- Teaching the forms of XOROPO forms
- Presentation and learning of the different GOLPES (harmonic structures and rhythmical modes)
- Introduction to the different genres of ternary music from Colombia and Venezuela: bambuco, pasillo, quirpa, zumba que zumba, seis por derecho, pajarillo, etc.
- Work on the analysis of listening to sound extracts.
• Main sequences from Spain
• Four-bars grid / Cadences / Diatonic scale / Tower of fifths
• Harmonic structures and open forms: Golpes de Joropo, Revueltas and Estribillos (chorus)
• Closed forms: Examples: Bambucos y Pasillos de autor, colonial texts
• Rhythmic modes: Corrido, Atravesao, Chipola / Mode change: e.g. El Pajarillo Chipoleao
• Other structures or Golpes more extensive (two and three parts) and combination of Golpes (Entreveraos).
• BASE: the Cuatro: instrument that gives both the harmonic structure and the rhythmic mode.
• Application of four bar harmonic structures: possibilities of realization and accompaniment: ABCD, etc.
• Possible patterns or motifs according to each instrument: heterophonic possibilities of the Xoropo.
• Figures of the harp for piano, melodic and companion, simple base, complex base, gotera “drip”, hemiolia, silences. Cadential architectures, implicit modes, Andalusian phrygian cadence.
• Paraphrase of the melody of the song and the pointed instruments, for bows or winds.
• Patterns or motifs and opening and closing cadences.
- Brief history of the Joropo and his ancestors in the song of Zyriab, the ternary collection of the Spanish fandango, and the travel of the couplets and guitars from the Renaissance, to America in the Spanish galleons combined with Arabic, African and indigenous rhythms. Transformation of style and idiosyncrasy in the new American geography.
- Main historical stages and styles of Joropo, its own and singular genre that represents the whole region from the Andes of Colombia to the Savannahs of Orinoco, from its first recordings in 1940 in Venezuela, as a rural and peasant genre until it became a commercial music and also a very elaborate concert chamber music, a real galloping baroque, of unsuspected soloists and virtuosos
- Ancient period, II. Classical period, III. Post-classical period and IV. Contemporary period.
- Joropo styles in Venezuela : Llanero, Central, Oriental.
- Listening to examples of ancient and modern recordings.
TERMS OF PARTICIPATION
- All audiences because the teaching is based on the oral tradition as well as listening to historical recordings and the resonance of these music in the memory of Renaissance dances…
- Ouvert aux instrumentistes (piano, guitare, mandoline, harpe, instruments d’archet ou de vent). Open to instrumentalists (piano, guitar, mandolin, harp, bowed or wind instruments).
- Level: 3 years minimum of instrumental practice
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Colombian pianist, researcher and composer born in Palmira, Colombia in 1959, she was living in Venzuela for more than 20 years. After studying in Bogotá, she graduated in 1987 in Piano Performance at the Musikhochschule in Hanover, Germany, she studied composition with Diether de la Motte and took lessons in Italy with the pianist György Sandor, disciple of Béla Bartók.
She has produced a comprehensive and accurate set of transcriptions of Venezuelan and Colombian Joropo music from historical recordings, setting a new standard in the study of this relatively unknown genre, transmitted until now only by oral tradition, and she specialized in the performance of this music with her ensemble. She also gives conferences in the United States and in Germany.
She has recorded four CDs, PIANO LLANERO I and II, solo piano works by Colombian composer Pedro Morales Pino and PIANO XAROCHO with a combination of ‘Son Jarocho’ from Mexico, Joropo from Venezuela/Colombia and Fandango from Spain of the 18th century.
Since 1989, she has been a professor of chamber music at the Simón Bolívar Conservatory and at IUDEM in Caracas, touring extensively with chamber music groups and soloists in Colombia, Venezuela, Guatemala, Uruguay, Mexico, England, Netherlands, France, Spain, the United States, Hong Kong and South Africa. In 2018, she also accompanied Colombian folk dance companies on a tour in Turkey. Her own compositions include solo piano pieces, chamber and symphonic works and have been performed in Venezuela, Colombia, England and Mexico. Her own compositions include solo piano pieces, chamber and symphonic works and have been performed in Venezuela, Colombia, England and Mexico.
In 1999 she created the Fundación Editorial Arpamérica in Venezuela and 2009 in Colombia, a non-profit institution with the aim of researching, saving and promoting the music of the oral tradition of the harp and the bandola for educational purposes and the creation of new compositions, as well as the formation and production of musical groups, children’s orchestras and educational repertoire. Since 2011, she moved to Colombia where she founded three symphony orchestras for children and youth, based on the principles of collective learning, concert presentation and social inclusion.