EncyclopediaDultzaina (shawm)

The dulzaina is a double-reed instrument which belongs to the aerophone group.

Description of the instrument

The dulzaina is a conical tube aerophone with a double reed. It consists of:

• Pita or double reed mouthpiece. They are two reed reeds attached to a metal lead. The neck is inserted into the tube, joining the reeds and the tube and directing its acoustic vibrations towards the tube.
• Tube. It is shaped like an irregular cone; the lower the shape is more conical. In most cases they are made of wood and the most used wood has been boxwood. At the end of the last century, metal samples began to be manufactured in Bizkaia and Gipuzkoa. These were very successful, especially in Bizkaia; That is why today for many people metallic dulzaina is synonymous with "Biscayan dulzaina".

It has eight holes to give the notes: seven in the front and one in the upper back. The first hole from the bottom, the one that is closed with the little finger, is slightly to the side, for convenience. Some old dulzainas lack this hole and therefore give one note less.

All dulzainas have two other holes in the lower part of the sides, both at par, that fix the of the acoustic tube. The piece of tube that goes from these to the edge serves as a loudspeaker.

Way of playing

This instrument can give two whole octaves, but in its repertoire we can find melodies with a maximum extension of one octave plus a fifth. Actually, with a fingering of natural positions it gives a diatonic scale, but by varying the pressure of the emitted air, half-tone changes can be obtained and this is how the old dulzaineros mainly managed to play in a minor mode and with tempered scales. (Using the fingering of half holes and "nut" positions, and also with the help of the adequate modulation of the pressure of the emitted air, the chromatic scale can be achieved)

Although in most cases it has been played with the accompaniment of the drum, the tambourine also appears in the group (P. Donostia, 1952, p. 281). Since the diatonic accordion arrived, he has also formed a group with it.

History

It is the most developed and well-known double reed instrument (oboe) in the Basque Country. In this subgroup of instruments, we find four variants in our country: tutubi-tronpeta-sunprinu, txanbela, dulzaina and gaita navarra, in the order that their evolution has advanced. The last two seem to have hardly any differences, and the distinction s is not clear either, since in Navarra the s of bagpipes and dulzaina are mixed, but they have notable differences in terms of use and the music they make. We cannot forget the word bolingozo that Larramendi used in the 18th century to refer to this sound instrument in Basque: "Dulzayna, musical instrument, bolin-gox. LAT. Instrumentum musicum dulcius".

Another variant to mention is the one used by some musicians in Rioja Alavesa from the beginning of this century until the seventies (1970): the dulzaina with a key mechanism. These came from Castilla, and we believe that due to the influence of the Dulzaineros there they have also been used in La Rioja at that time. With the exception of the copies made by Jose Mari L. de Elorriaga, we do not know that such an instrument has been made in Rioja Alavesa or anywhere else in the Basque Country. Today, the area has once again imposed the dulzaina without keys.

Although we do not know when it dates from, as we have seen in the case of txistu, also in dulzaina in the last hundred years we find at least two types of musicians: those from the rural environment -without a musical schooling- and the urban -with schooling-.

Now, here we will see that first type.

The villagers studied and played by ear in pilgrimages and small towns. The repertoire, with few exceptions, is made up of dance music such as fandango-jota, arin-arin-porrusalda, marches, some “agarrado” dances and popular songs.

These musicians learned by listening to local or surrounding dulzaineros. Also later, when they were engaged in playing, they learned the new pieces by ear.

As José Sodupe "Montte", from Azkoitia, told us, in the pilgrimage the new piece was heard from another dulzainero and once the pilgrimage was over, they tried to learn on the way home; when they got home, they had already learned it and were ready to play it at the next pilgrimage.

Many musicians attended the pilgrimages, without anyone calling them. They did not have a contract: they would appear on the spot, take a seat and start playing. It used to be customary to start with a "march" for people to approach them. When they gathered the group, they began what they called "saioa", the session, playing the fandango and the return (arin-arin). The man in each pair couple for the performance.

As for what they charged for playing, according to Juan Aiesta, a former Dulzainero from Bedia, "At the beginning (at the beginning of the 20th century) a small dog (txakur txikerra-five cents of peseta) and then the big one (txakur handie- ten cents), then something was already taken out. " However, in some pilgrimages and festivals the musicians had to pay like the merchants of the fairs to be able to play. The money they made was not a net profit. You had to play a lot of sessions and gather a lot of people to get the "wage" in an afternoon or a day, and with the competition that was there it was not easy.

"Montte" said that once the dulzaineros walked two by two, with a kettle, even with an accordionist. But since the money had to be distributed among more, more and more couples formed by a dulzainero and a drummer were seen.

"Montte" himself told us the following: to the pilgrimages of the Urolaldea a very good and famous dulzainero, Julián Azurmendi, came from Abadiño with his wife, his son and daughter. This group worked in the following way: the father played the dulzaina, the son the atabal, the daughter on the other hand was dedicated to attracting people to her father's circle and his wife, instead, acted as treasurer, charging when each "saio” (the session). As you can see, the business was well organized.

This has been the environment of these musicians. Although it is declining, lately they have been playing especially at all kinds of parties in country settings in Gipuzkoa and Bizkaia.

SOURCES

Bibliography

ARTAL, Alberto / ZUNZUNEGI, Iñaki / ZORRILLA, Iñaki. (1994). Bizkaiko Dultzaina - La Dulzaina en Bizkaia. Bilbo: Bizkaiko Foru Aldundia, Kultur Saila.

BELTRAN ARGIÑENA, Juan Mari. (1991). Gipuzkoako Dultzaina-La Dulzaina en Gipuzkoa. Cuadernos de Sección. Folklore. (N.4. 185-232). Donostia: Eusko Ikaskuntza.

(1994). Festei Buruzko Inkesta-lana Gipuzkoako Kostaldea. Cuadernos de Sección. Folklore.- (N. 5. 9-85). Donostia: Eusko Ikaskuntza.

(1996). Soinutresnak euskal herri musikan. Hernani: Orain.

(2004). DULTZAINA GIPUZKOAN. 1950. hamarkada arte. Oiartzun-Donostia: HMT-Erviti.

(2015). DULTZAINA GIPUZKOAN. XX. mende hasierako Gipuzkoako dultzaineroen musika. Oiartzun: Soinuenea.

BILBAO, Juan. (1977). Herriko Musika. Movieplay-Kardantxa. 17.0912/2.

BILBAO ETXEBERRIA, Patxi. (1976). (Leon Bilbao, Maurizia Aldeiturriaga, Benanzio Bernaola, Ramon Orue, Leonardo Zuloaga) Arratia. Edigsa/ Herri Gogoa. HG 129.

BIZKAIKO DULTZAINA. (1994). La dulzaina en Bizkaia. Bizkaiko Foru Aldundia.

DONOSTIA, Aita. (1951). Música y Músicos en el País Vasco. Biblioteca Vascongada de los Amigos del País. San Sebastián. Obras Completas del P. Donostia. Bilbo: Ed. La Gran Enciclopedia Vasca.

(1952). Instrumentos Musicales Populares Vascos. Obras Completas del P. Donostia. (Tomo II, 257-309). Bilbo: Ed. La Gran Enciclopedia Vasca.

IRIGOIEN, Iñaki. (1994). Dultzaina-gaita Bizkaian. Bizkaiko Dultzaina-La dulzaina en Bizkaia. Bizkaiko Foru Aldundia.

Discography

BELTRAN ARGIÑENA, Juan Mari; ASTIASARAN, Luis; ASTIASARAN, Jose Mari. (2007). Amasatik Arratera. Herri Musika Zaleak. HMZ-SS-430-2007.

BELTRAN ARGIÑENA, Juan Mari; ANTZIZAR, Andoitz; BELDA, Errege. (2014). Ernikoko magalean. Soinuenea. HMB-2014-1556-CD.

BELTRAN ARGIÑENA, Juan Mari (Ed.); (2015). DULTZAINA GIPUZKOAN. XX. mende hasierako Gipuzkoako dultzaineroen musika. Oiartzun: Soinuenea.

(2017). Soinu-tresnak Euskal Herri Musikan. 1985-2010. Elkar-Soinuenea Fundazioa. KD DVD-E 968.

(2017). Agirretxetarrak. Soinuenea. HMB-2017-1172-CD.

BILBAO, Juan. (1977). Herriko Musika. Movieplay-Kardantxa. 17.0912/2.

BILBAO ETXEBERRIA, Patxi. (1976). (Leon Bilbao, Maurizia Aldeiturriaga, Benanzio Bernaola, Ramon Orue, Leonardo Zuloaga) Arratia. Edigsa/ Herri Gogoa. HG 129.

BIZKAIKO DULTZAINA. (1994). La dulzaina en Bizkaia. Bizkaiko Foru Aldundia.

Filmography

BELTRAN ARGIÑENA, Juan Mari. (2017). Soinu-tresnak Euskal Herri Musikan. 1985-2010. Elkar-Soinuenea Fundazioa. KD DVD-E 968.

CARO BAROJA, Julio eta Pio. (1979). Gipuzkoa. Gipuzkoa-Donostia Kutxa.

GAITA / DULZAINA NAVARRA (SHAWM)

The gaita from Navarra is a double-reed aerophone.

Description of the instrument

The gaita is a conical tube aerophone with a double reed. As for its parts, it has a mouthpiece and tube with holes to give the notes, like the dulzainas. In addition, this other element composed of a chain + plate is also common among Navarrese gaita players. These musicians in many cases put a chain with a plate at one end that joins the tube (at the bottom) with the mouthpiece. Although today it is only aesthetic, we believe that it would be used before for two other reasons:

One, to protect the pita (mouthpiece). We must bear in mind that in the past the joint the neck and the tube was not as solid as it is today, and there was a great risk that the string would come off, fall to the ground and break. With the chain the pita is hung without falling to the ground.

The other reason, the plate that holds the pita-tudel. We believe that there was a time when this sheet would have the same function that such instruments give it today in other parts of the world, that is, of lip support and containment.

Way of playing

In general, the fingering, the emission of wind and other playing techniques are similar to those of the dulzaina.

Because it is needed to play its wide repertoire, by means of "nut" or half hole fingerings, the chromatic scale can be obtained. This is how they play in different keys and in major and minor modes.

It appears forming different types of groups: a gaita-dulzaina and a drum has been the most seen in many places and for many years. At present, the most common group is formed by two gaitas-dulzainas (playing with two voices) and a drum.

History

As we can see from ancient documents, the gaita-dulzaina has been used for a long time throughout the Basque Country. In these written documents it is not always clear which instrument is behind the "gaita"; if a dulzaina or a bagpipe. Therefore, here we will only use documentation that is clear and offers no possibility of doubt.

In the list of musicians who attended the Pamplona festivals in the 18th century, many dulzainas and gaitas appear (Ramos, 1990).

In Gipuzkoa and Bizkaia, with some exceptions, rural dulzaineros have performed far from academic and official music. In Álava and Navarra they have been mostly musicians with a school, who in many cases have also played some other band or orchestra instrument.

It is in the towns and cities of these areas where the sound of this instrument is heard offering the morning dianas of the festivities, guiding and cheering up the groups of giants and big heads, offering concerts and music for dance in the squares... It should be mentioned that it is used in many dances of ancient rituals or celebrations.

Navarrese gaiteros have been known for years outside their lands. In the urban areas of Gipuzkoa and Bizkaia, for example, despite having local "popular dulzaineros", those from Navarra (often those from Estella) were brought in for the great patron saint festivities.

The repertoire of these musicians is very varied and is linked to the styles of the time, such as the urban txistularis. It is seen that the pipers were quick to make their own the melodies and dances that came from outside and were in fashion. Thus, in addition to native music and rhythms, their repertoire is made up of sonatas, polkas, mazurcas, habaneras, rigodones, pasodobles, schotis, etc.

The highest technical level was reached in the 19th century, according to the scores of the gaitero of Estella Julián Romano (1831-1899). Today there are not many gaiteros-dulzaineros capable of playing these scores well.

Among those gaiteros-dulzaineros there were those who had extensive training in the School of Music and in addition to the gaita they played other instruments. As we have explained in the violin section, from the end of the 19th century to the 1950s, many Navarrese dulzaineros were violinists and when some attended the town festivals, they went in two ways; by day, two dulzaineros with the drum and at night, two violinists accompanied by a guitar, from bar to bar and in other closed places. Thus, among others, the pipers Moreno and Jesús Mondejar, who formed the group of pipers from Pamplona, played the violin, with the drummer Felipe Indurain, who played the guitar (Iruñeko Gaiteroak, 1993, p. 87).

At the beginning of the 20th century, the presence of this instrument and these musicians began to decline, and by the middle of the century there were very few gaiteros; almost no more than in Estella. In the sixties, the brothers Javier and Fernando Lacunza, from a Navarrese family and residents of Bilbao, began the recovery of the gaita. With what they learned and collected over many years about this instrument, they began to teach, promoting new groups and publishing the first study book in 1968. Later, here and there, new groups have been created. Some of them are good, solid and autonomous groups, playing, researching, looking for improvements, teaching ... These groups are the ones that are giving new impetus to the instrument.

SOURCES

Bibliography

BELTRAN ARGIÑENA, Juan Mari. (1996). Soinutresnak euskal herri musikan. Hernani: Orain.

(1994). Festei Buruzko Inkesta-lana Gipuzkoako Kostaldea. Cuadernos de Sección. Folklore.- N. 5. (9-85. orr.). Donostia: Eusko Ikaskuntza.

DIAZ PEÑALBA, Tomás. (1989). Legado Musical de Julián Romano (Repertorio de música para dulzaina). Cuadernos de Sección. Folklore, 2. Donostia: Eusko Ikaskuntza.

IRUÑEKO GAITEROAK. (1976-1980). Aportaciones para un repertorio de música de gaita navarra. Cuadernos de Etnología y Etnografía de Navarra. 22, 24, 25, 26, 28, 29, 30, 33, 34, 35-36. zk. Iruñea.

(1990). Julian Romano Ugarte. Aproximación a su vida y obra musical. Iruñea: Fondo de Publicaciones del Gobierno de Navarra.

(1993). Gaiteroak Iruñean & Iruñeko gaiteroak / Gaiteros en Pamplona & Gaiteros de Pamplona. Labur Bilduma . Iruñeko Gaiak. Colección Breve. Temas Pamploneses Nº 23.

(1995). Método Elemental de Gaita-Gaita Oinarrizko Ikasbidea (1-2-3). Iruñea: Ed. Haizea.

LACUNZA, Hermanos. (1968). Método de Gaita Navarra. Iruñea: D.F.N. Dirección de Turismo, Bibliotecas y Cultura Popular.

OLAZARAN DE ESTELLA, P. (1972). Tratado de Txistu y Gaita. Iruñea: D. F. N. Dirección de Turismo, Bibliotecas y Cultura Popular.

RAMOS, Jesus. (1990). Materiales para la elaboración de un censo de músicos populares de Euskal Herria, a partir de los instrumentistas llegados a Iruñea en el Siglo XVIII. Cuadernos de Etnología y Etnografía de Navarra, 55. zk. (91-138. orr.). Iruñea: Institución Principe de Viana.

Discography

DEIERRI, Lizarrako gaiteroak. (1990). Lizarrako Dantzak. Elkar. EKL-256.

EZPELUR, Iruñeko Dultzaineroak. (1990). dultzainero, istorio-misterio?. Elkar. ELK-230.

(1994). Musika Erraldoia. GOR. G-518.

FALTZESKO GAITEROAK. (1995). Paseos por el Do. Etxe-ondo. ETX 001.

GAITEROS DE ESTELLA. (1996). Registros Históricos I. Etxe-ondo. ETX 010.

(1998). Registros Históricos II. Etxe-ondo. ETX 022.

IRUÑEKO GAITEROAK. (1980). 1924. Xoxoa. Z-11.124.

(1981). Otsagiko Dantzak. Xoxoa. A-10.155.

(1983). Julian Romano (1831-1899). Elkar. ELK-55-56.

(1990). Iruñeko Udaleko Musikariak. Elkar. ELK-248.

LIZARRAKO GAITEROAK. (1985). Gaiteros de Estella. IZ. IZ-224.

(1989). Tonada General para dos Gaitas. IZ. IZ-289.

(1990). Estella-Lizarra 900 aviversario. IZ. IZ-324.

(1996). Lizarrako Larrain Dantza. Etxe-ondo. ETX 013.

NAPAR GAITEROAK. (1986). 1924-1986K. Elkar. ELK-119.

PEREZ DE LAZARRAGA. Lizarrako Dultzaineroak. (1972). Lizarrako Dultzaineroak. Herrikoi-Musika Sorta, 5. Edigsa/ Herri Gogoa. HG 30.

(1973). San Fermin - Iruña. Edigsa/ Herri Gogoa. HG 63.

TOLOSAKO DULTZAINEROAK. (1996). 1996. SEA. KD 667.

TUTERAKO GAITEROAK. (1992). Cortes eta Monteagudoko Dantzak. Elkar- ELK-309.

ZIEKOKO GAITEROAK. (1993). Arabako Dantzak. Elkar. KD-345.

Filmography

BELTRAN ARGIÑENA, Juan Mari. (2017). Soinu-tresnak Euskal Herri Musikan. 1985-2010. Elkar-Soinuenea Fundazioa. KD DVD-E 968.

CARO BAROJA, Julio eta Pio. (1971). Navarra. Las cuatro estaciones. Gobierno de Navarra.

LARRUKERT, Fernando. (1978). Euskal herri-musika. Euskadiko Filmategia.