Python Communicate Batch File

pronominal Placement (2) pronominal


Natal, Brazil
Foto: Fábio Pinheiro







In the previous lesson we saw where we placed the oblique pronouns at the end of a verbal form. In Portuguese is called ênclise to the placement after the verb and próclise when going upstream. Let
more rules on the first case, ênclise:

"When the verb comes at the beginning of a sentence or after a pause indicated by a comma or a semicolon:

Ofereceu-me um bom salary, Prometheus-me uma confortável trabalho area.
offered me a good salary, I promised a comfortable work area.

Remember that you can be: Ele
ofereceu me um bom salary. Aliases, ele me Prometeu trabalho uma confortável area. (well, the promised me a comfortable workspace)


"After the gerund of a verb:
muita saw people peccary, is
saw many people complaining

-With an affirmative imperative verb:
Chame-o agora!
Call now!

but not a negative imperative "chame agora não me!"


- With the preposition "a" and the infinitive:
A tarefa? Ela estava a faze-la (Ela estava Fazendo a)
Does the task? She was doing

.............................

However, other rules will tell us when to place the pronoun before the verb, ie, when a case of próclise:

-When denials as "não", "never", "jamais" Não

A Verdade
disseram me I never ajudaram



-after relative pronouns as "you" or in subordinate clauses: We want

conheça A Verdade
We want to know the truth

When I saw you, I remembered those happy years.
Cuando te vi, me Aquellos años felices agreement


-Despues de adverbs to pronouns undefined:

Nobody was angry, not given importance
Nadie was disgusted, at le dieron importance.

Does anyone remember the name of that singer?
¿Alguien del nombre de Acuerdo is that singer?

My friend has informed me
Mi amigo ya me know

-Despues de pronouns interrogative pronouns y demos:

Who told you that?
¿Quién te said that? Isso

ajudou us
That helped us


exclamatory phrases:

That accompaniment, you felicidade!

..................................

We may also find the case known as mesóclise when these pronouns are placed in the middle of a verb. Occurs only future tense verbs do this and future do past.
For example:

Build-se-iam was fosse mais pontes
ever require more bridges will be built if necessary.

is much easier to find an example like this in grammar books en el habla that everyday, from which it seeks alternative más simple y una less llamativa.Por ejemplo:
would build more bridges if necessary / If necessary, would build more bridges.

Do Puppies Have Moles

Placement (1)


Joinville, Brazil
Photo: Fagundes







How do we say this phrase en portugués?

una Receipt letter. In abrirla quiero ahora. Voy a bad afternoon leerla responderla y mañana. La traducción es

:

received a letter. Do not want to open it now. I'll read it later and reply tomorrow.

used if the verb ends in "r", "s" or "z", removes the last letter, place the script, and then the appropriate pronoun. That we use in these loans are called in Portuguese obliques unstressed pronouns. Let
examples:

la
trying to buy I want to buy washing

posso I can wash the


Sent-The
I'm going to send

As shown, if the verb ends in "a", we will use the grave accent over it. If it ends in "e", we will use the accent cincunflexo , and if it ends in "i" will not use accent.

lê-la
I'm going to read
Quero

see-what I want to see

Desejo
tea as you want them

não posso
resistivity what I can not resist

quero
descobri-what I find out


Cases in which the verb ends in "s" or "z" are rarely used, because in general they try a simpler alternative. Eu fiz isso

. Fi-lo com muito trabalho. Or Eu fiz com muito trabalho. I did eso.Lo
com did a lot of work. I did a lot of work.

The third alternative, "or Eu fiz ..." be the most utiizada to be more simple. Under the rules of grammar, we can not start a sentence with a pronoun oblique, but we can do with a personal pronoun. However, in the language spoken many times the standard is not met, and you can hear "tell me" instead of "tell-me."
............................

When the verb ends in nasal diphthong as "ão", "oe", "am", "em", we will begin placing "-na", "" no "instead of"-la " or "-what."

Chamem-not Call it late this afternoon


Atenderam-bem us well

We attended
Obrigaram-na to fonctionner mais
The obligarona work harder. Poe

na-no Put
table en la mesa


Veamos UNOS más ejemplos:

bought a house last month.
bought it last month. I bought it last month.

I have a new car.
I have it at home. I have at home.

I know this city well.
I know her well. I know it well. Puede que la

alternative with personal pronouns "I bought ..."," I'm .. "" I know ... " le bad results easy.

Disneyland Vancouver Cruise

Item 12 Item 11 Item 10

Mamiña Flower
(Saya andina) - O. Sepúlveda - Arr. E. Civallero

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The Andean skirts, unlike eels, have similar cadences to wayñu . This issue was dedicated by its author to the Chilean town of Mamiña, in northern Chile, which was being looted, back in the early 90's - by an American company, was leaving the water. In honor of other similar people in our Latin America, still plundered by unscrupulous foreign hands, this item is included dialogues based on fast zampoñas malts and toyos the standard troops, and closes with a final rapid jach'a sikus . The charango strumming dry, vibrating the rec rec and percussion of African drums accent tinged composition, providing its distinctive taste.
As with morenadas many, some of the percussive elements currently included in skirts (and other genres) have a deep relationship with the dances that accompany. In fact, the addition of strings and winds is an Andean added: originally (and even today in certain villages in the Bolivian Yungas) the dark skirts interpreted only vocals and percussion.

African legacy in Bolivia has the highest representation in the towns of Coroico and Chicaloma, east of La Paz. They live the descendants of African slaves led by the English conquerors of the old Upper Peru to work in mines and crops. As in other parts of America, these men and women brought their cultural heritage, and merged their singing and drumming with the musical traditions of Quechua and Aymara peoples with whom they had to learn to live together. The candombe Plata, Peruvian coastal music, music Esmeraldas Ecuador, the Colombian cumbia and many Afro-Venezuelan (not to mention the Central America and Brazil) are just a small sample of the cultural legacy we have left .

Photo vueltapalla, " The skirt, afrobolivienne musique."

How Do U Get Married On M&b The Wedding Dance Mod

never
(waynu - Fusion) - DR - Arr. E. Civallero

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The main theme of this track is an old wayñu , little known, I recovered a couple of cassettes forgotten my collection. About him I developed a musical timeline divided into three parts. The first-Hispanic
-starts at a rate of K'antu , played just with a troop of zampoñas K'antu , Wanka drums, triangle or ch'iñisku and pututus or speakers. The tune evolves into a dialogue between jach'a and sikus choquelas and continues in the chorus, with notes held by flute and quenacho after which sound the suri-sikus (which are interpreted as an echo) and a band of gang zampoñas . A charango
kalampeado launches the second part-mestizo-the subject, in which the pinkillo and mandolin melody outline on a mohoseño salliba , and antara sings about the same mohoseño and other zampoñas the troop gang. The chorus allows pinkillo improvisation on the basis of antaras . Bump
Intermediate saya ( box, recoreco , whistle ...) leads to the third part of the theme-modern, which, in all speed, can sound like a flute , a bagpipe malta and gang troops conducting a "down" of cumbia. The final return to the top: the call of the great Wanka drums, percussion and a touch of ch'inisku which is the beginning and end of most Andean themes of traditional origin.

pre-Hispanic roots, traits acquired during a long cross-breeding and modern elements: the three things coexist (sometimes better, sometimes worse) throughout South America, but with particular intensity in the Andean countries. A walk through Temuco (Chile) and Oruro (Bolivia), for Jujuy (Argentina), Arequipa (Peru) or Riobamba (Ecuador) allow anyone-like me-let me see those dynamically mixed realities, always adapting, evolving, merging, trying to silence their voices together or even reinforcing them. That is the nature of America: a mosaic of languages, music, food, customs, attitudes, beliefs and stories that continue to account, which continue to grow despite everything and everyone that continues to evolve and that year after year and moon after moon, continues to bear fruit. Some fruits are worth knowing. Because, after all, are part of our heritage as human beings, no matter how far we think we are in our lives.

Photo abmiller99, " Geyser field."

How Long Does It Take For Cervical Polyp To Heal

Theme 08 Theme 09 Theme 07

Ecuadormanta
(Selected sanjuanitos) - "Quiquinmanta" (DR), "Longuita" (DR), "sanjuanito sad" (DR), "San Juanito" (P. Smith) and "Mother" (Ch. Perugachy) - Arr. E. Civallero

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A arpeggiated guitar intro and beating (flute, which takes its name from the cane which is manufactured) opens This selection of the most unmistakable rhythm of the Ecuadorian Andes: the sanjuanito . Originally performed during the feast of San Juan (which coincides with the Hispanic celebration of summer solstice Inti Raymi ), has now become one of the most common rhythms in this Andean region. It has many variations, and has incorporated a number of upgrades, as well as imported instruments and arrangements.
The structure of sanjuanitos is very characteristic: a couple of stanzas separated by an intermediate four-bar repetitive, and a chorus in which, generally, the performers make a stop, then restart.
The title of the selection means, in Quechua, "from Ecuador." The opening track, "Quinquimanta" opens with fife , mohoseño and mandolin , then ushering and crawlers zampoñas on a particular basis of Chajchir setting the pace, added to drum, guitar and bass. The next track, "Longuita" is interpreted simply panpipes ( gang troops) and a prowler . The "sanjuanito sad" that follows begins with flute , mohoseño and mandolin, and developed with a couple of lurkers on a fife . The "San Juanito" that follows begins with a flute , and continues to toyos Zanka and the troop zampoñas standard. "Mammy," the latest issue of selection begins with mohoseño , quenacho and pinkillo incorporates an intermediate mohoseño and bass, and an ending that adds all the winds appeared along selection.
Within the "Yepe" characteristic of sanjuanitos have used words in Quechua, as tushuy "(dance)," mana qunqawankichu "(do not forget me)," ñuqawan qanwan, tushuspa " (You and I, dancing) and "tukuy tutalla tushuspa" (dancing all night, just) as well as many names of cities in Ecuador, as Iluman Peguche or Otavalo.

learned "Mammy," the latest issue of seleccción, with the help of a group of musicians Otavaleños called "Chayanak", with whom I shared hours and touches in Las Palmas de Gran Canaria, during my adolescence . With this track I pay tribute to all those South American immigrants who have sought to make a living playing his music on streets and plazas of the world, leaving behind the familiar corners of their towns and villages, its countryside and its people. Among them, Ecuadorians are the dominant group, and I can assure that most of the songs included here learned from his lips and hands. At times I found tears in his eyes when playing certain songs and sounds that perhaps they brought to mind the things of the past. And, being an immigrant myself, I could not understand them. Many look to immigrants from their own perspective, considering the alleged harm they cause in their work or in society. Few, however, understand the sacrifice and the resignation implicit in the mere fact of emigration: all that is lost, everything is forgotten, all the bonds that break and sometimes can not be reconstructed. My thanks go for immigrant musicians and especially for "Chayanak" whose only CD I still have in my collection and whose members keep a sweet memory.

Photo flickmor, "You can not be shy in business."

Bloated Stomach Heartbeat

Rain in
puna (Air baguala) - E. Civallero

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is a modern composition, based on the rate of baguala Argentina, featuring a handful of instruments rarely used in other contexts and even slightly associated with each other. Far from "respect for tradition", the theme aims to explore other sounds and other textures, to recreate the magical landscape of rain in the highlands . The start of
erke or horn leads to the melody, played on a ocarina a waka pinkillo and phalawata . It also includes the intriguing are the trompe and classic guitar strumming on the beating of a drum legüero .

From the time I crossed the puna -the Andean highlands, only rain. And the memory of mixed colors vicuñas silhouettes of calm under the still waters, green beds of streams running slowly and shredded dark clouds on the tops of the mountains took me forever. If there are magical things in my mind, this is one of them. A beauty. A peace virtually unchanged.

But of course, that was my romantic vision of passing traveler. The puna is threatened. There are no condors, or pumas, or armadillos, and vicuna are scarce. The fields no longer belonged to indigenous communities to pass into the hands of landowners only if they step. The cleaning of the land and waters is broken by mine, consortia multinational business reap the benefits from the bowels of the rocks and left there only poison and exploitation. A farm that has lasted centuries.

So I can only guess that, in composing this simple melody, weighed more in me a sense of frustration at seeing so much marvel that image corrupted puneña rain that barely lasted a couple of hours.

Photo gjp_geologia, " Storm."

Wooden Bed Measurements

Morenadas
(morenadas Selection) - Palapa (JL Gamboa) and Moreno de los Sapos (G. Vargas) - Arr. E. Civallero

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Rhythm based on a dance of African origin. The parody morenada step, the attitude and the image of former African slaves brought to Bolivia during the colonial era. It is a very common dance-and-popular Carnival in this Andean country, especially during the Entry of Christ's Great Power in La Paz, where tens meet of extras. The rhythm of the rattle and the whistle, the panpipes of pusamorenos troop outline on guitar and charango two morenadas : first, in northern Chile, with a significant degree of difficulty interpretation, and second, Bolivia, with all the traditional taste of its own style.
should be noted that the use of rattle and whistle are in origin in order to make changes in training and in the steps of the dancers. The music, presented here as a whole in itself, was not just a dance accompaniment. Today, rattle and whistle are "traits characteristic "of all morenada , but few remember that its meaning has to do with the dance associated with these issues.

Both morenada as other dances ( foremen, Doctorcitos , etc.) Are often called "rebels dances" by some scholars of Andean folklore. Either way, they were expressions which, in turn, served to rebel against fate suffered by its architects. The Indians laughed, dressing and contoured, colonial lawyers, of the conquerors, their wives and their games. Parodied African slaves also their supervisors or foremen " and gave vent to his feelings in skirts and morenadas , feelings which, incidentally, were forbidden under strict colonial laws as "lewd."

Today, the groups of morenadas the Bolivian Carnival is the most spectacular of all the Andes. Men and women dress up in clothes embroidered with gold thread and silver ornaments worth several salaries. All this for participating in a parade that lasts only a few hours in which they will enjoy as never before. Perhaps the rebellious spirit of the dance still remains, although its present farmers do not know. May have taken the form of a rebellion against poverty and poor living conditions, to "forget" once a year, after twelve months of privation and saving.

Latte_Art Photo

"The Morenada Dancers."

1st Anniversary Of A Death What To Say

huaynos Selection
(waynus Selection) - "Sucre" (trad.), "Brujushja huayta" (trad.), "Jog in Lakita" (DR) and "Tupac Amaru" (R. Rivera) - Arr. E. Civallero

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A selection of four waynus -traditional-mostly from Bolivia and Peru, interpreted in its classical form. All have been collected over the years, from different sources and have been adapted so they could form a unit.
The onset corresponds to "Sucre", a traditional theme that includes a trio of flute and two zampoñas (malta sizes and sanka troops the standard), charango Lauck wide background, guitar, wank'ara , percussion (pods, maracas, handclaps) and the classic "Yepe" (screams). The intermediate guitar gives way to "Brujushja huayta", where again a trio of wind (in this case two flutes and a flute-flute ) and a mandolin interpret the melody on guitar and charango . Mandolin solo resolved at the beginning of next wayñu , "Jog in Lakita" which, as its name suggests, is played with three sizes of the troops of zampoñas Lakita . The last item, "Tupac Amaru", is interpreted with a pair of standard pinkillos .
The "Yepe" is an inevitable feature in many Andean rhythms. In the case of Ecuador sanjuanitos acquired the level of conversations, recitations and speeches, which take place behind (or sometimes above) of the melody. Many of the cries built in this area are in English, but others do in the Quechua language. Among them are "shuq, ISKAY, kimsa" (one, two, three), "tukuy sunquywan (wholeheartedly)," charanguituta waqachispa "(playing the charanguito) and" jina " (So). In some Latin American repertoire screams are intimately associated with certain styles: the terms "inside", "first", "second", "return" and "good" zambas , chacareras and cats Argentineans, " tukuy sunquywan, qankunapaq "(with all my heart, for you) and" mana waqaspalla "(not cry) from the Ecuadorian sanjuanitos , or some combination of voices from the Bolivian skirts, plus the guttural cries, or treble waynus the tunes and central Andean area. A feature that colors of local flavor to the music of that region of the world and that allows, indeed, the words in indigenous languages \u200b\u200b(Quechua and Aymara, in particular) that in recent years have seen a new renaissance.

Anardil Photo

"Aguayos ."

Translating Romeo Djuliet

aymara
Alma (Tarkan and lichiwayus Selection) - "Kusi huayna" (trad.), "Lichiwayu" (trad.) and "Flor de Rosa" (trad.) - Arr. E. Civallero

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One of the most incomprehensible sounds, and even inaudible, for listeners unaccustomed to the traditional music of the Andes is the tarkas , solid wooden flutes own the Bolivian highlands. The tarkas are of Aymara and, like so many flutes, played in troops, they can reach, in rural communities, a number of performers (sometimes up to 50). different troops usually have three sizes (usually called, from highest to lowest, tayka , malta and tiple ) that sound at intervals of fifths and octaves, generating a characteristic harmonic result. These instruments are usually interpreted in its higher register (to remove "t'aras" or "Rich"), which produces a vibrating sound, magical to some, loud for others. The effort made by the interpreters, these flutes blowing over 3000 mts. tall and dance while playing-is impressive. The result-accustomed ear, too.
tarkas The accompanying traditionally Hammer: In this case, a half Italaque and the obligatory snare drummer or .
Of the four most popular troops Tarkas , I used two in this selection. For the first tarka, entitled "Kusi huayna" ("Young happy" in Quechua) used the troops of kurahuara tarkas , from the town of Curahuara Carangas, in the Bolivian highlands. For the second (third selection issue), entitled "Pink Flower", I used the troops of Ullared tarkas , smaller and sharper than the previous. Between the two
tarkas have incorporated a rhythm of ancient roots, lichiwayu , by the name of the instrument with which it is interpreted. The word means "(Flutes) dairy, and it is huge flute-type instruments distributed between the puna of Bolivia and northern Chile. Chipaya in origin, and have three traditional sizes (appointed Chipaya language) that sound at intervals of fifths and octaves, as well as tarkas . Such as these troops played in (not so many, in fact) with the sole accompaniment of drums, and have a particular sound, though not as vibrant as that of tarkas .
For "Yepe" cries in the Aymara language used, including "Taqi chuymampi (jilakanaka)" (with all my heart (Siblings)) and "Kollasuyu marka (Collasuyo ground) and the Quechua term" Jallalla, Bolivia "(Bolivia alive!) And the aforementioned " jina "and" tukuy sunquywan. "

tripowsky Photo

"Magical saltscape ."

Wedding Thankyou Parents Wording

Akulliku
(Study for charango - Jach'a sikuri) - JJ Laura - Arr. E. Civallero

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The charango is a complex instrument. It can be strummed rhythmically, can provide harmonies as complex as any jazz guitar can be dotted, for which he has a technique fascinating combination of fingers- and may be kalampeado , ie beaten rhythmically to simple harmonies and melodies at the same time, with syncopated rhythms. The kalampeado characterizes some musical forms the center of Bolivia, as tune, but is not used in this theme, which is based on picking and strumming simple harmonics. I chose to study is John J. Laura, string interpreter Rumillajta group, obviously, and my shame he has performed and recorded in a masterly way by using two or three traditional charangos metal strings. He named using the Quechua word portion of coca leaves which is usually chewed or pijchar than once ( Akulliku or acullico). The charango
used for this issue is a copy Lauck ie, carved from a single piece of wood-Linares bought on the street of La Paz (Bolivia), famous for its luthiers and their "market for Witches. It has nylon strings, a standard size and is flat sounding, as is currently fashionable. Their sound is impressive, and the track only if needed studio work to achieve their final sound.
The traditional charangos are built on a sound box made from the shell of an armadillo ( kirkincho ) have traditional headstock (pins Wood crimped directly to the neck) and often use steel strings or gut. There are several sizes and types and has various temples or tunings, different strokes and many types of strumming. As I said, is a complex instrument.
peasant villages in the Andes still maintains the tradition of carrying the charango to Sireno. This tradition states that in the waterfalls, streams and lakes, the spirit dwells or Sireno Sereno, sometimes identified with the European Sirenas-which is what keeps the magic of music. The performers leave their charango the edge of the water all night, while keeping vigil in the vicinity, and the next morning and thanks to the spirit has tuned the instrument and provided him with "magic" - the sound is brilliant, moving, heady, almost haunting. Just as with the charango can be done with any other instrument. In Argentina, a similar tradition speaks of "duende." In general, the musicians Andean farmers will not only sharpen all types of instruments to Sireno , but who come to these places to "find melodies", believing that the spirit whispers in them all kinds of songs. The legend is much broader and richer, and includes many other ancillary traditions, but to write his story would a book about them. I do not intend such a thing, of course, but I would love to include in these lines, so beautiful tradition.
At end of the track decided to add an adaptation of the tune performed as jach'a sikuri , a style that uses jach'a sikus (sometimes also called toyos or chunchos ). Your name Aymara means "sikus large", which defines them perfectly. Those who possess, also brought from Bolivia, are tokhoro cane and taller than five feet high, which represents a genuine effort to make them sound when in all its brilliance and its harmonics. In the recording have been interpreted "a half", ie half of the instrument played as a single bagpipe , combining touches with the other half. The panning of the melody to appreciate this mode of interpretation, especially if you listen with headphones. The
jach'a sikuris have, as a style, a rhythm of the drum (in this case a half Italaque ) and, just sometimes, the guitar. So I took a more stylistic license to close this study.
The name of the theme not only reflects a longstanding tradition in the Andes, chewing coca leaves, but also a serious problem. For the coca has been associated, from a time now, with the drug that is extracted, the chemical form and altered, their juice. Nothing is more misleading to link the traditional use of the Andean coca for cocaine. After my travels in the Andes, I appreciate having chewed to get rid of the pernicious effects suruqchi , the altitude sickness. From this humble corner, go to my support for the defenders of the traditional consumption of coca, including all those who defend Bolivian musicians with their songs.

voivuelvo Photo

"My charango ."

Actovate Office By Phone

Night falls, wind blows
(Dancing) - A. de Robertis - Arr. E. Civallero

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An issue that used to listen to a teenager, in a cassette of "Roots Incas" (superbly played it) or perhaps "Calchakis." Is fully adapted to the instruments employees, adapting to a slow pace of dancing Ecuador. I started the tune with a pair of size mohoseños salliba , played on a simple third interval. The mohoseños are a troop of flutes pinkillo type, ie with a mouthpiece similar to that of the recorder. The full troops usually between 4 and 5 sizes, each with a particular name according to the region in which it originates. The larger size (called salliba , Salliver or downturn) is long enough to cause problems in his breath, so, like the senqatenqana , he has become a fixture or insufflation channel paltjata . Unlike senqatenqana , played vertically, the mohoseño salliba played horizontally, like a flute. Troop
mohoseños Mohoza is originally from Canton, (province Inquisivi, department of La Paz, Bolivia), and country dances traditionally accompanies being executed in her upper register and treble (to remove as many harmonics or "t" interests "). However, when interpreting the mestizo-style urban, mohoseños not touch troops in : usually only take the size salliba , and is interpreted in its low register, as is evident in this track, has a power and a unique texture.
zampoñas The delineating the second part of the melody belongs to the troops of "gang", one of the most common in the Andes. This army-like all-has various sizes of instruments (usually 4) arranged at intervals of octaves and is easier to hear, because it produces harmonic intervals "Western." Zampoñas I used three sizes: malta , sanka and toyo , despite being the three larger sizes of the troops, they sound quite sharp, as the panpipes "gang" sound somewhat higher than other troops.
arpeggiated guitar and strummed the theme provided the basis, supported by a wank'ara , huge double-bass drum goat leather patch, not hoops. To retain some of the traditional sound of the instrument, plucked one of their patches with the traditional "chirlera" or "bass string, a rope threaded with cactus spines serving provides harmonic vibrator and the deep sound of this great hype.
Sadness and gloom emanating from the subject are common factors a part of Andean musical repertoire. Perhaps reflecting the spirit that permeates the landscape of the mountains. Anyone who has spent an evening in the Quebrada de Humahuaca, in the Bolivian highlands, in the Peruvian mountains or the valley of Otavalo Ecuador recognize that the air is full of old memories and absences. Or perhaps talk about a world that was but no longer is, or is it another way: more full of useless borders, barriers harmful losses. Despite all that, another part of Andean music recalls with joy that the roots are still alive and bloom every day, and there is always a corner to save a load of hope.

Photo of caterpillar, " Sunset in the mountains."

How Much Does It Cost To Laminate And Bind A Book

Theme 06 Theme 04 Theme 05

The cicada
(Aire de cueca) - D. Montes - Arr. E. Civallero

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found this
cueca air in a old cassette "Calchakis" that got lost some time, although, fortunately for me, I saved my musical memory of the process of losing a melody so beautiful. The arrangement is proper, achieved after a considerable time thinking about how to make this issue sound had changed. The song was named after the cicada or COYU , known bug, after a year underground in larval form, comes out to sing wildly before he died, becoming a model of singers and musicians. About
cajoneo a hype legüero Argentina drew intersecting melodies using sizes and bad Liku of Lakita zampoñas troop , in which predominate midrange and treble. The guitar completes the apparatus necessary to form a self cueca northwest Argentina, which was the chosen style. It should be noted that this rate has other stylistic variants, especially in Chile, the central-western Argentina and southern Bolivia.
The intermediate includes a "fix" percussive incorporating Chajchir or bundle of claws (mine is chulengo hooves or breeding calls), pods, palms and a box chayera , a traditional instrument Northwest Argentine, however, is not usually used for cuecas (by which I took one in a long list of artistic license.) In addition, this part has a classical flute solo that later, as a duo, provides a base to the complex picture of the final dulcimer.
I would emphasize the complexity that can take touch legüero hype. Unlike the Andean percussion instruments (usually rhythms that make basic and quite simple), the Argentine hype (and its variants from Chile and southern Bolivia) is an instrument whose interpretation requires a particular deztreza and not limited only to set the pace: in many musical styles (eg chacareras , cats, and hidden malambos ) is a very strong presence element, which even has solos. In some cases, in particular in the malambo - the drums run complicated variations and the performers made almost juggling feats, exhibiting his ability to manage and combining the two sticks and chimes hits masterfully. I am far from achieving that level of virtuosity. However, it seemed important to "break a lance" for instruments that otherwise are almost always limited to a secondary role and background.

Photo Pepix2007, "Jama Lagoon."

How To Keep Keep Yaki

Timber

Earth Wind
(Sikuri of Italaque) - E. Civallero

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The issue that inspired the name of the album was born as spring all the issues, I: Walking down the street, smoking, sleeping ... Starts with the touch of the huge drums Wanka double patch, and the call of a conch shell or waylla kheppa , ceremonial instrument of great value in pre-Hispanic southern Andes, used today as a speaker or pututu .
The beat of drums gives way to the troops of Italaque zampoñas , they begin to draw the melody.
As commented in "instruments", each troop of panpipes sikus or has a particular name comes from a certain Andean region, has a structure and identity characteristics (size, names of each size, including harmonic intervals, harmonies pipe caused by lines of accessories for each instrument, drums number of companions, etc..) and interpret different types of rhythms. Together they can sound more or less acute or severe (according to sizes) and more or less "special" for the Western ear (according to the harmonies that formed between the different sizes). In general, troops may be composed of 10-60 sikus , which can be played "whole" (ie, a comprehensive tool in the hands of a sikuri or interpreter) or "halves" (ie the two rows of a complete instrument apart, each held by a different sikuri , which must combine their blows with sikuri which owns the other half of the dulcimer), and may be accompanied by drums boxes and / or drummers. The troops of Italaque arises precisely from the town of the same name, in Bolivia, and is composed of three different sizes of instruments ( sankar or severe, or media malts and Chulis or treble). All were employed in this track. Style is a
sikuri of Italaque , ie the style of this troupe of zampoñas (can play many others, certainly), but I made a series of personal variations, for example, the incorporation a guitar and use a few tools, that "distort" the purity of style.
The interval is interpreted by a senqatenqana . The senqatenqana (also called tokhoro , puqllay , much'a or Toromo , according to the site) is a type of flute pinkillo -ie beak, like the European recorders, which originally belongs to a troops (almost all Andean winds, of course, played in troops ): the pinkhullus . As the troops zampoñas of that of pinkhullus also consists of instruments of different sizes (two or three, depending on the region) played simultaneously, and each has a specific name (variable, again, as the region which creates a huge variety and confusion). The senqatenqana is the larger size of the troop, and therefore, the most serious: usually exceed five feet long. Its peculiarity is that, due to the impossibility of directly blowing a flute of these proportions, is equipped with an additional nozzle (such as European bassoons) to breathe the air inside. This tip is called paltjata , which in Aymara means "something put on the package." While the traditional way, ie in indigenous communities, is blown into the upper register (a style of most Andean flutes vertical) to highlight their "t'aras" (Harmonics), this track is interpreted in its low register, that is, urban style and mestizo. I forgot to note that comes from senqatenqana Tarabuco city and capital of Chuquisaca department of the partiality of the Yamparáes, which is heavily used during the puqllay Tarabuqueños or Carnival, that its structure is very particular, because it is blown from front but from behind, and because of this particular building, is named original Quechua, sinqatanqana , which means "push-to-nose": just look for an interpreter of this tool to understand the meaning of the name.
The issue ends with drums and waylla qheppa again in one of several types of closures for traditional Andean wind troops.
I wanted, with this song, paying homage to sounds and rhythms ever more unknown among farmers of the Andean music, and especially those who live outside South America. The most ancient traditions, those people rooted in a particular place are part of human cultural heritage and should be recovered, recognized and interpreted to never disappear. They are the source that underpins the rest of the music and culture, and are an important identifying feature. Many features are lost every day, not only in the Andes, but anywhere in the world: languages, customs, songs, games, tastes, smells ... All of them are altered by a media company that does not understand that, in its swift advance, is leaving behind (or is going over) to valuable items that, after all, make us who we are.

Photo tangerine_rose, " Vicuñas Miscanti in the lagoon."

Npma Programable Thermpstat

Theme 03 Theme 01 Theme 02

Morning Star
(Yarawi - waynu) - E. Civallero

listen

This issue was first born on a guitar, as shown in the introduction. The format came later, and the dialogues between instruments, much later, when the song already had a name, even if in Quechua: Chaska Paqarina (literally "Morning Star").
is based on a common traditional musical structure, especially in the central Andes, the Peruvian Andes: the combination the slow pace of yarawi (or yaraví), which always starts the song, and glad wayñu (or huayno), which always ends.
The party slowly but that does not respect the tempo and color format yaraví traditional-is executed with a quenacho , an instrument that got in Spain but was built by a Peruvian luthier, and that by now has crossed the Atlantic three times. The quenacho -a modern instrument with a modern-name also is a serious variety standard flute, which has close relatives among traditional Andean flutes (eg the flute-flute The choquelas or lichiwayu , also used in this paper). It is an instrument of great sound, which requires a good dose of sustained air to produce the best tones and textures. Part of huayno
rests on a charango and guitar, and dialogue is based on a standard flute in G major and a bagpipe malta standard size, ie, the most common intermediate . These instruments 'standard' are the best known among lovers of Andean music, since they are easier to interpret and more commercialized. However, their ways are not always implementation, construction or tuning corresponds to the identity or authentic Andean style.
Anyway ... The poetry of the star of the night, that is until the sun rises, is reflected, or at least that's what I felt when I wrote the song, in two tempos, two beats and two styles combined -as they were traditionally, though with some variations, in one song.

chochera7 Photo, "Sunrise in the Titicaca ."

Hidding A Swelled Tongue Piercing

Zampoñas

The panpipes or flutes of Pan are a greater variety of instruments in the Andean musical universe. Siku calls or phukuna in indigenous languages, are played in troops including various sizes (and tuning) of the same instrument, creating harmonies of each community special and each type of bagpipe . In addition, each instrument, consisting of two rows of tubes from highest to lowest, is separated into two halves ( arka and anger ), each of which is blown by an interpreter or sikuri . Thus, the construction of a complete tune depends on the joint work of the two halves and the two musicians, who interspersed his notes for the construction of everything.
Andean Community spirit is reflected, therefore, unique in this flute, and the duality that characterizes his conception of the world. As the
pinkillos and vertical flutes related ceremonies are usually associated with with the masculine (phallic) and the joyful celebrations, the panpipes are related to the ritual deep in the earth and the feminine. In traditional settings are never mixed pinkillos , flutes and panpipes , although in the field mestizo that happens frequently. Originally performed with the sole accompaniment of percussion, pan pipes , at present, have given rise to a tremendous diversity of compositions. Zampoñas
The single-row, common in ancient times, still survive: the antara Bolivian suri-sikus the (outlining melodies are repeated like an echo of a second instrument of the same pitch), the Ecuadorian payas and Lurkers castrator and northern Andean area (Ecuador and Colombia) that have alternating long and short tubes, which must be blown in twos or threes to create harmonies characteristics of the rhythms of those countries, as sanjuanitos .
most common sizes zampoña within a standard troops are chuli (the smallest), the Malta (medium), the sanka (large) and toyo (exceeding the subway and a half high). The four are tuned in parallel octaves. In those groups where special harmonies are generated (fourth or fifth) incorporates three intermediate sizes, generally known as anti-toyo , anti-sanka and anti-malta . The troops of zampoña best known are the k'antus , the Italaque the gang , the pusamorenos the Lakita , the ayarachi , those already named suri-sikus , the jula julas , the table-sikus , the chiriwanos and huge Jach'a sikus . Each traditional troop usually performed, among others, some rhythms, similar name to the group ( K'antu , suri sikuri , etc.), Which also accompany dances of the same name.
In this work we have performed a number of zampoñas , both in style as in the traditional mestizo. Have included:

- Antaras . Zampoñas single row, with tubes from highest to lowest. They are the oldest forms of the instrument, copies have been found in graves of Nazca Peruvian cultures, Mochica and Chimu. Ancestrally, made of ceramic, wood or bone, made of cane today. These days have been deeply influenced by European panpipes.
- Lurkers. Zampoñas single row, with very thin tubes made of bamboo, the main ones are sorted from highest to lowest according to a pentatonic scale, and accessories are interspersed among them, playing at specified intervals (usually third) in relation to the tubes main. Implementation of crawlers involves simultaneous blowing of two or more tubes, including a primary and (at least) an accessory. Thus chords are generated while melodies. Sharp hardening of particular sound native of Ecuador, and its name comes from the people doing the rounds at night, who made use of this type of instrument to make their ads. In Colombia, a very similar instrument called castrator was used for castrating pigs to announce his arrival.
- Suri-siku. This is zampoñas single row, which is interpreted as an instrument runs a similar melody and repeats the same melody as an echo, a moment later. Traditional troop-suri siku have three sizes, creating the fifth and octave intervals. The dancers, performers are often decorated with feathers or ostrich suri, hence the name of the instrument.

Likewise, troops have used the following:

- Gang. The gang sikus are the best known troops within the traditional area-urban and Andean mestizo. Is the standard troops, which has four sizes, from smallest to largest, chuli , malta , sanka and toyo . These zampoñas tubes have no accessories, and the intervals between each size are octaves. Each troop can include up to fifty performers.
- Lakita . The sikus Laquita (the Aymara "snacks") have different forms in northern Chile and Bolivia. The troops performed in this work comes from that country. The set includes four sizes (from largest to smallest, tayka , bad , Likus and ch'ilis ) tuned pipes parallel octaves without accessories. Is the troop of zampoñas sounds more acute.
- Italaque . The sikus of Italaque have three sizes (from largest to smallest, sankar , malts and Chulis ) tuned in parallel octaves. They also have accessories tubes, which sound an octave higher than the instrument itself, giving a special resonance. His temper is usually severe and profound, and their sound is full of rich overtones.
- Pusamorenos . Troop similar to sikus gang (although generally more severe hardening and deep) used in morenadas rhythms, foremen and tundiquis .
- K'antus . The sikus k'antus Charazani or have four traditional sizes ( toyo , sanka , malta and chuli ) and three intermediate sizes ( sobrechuli , sobremalta and sobresanka ) pitched a fifth above the instrument. This particular composition of the army provides a unique harmonic sound to your sound.
- Jach'a sikus . This is a small sets of players who carry enormous zampoñas (hence the name Aymara of "siku great") to own size. Their sounds are serious and deep.

Toyo , sanka and malta of troops zampoñas of gang. Photo by author.

Fake Nails On Bitten Nails

While wood is a constituent of many of the Andean instruments, in tarkas have one of its highest expressions. It is simple flutes made in a solid block of wood, interpreted in many instruments troops organized into three or four basic sizes. Such special sizes produce very distinctive harmonies. In addition, tarkas typically run on your record treble, creating a wide range of harmonics called "t'aras" (Quechua) or "rich" (Aymara), which become unmistakable sound. There are different
troops, according to their different tunings, but the best known are the tarkas kurahuara the tarkas Ullared the tarkas potosinas (white wood) and saline tarkas . In this paper we have used the first two, while respecting their traditional way of execution.

Tarkas and kurahuara Ullared . Photo by author.

How To Spot Titleist Counterfeit

pumpkin shell and bone, horn and hoof

The horns are used in building "call instruments" as pututus the wajra the erkencho the chapaca cane (similar to erke Argentine or horn), the rundown Bolivian and Ecuadorian horn. The trutruka the lolkiñ and kullkull the Mapuche of southern Chile and Argentina also are in this category, along with instruments such as Amazon wakar'hanti of Chiriguano. All these natural trumpets are newts, and emit a guttural sound very harmonious.
hooves (goat or young llamas) have been used in the manufacture of Chajchir , idiophone building a modern and very unique sound. For its part, the bone has been used for flutes and whistles from various walks of across the continent.
In this work we have implemented:

- Pututu . Prehispanic instrument tones, with different ways according to the geographic area where you are. It is a natural horn or trumpet that was made-as-archaeological record in clay, metal or squash and that after the arrival of Europeans (who brought cattle to the continent) began to be made in horn vaccine. Currently pututus are built with a single horn with the nozzle cut (blowing directly on it), or a side hole, or one or more horns crimped to a rod through. Anyway, are used as callers, especially in the beginning, end and change of speed and pace of troop large of Andean wind instruments.
- Erke or horn. Instrument with many variations along the Andean region. What makes up a huge body of bamboo (or plastic or metal tube, at present) for 2-3 mts. long to which is attached to it a pumpkin flag, leather, horn, plastic or metal. Through an opening (which, in the traditional erke is lateral) and using the technique of the trumpet, the three sounds are extracted from the full scale plus some additional harmonics. It is used in processions, as an instrument of call or as an accompaniment private dances, and in geographical scope northwestern Argentina and southern Bolivia (Tarija department).
- Chajchir . Sonajero made from a bunch of dried goat hooves or flame. While employed in other parts of South America in pre-Hispanic Andean traditional contexts such rattles were unknown. Until modern times entered by Bolivian composer and musician Mauro Nunez, and since then widely adopted by contemporary musicians.

pututus couple. Photo by author.

Collidal Sliver In Neti Pot And Burning

Clay,

Over of the Andes, the clay has been used to generate instruments as varied as flutes , pututus and antaras , as evidenced by the discovery and archaeological records. One of the ceramic instruments par excellence is the ocarina or isoka , which began as a mere hunting whistle signals and then transformed into an instrument for implementing intimate.
The shells have been used to build speakers or pututus called waylla qheppas . In the past it was ceremonial objects and its use was devoted to ritual activities.
Pumpkin ( mati or pulu ), besides being used for rattles, served in the Andes as a natural horn to trumpet, or even-if-way permitted to flutes and other flutes.
In this work we have carried ocarina, waylla qheppa and gourd rattle.

waylla qheppa. Photo by author.

Wear A Thong Instead Of Jockstrap

frets and strings Flutes

The instruments Andean wind have a huge variety and complexity. Each community has its own measure, tone and form of interpretation. In general, they all play in troops or groups, which express a community perspective of Andean life. The flutes can be divided into three groups, according to its mouth blow: the type "flute" (including choquelas , pusipias , lichiwayus , flute, flutes , quenachos , kamacheñas , quenas themselves and others), type "pinkillo (including kachuiris , mohoseños , senqatenqanas , chajjes , Rollana , waka-pinkillos , soul-pinkillos and other pinkillos itself) and "transverse" ( fifes, phalawatas and others). Within the above
troops there are 3, 4 and up to 5 sizes of the same instrument (each with its particular name, variable from locality to locality) pitched harmonies so that specific cause (usually intervals of fourths, fifths and octaves) . Moreover, the flutes are often blown so acute that boot records are rich in harmonics (so-called "Rich" or "t'aras"). All these features endow the original sounds of a very special ring. At present, urban and mixed-race bands avoid this mode of interpretation, distorting the tradition in favor of hearing more "friendly" to employment for low flutes and the elimination of certain harmonies.
Few instruments are played solo, perhaps some forms of Quenilla and pinkillo simple. The flute , the most popular instrument of Andean music, began to be used as a solo instrument in the context mestizo. Originally, it was a poorly tuned instrument, or pentatonic, which also played troops.
The materials used for this kind of instruments are different types of cane, but now also made of plastic. The flutes be used also bone, metal, ceramic, stone, gourd and wood.
In this work we have included the following recorders:

- Different types of flute all sokhosa cane, tuned according to the Western tempered scale. Different sizes were used and sonic textures. While the standard instrument modern Andean group, the flute has an ancient tradition -Have been found in numerous quenas pre-Columbian burials, and many legends, including the most famous of Manchaypuytu . It has also forms of traditional performing touch and entirely beyond the canons of Western audition, but retain, for that matter, its magic. The flute-type instruments differ from the type pinkillo in its mouth: the latest blow is a common flute, while the first channel without a murmur and should be interpreted with special grouting technique.
- The quenacho , a flute of higher dimensions, tuned fifth worst. It is an instrument of modern design, and its name means simply "large flute."
- Joint flute, flutes. It is "quenachos" interpreted traditional indigenous contexts, accompanied only by percussion (drums and sometimes snare), to encourage various dances of ancient roots. interpreters flute-flute are often beautifully adorned with coverlets and jaguar skins. The set has two sizes: the most serious instrument is usually tuned to D, and sharper, fourth or fifth highest.
- Joint choquelas . Similar to flute-quenas , but with different tunings and harmonies, and thus with different sonic textures. Its name derives from the Aymara word ch'uqi (potato or potato), as traditionally used in agricultural festivities related to the crop. Like the flute, flutes (and many other Andean flutes), color specific dances, and played in troops from many instruments with the sole accompaniment of drums.
- Set of lichiwayus . Its name means "milk." They are also similar to the flute, flutes , but come of a distinct cultural area: the Chipaya, in the region of Oruro, Bolivia. Played in troops, have three traditional sizes (which retain their names Chipaya language) and used in ancient dances.
- The mohoseño salliba . One of the largest pipes of the Andes, salliba is the largest size (and worst) of the troops or set of mohoseños (which usually takes another 3 or 4 sizes, all more acute). It is played horizontally, like a flute, and has an additional conduit ( paltjata ) that allows its breath. Your mouth is the type pinkillo . In indigenous contexts runs in its upper register (to remove its "t'aras") but in mixed areas and urban and modern Andean music is played using his lower register. It is used in specific dance, and accompanied only by percussion (and never string).
- The senqatenqana , an instrument similar to mohoseño salliba , but is played vertically. It also provided an additional conduit for breath, it resembles the European bassoon. It is the largest size of the troop of pinkhullus , and comes from the population Tarabuco (Yamparaez province, Chuquisaca department) in Bolivia. Dance is used in particular (specifically in the puqllay ) and not accompanied by percussion (much less of strings). However, the musicians who performed (and, like many other performers of Andean flutes are, in turn, dancers) fit a wooden sandals featuring a curious "spur" Tin ("Gallu gallus), the which sound with each hop, marking the rhythm.
- pinkillo . Standard instrument, form and blow system similar to the European flute. Has many regional variations, both in size and shape, pitch, number of holes and performing style. Although it is generally played on troops, is also used as a solo instrument, especially in intimate contexts. In the modern Andean music uses it as a Western flute, so that has been used in this work.
- Waka-pinkillo . Particular variety of pinkillo that has only three holes and can be read with one hand while the other is used to strike a percussion instrument ( box, wank'ara , etc.) And so accompany the melody. It is used in traditional contexts, and is usually executed in troops in two sizes. Its name means "cow pinkillo" it is present in dances such as the waka-thokori (musical parody of bullfighting). Their sounds, obtained only with the three holes above-profit flute harmonics to build a pentatonic scale full three octaves.
- Tunda . Ecuadorian flute, built with the cane called just "beating." Sound is serious and deep texture and is often used in different rhythms, or even solo, unaccompanied.
- Fife. Generic name for a type of flute used to throughout the Andes, from Bolivia to Colombia. Has-according to each region, different tunings, tessitura and modes of interpretation.
- Phalawata . The word is Andean deformation Castilian term "flute." It is a standard flute cane, used as flute, along the Andes. Sometimes also called "phalawita" or simply "phala".
- European Flute. The instrument orchestra, metal, with Boehm key system. Today, especially in Argentina and Chile, the folk musicians used to play traditional rhythms from a "projection."

couple-flutes flute. Photo by author.