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Puente a 6/8 is a bet on the possibilities of amalgamation of some musical forms from Latin America and Africa. These musics are very rich in rhythmic of rhythmic accents and all of them can be written in Western notation using 6/8 as a unit of measurement. 6/8 (six quavers)…or 3/4 or 3/4 + 6/8 as the player chooses. As to how and why they should be written one way or another, there are still those who argue, but fortunately the pieces have been saved from this “drowning river of ink”. By the way, the bet may not have been won.
The “Ebony Concert” was written by Igor Strawinsky for Woody Herman’s orchestra in the year 1945 and recorded immediately afterwards by this jazz band (in ’44 the composer had also written for jazz band the “Scherzo alla russa”). Already this singular fact of cultural syncretism “makes one dream” (“fait rever”). I am thinking above all of those who, in general, make us listen to cultured music “live” (by the way, how come no one plays Gershwin in concerts? It must be in bad taste…). Giovanni and I had fun retrieving some of the material from the Ebony Concert in the Ebony Concert that in our opinion are of black popular matrix (blues, marches, etc.). to recreate with this material what I would call “patterns for variations”. Except for certain fixed appointments, few to tell the truth, everything is improvised from time to time on these “patterns for variations” in the tradition of jazz improvisation.
And that’s enough about Ebonysation.
Erdosain is a recurring character in some novels by Roberto Arlt, a great Argentinian writer. Argentinian writer. I wanted to call the piece “TangArlt”, but it sounded better to me, who knows why, the Sain ending (better than tango?). It is likely that the general idea behind Sincretic 1 (free percussion on and in the “tango”…?!) is musically explicit in this piece.
The “triste” is a musical form of Argentine folk music; the piece we play, in the second part, refers to these musics. part, refers to these “sad” musics. In addition, the melodic shreds present in the In addition, the melodic shreds present in the introduction and in the finale are based on the musical scales of Negroes, Jews and Indians. Is this enough to justify Tristies?
Gabo, a piece that rides on the negritude of the Caribbean and jazz, is also above all the nickname for Gabriel Garcia Marquez (“One Hundred Years of Solitude,” “The Autumn of the Patriarch,” etc.). Gabo was born in the lands where ballenatos and cumbias are played, obsessive and recurring memories of Gabo piece and Gabo man.
Genre: jazz – tango
4 Puente a 6-8