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Guía Didáctica Para El Acompañamiento Del Son Cubano En La Guitarra

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Guía Didáctica Para El Acompañamiento Del Son Cubano En La Guitarra Guía didáctica para el acompañamiento del son cubano en la guitarra Monografía presentada para obtener el título de: Licenciado en Música Salomón Ochoa Gracia Código: 2014175026 Asesor: Marius Díaz Moreno Universidad Pedagógica Nacional Departamento De Educación Musical Facultad de Bellas Artes Licenciatura En Música Bogotá D. C. 2020 Resumen El presente trabajo toma como punto de partida el estudio del son cubano, centrándose en los elementos caracterizadores de esta música, especialmente los que conciernen a la guitarra. Sin embargo, también son abordadas algunas visiones musicológicas relevantes dentro del género así como el componente histórico. Por otra parte se realiza el análisis de piezas musicales interpretadas en guitarra las cuales son presentadas junto a su respectiva transcripción. El trabajo concluye con la presentación de una guía didáctica del son cubano aplicada a la guitarra, la cual aborda todos los elementos expuestos durante el desarrollo de la monografía. Abstract This work takes as a starting point the study of the Cuban son, focusing on the characteristic elements of this music, especially those that concern the guitar. However, some relevant musicological visions within the genre are also addressed, as well as the historical component. On the other hand, the analysis of musical pieces performed on guitar is performed, which are presented together with their respective transcription. The work concludes with the presentation of a didactic guide of the Cuban son applied to the guitar, which addresses all the elements exposed during the development of the monograph. Tabla de Contenido INTRODUCCIÓN .............................................................................................................. 1 1. ASPECTOS GENERALES DE LA INVESTIGACIÓN 4 1.1 Descripción del problema ............................................................................................. 4 1.2 Pregunta de investigación ............................................................................................ 6 1.3 Antecedentes ................................................................................................................ 6 1.4 Justificación .................................................................................................................. 9 1.5 Objetivos ..................................................................................................................... 10 1.5.1 Objetivo general ................................................................................................... 10 1.5.2 Objetivos específicos............................................................................................ 10 2. EL SON CUBANO Y LA GUITARRA 10 2.1 El son cubano .............................................................................................................. 10 2.1.1 Orígenes ............................................................................................................... 10 2.1.2 Definiendo al son ................................................................................................. 19 2.1.3 Las claves rítmicas en el Son ............................................................................... 26 2.1.4 Híbridos ................................................................................................................ 32 2.2 Elementos tecno-estilísticos de la guitarra acompañante en el son ............................ 35 3. METODOLOGÍA 50 3.1 Metodología empleada ................................................................................................ 50 3.1.1 Enfoque cualitativo .............................................................................................. 50 3.1.2 Investigación descriptiva ...................................................................................... 51 3.1.3 Población (muestra).............................................................................................. 51 3.1.4 Instrumentos de indagación .................................................................................. 53 3.3.5 Ruta metodológica................................................................................................ 54 3.2 Desarrollo de la ruta metodológica ............................................................................. 56 3.2.1 Recopilación y triangulación de datos ................................................................. 56 3.2.2 Transcripción y análisis musical .......................................................................... 57 3.2.3 Elaboración a de la guía ....................................................................................... 98 3.2.4 Aplicación de la guía .......................................................................................... 102 3.2.5 Ajustes ................................................................................................................ 108 4. CONCLUSIONES………..……………………………………………………………110 5. REFERENCIAS………….…………………………………………………………….112 6. GUÍA DIDACTICA …..……………………………………………………………….117 ANEXOS……..……………………………………………………....…………………..207 Tabla de ilustraciones Ilustración 1. Patrones recíprocos ..................................................................................................... 27 Ilustración 2. Clave de Son ............................................................................................................... 28 Ilustración 3. Clave de Son 3-2 ......................................................................................................... 29 Ilustración 4. Clave de Son 2-3 ......................................................................................................... 29 Ilustración 5. El manisero.................................................................................................................. 30 Ilustración 6. Son de la loma ............................................................................................................. 31 Ilustración 7. Patrones del tresillo y el bajo ...................................................................................... 31 Ilustración 8. Cinquillo con compás complementario ....................................................................... 32 Ilustración 9. Anticipación armónica en 2/2 ..................................................................................... 37 Ilustración 10. Anticipación armónica en 2/4 ................................................................................... 37 Ilustración 11. Rayado tradicional .................................................................................................... 38 Ilustración 12. Rayado tradicional 2 ................................................................................................. 39 Ilustración 13. Ejemplo Rafael Cueto ............................................................................................... 40 Ilustración 14. Ejemplo Rafael Cueto con anticipación .................................................................... 41 Ilustración 15 Rafael Cueto Variación .............................................................................................. 41 Ilustración 16 Bordoneo para tango .................................................................................................. 42 Ilustración 17. Bordoneo de trova ..................................................................................................... 43 Ilustración 18. Acompañamiento de Son con un bajo ....................................................................... 43 Ilustración 19. Bordoneo de Son 1 .................................................................................................... 44 Ilustración 20. Bordoneo de Son 2 .................................................................................................... 44 Ilustración 21. Tumbao de bajo 1 ...................................................................................................... 46 Ilustración 22. Tumbao de bajo 2 ...................................................................................................... 47 Ilustración 23 Tumbao para tres 1, tipo nengón ................................................................................ 48 Ilustración 24. Tumbao para tres 2 .................................................................................................... 48 Ilustración 25. Tumbao para tres 3 .................................................................................................... 48 Ilustración 26. Tumbao tipo nengón con bajo y clave ...................................................................... 49 Ilustración 27. Para mi Cuba canto, primera progresión ................................................................... 60 Ilustración 28. Para mi Cuba canto, variación sobre primera progresión ......................................... 60 Ilustración 29. Cadencia Frigia en Em .............................................................................................. 61 Ilustración 30. Aproximaciones cromáticas ...................................................................................... 62 Ilustración 31. Arpegio en final de frase ........................................................................................... 62 Ilustración 32. Cadencia frigia en Dm .............................................................................................. 63 Ilustración 33. Dame la mano, Progresión armónica .......................................................................
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