Lauro: Seis Por Derecho

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Lauro: Seis Por Derecho

Postby Rocket88 » Wed Mar 18, 2009 2:42 pm

One of my favorite Lauro pieces. Can anyone tell me what the title is supposed to mean?
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Re: Lauro: Seis Por Derecho

Postby Vito Simplicio » Wed Mar 18, 2009 2:59 pm

Rocket88 wrote:One of my favorite Lauro pieces. Can anyone tell me what the title is supposed to mean?


Don't know but I used Goggle translator and came up with, "Six By Right?"
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Re: Lauro: Seis Por Derecho

Postby Rocket88 » Wed Mar 18, 2009 3:18 pm

Simplicio wrote:
Rocket88 wrote:One of my favorite Lauro pieces. Can anyone tell me what the title is supposed to mean?


Don't know but I used Goggle translator and came up with, "Six By Right?"


I know that, but I can't help but feel that it's lost something in the translation.
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Re: Lauro: Seis Por Derecho

Postby llebron » Wed Mar 18, 2009 4:52 pm

A "Seis" is a dance. It is called that because it involves six pairs of dancers. A "Seis por derecho" is a specific variation of the "Seis". Also known a a joropo.
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Re: Lauro: Seis Por Derecho

Postby Rocket88 » Wed Mar 18, 2009 7:35 pm

llebron wrote:A "Seis" is a dance. It is called that because it involves six pairs of dancers. A "Seis por derecho" is a specific variation of the "Seis". Also known a a joropo.


That makes sense - thanks!
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Re: Lauro: Seis Por Derecho

Postby 60moo » Wed Mar 18, 2009 10:01 pm

Rocket88,

One of my favourites also. I contacted the Venezuelan guy who posted the video of Alirio Diaz playing this piece on YouTube.

He says "Seis Por Derecho" is best translated as "straight six". Maybe this means it is a standard Joropo?

I'm still polishing the piece. Great fun to play, and I've found the trick to getting the right feel is to bring out the rhythm by "playing through the bar lines" in certain sections.

Regards,
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Re: Lauro: Seis Por Derecho

Postby guitar60 » Thu Mar 19, 2009 1:15 am

Correct and
it is a dance in 6/8 time ---hence six is right
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Re: Lauro: Seis Por Derecho

Postby MickeyD » Thu Mar 19, 2009 4:21 am

I like "Straight Six" as a good translation.
When giving directions to someone, "Derecho" means, "Straight ahead."

So Seis Por Derecho would mean something like "in six (6/8 time), straight." The "Seis" probably refers to a dance in 6/8.

*But there´s also a subtle wordplay on the

"6 Strings of the guitar" (Seis) as played by (Por) the Right Hand (Derecho).
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Re: Lauro: Seis Por Derecho

Postby 60moo » Thu Mar 19, 2009 4:38 am

MickeyD - now it's getting interesting. On the title page of the Zanibon edition, it says "Joropo, al estilo del Arpa Venezolana".

Two hands do the plucking on a harp, so maybe you're right. Plucking through the use of the right hand only, Lauro's writing does succeed in emulating the harp.

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Re: Lauro: Seis Por Derecho

Postby Rocket88 » Thu Mar 19, 2009 1:17 pm

60moo wrote:Rocket88,

I'm still polishing the piece. Great fun to play, and I've found the trick to getting the right feel is to bring out the rhythm by "playing through the bar lines" in certain sections.

Regards,
Moo.


Indeed it is. I love how the piece constantly changes from a feeling of 3 to 2 and back again. I've found in working on the piece a metronome is very helpful, playing through the piece using the metronome in 3(3/4) and then again in 2 (6/8). More challanging then you might think.
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Re: Lauro: Seis Por Derecho

Postby 60moo » Thu Mar 19, 2009 1:59 pm

Rocket88 - Out of interest, once you've learnt the piece with a metronome and got it pretty well down pat, will you continue to play it in strict tempo, or introduce tempo rubato so that the dance takes on a life of its own?

Most recorded versions I've heard are rhythmically strict, and even though it's a dance, my own style tends towards stretching and squeezing the pace ever so slightly, with a noticable speeding-up 15 bars from the finish to generate a little extra excitement. It's just that I've never been a metronome type!

Thanks,
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Re: Lauro: Seis Por Derecho

Postby llebron » Thu Mar 19, 2009 2:33 pm

I found this little blurb in Wikipedia
Seis por derecho: a Joropo, subtitled "al estilo del arpa venezolana" ("styled after the Venezuelan harp"), is an extraordinary version of this energetic regional dance. Like the vals venezolano, the joropo makes extensive use of a hemiola, in this case an alternation of 6/8 and ¾. The title of this work comes from the llaneros (inhabitants of the Venezuelan llanos or plains) who approved of its insistent rhythm (6/8 = seis), thus giving it the right (derecho) to be so named.

[url]
http://en.wikipedia.org/wiki/Antonio_Lauro
[/url]
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Re: Lauro: Seis Por Derecho

Postby Rocket88 » Thu Mar 19, 2009 3:24 pm

60moo wrote:Rocket88 - Out of interest, once you've learnt the piece with a metronome and got it pretty well down pat, will you continue to play it in strict tempo, or introduce tempo rubato so that the dance takes on a life of its own?

Most recorded versions I've heard are rhythmically strict, and even though it's a dance, my own style tends towards stretching and squeezing the pace ever so slightly, with a noticable speeding-up 15 bars from the finish to generate a little extra excitement. It's just that I've never been a metronome type!

Thanks,
Moo.


I guess I play it pretty "straight six" (a little title humor!) although I slow down as I approach the repeating sections before bar 71 on my transcription (Diaz/Caroni). I go back to straight time there but build in volume approaching the restatement of the opening flourish. I also like to speed up the final bars before the final ritard at the end.

I love all of Maestro Diaz's works, but this one is my particular favorite.

BTW, Sharon Isbon has a particularly nice recording of it with a percussionist.
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Re: Lauro: Seis Por Derecho

Postby 60moo » Thu Mar 19, 2009 10:19 pm

Rocket88 wrote:...but build in volume approaching the restatement of the opening flourish.

Rocket88 - Same here. It's good to go a little crazy at this point!

On those 'repeating' measures after bar 71, I'm trying to play the notes with super precision in order to create a hypnotic effect.

Another thing in the piece which works really well I've found, is to completely ignore playing the final open D note before commencing the triplets in the home stretch. It allows one to bring forward the first triplet ever so slightly, thus guaranteeing continuity of tempo at the most critical point of the piece.

I also like to bring the 'rit' (near the end) forward a little to the preceeding bar, so I can open up (what was) the 'rit' chord to announce that the end has arrived.

Yes, it's a great piece.

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