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Urraska: Dantza Jauziak Sagasetaren Bidetik a New Interpretation of the Basque Jauziak Dances Collected by Sagaseta

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Urraska: Dantza Jauziak Sagasetaren Bidetik a New Interpretation of the Basque Jauziak Dances Collected by Sagaseta - - jauziak A NEW Sagase CD1 CD2 Sagasetaren jauziak 01 - Ainhoarrak 01 - Lapurtarrak jauziak 4:07 edo/or Baztandarrak Sagasetaren bidetik 02 - Alemanak 8:25 5:12 02 - Marianak jauziak 03 - Antxigorrak 1:41 Sagasetaren bidetik 4:11 03 - Millafrankarrak Dantza 04 - Antxoriz 8:00 2:11 04 - Moneindarrak jauziak 6:05 INTERPRE NEW A bidetik Sagasetaren 05 - Añuar ttipiak Dantza SAGASETa BY COLLECTED DANCES 4:37 05 - Muxikoak Dantza 5:18 Sagasetaren bidetik A NEW INTERPRETATION 06 - Azkaindarrak jauziak 4:11 06 - Orzaiztarrak JAUZIAK DANCES COLLECTED BY SAGASETa Dantza SAGASETa BY COLLECTED DANCES 07 - Gabota 8:38 0:59 07 - OstalerRak jauziak 1:34 08 - Gau-aiñerak JAUZIAK 3:46 08 - Teillagorry Dantza SAGASETa BY COLLECTED DANCES 09 - Grabo 2:47 1:05 09 - Xibandiarrak DANCES COLLECTED BY SAGASETa JAUZIAK 10 - Hegi 6:39 2:35 10 - Xoxuarenak 4:42 JAUZIAK DANCES COLLECTED BY SAGASETa Dantza : 11 - KatalinA Urraska edo/or Atsoarena 11 - Zazpi Jauziak 1:19 3:20 JAUZIAK 12 - Laburrak 12 - Bralea DANCES COLLECTED BY SAGASETa 4:17 9:20 13 - Lapurtar motxak, Dantza jauziak JAUZIAK Lakartarrak & Ahuntza Dantza SAGASETa BY COLLECTED DANCES 6:04 Sagasetaren bidetik JAUZIAK DANCES COLLECTED BY SAGASETa Dantza A NEW INTERPRETATION JAUZIAK OF THE BASQUE JAUZIAK DANCES Collected by Sagaseta Sagasetaren bidetik A NEW INTERPRETATION OF THE BASQUE THE OF INTERPRETATION NEW A bidetik Sagasetaren A NEW INTERPRETATION OF THE BASQUE Aiko Taldea / Center for Basque Studies - University of Nevada, Reno jauziak Sagasetaren bidetik A NEW INTERPRETATION OF THE BASQUE THE OF INTERPRETATION NEW A bidetik Sagasetaren Dantza jauziak BASQUE THE OF INTERPRETATION NEW A bidetik Sagasetaren taren bidetik bidetik A NEW INTERPRETATION OF THE BASQUE A NEW INTERPRETATION OF THE BASQUE BASQUE THE OF INTERPRETATION TATION OF THE BASQUE Aiko Taldea Urraska: Dantza jauziak Sagasetaren bidetik A New Interpretation of the Basque Jauziak Dances Collected by Sagaseta Center for Basque Studies University of Nevada, Reno Reno, Nevada Library of Congress Cataloging-in-Publication Data Bikandi, Sabin. Urraska : a new interpretation of the Basque jauziak dances collected by Sagaseta / text and musical and dance interpretations by Sabin Bikandi Belandia ... [et al.]. p. cm. Includes bibliographical references. Summary: “A new interpretation of the traditional Basque Urraska dancers that were compiled by the musicologist Miguel Angel Sagaseta”--Provided by publisher. 1. Folk dance music--Spain--Valcarlos--History and criticism. 2. Folk dancing--Spain--Valcarlos--History and criticism. I. Sagaseta, Miguel Angel. II. Title. ML3714.B55 2010 781.62’9992--dc22 2010014309 Miguel Angel Sagaseta Ariztegiri Urraska: Dantza jauziak Sagasetaren bidetik A NEW INTERPRETATION OF THE BASQUE JAUZIAK DANCES Collected by Sagaseta - 8 - - 9 - aurkezpena* 10 1. jauziak 12 2. zergatik Miguel angel sagaseta? 18 3. musikaren transkripzioaz oro har 20 4. antzinako danbolindarien sistemaz 24 5. gure transkripzioak 30 6. metronomoa: galtxetabururen azkaindarrak 44 7. perkusioa: danbolina eta danborra 46 8. ANTREXATAK ETA FINI 54 9. OHARRAK 56 10. erreferentziak 66 11. KREDITUAK 70 INtroduction** 76 1. jauziak 78 2. Why Miguel Angel Sagaseta? 84 3. Musical Transcription in General 86 4. The System of the Old Taborers 90 5. Our Transcriptions 96 6. The Metronome:, The Recording of Galtxetaburu s azkaindarrak 110 7. Percussion: Tabor and Drum 112 8. ANTREXATAK ETA FINI 120 9. Notes 122 10. REFERENCES 132 11. CREDITS 136 PARTITURAK / SCORES 140 *Liburuaren edukia frantsesez eta gaztelaniaz aurkitu daiteke PDF bertsioan, DVD gehigarrian. **There are Spanish and French versions of this book in PDF format on the accompanying DVD. - 8 - - 9 - AURKEZPENA - 10 - - 11 - auzien mundura hurbildu nahi duten guztientzat, Miguel Angel Sagasetaren “Danzas de Valcarlos” liburua da oinarrizko erreferentzia. Lehenengoz argitaratu zenetik (1977) hogeita hamar urte baino gehiago igaro diren arren, dantza horien J transkripzioen eta oinarrizko informazio koreografikoaren iturri nagusia da liburu hori gaur egun ere, Euskal Herri osoko musikarientzat eta dantza-maisuentzat. Euskal Herri osokoentzat esan dugu; izan ere, hogeita hamar urteotan jauziak beren ohiko esparruetatik atera eta oraintsura arte guztiz ezezagunak ziren plazetara ere iritsi direlako. Jauzietarako in- teres orokor hori eta hainbat leku eta testuingurutan jauziak ikasteko baliabide pedagogikoen eskaria egon badagoela ikusita, musika- eta dantza-maisu batzuk, jauziak dantzatzeko inongo 1 tradiziorik ez dagoen lekuetakoak, manexak alegia, dantza jauzien interpretazio proposamen hau eratzen eta egiten ausartu gara. - 10 - - 11 - 1. JAUZIAK - 12 - - 13 - iribilean egiten diren dantzak dira jauziak, mutxikoak edo sauts basques deritzenak. Horietan dantzetan, elkar ukitu barik eta biribilaren zentroa erreferentziatzat har- tuta, pauso edo mudantza batzuk egiten dituzte dantzariek, ez beti erabat berdinak B dantza guztietan. Tradizioz, Pirinioen iparraldean egin izan dira dantza horiek: La- purdin, Nafarroa Beherean eta Zuberoan, baita Biarnon eta Nafarroa Garaiko Luzaide herrian ere. Hegoaldean halere, Baztango haranean, badira antzeko dantza batzuk: mutildantzak. Zalantzarik gabe, jauzien senide dira horiek; baina, senidetzat jo arren, argi dago bereizgarri propioak dituztela Baztango horiek jauziekiko. Musika-akonpainamendua Zenbait musika-tresnaren laguntzaz dantzatu izan dira jauziak, bai eta abestu ere. Musika-tresna bat edo beste erabili izan da bai garaiaren, bai modaren edo, gehienetan, bai eskura zeuden musika- rien arabera. Iraganeko denboretan (XVIII. eta XIX. mendeetan), jauziei laguntzen zieten instru- mentuetan, ohikoenen artean, biolin eta ttunttun2 bikotea aipatzen du Güilcher-ek (1984:18-22). Gure inguruko gainerako dantzetan bezala, ttunttunero bakarra aritzea ere ohikoa izaten zen, zela txirula edo txistua eta ttunttuna edo danbolina jotzen, eta, batzuetan, danborrak lagunduta jotzen zuen. XIX. mendetik aurrera, eskusoinua hedatuz joan zen gure artean eta, urteak joan urteak etorri, jauziak jotzeko instrumentu nagusietako bat bilakatu zen hura. Beñat Irigoyen, “Galtxeta- buru”, Gamarteko (Nafarroa Beherea) soinularia dugu erreferente nagusia, hain zuzen ere jauziak jotzeko eskusoinua erabili izan dutenen artean. Eskusoinuaz gain, eta honi lagunduz, haize- eta perkusio-instrumentuz (klarineteak, saxofoiak, tronpetak, tronboiak, etab.) osatutako orkestrak dira gaur egun jauzien ohiko akonpainamendua plazetan eta dantza-taldeen ikuskizunetan. Koreografia Pauso batzuk konbinatuz, puzzle baten antzera osatzen du jauzi bakoitzak bere koreografi- egitura. Bere izena eta egitura propioak dauzka pauso bakoitzak, eta pauso guztiak ezagutzen - 12 - - 13 - dituzte dantzariek. Hartara, dantzariek badakite pauso bakoitza dantzatzen, baita pauso ho- rien hurrenkera edo egitura zein den eta pieza bakoitzaren diskurtso musikalean nola txer- tatzen diren ere, eta baldintza horien arabera interpretatzen dute dantza bakoitza. Pausoen hurrenkera eta musika zehazten dituzten egitura horiek partitura-bilduma batzuen bitartez heldu zaizkigu. Zorionez, partitura horiek orain arte jauziak dantzatzen irakasten ibili diren dantza-maisuekin egiaztatzeko modua izan dugu guk geuk. Eta erabilitako iturriaren arabera, aldaerak aurkitu ditugu jauzien egituran. Jauziak dantzatzeko bi teknika daudela esan daiteke. a) Antrexatak teknika, alegia: jauzi egitean eta perkusioan oinarritua, bakuna edo bikoitza markatzen dena, airean dagoen oina lurra jotzen duen oinarekin joz, Luzaiden eta Garazi inguruan egiten den bezala, eta b) Urraska teknika, zabalduen dagoena. Azken horretan, pausoak esekiduran egiten dira, errit- moa bi pultsazio motarekin markatuz, bata nagusia eta bestea bigarren mailakoa. Musikan beltzek markatzen duten pultsuarekin bat dator “pultsu nagusia”, eta, “bigarren mailako pultsua” da esekiduran edo errebotean egiten dena, pultsu nagusiaren osagarri kontraden- boran, eta kortxeen bidez transkribatu daiteke. Mugimenduen kateamenduak edo pausoak 2, 3, 4, 5 edo 6 pultsaziokoak izan daitezke eta pultsazio horiek dantzarien esekidurekin datoz bat. Dantza egiteko moduari dagokionez, hainbat aldaera daude, faktore batzuen arabera: • Herriaren arabera: pausoak ez dira berdin dantzatzen herri guztietan eta aldaerak pausoak ixteko moduan ageri dira batez ere –baina ez horretan bakarrik–. • Unearen eta lekuaren arabera: ez da berdin dantzatzen jaiegun nagusian herriko plazan eta tabernan, esaterako. Lehenengoan taldeak pisu handiagoa dauka; bigarrenean, berriz, neurri bateko inprobisaziorako eta jolaserako bidea dago. • Dantzariaren trebetasunaren arabera: dantzariak apaindurak gehitu diezazkieke aurretiaz finkatuta dauden pausoei, sistemak ezarritako mugen barruan, batez ere jauziek tradizio luzea duten herrietan, Luzaiden esaterako. - 14 - - 15 - Pausoak izendatzeko sistema Iraganean, jauzi laburren pausoen izenak ez ziren kantatzen edo markatzen plazan; zailenak bakarrik esaten zituen dantza-maisuak edo dantzan parte hartzen zuen dantzariren batek. Dena dela, merezimendu handitzat hartzen zen osorik buruz egitea dantza jauzi korapilatsu bat. Gaur egun, jauzien pausoak markatzea edo altuan esatea da ohikoena; gure iritziz, dantzaren ikuspegi osoa ematen dio jauzia buruz ikasteak dantzariari, pausoen kateamen- dua ulertzen eta hobeto egiten laguntzen dio eta musikaz gozatzeko modua bideratzen du. Hori dela eta, musikaren bertsio bat pausoak markatu gabe grabatu dugu (CDetan dagoena) eta beste bat pausoak markatuta (DVDaren gehigarrian, MP3 formatoan). Gainera, horren guztiaren
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