The evolutionary process that has lived llanera harp music in Venezuela dates from the eighteenth century, when the harp came with the Spanish and passed into the hands of Creoles, Indians and blacks. From this period we have some historical and ethnographic references which basically put us in the social context in which this music was performed. By reference to historians such as Benjamin Yepez *, we know that in te eighteenth century various types of dances performed in Spanish and European origin and is now running passages hit and run. But only from te moment that begins te realization of recordings and discography have a palpable sound document on which to develop a historical study of musical evolution llanera harp and differentiation of styles and trends from that time until today .- Importance of te recordings to establish te history of Joropo as a form of writing, te way of jazz. Joropo te History of Jazz te way, is written in te discography, from te first recordings and oral memories we have of him since 1942 when they move in te first records of Ignacio Indio Figueredo, Alfredo Penta, Omar Moreno, Armando Guerrero, Nerys Torrealba or instrumental parts accompanying singers as Angel Custodio Loyola, Eneas Perdomo, Jose "Catire" Carpio, Jesus Moreno, Francisco Montoya, Pedro Rodriguez, Juan del Campo, José Vicente Rojas, Pedro Emilio Sanchez, etc. Since then we can see both musically and business process that has been spent with this music. te Joropo much as te Jazz has been a music that was recorded and transformed in a rural to an urban form, te way te blues, which, being originally a peasant singing with ancestral roots in music and slave labor, then led to comment and a form of highly complex musical variation. te Joropo starts then as a country music, of peasant origin, performed and danced at family parties, picnics and parochial. te Joropo is an expression of popular art in constant evolution, involving poetry, song, music and dance in a language of creativity or improvisation on established structures and determining parameters of style. te Plainsman Joropo is circumscribed in his peasant origins primarily to te region between te Andean piedmont of Colombia, from Villavicencio and te plains of San Martín, covering te departments of Meta, Vichada, Arauca and Casanare in Colombia to te states of Apure, Guarico, Cojedes, Barinas and Portuguesa in Venezuela, that is, all te central basin of te Orinoco. However it is notable recent development and dissemination of this music to other regions. te usual basic instrumentation is classic trio of harp or mandolin (considered "major instruments"), four and maracas, plus te recent addition of electric bass to set Plainsman. te Joropo (or "Guafa" as they say in Llano), is characterized by a fixed system of formal structures, crystallized throughout history from traditional songs and dances that were erected in musical forms, to give their melodic space variants in te letter, or lose te letter to become purely instrumental forms. te constant development and improvisation of different figural or variations of melodic and accompanying material is an essential feature of Joropo. Both te instrumental record and te vocal, we can observe te continuing creativity of musicianste balladeers improvise verses in different rhymes on melodic patterns often preexisting telling historical events or customs, or referring to events and people at te party, te instrumentalists in turn provide significant variants to te established patterns, inventing new expressive gestures in a relentless pursuit of sounds that transcend te boundaries of what traditionally known. We can say that te structural forms that set history as te basis for te development of a high art of improvisation and instrumental and vocal variation. This way of improvising is framed by stylistic parameters changing, but there are basic articulations of language that are unchanged since te backbone of te operation and definition of structures. te Blow octosyllabic carry letters which tends to highlight te ethos and warrior challenging llaneros: from te "mighty haughty, heroic, te patriotic, tradition, love of te soil and roots, te defense of identity, or regional folkloric elements such as names of animals or plants characteristics, to te epic and brotherhood Bolivarian colombo-venezolana. te theme of his letters refers to te country life, te duties of te Plainsman, te labors of te work, te vigor of men grappling with te elements of nature and te harshness llanera survival, landscapes, even te smells of field are topics of songs, but also highlights te regional element, pride and love for their land and their identity llanera, te desire to preserve their distinct and in some ballads, popular epic themes, from musical heroes (Quirpa ) to historical heroes (Dumar Aljure).In te passages are more frequent amorous or pastoral themes nostalgic spirit of te Plainsman. This will cut illustrating folkloric music, regionalist, descriptive of te Llanos region and its inhabitants. With te advent of discography, te music arrives in Caracas, brought by Antonio Estevez, Freddy Espinoza Reynaldo Reyna and who "found" Ignacio Figueredo, recognized their value and spread. While he in turn learned from his father, Francisco Pancho Lopez, who probably came from an endless string of musicians and traditions, Figueredo Injun made te first recordings where they begin to establish and define te main Blows llaneros, such as te Chipola, te Kirpa, te Gabon, six right, six Numbering, te Bird, te Hawk, Carnival, Guacharaca te Periquera, San Rafael, Zumba and Zumba was also a composer of many passages, among te best known "Black Guava", "te Caujaritos", "La India Maria Laya", "Diamonds", etc.. te "Indio Figueredo" is so to speak, te "missing link" that connects us with that part of te musical history of llanera harp in Venezuela, which we have no sound or references written in musical notation, but mere historical data and ethnography.

TRADUCTION

The evolutionary process that has lived llanera harp music in Venezuela dates from the eighteenth century, when the harp came with the Spanish and passed into the hands of Creoles, Indians and blacks. From this period we have some historical and ethnographic references which basically put us in the social context in which this music was performed. By reference to historians such as Benjamin Yepez *, we know that in te eighteenth century various types of dances performed in Spanish and European origin and is now running passages hit and run. But only from te moment that begins te realization of recordings and discography have a palpable sound document on which to develop a historical study of musical evolution llanera harp and differentiation of styles and trends from that time until today .- Importance of te recordings to establish te history of Joropo as a form of writing, te way of jazz. Joropo te History of Jazz te way, is written in te discography, from te first recordings and oral memories we have of him since 1942 when they move in te first records of Ignacio Indio Figueredo, Alfredo Penta, Omar Moreno, Armando Guerrero, Nerys Torrealba or instrumental parts accompanying singers as Angel Custodio Loyola, Eneas Perdomo, Jose "Catire" Carpio, Jesus Moreno, Francisco Montoya, Pedro Rodriguez, Juan del Campo, José Vicente Rojas, Pedro Emilio Sanchez, etc. Since then we can see both musically and business process that has been spent with this music. te Joropo much as te Jazz has been a music that was recorded and transformed in a rural to an urban form, te way te blues, which, being originally a peasant singing with ancestral roots in music and slave labor, then led to comment and a form of highly complex musical variation. te Joropo starts then as a country music, of peasant origin, performed and danced at family parties, picnics and parochial. te Joropo is an expression of popular art in constant evolution, involving poetry, song, music and dance in a language of creativity or improvisation on established structures and determining parameters of style. te Plainsman Joropo is circumscribed in his peasant origins primarily to te region between te Andean piedmont of Colombia, from Villavicencio and te plains of San Martín, covering te departments of Meta, Vichada, Arauca and Casanare in Colombia to te states of Apure, Guarico, Cojedes, Barinas and Portuguesa in Venezuela, that is, all te central basin of te Orinoco. However it is notable recent development and dissemination of this music to other regions. te usual basic instrumentation is classic trio of harp or mandolin (considered "major instruments"), four and maracas, plus te recent addition of electric bass to set Plainsman. te Joropo (or "Guafa" as they say in Llano), is characterized by a fixed system of formal structures, crystallized throughout history from traditional songs and dances that were erected in musical forms, to give their melodic space variants in te letter, or lose te letter to become purely instrumental forms. te constant development and improvisation of different figural or variations of melodic and accompanying material is an essential feature of Joropo. Both te instrumental record and te vocal, we can observe te continuing creativity of musicians

te balladeers improvise verses in different rhymes on melodic patterns often preexisting telling historical events or customs, or referring to events and people at te party, te instrumentalists in turn provide significant variants to te established patterns, inventing new expressive gestures in a relentless pursuit of sounds that transcend te boundaries of what traditionally known. We can say that te structural forms that set history as te basis for te development of a high art of improvisation and instrumental and vocal variation. This way of improvising is framed by stylistic parameters changing, but there are basic articulations of language that are unchanged since te backbone of te operation and definition of structures. te Blow octosyllabic carry letters which tends to highlight te ethos and warrior challenging llaneros: from te "mighty haughty, heroic, te patriotic, tradition, love of te soil and roots, te defense of identity, or regional folkloric elements such as names of animals or plants characteristics, to te epic and brotherhood Bolivarian colombo-venezolana. te theme of his letters refers to te country life, te duties of te Plainsman, te labors of te work, te vigor of men grappling with te elements of nature and te harshness llanera survival, landscapes, even te smells of field are topics of songs, but also highlights te regional element, pride and love for their land and their identity llanera, te desire to preserve their distinct and in some ballads, popular epic themes, from musical heroes (Quirpa ) to historical heroes (Dumar Aljure).

In te passages are more frequent amorous or pastoral themes nostalgic spirit of te Plainsman. This will cut illustrating folkloric music, regionalist, descriptive of te Llanos region and its inhabitants. With te advent of discography, te music arrives in Caracas, brought by Antonio Estevez, Freddy Espinoza Reynaldo Reyna and who "found" Ignacio Figueredo, recognized their value and spread. While he in turn learned from his father, Francisco Pancho Lopez, who probably came from an endless string of musicians and traditions, Figueredo Injun made te first recordings where they begin to establish and define te main Blows llaneros, such as te Chipola, te Kirpa, te Gabon, six right, six Numbering, te Bird, te Hawk, Carnival, Guacharaca te Periquera, San Rafael, Zumba and Zumba was also a composer of many passages, among te best known "Black Guava", "te Caujaritos", "La India Maria Laya", "Diamonds", etc.. te "Indio Figueredo" is so to speak, te "missing link" that connects us with that part of te musical history of llanera harp in Venezuela, which we have no sound or references written in musical notation, but mere historical data and ethnography.

El proceso evolutivo que ha vivido la música del arpa llanera en Venezuela data desde el siglo XVIII, época en que el arpa llegó con los españoles y pasó a manos de criollos, indios y negros. De esta época tenemos algunas referencias históricas y etnográficas que nos sitúan básicamente en el contexto social en que fue ejecutada esta música. Por referencia de algunos historiadores tales como Benjamín Yépez*, sabemos que en el siglo XVIII se ejecutaban diversos tipos de danzas de procedencia española y europea y que actualmente se ejecutan pasajes, golpes y corridos. Sinembargo sólo a partir del momento en que se inicia la realización de grabaciones y discografía tenemos un documento sonoro palpable sobre el cual elaborar un estudio histórico de la evolución musical del arpa llanera así como una diferenciación de estilos y tendencias desde aquel entonces hasta nuestros días.-Importancia de las grabaciones para establecer la Historia del Joropo como una forma de escritura, a la manera del Jazz.La Historia del Joropo a la manera del Jazz, se encuentra escrita en la discografía, desde las primeras grabaciones y la memoria oral que tenemos de él desde 1942 cuando empiezan a salir los primeros discos de Ignacio Indio Figueredo, Alfredo Tenepe, Omar Moreno, Armando Guerrero, Nerys Torrealba en piezas instrumentales ó acompañando a cantadores como Angel Custodio Loyola, Eneas Perdomo, José “Catire” Carpio, Jesús Moreno, Francisco Montoya, Pedro Rodríguez, Juan del Campo, José Vicente Rojas, Pedro Emilio Sánchez, etc. Desde entonces podemos ver el proceso tanto musical como comercial que ha ido transcurriendo con esta música. El Joropo tanto como el Jazz ha sido una música que se grabó y se transformó de una forma rural a una forma urbana, a la manera del blues, que siendo originalmente un canto campesino con raíces ancestrales en música de trabajo y de esclavos, derivó luego hacia un comentario y una forma de variación de alta complejidad musical.El Joropo se inicia entonces como una música rural, de origen campesino, ejecutado y bailado en fiestas familiares, campestres y pueblerinas. El Joropo es una expresión de arte popular en permanente evolución, que involucra poesía, canto, música y danza en un sistema ó lenguaje de creatividad improvisatoria sobre estructuras establecidas y parámetros determinantes de estilo.El Joropo llanero está circunscrito en sus orígenes campesinos básicamente a la región comprendida entre el piedemonte andino de Colombia, desde Villavicencio y las llanuras de San Martín, abarcando los departamentos del Meta, Vichada, Casanare y Arauca en Colombia, hasta los Estados de Apure, Guárico, Cojedes, Barinas y Portuguesa en Venezuela, es decir, toda la cuenca central del Orinoco. Sinembargo es notable el reciente desarrollo y difusión de esta música hacia otras regiones.La instrumentación básica habitual es el clásico trío de arpa ó bandola (considerados como “instrumentos mayores”), cuatro y maracas, además de la reciente incorporación del bajo eléctrico al conjunto llanero. El Joropo (ó “Guafa” como dicen los llaneros), se caracteriza por un sistema de estructuras formales fijas, cristalizadas a lo largo de la historia a partir de canciones y danzas tradicionales que se erigieron en formas musicales, al ceder su espacio melódico a variantes en la letra, o al perder la letra para convertirse en formas puramente instrumentales. El desarrollo constante y la improvisación de diferentes figurajes o variantes del material melódico y acompañante es una característica esencial del Joropo. Tanto en el registro instrumental como en el vocal, podemos observar la creatividad permanente de los músicos.

Los copleros improvisan versos en rimas diferentes sobre modelos melódicos casi siempre preexistentes, contando sucesos históricos ó costumbristas, o refiriéndose a eventos y personas de la fiesta; los instrumentistas a su vez aportan variantes más significativas a los patrones establecidos, inventando nuevos gestos expresivos en una incesante búsqueda de sonoridades que trasciendan las fronteras de lo conocido tradicionalmente. Podemos decir que las formas estructurales que la Historia fijó, sirven de base para el desarrollo de un gran arte de la improvisación y de la variación instrumental y vocal. Esta manera de improvisar se ve enmarcada por parámetros estilísticos en constante evolución, pero existen articulaciones básicas del lenguaje que son invariables, pues constituyen los fundamentos del funcionamiento y definición de las estructuras. Los Golpes llevan letras en versos octosílabos donde se suele destacar el ”ethos” desafiante y guerrero de los llaneros: desde lo “recio altanero”, lo heroico, lo patriótico, la tradición, el amor a la tierra y las raíces, la defensa de la identidad, los elementos costumbristas o regionales como nombres de animales o de plantas características, hasta la épica bolivariana y la hermandad colombo-venezolana.La temática de sus letras hace alusión a la vida del campo, los quehaceres del llanero, las faenas del trabajo, la reciedumbre de los hombres enfrentados a los elementos de la naturaleza llanera y a la crudeza de la supervivencia, los paisajes, hasta los aromas del campo son temas de canciones, pero también se destaca el elemento regionalista, el orgullo y el amor por su tierra y su identidad llanera, el deseo de preservación de su idiosincracia y en algunos corridos, temas de la épica popular, desde héroes musicales (Quirpa) hasta héroes históricos (Dumar Aljure).

En los pasajes son más frecuentes los temas bucólicos amorosos o de espíritu nostálgico de lo llanero.Esto va ejemplificando una música de corte costumbrista, regionalista, descriptiva de las regiones llaneras y sus habitantes.Con el advenimiento de la discografía, esta música llega a Caracas, traída por Antonio Estévez, Freddy Reyna y Reynaldo Espinoza quienes “encontraron” a Ignacio Figueredo, reconocieron su valor y lo difundieron. Si bien, él a su vez aprendió de su padre Francisco Pancho López, quien también procedía probablemente de una interminable cadena de músicos y de tradiciones, el Indio Figueredo realizó las primeras grabaciones donde se empiezan a establecer y definir los principales Golpes llaneros, tales como la Chipola, la Kirpa, el Gabán, el Seis por Derecho, el Seis por Numeración, el Pajarillo, el Gavilán, el Carnaval, la Guacharaca, la Periquera, el San Rafael, el Zumba que Zumba y también fue compositor de innumerables Pasajes, entre los más conocidos “Guayabo Negro”, “Los Caujaritos”, “La India Maria Laya”, “Los Diamantes”, etc.El “Indio Figueredo” constituye por así decirlo, el “eslabón perdido” que nos une con aquella parte de la historia musical del arpa llanera en Venezuela, de la cual ya no tenemos referencias sonoras ni escritas en notación musical, sino meros datos históricos y etnográficos.