Bandolas andina y llanera: un origen común, desarrollo morfológico y cultural distinto

Abstract

The present work proposes an approach, from the Colombian Andean bandola, to the interpretation techniques of the Colombian-Venezuelan bandola llanera and to the language of llanera music, through the transcription, adaptation and analysis of three works: a Entreverao maniceño that takes five traditional joropo blows such as the llovizna, the sapo, seis por corrido, the zumba que zumba and the pajarillo corrido; the Solo de pajarillo by Omar Acosta, original for flute; and Zumbatómico, by Diego Sánchez, written for Andean bandola and jazz trio. The adaptation of the techniques to the Andean bandola is described in detail, and a technical and interpretive enrichment of the instrument is proposed.