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People say that with Pasillos of Ecuador, you either fall deeply in love with its haunting melodies or find yourself unmoved. One thing is clear: it leaves an impression you cannot easily shake. Pasillos, are steeped in a profound sense of melancholy, but with a unique flavor that resonates deeply within the Ecuadorian soul. It particularly distinguished by t

reflective nature, often revolving around themes of nostalgia, loss, and yearning for a time or place that can never be reclaimed.

The first time I encountered a Pasillo performance in a quaint café in Quito, I was unfamiliar with both the genre and the nuances of Ecuadorian culture. Yet, the emotive power of the music spoke volumes. At that time, Pasillos were celebrated primarily within Ecuador and among Ecuadorian communities abroad, but they had yet to make a significant impact on the global stage. The genre’s beauty lies in its simplicity and depth—its melodies are gentle, yet they cut through the listener with a poignant sharpness. To truly experience the essence of Pasillos, one must venture to the heart of Ecuador, where the genre originated and continues to thrive. You may find yourself enamored with its wistful strains, even if you initially approach it with reservations.

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Bomba is a traditional musical genre from the Chota Valley region, an Afro-Ecuadorian area located in the province of Imbabura. Its roots trace back to the era of slavery in Ecuador, when African slaves brought rhythms and dances from their homeland. Over time, these elements fused with indigenous and mestizo influences, giving rise to Bomba.

Bomba is characterized by its joyful and vibrant rhythm, marked by the use of drums (especially the bomba drum), maracas, and other percussion instruments. The music is accompanied by energetic and colorful dances, where dancers, often in pairs, move with great dynamism and grace. This musical genre is especially attractive for its ability to spread joy and enliven any gathering or party.

Bomba evokes feelings of joy, celebration, and community. It is music that invites dancing and collective participation, creating a festive and friendly atmosphere. For many, it is a symbol of cultural resistance and preservation, celebrating Afro-Ecuadorian identity and its rich heritage.

Bomba can still be experienced in various localities of the Chota Valley and other Afro-Ecuadorian communities. During local festivals and celebrations, such as the Chota Carnival, it is common to see Bomba group performances. Additionally, in cities like Quito and Ibarra, there are cultural events and gatherings where this musical genre is presented, keeping alive a tradition that is an integral part of Ecuador's cultural heritage.

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SANJUANITO OF ECUADOR by Joseph Rivera

Sanjuanito, a lively and spirited music genre, embodies the indigenous soul of Ecuador. Originating in pre-Columbian times, it has evolved through centuries, blending native Andean rhythms with European influences.

This upbeat music is typically performed with traditional instruments like the quena (Andean flute), rondador (pan flute), and bombo (drum), often accompanied by guitars and violins. Sanjuanito's appeal lies in its infectious rhythm, which compels listeners to dance. It evokes feelings of joy, cultural pride, and connection to Ecuador's indigenous roots.

The music often accompanies festive occasions, particularly the Inti Raymi celebrations. Its lively tempo and repetitive melodies create a sense of community and shared heritage among Ecuadorians.

My personal experience with Sanjuanito was during a visit to Otavalo, a town known for its indigenous market. Street musicians filled the air with the cheerful sounds of Sanjuanito, drawing both locals and tourists into impromptu dances. This music can still be found performed live in many Andean towns, at cultural events, and in some traditional restaurants in cities like Quito and Cuenca.

Sanjuanito continues to be a vital part of Ecuador's cultural landscape, bridging generations and preserving indigenous traditions in a modern context.

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Andean folk music, originating from the Andean highlands, blends ancient indigenous sounds with Spanish influences. It reflects centuries of cultural evolution, rooted in spiritual and communal practices.

Performed with instruments like the pan flute (zampoña), bamboo flute (quena), and charango, Andean folk music features melodic, rhythmic tunes often accompanied by traditional dances. The music creates a rich, harmonious experience.

This music evokes nostalgia and joy, connecting listeners with the Andean landscape and cultural heritage. It often inspires feelings of tranquility and celebration.

You can enjoy Andean folk music at festivals like Inti Raymi in Quito and Cuenca, or at local cultural events and markets throughout Ecuador.

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The marimba is a traditional musical form that has its roots in the Afro-Ecuadorian population, especially in the coastal and Chota region. Originating in Afro-descendant communities that arrived in Ecuador during the colonial era, the marimba is a reflection of the rich African cultural heritage mixed with indigenous and European influences. It has remained alive through generations, passed down from parents to children and preserved as an important expression of Afro-Ecuadorian identity.

The marimba is primarily played with the instrument that bears its name: the marimba, which is a type of xylophone made of wood. This instrument is accompanied by drums, guasá (a kind of rattle), and voices.

The marimba evokes feelings of joy, community, and celebration. It is a music that invites everyone to participate, whether dancing or singing, and is associated with moments of happiness and social togetherness. For the Afro-Ecuadorian community, the marimba is also a manifestation of cultural pride and a way to preserve their history and traditions.

The marimba can be enjoyed live mainly in the province of Esmeraldas and in the Chota Valley, where the tradition is most deeply rooted. At festivities such as the Esmeraldas Carnival, it is common to find marimba performances with musicians and dancers dressed in traditional costumes. I had the opportunity to witness a marimba performance at a cultural festival in Esmeraldas, and it was a vibrant and energizing experience. The music, colors, and energy of the dance created an unforgettable atmosphere, showcasing Ecuador's rich cultural diversity.

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SANJUANITO OF ECUADOR by Jennifer Heredia

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SANJUANITO OF ECUADOR by Jennifer Heredia

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Sanjuanito is a traditional music form from Ecuador with deep roots in indigenous Quechua culture, dating back to pre-Columbian times. This music was originally performed during communal gatherings and rituals to celebrate agricultural cycles and local festivals. It was played using a variety of traditional Andean instruments, such as the charango (a small stringed instrument), the bandolín (a type of lute), and various percussion instruments like drums and bombos. Today, Sanjuanito continues to be a vibrant expression of Ecuadorian cultural heritage, characterized by its lively rhythms and distinctive melodies. Its ability to bring people together in joyful celebration and create a sense of unity and connection to cultural roots makes the music deeply appreciated and evocative of feelings of nostalgia and pride.

Personally, I have had the opportunity to enjoy Sanjuanito at various festivals and community events in Ecuador. One of the most special places to experience this traditional music is at local festivals in towns like Salcedo. There, Sanjuanito is celebrated with vibrant dances and communal gatherings, and it is an experience that truly makes you appreciate the cultural richness and enduring spirit of Ecuadorian traditions.

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The marimba music of Ecuador is a traditional genre that captivates listeners with its vibrant rhythms and deep cultural roots. Originating from the Afro-Ecuadorian communities in the Esmeraldas province, this musical tradition dates back to the African slaves brought to Ecuador during the colonial period. The marimba, an instrument similar to the xylophone, is central to this genre and is accompanied by drums, shakers, and other percussion instruments. The music is not only a form of entertainment but also a means of preserving cultural heritage and expressing communal identity.

The performance of marimba music is a lively and energetic affair. Musicians play the marimba with sticks, producing a resonant and melodic sound that is both uplifting and soulful. The beats of the drums and the rhythmic shakers add to the infectious energy, making it impossible for the audience to remain still. The music often accompanies traditional dances, where dancers in colorful attire move gracefully to the rhythm, creating a visual spectacle that complements the auditory experience. The appeal of marimba music lies in its ability to evoke joy and bring people together, celebrating both life and culture.

My first experience with marimba music was during a festival in the town of Esmeraldas. I was immediately drawn to the music's vibrant energy and the sense of community it fostered. The performers, with their passionate playing and lively movements, created an atmosphere of pure joy. Listening to the marimba made me feel a profound connection to the rich cultural heritage of Ecuador. Even today, marimba music is performed in festivals, cultural events, and community gatherings throughout the Esmeraldas province and other regions of Ecuador. It remains a vital part of the cultural fabric, reminding us of the resilience and creativity of the Afro-Ecuadorian people.

To truly appreciate marimba music, one must experience it live, surrounded by the community that cherishes and sustains this beautiful tradition. Whether you are an avid music enthusiast or simply curious about different cultures, the marimba music of Ecuador offers a unique and enriching experience.

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The pasacalle is a traditional musical genre from Ecuador, known for its lively and festive rhythm. It emerged in the mid-20th century and has been an integral part of popular celebrations and festivals. The pasacalle is characterized by its fast pace and catchy melody. It is performed with a variety of instruments, including the guitar, accordion, requinto, and, in some cases, wind instruments such as the flute and clarinet.

The appeal of the pasacalle lies in its ability to unite communities through music and dance. It arouses feelings of joy, celebration, and cultural pride. The pasacalle can still be found live in various parts of Ecuador, especially during local festivals and celebrations. One memorable experience was during the Inti Raymi Festival in Otavalo, where I was able to enjoy several musical groups performing pasacalles in the streets of the town.

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Pasacalle is a traditional musical genre originating from the Andean regions of South America, particularly popular in countries like Ecuador, Peru, and Colombia. Historically, Pasacalle music has been associated with street parades and festive occasions, characterized by its lively rhythms and celebratory melodies. The genre is often performed with traditional instruments such as the charango, guitar, and panpipes, creating an upbeat and joyful sound.

Compared to other Andean music genres like Huayno, Pasacalle tends to be more upbeat and festive, often played during public celebrations and community gatherings.

Pasacalle music evokes a sense of joy and community, transporting listeners to vibrant street festivals filled with dancing and merriment. Its lively rhythms and cheerful tunes create an atmosphere of happiness and togetherness, making it impossible not to feel uplifted and energized.

I first encountered Pasacalle music during a vibrant street festival in Quito, Ecuador. The streets were filled with colorfully dressed dancers and musicians, their infectious energy captivating everyone around. As I wandered through the bustling crowd, the sound of Pasacalle filled the air, drawing me in with its lively rhythms and cheerful melodies.

The lyrics of Pasacalle songs often reflect themes of love, nature, and community. The song I heard was about the beauty of the Andean landscape and the joy of sharing moments with loved ones. The chorus, sung with heartfelt emotion, celebrated the bond between the people and their land, creating a profound connection that resonated deeply with me.

If you’re looking to experience the vibrant heartbeat of Andean culture, Pasacalle music will sweep you off your feet with its infectious rhythms and joyous melodies

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MIX Pasacalles Ecuatorianos🎉 La mejor música BAILABLE 2022

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In Ecuador, one of the most cherished traditional types of music is bomba. It started in the Afro-Ecuadorian communities, especially in the Esmeraldas Province, during the colonial period. Enslaved Africans brought by Spanish colonizers mixed their rhythms with local music to create this unique genre.

Bomba performances focus on the "barril" drum, which sets the beat. The music group includes other percussion instruments, maracas, and sometimes guitars. Dancers in traditional clothes perform intricate footwork that matches the drumbeats. The interaction between drummers and dancers is engaging and spontaneous.

The energetic beats and vibrant dances of bomba bring feelings of joy, celebration, and community. This music shows cultural pride and resilience, celebrating Afro-Ecuadorian heritage.

My first experience with Ecuadorian bomba was in school, where we had to organize a traditional dance performance. We learned about the culture through videos showing the lively energy and complex movements of bomba. Learning and practicing the dance steps was challenging but exciting. The lively drumbeats and expressive dances made us feel connected to the rich cultural history of bomba, even as students.

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Bomba, a vibrant genre of traditional music from the Afro-Ecuadorian communities in Esmeraldas and the Chota Valley, has deep roots in African heritage. Similar to salsa, Bomba features infectious rhythms and lively dance movements that celebrate cultural identity. This genre evokes feelings of joy, freedom, and togetherness, drawing listeners into its energetic embrace and inviting them to celebrate life.

I have a friend from Esmeraldas who participates in the annual Festival de la Bomba every year, and she always invites me to join her. The atmosphere at the festival is filled with excitement and unity as dancers and musicians come together to showcase their talents. The lyrics often reflect themes of love, community, and the struggles of the Afro-Ecuadorian people, highlighting their resilience and spirit. If you want to feel the pulse of Ecuadorian culture, Bomba will make you dance and sing along, as its captivating rhythms and heartfelt lyrics resonate in your soul.

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Bomba is a dynamic and energetic traditional music genre from the Afro-Ecuadorian communities of the Chota Valley in northern Ecuador. It has its roots in the African heritage brought by enslaved people during the colonial period, and it combines African rhythms with Indigenous and Spanish influences. Bomba is characterized by its lively percussion, typically performed with drums called bombos, as well as maracas and sometimes the guitar. Similar to salsa or samba in its infectious energy, Bomba evokes feelings of joy, celebration, and resilience, often serving as a powerful expression of community and cultural identity.

I experienced Bomba for the first time during the annual festival in the Chota Valley, where the entire community gathered to celebrate with music and dance. The rhythm was captivating, and I couldn't help but join in the dancing. The lyrics of the songs we heard spoke of daily life, love, and the struggles and triumphs of the Afro-Ecuadorian people. The vibrant beats and spirited dances created an atmosphere of unity and happiness. If you have the opportunity to visit Ecuador, make sure to experience Bomba – its pulsating rhythms and celebratory spirit will leave you feeling exhilarated and connected to the rich cultural tapestry of the Afro-Ecuadorian community.

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San Juan , also popularly known as San Juanito, is a musical genre from Ecuador. It originated from the songs dedicated to the apostle Juan according to the liturgical calendar. As a result, there is an indigenous.The indigenous San Juanito was reinterpreted in the  20th century to stop being part of the Catholic rite and to be played as part of the Inti Raymi. The mestizo sanjuan is played at parties, along with the Bomba del Chota and often with a rhythm similar to cumbia. The first time I encountered San Juanito songs when I was practicing a coreography on high school I really felt moved by the sad rhythm and the melancholy of its lyrics. This genre is one of the most known in the country. The rhythm of San Juanito is typically upbeat and lively, often in 6/8 or 2/4 time. Traditional instruments used in San Juanito include the panpipes (zampoñas), drums, and the charango (a small Andean string instrument). These instruments create a distinctive sound that is both rhythmic and melodic, it plays a crucial role in preserving and expressing Ecuadorian identity. It reflects the cultural heritage and communal values of the Andean people, often associated with agricultural cycles and seasonal festivities. San Juanito is a vibrant and cherished aspect of Ecuadorian culture, representing both historical heritage and living tradition.

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Marimba a Traditional Music of Ecuador by Josue Castro

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Marimba a Traditional Music of Ecuador by Josue Castro

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Marimba music is a traditional genre of Afro-Ecuadorian communities, particularly in the coastal regions of Esmeraldas and the Chota Valley.

This music has African rhythms and melodies, brought by enslaved Africans during the colonial period.

Marimba music is named after a wooden instrument similar to the xylophone. Marimba music is typically performed with a variety of instruments, including the marimba, drums, and others, and is often lively with call-and-response vocals. The marimba provides a melodic foundation that makes this style special.

It is often associated with festive occasions and celebrations, evoking feelings of joy, unity, and community. The lively rhythm gets people dancing, creating a joyful experience. Marimba is also a way to preserve and express cultural heritage in Ecuador.

Marimba music is still played in Esmeraldas, where it is a vital part of local festivals and cultural events. It is also performed in cultural centers or events and music halls throughout the country, giving rise to a revival of this genre in recent years.

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TECNOCUMBIA ECUATORIANA by Isaac Guevara

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TECNOCUMBIA ECUATORIANA by Isaac Guevara

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Tecnocumbia Ecuatoriana emerged in Ecuador during the late 1980s and early 1990s as a fusion of traditional cumbia with modern electronic music. Cumbia itself is a genre with roots in Colombia, and it traditionally features a blend of Indigenous, African, and Spanish influences. In Ecuador, this traditional cumbia was revitalized by incorporating electronic beats and synthesizers, resulting in the distinct sound of tecnocumbia. The genre quickly gained popularity in Ecuador and neighboring countries, becoming a defining part of the modern Ecuadorian musical landscape.

Tecnocumbia Ecuatoriana is typically performed with a mix of traditional cumbia instruments, such as the accordion, percussion (e.g., congas and timbales), and electric instruments. The modern twist comes from the integration of electronic elements, including synthesizers, drum machines, and effects. This blend creates a lively, danceable rhythm that’s both rooted in tradition and contemporary.

The performance of tecnocumbia often includes vibrant, energetic dance routines that reflect the genre's upbeat and celebratory nature. The music’s infectious rhythms and catchy melodies encourage audience participation and dancing, making it a popular choice for festivals and social gatherings.

Tecnocumbia’s appeal lies in its ability to combine traditional sounds with modern technology, creating a fresh and exciting musical experience. The genre’s upbeat rhythms and engaging melodies can evoke a range of emotions, from joyful exuberance to nostalgic reflection.

My experience with this genre goes back a long way. Since I was a child I used to listen to a lot of songs by groups (mainly female) that have become very popular in the country. Groups like Magia Latina, Tierra Canela, Dulce Veneno, Grupo Desire, Caramel Hot and others have left a mark on various stages of my life. Above all, this type of music left its mark on me because of my father's influence.

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Sanjuanito is one of Ecuador’s most vibrant and traditional forms of music and dance, with origins tracing back to pre-Columbian times. It was initially part of the indigenous celebrations held during the Inti Raymi, the Festival of the Sun. The music and dance of Sanjuanito have evolved over centuries, coming from  indigenous, Spanish, and mestizo influences. It became popular throughout because symbolize a cultural identity and resilience.

Sanjuanito is characterized by its lively rhythms and energetic dance steps. It is typically performed with instruments such as the quena, charango, guitars, and drums.

The dance itself is performed in groups, often in a circular formation, with dancers wearing traditional costumes. Men usually wear ponchos and hats, and women wear brightly colored skirts and blouses. The dance steps involve quick, rhythmic footwork and coordinated movements, reflecting the communal and celebratory nature of the music.

Sanjuanito has the ability to bring people together and create a festive atmosphere. Its lively and rhythmic tunes inspire joy and a sense of unity among participants and spectators alike. The music and dance are expressions of cultural pride and heritage, connecting people to their roots and traditions.

Sanjuanito evokes feelings of happiness, excitement, and community. The upbeat tempo and spirited dance movements generate an atmosphere of joy and vitality, encouraging participants to let go of their worries and immerse themselves in the moment. For many, Sanjuanito is a reminder of their cultural heritage and the strength of their community

Sanjuanito is still widely performed across Ecuador, especially during festivals and traditional celebrations. One of the best places to experience Sanjuanito is during the Inti Raymi Festival in Otavalo, where the music and dance are integral parts of the festivities. Here, you can witness the vibrant performances in their most authentic form, with the indigenous community leading the celebrations.

One of my favorite experiences with this traditional music was in Quito, in the Fiesta de la Luz where it’s a tradition go to watch Sanjuanito performances, where local groups showcase their talents. Additionally, traditional music halls and cultural centers, such as the Casa de la Cultura Ecuatoriana, frequently host events celebrating Sanjuanito and other traditional dances.

Experiencing Sanjuanito in its cultural context provides a deep connection to Ecuadorian heritage.

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Pasodoble, a lively and vibrant music genre, has its origins in Spain but has become an integral part of Ecuadorian culture. Originally associated with Spanish bullfighting, pasodoble was brought to Ecuador during the colonial period and has since evolved to reflect local traditions and influences. It is characterized by its brisk, march-like tempo and dramatic flair, often performed during parades, festivals, and celebrations. Performed with brass instruments, percussion, and sometimes accompanied by traditional dance, pasodoble exudes a sense of excitement and grandeur.

During a visit to Quito, I experienced pasodoble performance during the Fiestas de Quito. The powerful music, coupled with the colorful parade and enthusiastic crowd, created an unforgettable atmosphere that highlighted the enduring appeal of this dynamic genre.

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El pasodoble (también, marcha redoblada) es una marcha ligera de origen español utilizada en los desfiles militares, adoptada como paso dos reglamentario de la infantería, con una característica especial que hace que la tropa pueda llevar el paso ordinario: 120 pasos por minuto. La música que acompaña esta marcha posee compás binario y movimiento moderado y fue introducida en las corridas de toros. También se denomina pasodoble al baile que se ejecuta al compás de esta música.​

Parece ser que el pasodoble, como baile, procede de la tonadilla escénica, que era una composición que en la primera mitad del siglo XIX servía como conclusión de los entremeses y los bailes escénicos y que luego, desde mediados del mismo siglo, era utilizada como intermedio musical entre los actos de las comedias.

A día de hoy, el mayor foco de producción de pasodobles se centra en el Levante peninsular, en torno a las fiestas de moros y cristianos.

El origen de esta apasionada forma de música es discutido.

Los datos que se conocen sobre ella gracias a las evidencias físicas históricas son que ya se escribía en el siglo XVIII, ya que en España hay partituras de pasodoble que datan de 1780; que se incorporó a las comedias y se adoptó como paso reglamentario para la infantería española; y que la música no se introdujo en las corridas de toros hasta el siglo XIX.

Una hipótesis sugiere, basándose en la etimología del nombre, que procede del francés "pas-redouble", una forma de marcha rápida de la infantería francesa a finales del siglo XVIII. Se considera que tiene características tanto españolas como francesas. Los pasos modernos contienen a menudo términos franceses, pero el baile se asemeja a la naturaleza de la corrida de toros. Se dice que surgió de la cultura del sur de Francia durante la década de 1930. Los partidarios de esta hipótesis, en su mayoría musicólogos franceses, sugirieron que el pasodoble era una forma de que los franceses representaran las técnicas utilizadas en las corridas de toros españolas. Esta hipótesis no explica la presencia de partituras que datan de 1780, que la infantería española ya marchaba al pasodoble antes de que lo hiciera el ejército francés y que los musicólogos franceses suelen referirse a los movimientos o temas relacionados con las corridas de toros, peculiaridad que no tiene sentido ya que en España se asoció a la tauromaquia mucho tiempo después.

Una hipótesis basada en las figuras y el ritmo libres de la danza afirma que su ritmo binario y su movimiento moderado apuntan a un origen en la música y las danzas tradicionales españolas de principios del siglo XVI. Estas danzas, desarrolladas en torno a 1538, eran una combinación gradual de la música y las danzas castellanas (seguidillas) con el "garrotín", una danza de parejas romanas rápida y repetitiva, adaptada en forma de marcha.

El famoso musicólogo José Subirá considera que el origen de la melodía fue una combinación de marchas militares y música ligera del teatro popular español que poco a poco fue calando en los "entremeses" de las obras más respetables.

Los toreros famosos han sido homenajeados con melodías de pasodoble que llevan su nombre. Otras melodías se han inspirado en motivos patrióticos o en personajes locales. El pasodoble es muy conocido y se utiliza hoy en día en los concursos de baile.

Durante los primeros años del siglo XX, el pasodoble pasó a formar parte del repertorio de los músicos Italian American de San Francisco que tocaban en el estilo ballo liscio. ​ Cuatro pasodobles fueron recogidos por Sidney Robertson Cowell para el WPA California Folk Music Project en 1939 por Mexican American banda de fiesta de bodas en mandolina, guitarra y violín.​

Todos los pasodobles tienen ritmo binario. Su estructura musical consiste en una introducción basada en el acorde de dominante de la pieza, seguida de un primer fragmento basado en el tono principal y una segunda parte, denominada "el trío", basada en la nota de subdominante, basada una vez más en la acorde dominante. Cada cambio está precedido por un breve. El último segmento del pasodoble suele ser "el trío" tocado con fuerza.​ Los diferentes tipos de pasodoble -popular, taurino, militar- pueden variar en ritmo, siendo los pasodobles taurinos los más lentos y los populares los más rápidos y muchas veces incorporando voz. El pasodoble como lo conocemos comenzó en España pero ahora se juega en una amplia variedad de naciones hispanas. Cada región ha desarrollado su propio subgénero y estilo personal de pasodoble, ajustando algunos aspectos formales de la estructura para adaptarse a su tradición musical local.​ En la España moderna, la composición más prolífica de pasodobles se está dando en la costa levantina, asociada a las fiestas de Moros y Cristianos.

En la danza la forma es muy libre en cuanto a figuras. Los bailarines deben permanecer uno frente al otro y mantener sus cuerpos paralelos entre sí en todo momento, alineados ligeramente hacia la izquierda. Deben dar un paso por tempo. La mano izquierda del varón y la mano derecha de la mujer deben permanecer unidas casi permanentemente. Además de esto, se aceptan casi todos los movimientos y figuras, lo que deja espacio para la dramatización. El baile puede ser similar al de un paso, excepto por la velocidad y el número de pasos que se dan.

"... Musicalmente consiste en una introducción basada sobre el acorde dominante, a la que sigue una primera parte en el tono principal y una segunda parte, llamada "trío" que está escrita en la subdominante, en los pasodobles en modo mayor y el relativo menor, en los de modo mayor. Cada parte está precedida de cortas entradas (o introducciones) y, para finalizar, el trío, interpretado en "piano", se repite en "fuerte" ..." Ramón T. Berenguer, compositor

Pasodoble marcha

El pasodoble tiene su origen como marcha militar, que por etimología se cree que deriva del pas-redouble francés. Se trata de una marcha rápida de infantería que regulaba y agilizaba el paso de los soldados ("a paso doble", más rápido que el paso normal), y ya es tocado por bandas para marchas militares desde 1780. En esta forma se conserva en desfiles militares (marcha) y civiles festivos (pasodobles festeros del levante), así como en pasacalles populares.

Orígenes del baile

Se conoce como pasodoble el baile originado en España hacia 1533 y 1538. Utilizado en varias regiones para la celebración de eventos, es, además, uno de los pocos bailes de pareja que siguen arraigados hoy en día: "A principios de siglo se relacionó con el garrotín, un baile de pareja gitano, bastante vivo y repetitivo".

El pasodoble es un baile muy sencillo, con figuras muy libres, por lo que resulta bastante fácil aprenderlo. La posición de la pareja: uno enfrente del otro y con los cuerpos pegados ligeramente desplazados hacia la izquierda. Su ritmo básico es muy simple: un paso por tiempo y se debe permanecer todo el tiempo con los cuerpos en paralelo y con la mano izquierda y derecha del hombre y la mujer, respectivamente, unidas. El pasodoble forma parte del repertorio de las bandas de música españolas y suele constar de introducción y dos partes principales, con un ritmo aflamencado. Como danza es semejante al one-step; se diferencia en el número de pasos que se dan al bailar y en sus respectivos nombres.

Los más conocidos

Taurinos: España cañí, Agüero, La Gracia de Dios,​ El Gato Montés, Viva el pasodoble, Tercio de Quites, Pan y toros, Cielo Andaluz, La Morena de mi Copla, Francisco Alegre, Amparito Roca, El Beso, Plaza de las Ventas, Pepita Greus y La Virgen de la Macarena.

Militares: Soldadito español, El Abanico, Los nardos, Las Corsarias, San Marcial o Los Voluntarios.

Populares: Suspiros de España, La Entrada, No te vayas de Navarra, Islas Canarias, En er Mundo, Costa Dorada, Brisas de Málaga, Valencia.

Paquito el Chocolatero, Fiesta en Benidorm, La Entrada, Petrel Pasodoble,​ Alegría Agostense, Educandos de Benejúzar, Pepe Antón, Idella, Pirata Quiero Ser, Xàbia, Abanderadas, El Plomet, entre otros.

Pasodobles mexicanos

El Piti, El Charro Cárdenas, El 11-81, San Antonio de Triana, Fermincito, Lorenzo Garza, El abuelito, El banderillero, María Caballé, El Berrendito de San Juan, Tarde de toros, Por tapatías, Toros en San Miguel, El Zopilote Mojado, Rodolfo Gaona, Joselito Huerta, Toros de Llaguno, La Macarenita.

También se deben destacar fantásticos pasodobles del maestro mexicano Agustín Lara como Silverio Pérez, El Novillero o Fermín.

Pasodobles puertorriqueños

Ecos de Puerto Rico (El Maestro Ladi), Alma Boricua, "El gallo, la gallina y la guinea" (El Maestro Ladi), Morena (Noro Morales), Cuando pienso en España (Juan Peña Reyes), Reminiscencias (Juan Peña Reyes), El trueno (Juan Peña Reyes), Himno a Humacao (Miguel López), Sol andaluz (Manuel Peña Vázquez), Alegría en Batey (Rafael González Peña II).

Pasodobles colombianos

Vale destacar que el pasodoble taurino " Feria de Manizales" es emblemático de la ciudad colombiana de Manizales. Fue compuesto en 1957, con letra de Guillermo González Ospina y música de Juan Mari Asins. La Feria de Manizales se lleva a cabo en enero y se basa en el desarrollo de actividades culturales, corridas de toros, bailes y desfiles con cada una de las candidatas que compiten en el Reinado Internacional de Café.

Tunas y pasodobles

Actualmente, una de las maneras por las que se ha mantenido vivo este ritmo (aparte de las bandas de música) son las tunas, agrupaciones musicales universitarias, provenientes del siglo XII. Hoy en día, los pasodobles forman parte importante del repertorio de estas agrupaciones, sean de España o de otras universidades del mundo. Uno de los elementos característicos de los pasodobles interpretados por las tunas es su vistosidad, ya que, además, se acompañan con ciertas piruetas: Fantasía de pandereta (tocar el instrumento con distintas parte del cuerpo, sin perder el ritmo), Baile de bandera (mover el estandarte de la Tuna al ritmo de la canción), el Baile de capa (agitar la capa emulando el movimiento de los toreros). Muchas tunas tienen un pasodoble creado por ellos mismos.

1. "Especial de pasodoble en el programa Soy lo prohibido". Canal Extremadura Radio. 15 de agosto de 2021.

2. Mignano Crawford, Sheri (2008). Melodías de mandolina (3rd edición). Petaluma, CA: Zighi Baci. pp. 11-13. .

3. Cowell, Sidney Robertson. "Resultados de la búsqueda de California Gold: Northern California Folk Music from the Thirties Collected by Sidney Robertson Cowell, Pasodoble, Available Online". California Gold: Northern California Folk Music from the Thirties Collected by Sidney Robertson Cowell. Library of Congress.

4. Berenguer González, Ramón T. (2008). "Pasodobles de España".

5. La Gracia de Dios - Mp3 Berenguer González, Ramón T. 2008 Legran Orchestra, (Versión autorizada).

6. Petrel Pasodoble - Mp3 Archivado el 28 de junio de 2022 en Wayback Machine. Berenguer González, Ramón T. 2008 Legran Orchestra (Versión autorizada).

Bibliografía

Grandes pasodobles

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Pasodoble - Wikipedia, la enciclopedia libre

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El pasodoble (también, marcha redoblada) es una marcha ligera de origen español utilizada en los desfiles militares, adoptada como paso dos reglamentario de la infantería, con una característica especial que hace que la tropa pueda llevar el paso ordinario: 120 pasos por minuto.

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The Amorfinos, traditional poetic songs from the coastal region of Ecuador, have just enchanted audiences with their unique blend of humor, romance, and cultural storytelling. Originating from the Montubio communities, these verses are often improvised and sung during social gatherings, celebrations, and festive events. The Amorfinos are typically performed with the accompaniment of guitars and maracas, creating a lively and engaging atmosphere. The lyrics are playful and often humorous, addressing themes of love, daily life, and local folklore.

Attending an Amorfino performance is just a delightful experience. The spontaneous nature of the verses and the witty exchanges between singers just create an atmosphere of joy and camaraderie. The audience often participates, laughing and cheering, which just adds to the communal spirit of the event. For many, listening to Amorfinos evokes a deep sense of connection to their cultural roots and the simple pleasures of rural life. This tradition not only entertains but also preserves the linguistic and poetic heritage of the Montubio people, making it a cherished and vibrant part of Ecuador's cultural landscape. Through the Amorfinos, the rich oral tradition and the heart of the coastal communities are kept alive, resonating with both young and old alike.

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PASACALLE GALAPAGUEÑO OF ECUADOR by Carolina Zamora

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PASACALLE GALAPAGUEÑO OF ECUADOR by Carolina Zamora

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Pasacalle Galapagueño: The Unique Melody of the Galápagos Islands

Pasacalle Galapagueño is a distinctive genre of music that reflects the vibrant culture and history of the Galápagos Islands. While Pasacalle is a traditional genre known across Ecuador, the Galápagos version incorporates unique elements inspired by the islands' natural beauty and the diverse influences of its inhabitants. Often compared to the lively and rhythmic marches of other Latin American music, Pasacalle Galapagueño stands out with its festive and upbeat tempo. The music evokes feelings of joy, celebration, and a strong sense of community, often played during local festivals and gatherings, creating a lively atmosphere that brings people together.

I first encountered Pasacalle Galapagueño during the annual Galápagos Day celebrations in Puerto Ayora. The song "Agüita de Pelican Bay.," a beloved Pasacalle tune, filled the air with its cheerful melody. The lyrics celebrate the enchanting beauty of the Galápagos Islands, describing the unique flora and fauna and the pride of the islanders in their home. The energetic rhythms of the guitar, accordion, and percussion instruments created an infectious vibe that had everyone dancing and singing along. The music’s lively beat and evocative lyrics made it impossible not to join in the festivities. If you ever get the chance to experience Pasacalle Galapagueño, don’t hesitate; let its joyful rhythms and enchanting melodies transport you to the magical world of the Galápagos Islands.

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Sanjuanito is a traditional music and dance form that holds a special place in Ecuadorian culture, particularly among the Indigenous communities in the Andean highlands. Its origins can be traced back to pre-Columbian times, but it has evolved over the centuries by incorporating Spanish and mestizo influences. The name "Sanjuanito" is believed to be derived from the festival of San Juan, a celebration of the summer solstice, during which this music is often played. This lively and upbeat genre is characterized by a fast-paced rhythm and joyful melodies, typically performed with instruments such as the rondador (a traditional panpipe), charango, guitar, and drums. Sanjuanito's infectious energy and vibrant sound make it a staple at festivals and celebrations, where people gather to dance and revel in the music.

The appeal of Sanjuanito lies in its ability to bring people together and create a sense of community and joy. It is a music that encourages participation, often leading to spontaneous dancing and celebration. The feelings it arouses are those of happiness, unity, and cultural pride. On a personal level, experiencing Sanjuanito is a reminder of Ecuador's rich cultural tapestry and the importance of preserving traditional arts. You can still find Sanjuanito being performed at local festivals, cultural events, and in indigenous communities throughout Ecuador. In cities like Otavalo and Quito, traditional music groups and dance troupes often showcase Sanjuanito during public performances, allowing both locals and tourists to immerse themselves in this lively cultural tradition.

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San Juanito is a traditional music genre from Ecuador, deeply rooted in the indigenous cultures of the Andes. This lively and rhythmic music has been played for centuries during celebrations and festivals. It has been compared to other traditional dances in Latin America because it is lively and festive. San Juanito songs celebrate happiness, community, and love for the land, making listeners feel connected and alive.

I remember my school days when we performed a San Juanito dance during a cultural event. The atmosphere was filled with excitement and energy. We wore traditional costumes and danced in a circle, holding hands. The lyrics we sang were about love, nature, and the beauty of the Andean landscape. One line that stuck with me was "Mi corazón alegre, en los Andes, va cantando”.San Juanito is a genre that invites you to join in the celebration and feel the rhythm of Ecuador. If you ever get the chance to listen to San Juanito, don’t miss it. You’ll feel the spirit of Ecuador in every beat.

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Pasacalle, an Ecuadorian music genre, originated in the early 20th century and is deeply influenced by Spanish folk music and local indigenous rhythms. Known for its lively 2/4 or 6/8 time signature, Pasacalle is often performed during parades and festivals, evoking feelings of joy, celebration, and communal pride. Similar to the Mexican mariachi in its festive and communal nature, Pasacalle's upbeat melodies and vibrant rhythms inspire a sense of unity and cultural pride among listeners, making it an integral part of Ecuador's musical heritage.

My personal experince is about the song "Ambato, Tierra de flores", I remember hear it in the surroundings of th Montalvo park, the lyrics describe Ambato city and their citizens describing them. It holds a special place in the hearts of Ambato's residents and Ecuadorians in general. It is often performed during local festivities, parades, and cultural events, serving as an anthem that unites the community and celebrates their shared heritage. The song's enduring popularity is a testament to its importance as a cultural touchstone and a symbol of Ambato's enduring charm and vibrancy.

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The pasillo is an emblematic musical genre of Ecuador, with roots in the European waltz that was adapted to local Creole influences during the 19th century. Its lyrical, melancholic and romantic content addresses themes of love and nostalgia, resonating deeply with the Ecuadorian people. During the 20th century, it experienced its golden age with iconic figures such as Julio Jaramillo, who helped internationalize the genre. Although its popularity has waned with the arrival of new genres, pasillo remains a vital part of Ecuadorian cultural identity, recognized as Intangible Cultural Heritage of the Nation. The most important icon of this musical genre in our country is Julio Jaramillo.

J.J. has a song that is particularly my favorite, it's called “ÓDIAME”, analyzing the lyrics of this song is especially touching, I have never been in a relationship, but I consider that if a relationship fails it must feel like the lyrics of that song.

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Inti Raymi is an indegenous celebration held every year in name of the sun, and the crops, it also refers ro the associated genre of music, inti raymi as a music genre is a highly upbeat type of music, that originates from the mix betwwen traditional sounds and the instruments that arrived with the european colonozation, evolving overtime and adding the newest instruments and techniques to itself. Compared with several other traditional ecuadorian type of music, this style of music manages to incorporate many ancient precolonial era instruments and rythms, such as the pan flute, to wich we may add the way it manages to keep some sorth of respect toward the god that's been worshipped. This genre evoques strong feelings of euphoria, given its rapid and upbeat sound.

The first time I ever heard this type of music I was visiting my mom at work, she's a teacher in Otavalo city and during that week many celebrations related to Inti rayme were being held, given the weight this kind of tradition still have in this city this type of music can be found anywhere in this area, when lyrics that describe what's going on and invite the listener to join the massive celebration and dance from the mountain to downtown all day and night with some drinks in the way there. You may find yourself joining the party or at the very least enjoying the colorful celebrations.

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Yumbo is a musical genre, mestizo song and dance, rhythm and dance of pre-Hispanic origin characteristic of the eastern region, it is performed with a drum and a whistle, its reference is in the Ecuadorian Amazon. This musical genre was only consolidated in the second half of the 20th century with the participation of several master musicians such as Gerardo Guevara with Apamuy Shungu, it is an innovated product of ancient traditional indigenous dances belonging to the Andean provinces.
The yumbo is the character who performs this dance, the same one who paints his face with various colors, decorates his head with feathers and stuffed macaws, on his body they wear wild animal skins, beads with cochineal wings, brightly colored insects, seeds , generally carry a spear made of chonta or any other wood in their choreography.
The yumbos dance is with jumps, jumps and ceremonial shouts.
The yumbos have a deep ancestry in the customs and behaviors of the Ecuadorian indigenous peoples.

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Technocumbia is a musical genre that emerged in the 1990s, fusing traditional cumbia with electronic and modern elements. This musical style is especially popular in Ecuador and other Latin American countries, such as Peru and Mexico. It developed as an evolution of cumbia, incorporating synthesizers, electronic rhythms, and more contemporary production. The adoption of this genre allowed new generations to connect with traditional music in a more modern and appealing way.

A combination of traditional cumbia instruments, such as the guitar and accordion, is used with electronic instruments such as synthesizers, keyboards, and electronic drums. The melodies are often catchy and repetitive, designed to invite dancing.

The lyrics address universal themes such as love, heartbreak, partying, and everyday life. They are simple and direct, allowing for easy connection with the audience.

The appeal lies in its ability to fuse the traditional with the modern, creating a musical experience that is both familiar and fresh. The combination of electronic rhythms and traditional melodies makes it accessible and appealing to a wide audience. Awakening feelings of joy, energy and nostalgia, inviting people to dance and enjoy the music without inhibitions. It is a music that connects people and enlivens any festive atmosphere.

Nowadays, tecnocumbia can be enjoyed live in various places in Ecuador and during different events:

During festivals dedicated to Ecuadorian music and culture, tecnocumbia is a constant presence, with live performances attracting large audiences.