Rhythmic patterns of the Peruvian vals criollo and its adaptation to string quartet

Authors

  • César Alberto Pacheco Belevan Universidad Nacional de Música, Perú

Keywords:

Rhythmic patterns, Peruvian waltz, string quartet, adaptation

Abstract

Knowing that traditional valscriollo instruments are the guitar, cajón drum and voice, the present paper analyzes how this musical genre’s rhythmic patterns can be adapted in elaboration of arrangement for string quartet. In order to get that, a musical analysis of the rhythmic patterns was made since musical performance in cajón drum and, in relation to them, an analysis of rhythmic-harmonic rifs traditionally performed in the accompaniment of the guitar. So, the center of this work is to demonstrate how the guitar voices are distributed among the instruments of the quartet, in such a way that the typical texture and rhythmic structure of the vals criollo were preserved. Since this project is oriented to artistic works, the case in this paper is the waltz Callejón de un solo caño.

Author Biography

César Alberto Pacheco Belevan, Universidad Nacional de Música, Perú

Graduated from the National Conservatory of Music of Peru, specializing in cello. In 1996 he won the First Violoncello Performance Competition organized by this educational institution, which allowed him to perform with the National Symphony Orchestra of Peru, under the direction of Armando Sánchez Málaga. He carried out further studies in Detmold – Germany with Imre Kahlman. He has been a member of the Symphony Orchestra of the Municipality of Lima, the National Symphony Orchestra of Peru, the Lima Philharmonic Orchestra, the Ciudad de los Reyes Orchestra, among others. As a chamber music broadcaster he has offered recitals in different cities across the country. He is a founding member of the Lima String Quartet, with which he has given recitals abroad.
He is currently a professor of cello at the National University and instructor of the Bicentennial National Youth Symphony Orchestra of Peru.

References

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Bohórquez, N. A. (2009). Arreglos para cuarteto típico colombiano. (Tesis de licenciatura en música). Universidad Tecnológica de Pereira, Pereira.

Celis, O. A. (2013). El vals peruano: Devenir histórico y formas de toque en la guitarra acústica. A contratiempo, Revista de música en la cultura, 22.

Celis, O. A. (12 de enero de 2016). Entrevista a Carlos Hayre - Oscar Celis (Músico e investigador) [video]. Recuperado de: https://www.youtube.com/watch?v=9Wx-L25iWPs

Ghibellini, R. (Productor). (31 de julio de 2014). Oscar Avilés - Guitarra magistral [video]. Recuperado de: https://www.youtube.com/watch?v=L4OZOGVx_as&list=RDL4OZOGVx_as

Instituto Nacional de Cultura. (2009). Celajes, florestas y secretos: una historia del vals popular limeño. Lima: autor. (Música popular peruana, 1).

Vásquez, R. E. (1992). Costa. Presencia africana en la costa peruana. Lima. Recuperado de: http://www.chalenavasquez.com/libro/costa-presencia-africana-en-la-musica-de-la-costa-1992/

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Published

2018-12-27

How to Cite

Pacheco Belevan, C. A. (2018). Rhythmic patterns of the Peruvian vals criollo and its adaptation to string quartet. Antec: Revista Peruana De Investigación Musical, 2(2), 57–79. Retrieved from https://revistas.unm.edu.pe/index.php/Antec/article/view/46

Issue

Vol. 2 No. 2 (2018)

Section

Articles

License

Copyright (c) 2018 Antec: Revista Peruana de Investigación Musical

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