Tambor de cuerdas y flauta de tres agujeros

La Tradicion Musical En España Vol. 15
El Tambor De Cuerdas De Los Prineos



01. Paloteau de Lanuza
02. Paloteau de Jaca
03. Pedro Gil
04. El ciervo
05. Dance de Sinués
06. Dance de Aragües del Puerto
07. Dance de Embrún


08. Ttun-ttun de Isaba
09. Ttun-ttun de Uztarroz
10. Pasacalles de Burguete


11. Danza del Ben-Yar


12. Maudit sia l´amor
13. Bèra Vinagrèra
14. Madamisèla deu Bornau
15. De la mes charmante anesqueta
16. Au verdurèr
17. Branlo Ayrejan
18. Moutchicou


19. Hegi
20. Bralea
21. Martxa (Godalet Dantza)
22. Ahuntza
23. Barrikada Haustea
24. Buhameak


25. Mando Zaharrarena
26. Mutil-Dantza (Soka Dantza)


Enrique Tello (tambor de cuerdas y flauta de tres agujeros), Javier Lacasta, Marcel Gastellu, Luis Salesa, Faustino Villacampa, Álvaro de la Torre (tambor de cuerdas y flauta de tres agujeros)...

This volume is of particular interest since it scans an instrumental tradition known on both sides of the Pyrenees, that of the three-holed flute played with the drum string. This instrumental ensemble (played by a single musician) has come down to us in the Spanish provinces of Navarre and Aragon and, for our part in Béarn (Ossau valley), Bigorre and Soule. This disc is therefore appealing to musicians from the various regions (including Marcel Gastellu Etchegorri, musician, researcher of long standing, is efficient as discreet), some pretty old and younger but all playing traditional and mostly solo . This gives us an interesting overview of the instrument in which the double flute melody runs while the drum string serves as the basic rhythm and stubborn bumblebee (vibration deliberately created by the curvature of the bridge contribute to in addition to these strings look more stamps to drum string zither). If the instrument is definitely designed for the dance (rich in high harmonics of the flute, the presence of the drone, rhythmic function of the drum), he can also give a haunting aspect to slow airs. Whether to retain something of these recordings is that the Pyrenees constitute an administrative barrier: eyes closed so try to assign each piece to its region unless you are an expert you will give your language quickly cat and if recent exchanges may have taken place, the unit organological and music that emerges here is undeniable.
Tambor de cuerdas
A psalterium /sɒlˈtɪəriəm/, or tambourin à cordes, is a stringed musical instrument, the name of which means the same thing as the one of psaltery. In specific usage, this name denotes a form of long psaltery that is tuned to provide drone chords. Sometimes called a string drum, it is usually used as rhythm accompaniment with a form of tabor pipe. It is also known as tambourin de Béarn in French, ttun-ttun (/cun'cun/, named after the sound emitted) in Basque or chicotén in Aragonese.

Some authors have called into question the inclusion of the Pyrenean stringed drum under the name of psalterium.


It is slung on the arm or over the shoulder of a player who uses the same hand to play the pipe, while striking the strings with a linen covered stick held in the other hand. The 6 strings (3 sets) are most often tuned in octaves that match the keynote of the Tabor pipe, such as Cc Cc Cc or Dd Dd Dd etc. This musical percussion is quite pleasant and can be played pianisimo as well as forte'.
Extent and uses

The instrument is currently widespread in the western Pyrenees, and it bears the hallmark of the territory. Apparently invented in the 15th century, it came into use in the Pyrenees, where it took hold. It is popular in the easternmost Basque province of Soule (Zuberoa), where it provides along with the three hole flute (xirula) the necessary musical background for traditional dance performances and the carnival set of performances called maskarada, which takes place on a yearly basis in different villages of the former viscounty.

After losing ground during the 20th century in western and central Pyrenees, namely Bigorre, Béarn and Soule, the practice of the three hole flute and tambourin came almost to a halt after World War II, except for the Ossau Valley in Béarn. Evidence has been gathered also that with different names (such as salterio) it was played along with the flute early in the 20th century in small areas of High Aragon. From the 1970's on, the instrument has shown renewed vitality.

thanks for the music : )


Mas Trabalhar...

Menos Samba E Mas Trabalhar


01. Bossacucanova Featuring Carlos Lyra - Maria Moita
02. Moreno + 2 - Imbalanca
03. Fernanda Porto - De Costas Pro Mundo
04. Patricia Marx - La Do Mar
05. Anderson Soares - Nu Vida
06. Domenico + 2 - Alegria Vai La
07. Bebel Gilberto (remixed By Peter Kruder) - Tanto Tempo
08. Otto - Bob (edu K Remix)
09. Suba - Voce Gosta (phil Asher Mix)
10. Zuco 103 - Zabumba No Mar
11. Tom Zé - Toc
12. Totonho & Os Cabras - Nhem Nhem Nhem
13. Max De Castro - A Historia Da Morena Nua Que Abalou As Estruturas Do Esplendor Do Carnaval
14. Nacao Zumbi - Blunt O Fjudah

mais samba y menos trabalhar... !
mas y menos


Three villages...

Wisła, Istebna, Jabłonków
Muzyka Beskidów


01. Mamko Moja
02. Pytel Mąki
03. Improwizacja Cz.1
04. Poleju, Poleju
05. Boże Mój, Boże Mój,...
06. W Jaworowym Lesie
07. Tryptyk
08. Hop Dana, Dana
09. Doliny, Doliny
10. Improwizacja Cz.2
11. Wyjeżdżej Furmanku
12. Janicziek Trowym Sieczie
13. Leszćiniańsko Polka
14. W Nidzieliczikym Do Kościoła
15. Szumi Dolina
16. Ciymno Nocka
17. Improwizacja Cz.3
18. Hej Ochodzito!
19. Hore Koniakowym
20. Węgierska Suita
Kapela Wałasi i goście

...music from the Silesian Beskids mountain range, near to the borders with the Czech Republic and Slovakia, in the historical region of Cieszyn Silesia.

Where is this place?

You could say: Far, far away behind the mountains, behind the endless woods, behind seven rivers - and you would not be wrong because this country truly lies behind hills and forests in the heart of The Beskid Sląski.

Here, on the slopes of "Złoty Groń", "Ochodzita" and "Wawrzaczowy Groń", in the valleys between these beautiful hills are placed Istebna, Koniaków and Jaworzynka called often "The Triple Village".
Istebna, Koniakow and Jaworzynka are summit - placed villages of The Beskid Slaski situated in the south of Cieszyn Silesia. Their common name usually used is The Beskidy Triple Village.

Istebna - the home to local authority - lies around picturesque sunny hill of Złoty Gron in the Olza river - basin.
Koniakow - the highest placed of the three - has its kingdom on the slopes of Ochodzita, the highest hill in this part of the range stretching out east of the community.
Jaworzynka - south - western corner of the Beskid Slaski - is set in the valleys of the rivers Czadeczka and Kreżelka.

Thanks to the climate and rich culture Triple Village have been one of the most attractive  tourist mountain regions of Poland. Istebna and Jaworzynka are the oldest of the three. First mentions are from 1577 (Istebna) and 1649 (Jaworzynka) whereas the village of Koniakow was found in 1712.

Historical researches say, that all three villages were associated with The Duchy of Cieszyn in the times of Silesian Piast Dynasty ruling (up to 1625). Then in 1653 Habsburg dynasty took control over the region to create out of it their profitable property called "Komora Cieszynska".

The process of settling down the region which started in XVth century had two main streams. One from northern flat land of Cieszyn Silesia and the other, much more important, from the south - east Wolosi, nomad shepherds coming from the east of Romania. They used to move west searching new grazing fields reaching eventually green meadows of The Beskidy. Over the years their population mixed with local people and their way of wearing, working and worshiping affected the region life a lot.

The very first settlement in the area was Jasnowice, which name was derived from the religious sect called "Jasnowidze" (clair - voyants) settled down there after escape from religious persecution. The main activity of the citizens then was shepherding which was more profitable than traditional farming. 
did you count more then three... you were right :)


Maria Prymachenko

Maria Prymachenko

Maria Prymachenko (Ukrainian: Примаченко Марія Оксентіївна) (1908–1997) was a renowned Ukrainian village folk art painter, representative of naïve art. The artist was involved with drawing, embroidery and painting оn ceramics.

Maria was a peasant woman. She was born and spent all her life in the village of Bolotnya in the Kiev Oblast, situated only 30 km (19 mi) from Chernobyl.

Іn her childhood Maria was taken ill with polio, and this painful disease influenced the girl's life. By reports of her relatives, Maria grew а thoughtful and considerate person, having compassion for nature and every living thing.

Her way in art began, by her own words, like this: "Once, as a young girl, I was tending a gaggle of geese. When I got with them to a sandy beach, on the bank of the river, after crossing a field dotted with wild flowers, I began to draw real and imaginary flowers with a stick on the sand… Later, I decided to paint the walls of my house using natural pigments. After that I’ve never stopped drawing and painting."

Creative works

Mysterious and emotionally charged, the works of Maria Prymachenko, a folk master of Ukrainian decorative painting, seem to absorb the age-old traditions of many generations of Ukrainian master-craftsmen who, from the depths of the centuries, have brought forth their understanding of good and evil, of ugliness and beauty.

Images often had арреаred to the artist in dreams and later materialized in her compositions. Maria Prymachenko's art works depict fabulous mythological beasts and take their roots іn folk legends and fairy-tales, nourished bу real life and culture of the Ukrainian реорlе.

The works of Prymachenko can be subdivided into thematic, symbolic and ornamental pieces. All compositions are characterized by a subtle and fluent rhythmical arrangement. There is a maxim: "Style makes man." As for Prymachenko, one can state this in reverse: man makes style, for Maria Prymachenko has developed a style of her own. In this evolution one can discern traces of constructivism (1930s); the victory of harmony (1960s- 1970s); and the decorative approach (1980s). Her latest works impress one by their daring decorativeness of form. Prymachenko gravitates to the world of fairy-tale and mystery: her birds, beasts and plants interact on her pictures just as harmoniously and easily as they do in natural surroundings. Philosophy of the good animates the content of her works. The good embodied in the images of 'kind' beasts and birds (lions, bears, hares, storks, swallows) is juxtaposed against the evil, this mighty force which is sometimes difficult to identify with certain living things. The artist often resorts to her favoured device of personification: she depicts fabulous animals with large eyes surrounded with a trim of eye-lashes.

Thematic compositions occupy a special place in Prymachenko's creative legacy as far as the complexity of compositional arrangement and harmonious balance are concerned. Raw actuality and fairy-tale become blended in her compositions into one single whole, triumphantly demonstrating the unity of Nature. People depicted in these compositions are composed and full of dignity and self-respect. Her early compositions were executed against a white background, associated with the whitewashed walls of peasant cottages. But in the 1970s-1980s the artist turned to coloured backgrounds. It seems that colour itself creates the effect of colour-bearing space. There are no professional secrets in her arsenal: she paints on Whatman paper with factory-manufactured brushes and uses gouache and water colours. She prefers gouache which gives a bright and thick decorative base with graphic contours. Apart from searches in colour scheme, the artist strives to achieve expressive outlines and an effective rhythmical arrangement. Another salient feature of Prymachenko's art is a keen sense of composition, which is especially evident in her choice of format. Horizontal formats are most suitable for topical and multifigured compositions depicting subsequent scenes of the narration, while the vertical format is used for representative decorative compositions.
so, now you know where the new header comes from : )


Hutsul music from the village of Kosmach

The Kosmach Musicians



1 Signal of the ascent into the mountain meadows on trembita and horn Play
2 Shepherd melodies on the jaw harp
3 "Arkan", dance of the shepherds and the opryshky, or mountain bandits, on trembita
4 "Arkan" on tsymbali, fiddle, double flute and drum. Play
5 Entrance into the mountain meadows on trembita with fanfare
6 "Oh i will go up into Mountain Meadows", a rhyming song
7 Shepherd melodies on telenka
8 Shepherd melodies on double flute
9 Mountain meadow melody
10 Medley of Hutsul melodies


11 Beginning of the wedding
a. On the way to the house
b. The parents come out of the house c. The Welcoming of the musicians
d. Accompaniment for singing
e. The musicians for singing
f. "Oh, Lord may This Be a Good Time"
12 "The Hutsul Girl", a fast dance tune
13 "Oh, the Green Evergreens", a wedding incantation by the matchmakers
14 "Oh, Lord May This Be a Good Time" as a march for the bridal couple Play
15 "At the table" music for singing
16 a. Fiddle and double flute duet
b. Tsymbaly and double flute duet
17 Accompaniment to wedding incantation
18 Fiddle solo
19 "Hopak", a dance tune
20 "The Blue Cornflower", a dance tune
21 Dance Medley
22 Accompaniment for the bridal couple
23 Wedding drinking song
24 "The Dove", a dance tune
25 "Mykyta"


26 "The Winter Song Singers Are Coming" on trembita and horn
27 "Behind the Pen in the Yard", a winter song Play
28 Well-wishing
29 Trembita as the winter song singers leave
Kosmach - is the heart of Hutsul. Perhaps the greatest and real pearl of the village not only Region, but also in Ukraine.
32 priselke with poetic names: Mel, Dil, deterioration, Rushir, Preluki, Pochosy, Zavoyely - like sunlight adorn the mountains to the village center.
Kosmach - "Sun Valley", "Sun Bowl" - here a special cosmos, cosmic forces, sunny colors of the Carpathian nature kindled in the hearts of God kosmachan that spark that has for centuries burning unquenchable creative flame. Here in every house living artists: weave, embroider, rizblyat, painted Easter eggs of rare beauty, maystruyut musical instruments played.
Kosmatsky traditional clothing and embroidery win all the colors of the sun. Space characters sky, sun, stars - at Kosmatsky pysanka. Vohnystyy temperament Kosmatsky musicians bare beauty of the natural environment ... When a rocky Gregor which make the thunder, the mountains ring with turbulent flows and violent wind wins fir their eternal melody, while the giant meadow Chuhayster gets in his mad dance - this time born in Kosmachi music.
Some magnetic force attracted to Kosmach many Ukrainian poets, writers, musicians, artists: Alex Nowakowski, Michael Frost, Gregory Smolsky, Filaret and Mykola Kolessa, Stanislaus Lyudkevych, Ostap Lysenko, Irene Wilde, Lina Kostenko, Ivan Svitlychny, John Mykolaychuka Ivasiuk ... You can name many more famous names of those who sought to Kosmachi inspiration. Kosmachany as a precious treasure, retain their ancient customs and musical tradition. Glory of Kosmatsky folk music has long moved beyond the Carpathians and the Ukraine. In the village by this time there are many instrumental wedding chapel. Folklore from ancient recorded and exploring musical authenticity Kosmach, here in the last 150 years found more than 100 musicians, wedding chapel. Even in times of Austro-Hungary showed Kosmatsky wedding in Vienna, Lviv. Hutsul Chapel with the U.S. running Dmitry Tkachuk performed many songs and wedding music from Kosmach. In the television movie "Carpathian Resources", "Kosmach" fixed tradition Kosmatsky wedding ceremony.
In 2001 one of the choirs were invited to the Third World Theatrical Olympiad. Chapel, organized cymbalist virtuoso Michael Rybchuk, performed with great success in the program which was music of the mountains and valleys - from the Carpathians to Tibet, and on Moscow television.
In this CD can be divided into 3 cycles of ritual music that accompany the rite of spring - "Get On the mountain," the summer - "Wedding" and winter - "Koliada."
We hope that students of this disc will discover an interesting page original culture of Hutsul.
Lesia Turianska
translation as usual: google 
Kosmach is village in the heart of the Hutsul region of the Carpathian Mountains. it is one of the largest and most enchanting villages in Ukraine. Very talented people have preserved the traditional rituals, customs, crafts and music here. It seems that every house has its own musicians that play on traditional instruments made by Kosmach master craftsmen. Fiddles, tsymbali (hammer dulcimers), and flutes make up the traditional wedding band. The trembita, or mountain horn, accompanies the winter song singers at Christmastime, and also calls mourners to funerals, and shepherds to the mountain meadows in the spring.
There exist Tibetan monks in this world who travel, relate, show – and perform their Tibetan music. By any chance, have you ever heard them performing? If you have, probably you will be surprised with this recording, since the distance between the Tibet and the Carpathian Mountains is so big, but still the music of these regions has something in common, even something allied. The question is – where from? Yet, on the other hand, both are mountains, and it means that they are closer to the sky. As you know, in the sky the roots grow and communicate according to their own laws, which are not at all earthly. That is why all that is not surprising. Quite different things should be surprising – why people can seldom find a common language. Immediately one of the answers appears – since when you communicate with the help of words, practically always there is something fallacious and incomplete present in this communication. It happens because every person has his or her personal thesaurus in his or her head. And one of the decisions may be heard right now – because music is nearly the most universal language among all human and non-human languages. This is not even a theorem; it is simply a fact, and frankly speaking, a joyful fact. Its joy lies not in the hope for a possible harmonious communication, but in the fact that this communication exists now and keeps on existing. You should only see it. Or, to be exact, to hear. To feel.

Anton Jozhik Lejba (Hedgehog)
Trembita (see track 01)
Actually, in the Carpathian Mountains trembita is still used in a practical way. As in many places highly in mountains there is no phone connection than different melodies of this instrument can tell all the important massages that can be heard at a distance of 10 km. Traditionally trembita is used by mountain dwellers. With the help of this instrument is given a signal about the biggest spring holiday in Hutsul Land, when the shepherds are going to the mountain meadows, and, of cause, when they go back in autumn. Besides, the sounds of trembita can tell about danger or about somebody’s death. There is an old tradition to meet guests with the sounds of trembita.