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.
