LEONARDO GARCIA FUENZALIDA
Play some of my music!
- Abriendo caminos - Is a medium-up tempo composition based on the urban Andean tinku groove. The rhythmic structure is an 18 beat cycle (6+4+4+4) modulating in B to a 10 beat cycle (6+4) and then in C to a 4/4 meter. The piece was originally conceived to be played by a urban diatonic siku marimacho Panpipe in G.
- Animita - A slow tempo composition structured on a 17 beat cycle divided into 4+5+4+4. Its harmony features suspended chords over a fixed dorian mode in A. It is a good piece for the development of tone and tuning for the Andean diatonic siku Panpipe in G.
- Berenjenimam - Is structured in a slow tempo 7/8 pattern, similar to the Macedonian Ginka Horo, The composition also explores the frontiers between modality and harmony. The sound track (guitar, bass and percussions) starts two beats before the entry of the main theme.
- Boraty - Composition featuring a 9/8 meter structured on a 3+2+2+2 pattern similar to the Turkish çuçek. The piece also concerns the application of harmonic progressions to several makam melodic formulas. It is a quite challenging piece to perform in a live concert.
- Chinita - Medium tempo ballad.
- Daviki - Composition based on a Bulgarian 11/16 meter Kopanitsa. The pattern can be understood as a 7+4 fast tempo structure subdivided as (2+2+3)+2+2. This piece was composed specially as a study for the Bulgarian kaval flute. However it can be also played in a D quena (quenacho), traverse flute or any other instrument fitting on the range.
- Fiesta mapache - Composition for F quena. However it can be played in any instrument fitting into the notes and range of the music. The up tempo rhythmic groove is a reference to the Andean pattern of sambo caporal and the frequent meter changes present an interesting challenge for any rhythmic section.
- Horo-escapade - Structured on a Bulgarian Ruchenitsa seven beat pattern, it is a quite challenging piece to play on a gig. A special attention must be given to phrasing and articulation, avoiding stiff phrasing through fingering ornamentations, as in Bulgarian traditional music.
- Les onze cieux - A composition structured on a 11 beat medium tempo groove of 5+6, being really (3+2)+(3+3), the piece has a also a large space for chorusing. Conceived for a G quena flute, it is quite difficult to perform concerning tuning and phrasing.
- Mémoires de ciel et vent - A three beat groove ballad that transforms into a Argentinian vidala groove in an asymmetric structure. It is a good piece to explore mood changes on a stable low tempo. Rhythm section here includes only the main theme that must start one beat before the entry of the track.
- Montaña colorada - A ballad featuring an interesting work of tuning, phrasing and chorusing on asymmetric structures derived from a conventional 4/4 meter. The rhythm section here includes only the main theme.
- Orient expresso - Is a fast tempo five beat pattern exploring thematic phrases bases on the interval of augmented second characterizing the Turkish Makam Hicaz tetrachord. The composition is a good exercise for memorization and phrasing on long melodic formulas.
- Rats and squirrels - Composition based on a medium up latin pattern that can easily shift from genre (ex. samba or chachacha) depending on the mood. The piece can be understood as a study for G quena with challenging a work on tuning and phrasing. Of course, it can also be performed in any instrument covering the range of the melody.
- Subiendo por la quebrada - Is a composition for diatonic G siku and based on the Andean sambo caporal groove. It is structured on a 14 beat pattern (4+4+4+2) even if in the chorus section it modulates to a 4/4 meter. The rhythm section track here includes only the main theme starting from the introduction section.