Joropo

The Joropo is a musical style resembling the fandango, and an accompanying dance. It has African, Native South American and European influences and originated in the plains called "Los Llanos" of what is now Venezuela and Colombia. It is a fundamental genre of música criolla (creole music). It is also the most popular "folk rhythm": the well-known song "Alma Llanera" is a joropo, considered the unofficial national anthem of Venezuela.

In 1882 it became Venezuela's national dance. Formerly, the Spanish word joropo meant "a party", but now it has come to mean a type of music and dance that identifies Venezuelans. In the 18th century the llaneros started using the word “joropo” instead of the word "fandango", which was the word used at the time for party and dance.

Propio of the central states of Venezuela, like Aragua and Miranda, Carabobo eastern and northern Guarico. The central joropo or tuyero (by practiced on the banks of the Tuy River) is sung accompanied by harp (sometimes replaced by guitar) and maracas. Unlike strings náilon the llanera harp, harp central joropo also uses metal strings, which gives her unique sound. The singer central joropo is the same as playing the maracas, dancing so they put just two performers: the harpist (or rather "arpisto", as they like to call themselves), and the maw (singer-maraquero). The central joropo him the same considerations are applied around the passage and hit burrowing joropo, except speed, which is slightly lower. Another important caveat is that the central joropo revolt, kind of colonial origin is present, basically consists of a chain of musical sections of fixed forms, in the same tone, as a Baroque suite, without interruption, but with twists surprising. The movements of revolt are called passage; input or call Yaguazo, Yaguazo, and Marisela Guabina input. Sometimes they can call Marisela added to them, and even a small coda. The revolt is thus equivalent to the batch or shift dance, and its extension is probably the reason for his gradual disuse, being replaced by the execution of the parts in isolation. The arrangement of these sections is of sequential nature, unlike blows Llanero Joropo, having a cyclic condition. The most characteristic part of tuyero joropo, the Tuyera Revuelta consists of four sections: the exhibition (passage), development (yaguazo and guabina), the instrumental coda named Marisela, and an end known as "monkey call." They are central joropo own beats flowers and quitapesares.Los most famous passages tuyeros are The Hermit Mario Diaz, Dawn tuyero of Cipriano Moreno and Pablo Hidalgo, and The Cat enmochilado Fulgencio Aquino. Caraquenos and central musicians adopted the central joropo as inspiration for his works, as in the case of Marisela Sebastián Díaz Peña, the Alma Llanera, Pedro Elias Gutierrez, valse Quitapesares Carlos Bonet and even Creole Sonatina Juan Bautista Square. The central joropo lyrics are sly, sardonic nature, in contrast to the forceful and violent own burrowing joropo, whose contrapunteos end up not infrequently in sets and fights.

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