nail on the up stroke, so that it makes a sound.”
    
  
The origins of the "bandolas", according to some studies, seem to date back to the Persian Empire, travelling from there to the middle east, and penetrating Andalucía with the "moro" (Moorish) invasions. It was widely known as the "laud" for three centuries, and arrived in the Americas with the first conquerors. It is here that the process of transformation began, until the instrument was adapted to the actual spiritual characteristics of four regional cultures in our "Tierra de Gracia", the "Ilanero" (plains), the "oriental" (eastern), the "central" and the "guayanese", (each of these terms refers to a different geographical location in the Venezuelan territories)
- Roberto Todd
  
  

1 comment:

owlqaeda said...

.ღ•:*´☆ band♥llanera ☆`*:•ღ.