Recursos de interpretación

A gaita do fol

Before entering matter, we must say that the annotation which we chose for the writing of gaita and the resources of interpretation is fruit of an intense reflection. That most reasonable it is to write in the C tonality is something that people better prepared musically already demonstrated. That to use the eighth real one it is most logical also they demonstrated great musicólogos when they wrote music of gaita without previous agreements. We want to add, in addition, that writing this way the plicas of all the figures they go downwards, offering a good option to upwards locate the small figures of the apoyaturas, other resources and annotations, being more visible.

A part of these resources is also applicable to the aberto or dixitación aberta (opened fingering), to which we alluded repeated times, but is the pechado or dixitación pechada (closed fingering) one that counts on a greater capacity of expression and participates in all. We advised who plays aberto to experiment with the pechado one to have judgment elements.

The text is hard because it speak constantly about resources, notes, positions, fingers of the right, the left. You must to be minimumly concentrated to understand everything well. We also advised to have a punteiro (chanter) by hand and the picture of the "dixitación" to identify express each position that is mentioned. The interpretation of the audio files is: we begin by C, after we play the resource and finally we return to C. Now we began.

The recursos de interpretación are all those notes or effects that the musicians do and which normally do not appear in the scores. The potential resources of the gaita are limitless but there is a series of them which were developed and used by previous generations of gaiteros reason why they not only have very proven his utility but that they form the "Galician phonetics of the gaita". To know as they are these own resources of interpretation is important for who looks for to obtain a Galician loudness with the gaita.

In order to approach this subject we will divide the total of the resources in two main groups: the recursos de repetición and the recursos de adorno.

They are the obligatory ones, those that we can´t to avoid because the gaita can´t repeat of natural way two sames notes. That is to say, to repeat any note we must put another secondary one in the midle; this secondary one will be the resource. We have falso silencio and apoiatura.

It consists of causing a species of sonorous emptiness, from any position or note, raising a finger of the left hand (for the left-handed people it will be the right). That causes a new note, in this case almost always of indefinite tuning. The fingers that are used for this function are the ring finger and the index finger. This one is a resource that often appears in the scores written just as a apoyatura, which is not satisfactory. Its particularitity is that it is an anticipation resource, before the attack. Therefore we had to represent it like one more note of melody, marked with a "F" so that it does not happen unnoticed.

For example, in a score they appear two E (quarter note) consecutive and we want to repeat with a falso silencio. In order to make it we play the first E, before it finishes we raised the index finger of left hand (without moving no other finger) and when the moment arrives for giving to the second we decline it. That really sounds is E (eighth note), a vague note similar to an acute C (eighth note) and E (quarter note). See image on the right. Listen.

As we see, to make falso silencio on E we raised to the forefinger, special position that gives a refining us next to acute C . In order to repeat the notes C and B we will always use the ring finger, position that give us a new position in a G surroundings tune. In order to repeat D, E (we have already seen), F, G, and its respective flats, we will use the forefinger, positions in a vague tune but always next to C acute. It is requested to avoid the vulgarity to repeat D and E with the ring finger or any note with the middle finger.

This resource is very traditional and typical of the Galician gaita, that can be used with the dixitación aberta and the pechado one. It is usualy to initiate a phrase with it, specially when the new phrase begins by the same note in which the previous phrase finished. You can see that the falso silencio tune is not always real what it does not have importance, is a "falso silencio". You can see too that the note that represents it indicates more the finger whereupon it is made (acute C with the index, G with annulling).

Now one is not to raise a finger but to lower it. We wan to say, the "sonorous emptiness" is made by a lowest note. The finger to use will depend on the position on which it becomes.

For example, in a score they appear two E (quarter note) consecutive and we we want to repeat with low falso silencio. In order to make it we play the first E, before it finishes we lowered to the midle finger of the right (without moving no other finger) and when the moment arrives for giving the second we raised it. What really sounds is E (eighth note), B (eighth note) and E (quarter note). See image on the right. It is appraised that she is paid as a tax E (number 6 of the picture), if E would be opened (7) the falso silencio would represent with a C and for play it we would lower the midle and ring fingers. Listen.

In order to repeat F we would play F (eighth note), C (eighth note) and F (quarter note), in this case with the forefinger of the right hand. In order to repeat G we would make it with the ring finger of the left, with the forefinger and midle finger, etc. The D position we would repeat with the ring and little finger, which gives B because harmonicly it interests. The C one only with little finger tunning also B.

This resource is very traditional and typical of the Galician gaita although exclusive of the gaiteros that play with dixitación pechada. As we see, this falso silencio is always the tonic not except for when it becomes on closed E , D or C in all cases B tune.

the apoyatura, like resource of interpretation of the gaita, is what it is known in classic music like "brief apoyatura", that is to say, a small note, whose value does not have importance in the measurement, that it is put before to another one. This apoyatura or small note can be acute (superior), the immediate superior (inmediata superior) or more low (inferior). In all cases it is represented by a brief value of reduced size, normally with a ligatura to the main note.

For example, in the score they appear two E (quarter note) consecutive and we want to repeat with apoiatura superior. In order to make it we play first E, when it come the moment arrives for giving the second we raised and lowered speedy the forefinger of the left (for example). What we have done is to play E (quarter note), a vague note next C tune so brief that it does not count in the measurement and E (quarter note). See image on the right. Listen.

Also we could make it with the ring finger, which would give a tunning next to G. The tunning is not important, is a so brief value that it counts little harmonically or melodycally but it is characterized by a certain pitch distance respect to the main note what gives a particular sonorous sensation different from other apoyaturas.

This resource is very rare in the tradition of the Galician gaita, they use it plus the young gaiteros that copy the loudness of the British pipes, sometimes uniting two or three grouped apoyaturas of this kind.

For example, in the score they appear two E (quarter note) consecutive and we want to repeat with superior immediate apoyatura. In order to make it we play first E, when the moment arrives for giving the second we raised and lowered speedy the forefinger of the right hand. What we have done has been to play E (quarter note), a vague note next F tune so brief that it does not count in the measurement and E (quarter note). See image on the right. Listen.

What differentiates the immediate superior apoyatura from the superior one is the different color from the resource. This resource is very traditional and typical of the Galician gaita and it is used equal in aberto that in pechado .

For example, in the score they appear two E (quarter note) consecutive and we want to repeat with inferior apoyatura. In order to make it we play first E , when it arrives the moment to play the second we slightly touched with the midle finger of the right on its hole. What we have done has been to play E (quarter note), a B so brief that it does not count in the measurement and E (quarter note). One sees that E it is pechado, in case to be opened we would make with the midle and to ring finger and the apoyatura would be a C. See image on the right. Listen.

In this case of E pechado we only can to make the inferior apoyatura with the midle finger, the only available one. Repeating F it is necessary to use the index finger of the right. What we do in this case is to play a F (quarter note), a so brief C that it does not count in the measurement and a F (quarter note). For repeat the G we must to use the ring finger of the left, for repeat A the midle and ring fingers, for B acute the index, midle and ring fingers, etc. For repeat D we must to use the ring and little fingers, harmonically interests that the apoyatura were B, it is so brief but apreciable.

As we can to see it is a resource very different from the rest of apoyaturas, reason why it had aside to be treated. The effect that produces is one sound dark, occlusive, similar to "p" in the spoken chain. It is very traditional and typical of the Galician gaita although almost exclusive of gaiteros of dixitación pechada.

This is the chapter about the resources that are not essential for understanding the melody. They can have a certain importance to show particular ideas of the author or interpretations in the Galician traditional style, with a typical sonorous code. Evidently also they are possible to be used, in fact they are used, to add several fantasies to the melodys but that´s not the function that we will treat.

We have already spoken about falso silencio like a repetition resource. Now we must to make it exactly but in cases of ornamentation.

For example, in the score appears an E (quarter note) and after a G (quarter note) and we want to make a acute falso silencio among them. In order to make it we play first E, before it finishes, and without moving no other finger, we raised the index and when arrives the moment for making the G we make the new position at same time we lowered the index finger. What we have done is to play E (eighth note), a vague note similar to C acute (eighth note) and a G (quarter note). See image on the right. Listen.

As we see, we used the index finger for the sound that it give, is better at the most acute. The falso silencio as adornment resource can be used in many cases, most frequently when the interval between two notes is ascending. Just as the repetition one, this resource is very classic as much in aberto as in pechado.

"Picado" it is an old gaitera popular expression that has a vague meaning, related to the effect to attack or to accentuate a note precise. When is spoken "picar" not a note but a muiñeira one, it means that the phrases with a linking of brief false silencios are adorned. We must to distribute strategically the falsos silencios in the group of three eighth notes as they show the images of examples 1 and 2. See images on the right. Listen example 1, example 2 (played three consecutive times for best apreciation).

The phrases acquire a configuration of the type that shows the image of the right. Listen.

By similar form also there is picado of jota, picado of alborada or pasacorredoiras, mazurca, etc. although each genre needs a particular distribution. In all the cases it is a resource very typical and considered although reserved to gaiteiros with experience and capacity.

Just as acute falso silencio, the low one, already it is explained reason why we will not insist but on the difference that now supposes its accomplishment for the function to adorn.

For example, in the score they appears an E (quarter note) and after a G (quarter note). In order to make it we play the first E , before it finishes we lowered to the ring and midle fingers of the right and when arrives the moment for making the G we put the position corresponding. What we have done is to play an E (eighth note), a C (eighth note) and a G (quarter note). See image on the right. It is seen that E it is opened, in this case is advisable thus. Listen.

Also it is a traditional and considered resource but reserved to gaiteros of digitación pechada and with much office. Just as it happens with acute falso silencio, with the low one we can be make picados of muiñeira and other musical gender but with more difficulty because to each eighth note corresponds its falso silencio.

Also it has been spoken already about how making each species of apoyatura in the repetitions. In this case of adornment he is something different because, for example, the superior apoyaturas of adornment C not exist in the Galician tradition, the immediate superior ones are very common and the inferior ones do not exist either. We must to mention here the double apoyatura (with immediate the superior one), that has a frequent use in the tradition.

For example, in the score appears an E (quarter note) and we want to play a inmediata superior apoyatura. In order to make it, independently of the previous note in which we were, we play a very brief F and we fall definitively in E. Here the apoyatura is not so extremely brief as the repeatition one and perfectly it is possible to be compared with half of the value of the main note. Said this, we can elude the responsibility to put a F position correct but the gaiteros of category take care of these things. See image on the right. Listen.

This is a subtle resource, play by gaiteros with a certain refinement because most normal it is to let itself take and make a apoyatura double.

It consists of leaving sounds the main note briefly, articulating with the immediate note superior speed and to return to the main one.

For example, in the score appears an E (quarter note) and we want to play a double apoyatura. In order to make it, independently of the previous note in which we were, we must play a very brief E, after an equally brief F and definitively an E. See image on the right. Listen.

This resource is very traditional although used repeatedly it is vulgar, specially when it is made on strong or accentuated notes. This class of abuse is very typical of those that they try with flute, which they are motivated to doit by little stuck the sonorous one which this one has.

It consists of turning the main note on a triplet always articulated with the immediate superior one. In the score it´s represented by a line broken upon the note.

For example, in the score appears an E (eighth note) and we want to play a semitrino. What we do is triplet of sixteenth notes formed by E , F and E. See image on the right. Listen.

This one is a very Hispanic resource in general. In the music of gaita can be something tiresome if it´s used in many occasions, specialy when it is played repeatedly in the musical accents. For the same reason it is more elegant when it is played occasionally on notes in weak times.

It consists of repeat a note articulating with its immediate superior throughout all its value. When it is a short value puts only the abraviatura "tr" and when it is a long value is accompanied with an broken line that remembers that the triplet is played throughout all the value.

For example, in the score appears an E (half note) and we want to play a trino. What we must to do is E, F, E, F, E, F, E, F, E, that is to say, 9 notes in that same time. See image on the right. Listen.

The number of notes must be always equal for the same value and the same genre. For example to a quarter note with point in muiñeira (6/8) correspond 7 notes to him (E, F, E, F, E, F, E); to a quarter note with point in alborada (2/4) correspond 9 notes to him we must to do it always thus, neither the more nor the less.

This resource is very classic in all type of western musics. In the gaita much in last centuries has been used but at the present time he is almost nonexistent by the different way that there is today to conceive the interpretation.

It consists of making an articulation with superior and the inferior one. In the score one is represented with a waved line, species of "knocked down S", that it symbolizes raises and low of notes.

For example, in the score appears an E and we want to play a grupeto. In order to make it we play first an E, after a F, next another E and finally a D. See image on the right. Listen.

It is a very Hispanic, typical resource of gaiteros that formed in the ´50s and ´60s, agreeing with the great record and wireless diffusion of Spanish "tonadilla".

The vibrato consists in obturating in way partially and repetitive a hole to cause something similar to the vibrato of the voice.

There´s no way to represent this in the score, normally is make whenever the gaitero have time in notes. On the C, the tonic, is obligatory when the musical phrase finishes. In the rest of notes also is due to do specially when it can, in long values, when melodía takes a breathing. Sometimes it is made unobturating one or several holes.

This one is a very typical resource of the Galician gaita at the present time. It did not have to exist previously to century XIX but the fashion of vocal vibrato that takes place in that period transferred it to the gaita.

In many occasions the resources are made combined. One that frequently precedes to several ones is the falso silencio, as much the acute one as the low one. Yes, it is very common and sometimes advisable that the apoyaturas, of any species, go preceded by, just as the semitrinos and the trinos.

To this exhibition it needs to shades and examples that we reserved for the future publication of a complete method but it is clear with this summary that the Galician gaita has a varied expressive registry. As much that often a gaitero can ask if he must use at a certain moment a falso silencio, an apoyatura, etc. Before this it is necessary to say that the gaita do fol, like instrument rooted in the Galician tradition, always uses the vocal reference. Therefore, aside from making the musical phrases with the gaita, it also interests to sing them, the information that this give us contributes is very ilustrative of the resources to use.