El‌ ‌bajo‌ ‌eléctrico‌ ‌en‌ ‌la‌ ‌música‌ ‌llanera‌. ‌ Aspectos‌ ‌técnicos‌ ‌e‌ ‌interpretativos‌ ‌a‌ ‌partir‌ ‌del‌ ‌golpe‌ ‌y‌ ‌del‌ ‌pasaje‌ ‌criollo‌ ‌

Abstract

This work looks up to enter the reader into the plains cultural context from the historical point of view, recognizing their customs, beliefs, and facts that determine the particularities of this region, creating a sound concept linked to dairy work, the patron saint, and well-liked festivals, establishing contact with other cultures that permeate the llanero. Due to this cultural syncretism, forms and rhythms are developed and popularized through parrandos and festivals, obtaining a consolidation in the compositional structures that are classifieds in strokes and passages, furthermore, the learning of these forms brings with it rhythmic parameters that determine the sensation of pulse and accent that functions as a characteristic for the hits and the passage, these parameters are related, as rhythmic keys that are cleaved into corrío and right. A historical reconstruction of the inclusion of the electric bass in music Llanera from the appearance of his predecessor bass to the participation of bass in the llaneros festivals as an instrument of format, from the perspective of three references of this instrument, was performed as they are the pedagogue and bassist Ricardo Zapata from Colombia in the other hand bassist, composer and producer Adelmar Peace from Venezuela and finally Colombia renowned bassist and educator Flavio Cuta; in them was evident chronology in incorporating techniques and ornaments of the instrument, which would broaden the prospect of making music Llanera. Likewise, and taking as reference the different contexts previously exposed, an analysis is carried out through examples about the interpretation of the electric bass in llanera music, trying to compile the most basic and specific elements of the accompaniment linked to the learning process of the instrument in this cultural sound context.