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    The Bandoneon: A Practical Guide for Composers
    The Bandoneon: A Practical Guide for Composers
    The Bandoneon: A Practical Guide for Composers
    Ebook123 pages36 minutes

    The Bandoneon: A Practical Guide for Composers

    By Iván Gutierrez Cachullani

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    About this ebook

    As a bandoneon player and composer, I am motivated to create this work in order to encourage the creation of both arrangements and original works of music for bandoneon, both as a solo instrument and as part of chamber music.
    It's important to note that although there have been contributions referring to the use of the bandoneon as part of the typical tango orchestra, these are specific to a particular instrumentation and musical genre.
    Despite being an important instrument in tango music, the bandoneon is not a part of the common orchestral practice. This means that composers and orchestrators are often faced with limitations due to the lack of systematized information about the bandoneon's organology and its combination with other instruments for orchestral use. This lack of information has resulted in a poor and limited production of music for the bandoneon, which is a risk to the present and future of the instrument.
    In this work, we will deal with the bandoneon's acoustic, organological, and idiomatic notation, as well as its acoustic response in different combinations and situations within chamber music.

    LanguageEnglish
    PublisherIván Gutierrez Cachullani
    Release dateMay 28, 2024
    ISBN9798224887149
    The Bandoneon: A Practical Guide for Composers
    Author

    Iván Gutierrez Cachullani

    Ivan Gutierrez Cachullani is a dedicated and passionate professional musician, with more than 10 years of experience performing and researching the bandoneon, focused on promoting its development. He has a BA in composition and a degree in bandoneon performance. As a writer his proposal is to encourage composers, arrangers, performers and students to play and create music of any genre for bandoneon. As a singer and bandoneon player, his premise is to reach the essence and stylistic depth of each musical genre, using the legacy of cultural tradition.

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      Book preview

      The Bandoneon - Iván Gutierrez Cachullani

      ABOUT THE AUTHOR:

      Iván Gutierrez Cachullani holds degrees in bandoneon and composition. Motivated by his passion for composing music for the bandoneon, he has dedicated over ten years to studying the expressive potential and technical capabilities of this instrument. His objective as a composer is to encourage the composition and performance of bandoneon music. Drawing on his cultural heritage as both composer and performer, he strives to convey the spirit and stylistic richness of each genre.

      [email protected]

      http://www.ivangutierrezcachullani.com

      KINDLY SCAN THE QR CODE

      TO DOWNLOAD MULTIMEDIA CONTENT

      INDEX

      ABOUT THE AUTHOR:

      ACKNOWLEDGMENTS

      PREFACE

      PART ONE - THE BANDONEON

      1.  Origin of the Bandoneon

      2.  Organology and Acoustics

      2.1.  Instrument parts

      2.2.  Principle of operation

      2.3.  Tuning

      2.4.  Tessitura

      2.5.  Manuals

      2.6.  Tone qualities

      2.7.  Dynamics

      2.8.  Resultant tones

      3.  Idiomatic notation

      3.1.  Clefs

      3.2.  Bellows opening/closing

      3.3.  Textures

      3.4.  Articulation

      3.5.  Special effects

      SECOND PART - BANDONEON IN CHAMBER MUSIC

      INTRODUCTION

      4.  Stringed Instruments

      4.1.  Violin

      4.2.  Viola

      4.3.  Cello

      5.  Woodwind

      5.1.  Flute

      5.2.  Oboe

      5.3.  Bb Clarinet

      5.4.  Eb Clarinet

      6.  Brass

      6.1.  Bb Trumpet

      6.2.  Trombone

      6.3.  Saxophones

      7.  Orchestration with full ensemble

      7.1.  Uses of the bandoneon in the large orchestra

      CONCLUSIONS

      BIBLIOGRAPHY

      ACKNOWLEDGMENTS

      I would like to express my gratitude to the following people for their support and contributions to this work:

      To my parents, for their unwavering encouragement and support throughout this journey.

      To Jorge Diego Vázquez, for guiding me and pushing me to excel during the research process.

      To Amijai Shalev, for promoting and sharing this work.

      To the musicians who participated in the field tests: Rocío Rojas (violin), Ismael Ahuerma (viola), André Rebuffi (cello), Nicolás Robin and Victoria Cruz (flute), Daniela Guzmán (oboe), Joaquín Zanardi (clarinets), Oscar Ruíz (trumpet), César Viltes (trombone), Diego Núñez (saxophones), and Julián Graciano (guitar). Your time, experience, and professionalism were invaluable.

      To Rodolfo Daluisio, for inspiring me with his love and dedication to the bandoneon.

      To the Fondo Nacional de las Artes, for supporting this project.

      Finally, to the reader: thank you for taking the time to engage with this work. It is through your music that this information will truly come to life.

      To Jorge Diego Vázquez, for pushing me and being a guide during the research process.

      PREFACE

      As a bandoneon player and composer, I am motivated to create this work in order to encourage the creation of both arrangements and original works of music for bandoneon, both as a solo instrument and as part of chamber music.

      It's important to note that although there have been contributions referring to the use of the bandoneon as part of the typical tango orchestra, these are specific to a particular instrumentation and musical genre.

      Despite being an important instrument in tango music, the bandoneon is not a part of the common orchestral practice. This means that composers and orchestrators are often faced with limitations due to the lack of systematized information about the bandoneon's organology and its combination with other instruments for orchestral use. This lack of information has resulted in a poor and limited production of music for the bandoneon, which is a risk to the present and future of the instrument.

      In this work, we will deal with the bandoneon's acoustic, organological, and idiomatic notation, as well as its acoustic response in different combinations and situations within chamber music.

      The objective of this work is to offer organized, relevant, and useful theoretical and practical information for composers, performers, sound engineers, and conductors who are interested in composing, performing, and recording music for the bandoneon as a solo instrument or as part of chamber music. The data presented here can be interpreted and taken as a reference for different types of instrumental ensembles.

      Through this research, I hope to encourage the musical community to explore and contribute to the development of the universal repertoire for the bandoneon, and to further the evolution of this wonderful instrument.

      Salta, Argentina. May 2019.

      PART ONE

      THE BANDONEON

      1. Origin of the Bandoneon

      The Bandoneon, originally called

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