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."