Wednesday, September 13, 2017

SIKU

The siku (Quechua: antara, Aymara: siku, also "sicu," "sicus," "zampolla" or Spanish zampoña), is a traditional Andean panpipe. This instrument is the main instrument used in a musical genre known as sikuri. It is traditionally found all across the Andes but is more typically associated with music from the Kollasuyo, or Aymara speaking regions around Lake Titicaca. Historically because of the complicated mountain geography of the region, and due to other factors, in some regions each community would develop its own type of siku, with its own special tuning, shape and size. Additionally each community developed its own style of playing. Today the siku has been standardized to fit in with modern western forms of music and has been transported from its traditional roots.



History of the siku

The siku (panpipe) is originally from the Aymaras of Perú and Bolivia, where a woman would play her siku as she came down from the mountains. Since the largest siku has every note (A-G), and was too big for the woman, they often got two sikus (usually smaller ones) that would be played together with someone else, so they could play them continuously after each other and thus the scales could fully be played. Once the women partnered, they then became musically bonded with each other, as part of their religion, and neither could play the pipes with any other for the rest of their life.[citation needed]
Women would also assemble into groups as they came down the mountains, each group would play different tunes, and as they got together, they would blend all the melodies together to create one complete melody. The woman also played the siku to attract wild goat that they would then harvest.

Design

Sikus are typically made from bamboo shoots, but have also been made from condor feathers, bone, and many other materials. Additionally, different types of bamboo are employed to change the quality of the sound. Songo, or shallow-walled bamboo, gives a louder, more resonant sound than regular deep-walled bamboo, but is less common due to its fragility.
The antara are traditionally made from a type of cane known as chuki or chajlla (Arundo donax) that grows in the ceja de la selva, literally "the eyebrow of the forest". The pipes are held together by one or two strips of cane (ties) to form a trapezoidal plane (like a raft). Antaras are of different sizes and they produce diverse sounds.
Siku is split across two rows of pipes. One must alternate rows with every note in order to play a complete scale. Traditionally, two musicians were required to play the siku, each one taking one row of the instrument. One part of instrument is called ira, another arka. It is considered that spiritually ira corresponds to male principle and arka to female. When many musicians divide in two parts, first playing ira and second playing arka, this gives Andean music a distinctive stereophonic sound. Hear example.
Now it is more common to see one musician playing both rows of the instrument together, but rustic ensembles retain traditional playing.

Varieties

The most widespread variety of siku, siku ch'alla, contains 13 pipes (6 in ira and 7 in arka), but less common varieties may have more and less pipes. Some of them employ extra open-ended reeds attached to the front of the instrument to change the sound quality. The tabla siku has all of the pipes cut to the same length, so the instrument is rectangular in shape, but has stoppers inside the tubes to adjust the actual resonant length of the chambers.

  • Zampoñas tipo, called maltas (malta) (usually in "E"),
  • Chilis, (ch'uli, in aymara language) tuned in a upper octave scale;
  • Zankas (sanqa) tuned in a lower octave; and
  • Toyos (t'uyu) tuned in two lower octaves as maltas zampoña





Scale and tuning

Reparto de notas en un siku bipolar típico.JPG
The Siku uses a diatonic scale. Siku ch'alla is tuned in E minor / G major, arca: D-F#-A-C-E-G-B and ira:E-G-B-D-F#-A.
There are a contemporary varieties of siku with chromatic scale having 3 rows, with pitch distribution similar to chromatic button accordion.

Sizes

 There are multiple different sizes of siku, typically tuned an octave apart. The smallest of the family is called ika or chulli (Quechua: ch'ulli). The next larger size, the most common, is called malta (Quechua: malta). An octave lower than the malta is the sanka or zanka (Quechua: sanka). The largest of the family is the toyo (Quechua: t'uyu) or jach'a (Aymara: jach'a). The longest pipe of the toyo is typically around 4 feet (120 centimeters).



Monday, September 11, 2017

THE QUENA

QUENA

The quena (hispanicized spelling of Quechua qina,[1] sometimes also written kena in English) is the traditional flute of the Andes. Traditionally made of cane or wood, it has 6 finger holes and one thumb hole, and is open on both ends or the bottom is half-closed (choked). To produce sound, the player closes the top end of the pipe with the flesh between the chin and lower lip, and blows a stream of air downward, along the axis of the pipe, over an elliptical notch cut into the end. It is normally in the key of G, with G4 being the lowest note (all holes covered). It produces a very "textured" and "dark" timbre because of the length-to-bore ratio of about 16 to 20 (subsequently causing difficulty in the upper register), which is very unlike the tone of the Western concert flute with bore ratio about 38.




The quenacho (also "kenacho" in English) is a greater, lower-toned version of the quena and made the same way. It is in the key of D, with D4 being the lowest note, a perfect fourth lower than the quena. It produces a very "rich" timbre because of the length-to-bore ratio of about 25, paradoxically brighter by comparison to the quena.

Quena is mostly used in traditional Andean music. In the 1960s and 1970s the quena was used by several Nueva Canción musicians, this use was in most cases for particular songs and not as a standard instrument but some groups such as Illapu and virtuoso player Facio Santillan have used it regularly. In the 1980s and 1990s some post-Nueva Canción rock groups have also incorporated the quena in some of their songs; notably Soda Stereo in Cuando Pase el Temblor and Los Enanitos Verdes in Lamento Boliviano. The quena is also relatively common in World music. Quenas are usually played in pairs, in harmony. In Peru, one sees white quenas made from the leg-bone of the condor.

Saturday, February 23, 2013

How to take care of your skin rug Alpaca.

If you have an alpaca fur rug stored in a closet, or bought a carpet and it traveled from far away in a zipped package until you reach on your hands, watch this video, to learn how to return the hair of your carpet to its natural state.
Find us on: www.alcasami.com

Saturday, September 22, 2012

Sunday, April 24, 2011

How to play a zampoña - Lesson 2

How to Blow a zampoña