El contrabajo en la orquesta Charanga: danzón, mambo y chachachá Implementación de la técnica de arco para el acompañamiento ritmo melódico y armónico

Abstract

In the present work we seek to implement the technique of the contrabass arc for the harmonic and melodic rhythm accompaniment of the danzón, mambo and chachachá typical in the orchestra charanga, through the transcription and musical analysis of the famous danzón "canta contrabajo canta" composed by Israel "Cachao" López, whose composition is the only one in the Cuban popular repertoire who attributes the protagonism to the contrabass soloist using the arc for it’s interpretation; At the same time, a transcription process of the most used different traditional guajeos by the violin in these genres, which will be adapted to the contrabass along with some accompaniment proposals. This process consisted first in the compilation of qualitative information, where topics were discussed about the context and development of danzón from the contradanza to the chachachá, in turn information is collected about the exponents of the contrabass in the orchestra charanga; In second instance a process of transcription of the work is made: "Canta contrabajo canta" where the formal structure is analyzed and the rhythmic, harmonic and melodic melotypes used in each section. Finally the transcription of the guajeos (tumbaos) most used by the violin for the harmonic or melodic accompaniment in these rhythms is done, which are adapted to the contrabass where musical details have to be taken into account for their better interpretation in the instrument: proposals of arc strokes, articulations, dynamics, ideas of phrasing and fingerings.