Pgina di kontenido:

Palabra Previo

Palabra di kompositor

Palabra di direktor musikal

10

Nota di ritmo bsiko di se

19

Miembro i kolaborad di H.P.A.

23

Mama Ivy su
marka a keda tras.

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PALABRA PREVIO

Ku e produkshon ak nos ta rekrd MAMA IVY,

Ivy Rosalia,
gran kantante bas di yawal,
mntr di H.P.A.
skucha su bos ta den grabashon nr. 2
Honor na nos Se.

Ku kanto, bar, chapi, agan, kachu i wapamentu nos grandinan a selebr esta di
kosecha: SEU.
Ku e produkshon HONOR NA NOS SEU na
okashon di 10 aa di eksistensia di HPA, ta
konop un estilo nobo di kanto i msik di se
na esun di nos ansestronan, ku rspt pa e
herensia ku nan a laga pa nos.
Kunukunan no ta manera ntes mas; hopi kambio a tuma lug
atraves di tempu. No tin buriku ku ta karga kosecha hiba mangasina, no tin bas di kanto i rei di mainshi ku ta kompa e wapamentu. E union di bisianan pa yuda ku kosecha no ta manera
ntes, ounke na eskala mas chikitu den famia ainda e koperashon pa planta i yuda kosech ta eksist.
Industrialisashon, falta di susiente waseru i falta di maneho
adeku di agrikultura, ta un kombinashon di faktor ku a inuensi plantamentu.
No opstante tur e kambionan menshon, plantamentu di
kunuku tei ounke ta na un eskala hopi mas chikitu.
Nos ta sigui kosech, ounke no na msun nivel ku ntes.
Kambionan a afekt nos msika di se tambe. Desaroyo ku a
kondus na kambio di e msika di se ku nos ta trese, ta entre
otro:

falta di traspaso di grandi pa hben;

kultura di planta kunuku a stp;
komersialisashon;
se den kaya sin kargamentu di kosecha; i
e kompetensia di kanto di se Kantad May.

E desaroyonan ak a trese un dimenshon nobo ku a result den

un manifestashon kultural grandi ku kanto, msika, baile i trahe

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bunita den kayanan di Willemstad riba di dos dia di Pasku di

Resurekshon. Esaki nos ta yama awendia se loke den realidat e no ta.
Dbel CD; kosecha di 10 aa
Durante nos 10 aa di eksistensia, Hbennan Positivo i
Aktivo, un grupo di hben adulto ku kultura i msika krioyo
den nan kurason, a produs un kantidat di komposishon di
se ku nan partisipashon den e festival di Kantad May. Nos
a disid di dokument mayoria den un dbel CD.
Riba e CD lo bo skucha senan ku ta ganad di e festival di
se i otronan hopi gust.
E buki di informashon ak ta konten lo siguiente:
1. palabra di kompositor Marvin Snijders, un
relato krtiku den ki lus e ta mira su komposishon
nan di se;
2. palabra di direktor musikal Rendel Rosalia, un
relato kon el a eksperensh e kambio ora a
introdus bas ku kuarta den e mzik di se;
3. Partitura di HPA su estilo di se
4. Informashon di msikonan ku a aport na produkshon di e dbel CD ak kompletamente
prodeo.

Diseo Grko buki

Diseo Kaft di CD i buki
Imprenta buki
Fotgrafo

: Gilian Vinck
: Pressplay B.V.
: Kas di Kultura
: Lennon Aniceta
Melinda Rosalia-Statia
: Melinda Rosalia-Statia
: Merly Augusta
: Marizelle Silonero
: Melinda Rosalia-Statia

Redakshon di teksto, lay out,

Revishon nal di kontenido
Ortograa ingles
Kordinad general di proyekto

Danki speshal na:

Prins Bernhard Cultuurfonds Caribisch Gebied,
Curaao Tourist Board, Kas di Kultura, Rene Rosalia, Ruben
Rosalia, Ronald (Pietje) Pietersz Jr, Merly Augusta, Rose Marie
Sling, Marizelle Silonero, Prins Doran, Gilian Vinck,
Vikto Bartholomeus i Elia Isenia
Danki na tur kolaborad, ks miembro, i na tur persona ku a
duna nan aporte pa produs e dbel CD ak.

Selebr ku se
Fuera di kosech loke nos a sembra den kunuku, nos ta
kosech den hopi otro forma. Dikon no selebr ku nos
msika di se? Ku e amor ku H.P.A. a krea i toka e mzik ak,
nos ta konvens ku lo bo gosa di e CD ku nos ta ofres bo.
Ban selebr ku se.

Produkshon: Hobennan Positivo i Aktivo

Melinda Rosalia-Statia Kordinad

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Kolaboradnan i eks miembro di HPA ku a duna

aporte na produkshon di e dbel CD ak.

Our ancestors used to celebrate se

(harvest feast) singing and dancing on to the music of the
tamb (drum), the agan (piece of iron from the plough) and
the cachu (cow horn).
With the production of HONOR NA NOS SE, with respect to
our ancestors heritage, Hbennan Positivo i Aktivo (H.P.A.) links
a new style of singing and playing the se music to the style of
our ancestors.
The elds are not as they used to be; many changes have taken
place through times. Nowadays the harvest is not carried to the
barn by donkeys; there are no bas di kanto nor rei di maishi,
two cultural gures, who used to take part in the se march
(wapamentu).
The union of neighbours helping each other to harvest the crops
is not there anymore because there is no cultivation of crops as
used to be in the past. Although on a smaller scale there are
still families that help each other to sow and harvest.
There will always be reasons to celebrate, because we will harvest although this will not be the same as in the past. Our se
music still exists although a little modernized. Some reasons
that conduced to the change of the se music are:

Kantante
Reinier Lijfrock
Jarnice Aitatus
Rashid Felida
Stacy Godie
Henritti Constancia
Gilion Henrietta
Rubertico Balentien
Ishahier Monte
Anairia Nivillac
Kachulero
Adrielo Martin
Wensley van Houten
Heinrich Constancia
Adrian Leesly
Kuartista
Mee-Ling Wong
Bahista
Faysel Francisco

The failure of passing on of this culture to the

youth.
The stop of the culture of planting;
Commercialization;
Se celebration in the streets of Willemstad
without harvest;
The inuence of the se festival Kantad
May; and

Tambulero/Chapista
Alfredo (Djuni) Muller
Korista
Zhyona Francisco
Tamara Nivillac
Sylvienne Martie
Nina Petronelia
Simadis Markwell
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FOREWORD

The abovementioned reasons brought a new dimension to the

se feast that resulted in a big cultural manifestation with

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music, singing and dancing in the streets of Willemstad on

Easter Monday. Nowadays we call this se, which in reality it
is not.
Double CD; harvest of 10 years
During our 10 years of existence Hbennan Positivo i Aktivo, a
group of young adults with love for culture and creole music,
has produced a number of se songs with our participation in
a local festival called Kantad May. We have decided to document most of these songs on a double CD. You will be able
to listen to se songs, winner of the festival and other popular
ones.
The information in this booklet consists of:
1. a small account of the writer Marvin Snijders of
how he sees his se compositions;
2. words of the musical director Rendel Rosalia on
how he experiences the transition of the music
with the introduction of musical instruments
bass and quarto;
3. Music sheets of music parts of HPAs se style
4. Information of the musicians who gave their support to this production for free.

Niata Augusta
Kompositor - kantante - korista

Magindra Francisca
Korista

Redyson Zink
Bahista

Dinette Capriles
Kantante - korista

Rhazul Sebelon
Kuartista

Heinrich (Rich Pieter)

Kantante - korista

Except for reaping what we sow, there are many other ways
we harvest. Why not celebrate with our se music. H.P.A. put
much love in the production of this C.D.
We are convinced that you will enjoy it.
Lets celebrate with se.
Melinda Rosalia-Statia coordinator

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4.

MIEMBRO I KOLABORADO DI H.P.A.

Imhen di miembronan ku a pone hopi ora, esfuerso i dedikashon

na produkshon di e dbel CD aki. Aki nos ta pone nan den lus,
danki pa boso aporte balioso na kultura di Krsou.

Marvin Snijders
Fundad H.P.A.
Kompositor

Rayson Rosalia
Chapista

Rendel Rosalia
Direktor musikal
Tambulero - suplad di kachu

Soug-Ling
Craanberg-Wong
Korista

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1.

PALABRA DI KOMPOSITOR

Kolowawa, asina nos antepasadonan

tabata salud otro despues di un ratu sin
topa ku otro.
E lenga gueni prktikamente a bai perd pa
motibu di robo, opreshon i modernisashon
di nos identidat, norma, balor i nos idioma.
Apesar di esaki, ainda tin susiente material i investigashonnan has, ku por duna
nos un bista kon tabata den pasado. Susiente ku nos por usa komo un base pa identik nos mes
komo afrokurasoleo. Na mes manera ku un antroplogo ta
studia bida sosial di pasado di e ser humano pa asina krea
konekshon i komprendementu pa su bida aktual, nos komo
Yu di Krsou mester inform nos mes pa sa ta ken nos ta di
brdat.
Sa di unda bo ta bini, pa bo sa na unda bo ta bai. Mi ta usa
skibimentu komo un vehkulo pa transport mi konosementu
di un mente pa otro. Mi ta pone melodia pa un laman di frase
ku lo bo keda krda pa semper. Kombert un teksto den un
kantika ta e manera di mas fsil pa keda krda palabra skirb.
E forsa i don ei mi ta usa pa konsientis i inform. Mi deseo
ta pa kada yu di tera transform e palabranan HERMANDAT,
PATRIOTISMO I AMOR den akshon, H.P.A.
HPA ta mar na mi kurason manera mainshi ku mester bira
maishi i mi ta parti manera zjazjimein di informashon. Kom'
i enrikes bo konosementu.
Si bo ke ta un bon Yu di Krsou, buska pa sa bo historia.
Brdat ta liber i lo hasi nos personanan fuerte i balans.
Kanta bo dol, selebr bo legria.
Kanta hinter dia pa restu di bo bida. Si bo kanto no toka bo
mes e lo toka bo bisia.
Kanto di se
Antes kantika di se tabata bas riba yamada na Shon Grandi

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pa gradis:
- p'e tera ku nos tin pa planta;
- pa awa ku Shon Grandi a manda ku por a
kosech;
- ku nos tin kosecha.
Tambe pa kanta i alivia dol di abuzu di shon.
E selebrashon ora ku a kosech nos ta yama SEU. HPA konsientemente a skohe pa manten e base original di e kanto.
Pero nos a konop, aad i hasi e parti di rspt, patriotismo
i union primordial; e ta e esensia di nos mensahe; e ta kore
manera un lia kr den nos komposishonnan ku meta pa
konsientis, inform i entreten positivamente.
Marvin Snijders
Kompositor

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3.

NOTA DI RITMO BSIKO DI SE

Den e siguiente skor trah pa e msiko Elbert Josefa por lesa e

notanan di e ritmonan bsiko ku nos ta toka den se. Nos ritmo
di se ta konsist primordialmente di un parti habr i un parti
ser. Pa kada sekshon nos tin un ritmo spesko pa kada instrumnt. Pues den e skor ak tin un muestra bsiko di kon
H.P.A. ta toka bas, kuarta, tamb i chapi den se.
Notes of the basic rhythm of se
In the following score made by musician Elbert Josefa you can
read the notes of the basic rhythms that we play in se music.
Our se rhythm consists of an open and closed part. Each section has a specic rhythm for each instrument. The score shows
has a basic example of how H.P.A. plays these rhythms on the
bass, quarto, tamb (drum) and (chapi) hoe.
CD nr. 1 kantika nr. 1 Gradis
Skucha kantika nr. 1 di disko kompakto nr. 1, komposishon di
Elia Isenia.
Kantad ta nos baluarte Juan Vicente (Vikto) Bartholomeus,
konosed di kanto di se tradisional. Na kuminsamentu Vikto
ta kanta i H.P.A. ta toka e se den estilo tradisional. Despues
Niata Augusta ta sigui kanta den e estilo moderno di H.P.A.
CD nr. 1 song nr. 1 Gradis
We invite you to listen to CD nr.1 song nr. 1, a composition of
Elia Isenia, sung by Juan Vicente (Vikto) Bartholomeus, our cultural stronghold with vast knowledge of the traditional se
music.
At the beginning of the song Vikto sings and H.P.A. plays in the
traditional way then Niata Augusta takes over and sings in the
modern style

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SONGWRITERS VIEW
Kolowawa, this is how our ancestors greeted each other when
it had been a while they had seen each other.
The Gueni language is practically extinguished, due to:
colonization, theft, oppression and modernization of our identity,
norms, values and our language.
Notwithstanding, there are still some material and investigation
that can shed some light on how it has been in the past, enough
to identify us as afro Curacaoans. The same way an anthropologist studies the social life of the human beings past to create a
connection and understanding for his actual life, we as Curacaoans have to inform ourselves to know our true identity.
We have to know where we came from, to know where we are
heading. I use my songwriting as a medium to transport knowledge from one mind to another.
I put melody on a sea of phrases that you will remember forever.
Transforming text into song is the easiest way to remember
written words.
This is the force and gift I have and I use it to inform and promote
awareness.
I wish for all Curacaoans to transform the words Brotherhood
(Hermandat), Patriotism (Patriotismo) and Love (Amor) in action
H.P.A. is clung to my heart like the corn kernel to its ear and I will
distribute it like zjazjimei (old local dish) of information. Eat it and
enrich your knowledge.
If you want to be a good Curacaoan, you should know your history; the truth will set you free and make us strong and balanced
people.
Sing your pain, rejoice your happiness. Sing every day for the rest
of your life.
If your song does not touch you it will touch your neighbour.

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The se song
In the past se songs were based on the call upon the great
master to thank for the land we have to plant on, for the rain
he sent to water the crops and for our harvest. To sing and
relief the pain of the abuse endured on the hand of the farm
owners (shons).
The celebration after harvesting is called se. HPA has conscientiously chosen to maintain playing se music to thankfully celebrate. The core of our message is respect, patriotism
and union this is the red cord in our compositions with the
goal to promote awareness, inform and positively entertain.
Marvin Snijders
Songwriter

use of extra melodic lines. These changes must be minor compared to the rest of the essential parts of the se.
The se has to stay with its character to be able to distinct
clearly the open and the closed parts. This counts for the
section of melody as well as the rhythm section.
Function of the bass and quarto
It is a simple to t the bass and quarto in the se pattern. Quarto
plays the rhythm of the agan and the Bass plays the rhythm of
the cow horn. This is the rhythmical base. In other words, the
bass assumes the function of the cow horn and quarto assumes
the function of the hoe and the agan. Furthermore it is a question of feeling. It may sound supercial but fact is that you have
to feel the rhythm in order to have full integration of all the elements.
You have to be able to dance se (wapa) to the rhythm of each
of these instruments separately; the rhythm of the quarto, the
rhythm of the bass, the sound of the cow horn, the rhythm of
the hoe and the rhythm of drum.
In my concept there is no melodic or rhythmical limit for the
bass and the quarto in the se.
Much can be done with the string instruments taking into account that it does not deviate from the se principles.
Rendel Rosalia
Musical Director

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2.
My experience with the change
My experience with this change is very positive. The se
reached new dimensions which did not exist in the past. The
change is positive because it did not aect the essence of the
se. Members of HPA have studied the core of se and we stay
humble and auto critical on what we present in the se. We
evaluate ourselves every year to continue to improve our style.
In the beginning the change brought doubt, friction and resistance. Today this change has become part of us. We of HPA
identify ourselves with a modern se with strings, metal, skin
and cow horn.
HPA does not search anymore, now we are playing and exploring other dimensions in the se music. The essence of this dimension is harmony and synchronicity in every sense. The se
has evolved in this transition because: the quarto supports the
drum, the hoe supports the bass, quarto and drum. In other
words all instruments compliment each other in a polyrhythm,
making the se rich in musicality and concordance.
Precaution
To prevent deviation from the se rhythm when introducing
melodic instruments to the se we have to consider the musical
arrangement and the composition. If you compose a se that
has phrases or lls of other rhythms such as tumba or ritmo
kombin, you take the se out of its musical concept.
Furthermore if you arrange a se with too many changes in the
chorus, bridge or with dierent elements derived from the
tumba or ritmo kombin, you have changed the se. The
most important aspect to consider when creating a se is to
simply adhere to rhythmical patterns that t the se.
Deviate only to create musical variations with the goal decorate the se, such as stops, breaks, changes of rhythm and the

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PALABRA DI DIREKTOR MUSIKAL

a. Se original i modernisashon
Tradishon oral ta pasa pa e siguiente generashon di boka pa boka. Nos tradishonnan di ritmo tambe ta tuma lug di boka pa
boka pero prinsipalmente di un man pa
otro man. Atraves di zonido nos ta sia.
Esaki ta nik ku si nos no tin oportunidat
pa skucha kon e ritmonan tabata zona
ntes, nunka nos lo por manten nos
tradishonnan musikal.

E se di ntes ta vago pa nos hbennan, pasobra nan no tin

relashon estrecho kun. Na momento ku nos yega na informashon dor di lesa, skucha, puntra, investig, papia i interkambi ku grandi, na e momentu ei nos por papia un poko
tokante e se di ntes.
Danki na investigashonnan has pa Grupo Rais, ala kultural
di Grupo Trinchera bou di kordinashon di Rene Rosalia, ku a
produs 2 LP, Yabi Yoatina 1 i 2 na respektivamente aa 1989
i 1992, ku awe nos por tin informashon kon e se tabata.
Antes se tabata riku na tantu melodia komo diversidat rtmiko. Awendia ta eksist e persepshon ku se di ntes ta simpel i sin muchu variashon kompar ku e se ku nos ta toka
aktualmente. Si nos analis e senan di ntes nos ta yega na
otro konklushon.
Nos tabatin hopi instrumnt akstiko di orgen afrokurasoleo e.o. agan, bastl, bleki, kachu, bar i tringel den se.
Tur e instrumntnan ak tabata forma parti di un poliritmo,
kada un ku su patronchi, kada un ku su zuai, kada un ku su

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yor. Awendia e poliritmo a prd forsa pa motibu ku rtmikamente bo ta haa ku si tin tres chapi, tur ta toka e
msun ritmo. Si tin dos kachu bo no por distingu kachu
ariba ni kachu abou. No por hasi distinshon entre ritmo
habr i ritmo ser di e se. Antes nos por a papia di diferente
man di tamb; bo tabatin man di Bndabou i man di Bndariba. E mannan ak ta para pa e estilo di toka e ritmo di
se. Antes esaki tabata hopi diversik. Tur hende tabata
toka i manten nan na nan estilo.
b. Introdukshon di bas i kuarta
HPA a introdus bas i kuarta na aa 2005. HPA ta un grupo
kultural di hbennan dinmiko i progresivo. E karakter progresivo i inovativo di HPA a hiba na eksperimentashon ku
kurd den se.
Den e prom fase di introdukshon di bas i kuarta den se
tabatin basta resistensia komo ku no ta tur hende tabata sinti
nan mes kmodo ku e kambio. Hopi a pensa ku bas i kuarta
lo kambia e rtmo di se i kibra e se tradishonal.
Se su melodianan di kanto tradishonal no ta komun i ora
ku introdus bas i kuarta e por bira dikultoso pa kanta den
tono, teniendo kuenta ku e melodia. Mester a buska pa haa
e anashon meldiko korekto.
Un problema grandi tabata ku hopi bahista hben no tabata
toka se i msika kultural. Pues mester a kumins for di sero
i krea patronchi i konsepto nobo. Ku tempu nos a desaroy
i perfekshon e akompaamentu meldiko sigun nos propio
estilo modernis. Na aa 2010 nos a estables un patronchi
bsiko ku te awe nos ta manten i sigui desaroy.
Introdukshon di bas ku kuarta a inspir msikonan pa hasi
mas kos den e se. Na e momentu ei a introdus want, brek

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Introduction of the bass and the quarto

HPA introduced the bass and the quarto in 2005. HPA is a cultural group of progressive and dynamic young people. The progressive and innovative character of HPA led to the
experimentation with string instruments in the se music.
In the rst phase of the introduction of the bass and quarto in
the se, there were some resistance because not everybody felt
comfortable with the change. Many thought that bass and
quarto would change the rhythm of se and ruin our tradition.
The melody of the traditional se songs is unique and when
bass and quarto are added it might become quite dicult to
sing in tune, according to the melody. The melodic anity has
to be felt. Another problem was that the young bassists did not
play se and cultural music. So we had to start from zero and
create patterns and new concepts. With time we evolved and
perfected the accompanying melody with our own style. In 2010
we established a basic pattern that we maintained and continue
to develop up till today.
Introduction of the bass and the quarto has inspired musicians
to do more with the se music. Consequently breaks and other
variations were introduced in the se. Now se is not only composed but also arranged.
Introduction of tonal instruments in the se brought the phenomenon of singing out of tune. With a tonal instrument the
singer cannot sing a free tone as was traditionally done. The
Singer has to listen and imitate the tone of the bass and the
quarto. When this is not the case the singing is not in harmony
with the music. This happens quite often with musical groups
with no experience or knowledge of singing with string instruments and melody.

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WORDS OF THE MUSICAL DIRECTOR

Oral tradition passes to the next generation by spoken word.
That also goes for our rhythm traditions which particularly go
from one hand to another. We learn through sound. This
means that if we do not have the opportunity to listen to the
sound of the rhythms of our ancestors, we would never be able
to maintain our musical traditions.
The se from the early days is elusive to our youth, because
they dont have a bond with it. When we get information
through reading, listening, asking, investigating and interchanging with elders, only then we can come to some understanding and talk about how se was in the past. Thanks to
Grupo Rais, a cultural sub group of Grupo Trinchera, for their
research conducted under the supervision of Rene Rosalia, that
two double LPs, Yabi Yoatina 1 and 2, were produced so that
today we can have some information about how the se was
in the past.
Se music was rich in melody and rhythmical diversity. Today
the perception exists that the se had simple pattern, without
much variety compared to the se music we play nowadays.
When we analyse old se songs we reach another conclusion.
We played many acoustical instruments from afro curacaoan
origin i.e. agan, bastel, bleki, chapi, kachu, tamb and the triangel in se music. All these instruments were part of a
polyrhythm, each one with its pattern, its swing and its cry.
Today the polyrhythm has lost its force because rhythmically
the hoes play the same rhythm. There is no distinction between
the call and response of the cow horns.
In the past we talked about many hands of the drums; you had
the hand of Bndariba and the hand of Bndabou. Hand stands
for the style of playing the rhythm of se and this was much diversied. Everyone played and maintained their personal style.

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i kek den e se. Awor no tabata kompon so pero msikonan

a kumins aregl se.
Akompaamentu meldiko ta pidi sierto variashon pa asentu transishonnan den un kansion. Ora un se sera i bai koro
krtiku, e melodia ta kambia i esaki ta pidi un asentuashon.
Den se, tamb ta indik transishon di habr pa ser pa
medio di yamada i hopi rfel. Bas ku kuarta no por asentu,
ni mara ku e tipo di variashonnan ak. Pe motibu ak a krea
brek i parada pa bas i kuarta por sinta i mara huntu ku tamb
i chapi den se.
Introdukshon di instrumento di tono den se a trese e fenmeno di kantamentu falsu f for di tono den se. Antes
tabata bisa kanta wadjo. Ora tin instrumento di tono, e kantante no por kanta un tono liber, manera tabata sosod
tradishonalmente. E kantante mester skucha i imit tono di
bas i kuarta. Na momentu ku esaki no tuma lug, e kanto no
ta den harmonia ku e mzik. Esaki ta sosod regularmente
den gruponan ku no tin eksperensia f konosementu di
kanta ku akompaamentu di instrumentonan di kurd i
melodia.
c. Mi opinion riba e kambio
Mi ta eksperensh e kambio komo algu sumamente positivo.
Se a yega dimenshonnan nobo ku no tabata eksist prom.
E kambio ta positivo pasobra e no a kita for di e esensia di
se. Miembronan di HPA a studia base di se i nos a sa di
manten un posishon humilde i outokrtiko riba loke nos ta
present den se. Nos ta evalu nos mes kada aa di nobo
pa asina nos por sigui mehor nos estilo.

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Den prinsipio e kambio a trese duda, frikshon i resistensia.

Awe e kambio ak a integr den nos. Nos di HPA ta identik
nos mes ku un se moderno ku kurd, kueru, heru i kachu.
HPA no ta en buska mas; awor nos ta tokando i eksplorando
otro dimensionnan den e mzik di se. Esensia di e dimension ak ta harmonia i akoplashon den tur sentido. Se a
krese den e transishon ak pasobra; kuarta ta sosten bas,
bas ta sosten tamb, chapi ta sosten bas, kuarta i tamb.
Kiermen tur e instrumntnan ta komplement otro den un
poliritmo, hasiendo e se riku na musikalidat i akoplamentu.
d. Prekoushon na momentu ku ta aad instrumntnan
meldiko.
Pa no desvia di e ritmo di se na momentu ku aad
instrumntnan meldiko mester tene kuenta ku e areglo i e
komposishon. Si bo kompon algu ku tin un melodia di ritmo
kombin f bo aregl algu ku tin brek di tumba f ritmo kombin aden, bo ta saka e se for di su kuadro.
Ademas, si bo aregl un se ku muchu kambio meldiko den
dje, f bo kompon un kantika ku muchu kambio di koro,
estribio i diferente elemento ku ta bin kisas di tumba f
ritmo kombin, bo a kambia e se.

E se mester keda ku su karakter kaminda por hasi distinshon

kla entre e parti habr i e parti ser, esaki ta konta tantu pa e
sekshon di melodia komo e sekshon rtmiko.
e. Funshon di bas i kuarta
Pa bas ku kuarta kana huntu ku e patronchi di se ta simpel;
kuarta ta toka zuai di agan i bas ta toka un zuai di kachu. Esaki
ta e base rtmiko.
Ku otro palabra, bas ta tuma funshon di kachu i kuarta ta tuma
funshon di chapi i agan. Aparte di esei ta un kuestion di sintimentu (feeling). E por ta zona supersial, pero echo ta ku bo
mester sinti e ritmo pa e se por mara.
Bo mester por wapa riba kada un di e instrumntnan ak
separ; wapa riba ray di e kuarta, riba kan di e bas, riba
kadans di e kachunan, riba patronchi di e chapinan i rtmo di e
tamb.
Den mi konsepto no tin lmite meldiko ni rtmiko pa bas i
kuarta den se. Por hasi hopi ku kurd, basta e ta mara i forma
un totalidat harmonioso sin desvia for di esensia di se.
Rendel Rosalia
Direktor Musikal

E kos primordial pa tene kuenta kun ta e manera di kompon i aregl un se. Tene bo mes na patronchi rtmiko di
se i patronchi meldiko ku ta kuadra ku se. Desvia for di
esaki solamente ku e meta pa krea variashon musikal ku ta
fungi komo adorno den e se, manera parada, brek, kambio
di ritmo i uso di lianan meldiko adishonal. E kambionan
ak mester keda den minoria kompar ku sobr parti esensial
di se.

H P A 10 aa

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H P A 10 aa

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