Album: The Rare Tunes Collection "From Latin... To Jazz Dance" - Vol. 2
Guajira (Spanish: música guajira [ˈmusika ɣwaˈxiɾa], meaning "country music" in Cuban Spanish) is a musical form which evokes a rural ambience in its texts, instrumentation and style.
In the years around 1900 a style of guajira emerged in association with Cuban music theater, especially as composed by Jorge Anckermann.
This genre had some similarity to the criolla[1] and, to a lesser extent, the punto.[2] It contains bucolic countryside lyrics, rhyming, similar to décima poetry. The music is a mixture of 3/4 and 6/8 rhythms. According to Sánchez de Fuentes, its first section is in a minor key, its second section in a major key.[3]
In general, the songs in this repertoire are no longer well known in Cuba. Hence, for most Cubans, "guajira" connotes a quite different genre that emerged in the 1930s, as a sort of fusion of the son and the guajira, the "guajira-son," in 4/4 time. It resembled the son in rhythm, but presented a rural ethos by foregrounding the guitar (or tres) more than horns, percussion, or piano.
The guajira could be sung by a single musician accompanying himself on guitar (Orovio 1981:227); see trova. The lyrics of the guajira typically extol the beauty of the Cuban countryside and the lifestyle of the guajiros (countryside peasants). (Alén 1994:64).
Guajira (Spanish: música guajira [ˈmusika ɣwaˈxiɾa], meaning "country music" in Cuban Spanish) is a musical form which evokes a rural ambience in its texts, instrumentation and style.
In the years around 1900 a style of guajira emerged in association with Cuban music theater, especially as composed by Jorge Anckermann.
This genre had some similarity to the criolla[1] and, to a lesser extent, the punto.[2] It contains bucolic countryside lyrics, rhyming, similar to décima poetry. The music is a mixture of 3/4 and 6/8 rhythms. According to Sánchez de Fuentes, its first section is in a minor key, its second section in a major key.[3]
In general, the songs in this repertoire are no longer well known in Cuba. Hence, for most Cubans, "guajira" connotes a quite different genre that emerged in the 1930s, as a sort of fusion of the son and the guajira, the "guajira-son," in 4/4 time. It resembled the son in rhythm, but presented a rural ethos by foregrounding the guitar (or tres) more than horns, percussion, or piano.
The guajira could be sung by a single musician accompanying himself on guitar (Orovio 1981:227); see trova. The lyrics of the guajira typically extol the beauty of the Cuban countryside and the lifestyle of the guajiros (countryside peasants). (Alén 1994:64).
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