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===Beats=== |
===Beats=== |
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There are two distinctive types of [[beat (music)|beat]]s used on the txalaparta: the [[bikoa]] and the [[herrena]]. The former represents the balance (two beats of one of the players), while the latter names the person that tries other combinations that break it or twist it. However, the person playing the regularity can become a balance-breaker, so triggering an argument between both sides of the performance that struggle to restore the balance. |
There are two distinctive types of [[beat (music)|beat]]s used on the txalaparta: the [[bikoa]] and the [[herrena]]. The former represents the balance (two beats of one of the players), while the latter names the person that tries other combinations that break it or twist it ("herrena" means lame). However, the person playing the regularity can nowadays become a balance-breaker, so triggering an argument between both sides of the performance that struggle to restore the balance. |
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The basics of txalaparta is quite simple as regards the rhythm. Within a binary scheme the player's choice was originally to play |
The basics of txalaparta is quite simple as regards the rhythm. Within a binary scheme the player's choice was originally to play |
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two beats each with a different stick, a single beat or none. When no beat is played on the boards, it is called "hutsunea" (rest), |
two beats each with a different stick, a single beat or none. When no beat is played on the boards, it is called "hutsunea" (rest), |
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or it can be played once, and if the performer opts to strike all two possible beats, then it is "ttakuna", named |
or it can be played once, and if the performer opts to strike all two possible beats, then it is "ttakuna", named after the two onomatopoeic sounds emitted. These choices apply currently to both players, with the second one taking his turn after the first player has intervened and over again. |
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after the two onomatopoeic sounds emitted. These choices apply nowadays to both players, with the second one taking his turn after |
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the first player has intervened and over and over again. |
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[[Image:Two_txalaparta_players_at_a_performance_in_a_fiesta.jpg|thumb|Two txalapartaris playing at a public performance in a fiesta]] |
[[Image:Two_txalaparta_players_at_a_performance_in_a_fiesta.jpg|thumb|Two txalapartaris playing at a public performance in a fiesta]] |
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farmhouses it was confined to over to wider Basque cultural circles, the txalaparta evolved into more |
farmhouses it was confined to over to wider Basque cultural circles, the txalaparta evolved into more |
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sophisticated rhythms and combinations, such as the ternary pattern. In that pattern, each player may use their own time lapse |
sophisticated rhythms and combinations, such as the ternary pattern. In that pattern, each player may use their own time lapse |
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to play three even strikes on the boards ("ttanttakuna"), or any other combination available, eg strike - rest - strike, strike - rest- rest, etc. As for the order of the hands, the first and the third beat may usually be struck with the same stick, so creating a pendulum like, come-and-go motion with the arms. |
to play three even strikes on the boards ("ttanttakuna"), or any other combination available, eg strike - rest - strike, strike - rest- rest, etc. (a sort of 6/8 time). As for the order of the hands, the first and the third beat may usually be struck with the same stick, so creating a pendulum like, come-and-go motion with the arms. |
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Starting out from those two schemes, all other modalities have developed, eg fours (four possible even beats |
Starting out from those two schemes, all other modalities have developed, eg fours (four possible even beats |
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per each player, which may be described as four semiquavers |
per each player, which may be described as four semiquavers in 2/4 time) or the so-called Papua pattern, among others, |
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where while sticking to a ternary pattern the players add a fourth strike onto the lapse of time belonging to their mate by |
where while sticking to a ternary pattern the players add a fourth strike onto the lapse of time belonging to their mate by |
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overlapping the latter's first strike, resulting in a stressed beat repeated every turn of a player that conjures up |
overlapping the latter's first strike, resulting in a stressed beat repeated every turn of a player that conjures up |
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Revision as of 22:22, 15 January 2008
The txalaparta (IPA: /tʃalaparta/) is a specialized Basque music device of wood or stone, similar to Romanian toacă. In Basque, zalaparta (with z) means "noise".
Uses
Communication
Originally, the txalaparta was a communication device used by villagers to alert the countryside of a battle (guda in the Basque language), funeral (hileta), celebration (jai), or the making of cider (sagardo) or slaked lime (kare). Some claim that txalaparta has been used this way for millennia; the Romans described hearing rhythmic poundings on wood[citation needed]. What they were hearing might be a defensive rallying call going up through the Pyrenees mountains.
It is worth mentioning that the very similar Romanian toaca or Greek semantron is used as a call for prayer, so less epical interpretations link txalaparta with a common Christian practice before the schism between the Catholic Church and the Eastern Orthodox Church.
During the making of cider, the same board that pressed the apples, was beaten to summon the neighbours.
Music
The txalaparta today is a musical instrument used in Basque music. It is classified as an idiophone (a percussion instrument). In its traditional construction (known as the txalaparta zaharra), the txalaparta is made of pair of long wooden boards held up horizontally on two ends and then beat vertically with special drum sticks, makilak, held in the hands. On the two ends, between the long board and the supports, corn husks are placed for vibration. Music was made using the txalaparta by having one or more performers, known as txalapartariak, txalapartaris, or jotzaileak, produce differing rhythms, playing with wood knots for different tones.
The txalaparta's musical use evolved out of its original use. Traditional txalaparta was almost extinct in the 1950s with a handful of couples of peasants maintaining the tradition. It was then revived by folklorists, such as Jesús and José Antonio Artze from the group Ez dok amairu. Innovators started laboring the boards and assemblying boards to achieve some melody. Other materials were pressed into service. A txalaparta made of stone is known as a harriparta. The boards may be substituted with horizontal metal tubes. Big cardboard tubes can be beaten vertically on the floor. There are even recordings of ice blocks used experimentally by Basque musicians touring on Scandinavia. In 2006, a documentary film, Nömadak Tx, was made highlighting the instrument.
Beats
There are two distinctive types of beats used on the txalaparta: the bikoa and the herrena. The former represents the balance (two beats of one of the players), while the latter names the person that tries other combinations that break it or twist it ("herrena" means lame). However, the person playing the regularity can nowadays become a balance-breaker, so triggering an argument between both sides of the performance that struggle to restore the balance.
The basics of txalaparta is quite simple as regards the rhythm. Within a binary scheme the player's choice was originally to play two beats each with a different stick, a single beat or none. When no beat is played on the boards, it is called "hutsunea" (rest), or it can be played once, and if the performer opts to strike all two possible beats, then it is "ttakuna", named after the two onomatopoeic sounds emitted. These choices apply currently to both players, with the second one taking his turn after the first player has intervened and over again.
Yet the binary pattern belongs to the traditional txalaparta, so when the instrument was carried from the couple of farmhouses it was confined to over to wider Basque cultural circles, the txalaparta evolved into more sophisticated rhythms and combinations, such as the ternary pattern. In that pattern, each player may use their own time lapse to play three even strikes on the boards ("ttanttakuna"), or any other combination available, eg strike - rest - strike, strike - rest- rest, etc. (a sort of 6/8 time). As for the order of the hands, the first and the third beat may usually be struck with the same stick, so creating a pendulum like, come-and-go motion with the arms.
Starting out from those two schemes, all other modalities have developed, eg fours (four possible even beats per each player, which may be described as four semiquavers in 2/4 time) or the so-called Papua pattern, among others, where while sticking to a ternary pattern the players add a fourth strike onto the lapse of time belonging to their mate by overlapping the latter's first strike, resulting in a stressed beat repeated every turn of a player that conjures up a tribal like movement.
Players
The group Oreka TX ("Balance Tx(alaparta)") has txalapartas as their main instrument, combined with trikitixa accordions and other folk instruments. Kepa Junkera has arranged several pieces for them.
External links
- Txalaparta in the Spanish-language Auñamendi Encyclopedia.
- A picture of a txalaparta with makilak
- A picture of the txalaparta being played
- The txalaparta in communication (page from the Wayback Machine)
- The txalaparta @ the Irish World Music Centre
- Txalaparta, site in French, English, Basque and Spanish.
- Nömadak Tx film website
- Txalaparta in the Spanish-language
