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LOS CAMINOS DEL TIPLE ()O 00 -IJ) • .-U DA VID PUERTA ZULUAGA { )

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LOS CAMINOS DEL TIPLE ()O 00 -IJ) • .-U DA VID PUERTA ZULUAGA { ) ~J q/1 \(J(jJ ~Q_ LOS CAMINOS DEL TIPLE ()o 00 -IJ) • .-u DA VID PUERTA ZULUAGA {_) Obra galardonada en el Cuarto Concurso de H istoria Nacional"Eduardo Santos", Casa Editorial El Tiempo, 1985. EDICIONES AMP lilmML Bogotá, Colombia 1988 - Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. © DAVID PUERTA ZULUAGA PRIMERA EDICION, OCTUBRE DE 1988 ISBN 958-95166-1-0 DIRECCION EDITORIAL: GERMAN PUERTA ZULUAGA FOTOGRAFIAS CARATULA: DIEGO VELASQUEZ COMPOSICION: COMPULASER - R. Ayala IMPRESION: ESTUDIO 3 EDICIONES AMP Calle70A No"-'-'-. 7-18 (602) - Tel. 2554531 Bogotá 2. Colombia Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Esta es la historia de un personaje colombiano, andariego y proletario, con arterias de alambre y corazón de madera. El tiple es hijo de padre desconocido y madre reconocida. Nació en algún lugar de nuestra geografía. Nadie cayó cuenta en cuenta de bautizarlo, darle nombre, posición social, manutención o apoyo. Se distinguió por un apodo. Creció y vivió entre los humildes: mineros, campesinos, arrieros, artesanos. Nunca, durante su infancia, fue invitado a una fiesta de alcurnia. No podía entrar a las casas de la gente bien. Hasta hubo párrocos que lo expulsaron de las iglesias. Pobre, anónimo y humillado, el tiple no se dejó abatir. Por el contrario, continuó creciendo, calando y adentrándose en el alma colectiva. Ayudó a los Comuneros en su grito. Acompaño a los Libertadores en las jornadas de emancipación. El adjetivo que traía como apodo se convirtió en nombre propio. El general Santander lo presentó en sociedad. Y llegó por fin a los encopetados salones, a las exclusivas salas de concierto. Sin abandonar al pueblo, siendo fiel compañero de bodas y funerales, en serenatas y despechos, el tiple se incrustó defmitivamente en la vida de La nación, como símbolo y anclaje de la colombianjdad. Este libro es el recuento, nunca antes narrado, de esa larga peregrinación. El autor pretende que este trabajo expida la cédula de ciudadanía que nunca tuvo el instrumento y adminjstre la confirmación de una presencia todavía activa y vigorosa. Es este el tiempo para hacerlo. No puede prorrogarse la omisión. Después, con el acelerado correr de nuestra deculturización, una tardía historia del tiple no serviría más que como testamento y extremaunción del más genuino patrimonio popular colombiano. DAVID PUERTA ZULUAGA Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Luis Emilio Puerta hubiera querido conocer estas páginas. Pero se fue hace tiempo, con su tiple y voz prodigiosa, a enseñarles bambucos a los ángeles. Ligia Zuluaga -noble antorcha de fe, de amor y de esperanza- me dio la vida, el ejemplo y la actitud. Amelía Mora sabe que por ella se ha hecho todo. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Los pobres forman los versos con sus antiguos dolores. Después vienen los señores con un cuaderno en la mano, copian el canto paisano y presumen de escritores. Atahualpa Yupanqui Tiplecito querido de mis mayores: cuando rasgo tus cuerdas en la montaña me parece que estrujo pulpa de caña en el viejo trapiche de mis amores. En manos de labriegos y trovadores tú alegraste las noches de la cabaña y le contaste al perro que el canto engaña las penas, los trabajos y los dolores. Tus cuerdas son raíces del tinajero, de la rústica troje de aquel sendero que bajaba al remanso de la quebrada. Tiplecito querido: dínos cómo era la estampa del abuelo que en tu madera cantó una raza fuerte y enamorada Jorge Robledo Ortiz Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CONTENIDO PAG. PRESENTACION 15 CAPITULO PRIMERO Teorías sobre el origen del tiple 17 l. Degeneración de la guitarra 19 2. Creación criolla en el siglo diecisiete 20 3. Descendiente dcltimple canario 21 4. Derivado de la chitarra bauente 21 5. Adaptación criolla de la guitarra 21 6. Creación criolla durante el siglo diecinueve 23 CAPITULO SEGUNDO Los cordófonos pulsados en España (Período 1492-1770) 27 A. Laud, vihuela y guitarra hacia el año 1500 29 l. Ellaúd 29 2. La vihuela 30 3. La guitarra 33 B. Vihuela y guitarra, años 1500 - 1578 35 C. Guitarra, años 1578- 1700 44 CAPITULO TERCERO La palabra tiple 51 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CAPITULO CUARTO Los instrumentos musicales en el Nuevo Reino durante la conquista y 61 la colonia (Período 1492- 1700) A. Los primeros instrumentos 63 B. La acción misionera 67 C. Los "tiples" de Tópaga 70 D. Las pinturas de Vásquez Ceballos 76 CAPITULO QUINTO Guitarras y tiples en el siglo dieciocho 79 A. En España 81 B. En la Nueva Granada 83 CAPITULO SEXTO Eltimple canario y la chitarra battcnte 91 A. El timple canario 93 B. La chitarra batiente 100 CAPITULO SEPTIMO El tiple en Colombia a partir de 1800 107 A. La época de la independencia 109 B. El tiple a mediados del siglo diecinueve 111 C. Análisisdel origen del tiple 117 l. Los instrumentos renacentistas en América 117 2. Familia de la vihuela en el Nuevo Reino 118 3. Eltiple 120 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. D. Proceso evolutivo, años 1840 - 1900 122 l. El tiple de cuatro cuerdas 122 2. El tiple de cinco cuerdas 123 3. El tiple de ocho cuerdas, con órdenes pareados 123 E. Proceso evolutivo a partir de 1900 132 F. Resumen cronológico 135 CAPITULO OCTAVO El tiple en la vida nacional 139 A. El ámbito social 141 B. Los intérpretes 147 l. Siglo diecinueve 148 2. Primera mitad del siglo veinte 151 3. Segunda mitad del siglo vei nte 158 C. Conclusión 168 ANEXO# 1 Descripción del tiple colombiano actual 171 Nota General 173 Tiple colombiano actual - Nomenclatura 174 Tiple colombiano actual - Dimensiones típicas 175 Descripción del tiple colombiano actual 173 l. Clasificación 176 2. Especificaciones típicas de construcción 176 3. Encordado 177 4. Afinación 177 5. Modalidades de ejecución 179 6. Instrumentos afines 180 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. ANEX0#2 Tiples de otros países 183 l. España 184 2. Islas Filipinas 185 3. Argentina, Uruguay y Chile 186 4. Bolivia y Perú 187 5. Brasil 188 6. Panamá 188 7. México 188 8. Cuba 189 9. Puerto Rico y República Dominicana 189 10. Venezuela 189 BIBLIOGRAFlA GENERAL 190 AGRADECIMIENTOS 207 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PRESENTACION Entre el tiple y la pandereta Alberto Velásquez Martínez Un paisa, trotamundos y sin complejos -pleonasmo del antioqueño- se echó el tiple a la espalda y se vino, con su música, a esta parle de España. Sólo le faltó llegar con las cotizas y el carriel. Porque además se trajo la ruana. Para cobijarse el cuerpo y el alma. Al fin y al cabo fue desprendida de "capa castellana" como jura y rejura el poeta pereirano Luis Carlos González. Ese paisa, David Puerta, está en Madrid. Templando las doce cuerdas de su tiple. Que son los doce apóstoles mensajeros del código melódico del alma colombiana. Este instrumento musical, es hijo de la guitarra española. Ella es la madre. Vino a buscar la paternidad responsable. Para dejarlo de una vez legalizado. No santificado en pila bautismal porque este sacramento lo tuvo en fondas camineras, empotradas en las derivaciones del los Andes colombianos. David Puerta quiere construir una historia del tiple. No está satisfecho con que esa historia la hagan cada noche a solas, el bambuco y el pasillo, el torbellino o la guabina. Quiere establecer en bibliotecas madrileñas, en archivos sevillanos y catalanes su génesis, se desarrollo, su patente definitiva que no es de corso escudriñando las diferentes teorías que hay sobre este instrumento. Tiple (y hágame un tiple maestro) que nos llevó a despertar a la vida folclórica al mismo tiempo que en nosotros despuntaban, quereres y sentimientos. David es un místico. O un soñador. Se vino por su cuenta y riesgo sin ningún patrocinio oficial a plantar el tiple sobre la piel del toro, imitando a quienes hace menos de medio milenio implantaron con la espada y Ja cruz, en territorio americano, la guitarra. Es la conquista en reversa. Es la conquista musical. Es el pago del corazón a la herencia artística llevada en carabelas. David vendió todo, colgó su "tránsito" y sus "compases" de ingeniero, Presentación 15 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. para venirse abrazado a la curvatura de su caja tiplera. De la misma que se pegaban para superar el naufragio de la rutina, los viejos juglares que arrancaban de Tartarín y de Pelón y se detenian en la trova incomparable del gran Ñito. Para muchos David Puerta se enloqueció. Dejar colgados de la brocha sus ingresos como próspero ingeniero para venirse por su cuenta a enriquecer el patrimonio cultural de Colombia, es una de esas actitudes insólitas. Que no tienen buen recibo en una sociedad egoísta y utilitarista como la nuestra. David está loco. Loco de remate. Se enfermó de locura. Le sucedió lo que al portero del manicomio ... Pero él sonríe. Con una sonrisa de niño travieso. Tiene su meta trazada. Animada por su especial y personal concepción de la vida. De su vida, atada a las cuerdas del tiple. De un instrumento al cual le hacen calle de honor, las castañuelas y las panderetas. David no se vino como serenatero. El es un concertista en la más fiel expresión del vocablo. Se vino a investigar. Se trajo una valija sobre la cual seguramente pagó exceso de equipaje llena de documentos sobre las diversas hipótesis que se han ventilado sobre el origen del tiple.
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