Análisis Morfológico de la Obra Patas D’hilo en Versión para Grupo de Cámara de Saxofones.

Abstract

Colombian Andean music has been influenced by various musical currents, the result of the construction of social, political and cultural elements. Although an exact date cannot be established, genres such as the bambuco and the corridor were derived from the Spanish mazurka introduced during the conquest and the colony. Torrenegra (2020) states that while the hallway was the dance of the elites, the bambuco was performed in a mixed rhythm frowned upon by them. Initially, the hall was played with the Spanish guitar, but native instruments such as the tiple and the bandola were developed. Since the 20th century, more specifically between the 50s and 60s, Colombian Andean music has incorporated modern harmonies thanks to pioneers such as Johnny Pacheco, Hernán Darío Gutiérrez and others, who have explored new possibilities from the saxophone, introducing dialogues between alto saxophones, tenors and baritones in a non-traditional way. The analysis of this proposal focuses on the work "Patas D'hilo" by Carlos Vieco Ortiz, especially in the version for saxophone quintet made by Hernán Darío Gutiérrez. Although the original work was created at the beginning of the 20th century for a Colombian Andean trio, over time more complex harmonic elements have been incorporated, influenced by jazz. A detailed analysis of this work will be carried out, highlighting it as a significant example of Colombian nationalist music that has managed to fuse traditional elements with contemporary innovations.