The Two Titans: a JOSU with a Polo shape

in #dsound6 years ago


It is a pleasure for me to introduce you to this field Dsound and, at the same time, to make a brief review of a song that exalts and glorifies the two greatest heroes that Venezuela has borne: Simón Bolívar and Antonio José Sucre. It is about the Oriental Pole The Two Titans. This time it is interpreted in an original version by our excellent singer María Rodríguez la Sirena de Cumaná or as it is also known as the Voice of Cumaná. The music of this folk-traditional song is based on a musical form known in Venezuela as Polo, and the lyrics are a version written by the Cumanian poet Félix Calderón Chacín.

As for the word Polo, it is believed that it comes from the name of an eighteenth-century Spanish dance. Many agree that this initial dance has no relationship with the Flamenco Pole, whose appearance is at the beginning of the 19th century. It is believed that the origin of the Pole as Palo del flamenco (type of flamenco music) is a bit doubtful.

There are some authors such as Blas Vega and Faustino Núñez who agree that the word comes from a dance song that was practiced in Andalusia at the beginning of the 18th century. Likewise, Molina and Mairena limit themselves to saying that, apparently, the word derived from the Caña another type of flamenco music. Other opinions derive the word Polo from Ronda (type of music) and present it as a variant of the rondeña. For Caballero Bonald both the Polo and the Caña seem to derive from some primitive soleá and affirms that "the best proof of his affiliation with the soleá is that until nowadays Polo and Caña are usually finished off with a certain type of soleá that is called therefore soleá apolá ". Other opinions are of the opinion that the Pole derives from the Cane and that today they have come to be fused in the same cante, without differentiating one from the other.

In Spain, the Pole appears as a flamenco song at the beginning of the 19th century and, in general, it was sung next to the cane as a male or as a finishing touch to it.

In the context that interests us, the Pole is a sailor song brought from Spain that comes to us along the Venezuelan coasts. It is a typical musical form of coastal regions very rooted in the eastern part of the country. It is often known as Polo Oriental, Polo Margariteño and also as a Korean Pole along the coasts of Falcón State.

As for its musical structure, it is played in a three-quarter time rhythm at a moderate speed. The melody or theme always evolves on a fixed harmonic scheme that repeats and that goes from III (Relative Major or Major Tonic, I) - VII7Rebajado (Dominant of the III Degree, V7) - V7 (Dominant of the base tonality) - I minor (Base Tonality) - Minor IV (Subdominant) - V7 - I minor - VII7 repeating the same harmonic pattern. As for the instrumentation, the Venezuelan Pole uses the Cuatro, the Mandolin, the Guitar and the maracas, being able to include some other type of string instruments like the bass and some other percussion instrument depending on the region where it is played this kind of musical form.

The Pole is sung in verses that, generally, are written in the form of stanzas formed by four verses adjusted to a measure and to a determined constant rate throughout the song. Thus, supported by the fixed harmonic scheme and musical texture, the Pole acquires its extension, rhyme and characteristic rhythm.

Over the years, the Polo has been transforming and diversifying. For example, in Sucre State, we have been showing, in recent years, under other appearances as is the case of this Polo Los Dos Titans. This particular pole that María Rodríguez sings is recreated in the Musical Genre of the Oriental Joropo Sucrense. It is only enough to hear this type of music to feel the aesthetic enjoyment of the body movement that provokes the dance and thus to know that, indeed, one is in presence not only of a Polo, but of a Polo-shaped JOSU, that is, under a Sub-genre of the Joropo that resembles the Eastern Coup (JOSU with musical forms tied to a fixed or pre-established melodic-harmonic scheme that has no particular authorship and that become part of the people with the passing of time).

With the aforementioned, there is a cultural cycle of patrimonial inheritance or cultural legacy, through the permanent transmission of this type of manifestation that is kept in the collective conscience but that has, at the same time, the need to transform itself.

Thus, most ordinary people (not musicians) and even some musicians who say they are well versed in the subject usually call this new musical recreation simply Polo. In this way, they show the little knowledge they have about the changing and transforming dynamics of cultural processes and assume conservative-static positions that impede the updated understanding of the new life imaginaries that are recreated, through music.

I'm not going to make any kind of comment about the libertarian and emancipatory intentionality of the lyrics, but what I should make clear is that what you will hear next is a JOSU in the musical form of the East Pole. In that way, I hope you can hear it with a new attitude and, at the same time, enjoy it as much as I enjoy it because in it I execute the Mandolin and Arrangements and Musical Direction.

Estelio Padilla

horizonteflamenco.com/polo
ttps://www.google.co.ve/search?q=que+es+una+estrofa

Next, I present a detailed description of the categories that characterize this musical theme and the details that accounted for the completion of the work.

Title of the Musical Work (Compact Disc): María por siempre
Song Title: The Two Titans
Musical Genre: Oriental Joropo Sucrense (JOSU)
Musical form: Blow (Oriental Pole - Joropeao)
Music: from the Venezuelan Oriental Folklore (anonymous)
Letter: Version of Felix Calderón Chacín
Creative team of all Compact Disc
Musicians:
Estelio Padilla: Mandolin
Alfonzo Moreno: Cuatro
Aquiles Báez: Guitar
Héctor Araguainamo: Double Bass
Jesús Gutiérrez (Pescaito): Maracas
Artistic and Musical Production: Rafael Salazar
Production Assistant: María Teresa Novo
Arrangements and Musical Direction: Estelio Padilla
Sound Engineer: Enrique Barreto
Mix of Sounds: Rafael Salazar, Estelio Padilla, Alfonzo Moreno and Enrique Barreto
Graphic Design and Printing: PIXELS COMPUTACIÓN, C.A.
Recording Studio: Recordings K-PELLA C.A.
GUARURA, Autochthonous Sound: Juan Iturbe Sur Street. Quinta Guarura, Sorocaima Urbanization, La Trinidad, Caracas, Venezuela, 1994. Telephones: 9434857 - 016242429

The Two Titans
Genre: Oriental Joropo Sucrense (JOSU)
Musical form: Blow (Oriental Pole-Joropeao)
Music: from the Venezuelan Oriental Folklore (Anonymous)
Letter: Version of Felix Calderón Chacín

There are two giants that God in history
with a thousand laurels crowned with fame:
Bolivar, champion of victory;
Sucre, from my sovereign land.

The two fought for the most fruitful
ideal of ineffable probity,
and they reached the glory of this world
giving half the world freedom.

Bolivar, like Jesus the pilgrim;
Sucre, like Abel, sacrificed.
The two form the soul of the soldier
and America gave better destiny.

They are ideal Bolivarian
that leads us to good works
and the faith that flows through the veins
of our Venezuelan heart.

That's why in this captain's land
where tyranny did not prosper
and if I see another ufana flag flutter
I answer proudly with mine.

And if one day the foot from abroad
profanes the floor of the Liberator
with your example, we will fight
to put the invader in flight.

¡¡¡Outside!!!


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Excelentisimo mi hermanazo! Disfruté mucho ese Polo Playero. Dios bendiga ese talento!

Muhchas gracias, hermanazo; así fue nuestra querida María Rodríguez , un ser bendecido por la mano de Dios.

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