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Happy Mexican Traditional Music  MEXICAN PARTY   Mariachi, Guitar, Trumpet

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Brazilian music samba, bossa nova acoustic romantic compilation mix instrumental Rio de janeiro.

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Buenos Tango | ARGENTINE MUSIC [The Best of Tango]

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Leo Rojas - Der einsame Hirte (Videoclip)

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Song for the Amazon Rainforest - Amazonia (Raw Edit )

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First Impressions. Aside from the pounding drum beat, the breathy sound of the melodic panpipes, called siku, is the most distinctive feature of this example. The short repetitive melody, with its “calliope-like” timbre, sounds joyfully out of tune and is reminiscent of a carousel ride spinning non-stop.

Aural Analysis. The sikuri panpipe ensemble is common to many Andean communities throughout Peru and elsewhere in Andean South America. Sikuri ensembles normally have around twenty siku players, though the group in our example is larger, consisting of fifty-
two musicians. The siku is made of several cylindrical reeds of varying lengths tied together to form one or two rows of pipes—in this case two. The performer holds these vertically and blows across the tops of the open pipes to produce breathy pitches, just as you would with
a soda bottle: the shorter the pipe, the higher the pitch. Thus, they are open-ended flutes in the aerophone family.

One siku is not typically capable of playing all the notes of a scale. Rather, a second
siku must complement it. The two performers use an interlocking technique to produce the entire melody. If, for example, the first player sounds the odd-numbered pitches, say 1–3–5, while the second player sounds the even ones, 2–4–6, then the two musicians must alternate in order to play pitches 1 through 6 consecutively. The musicians try to overlap their pitches
slightly so that no gaps are heard between pitches. The breathy sound of the siku makes it easier for performers to smoothly connect successive pitches.

Another common feature of Andean music is the use of parallel polyphony. Parallel
polyphony occurs when two melodic lines follow the same melodic contour but start on different pitches, thus moving in parallel but with a polyphonic structure as well. The most commonly used intervals between the two parallel lines are the fourth and fifth. The interval used here, however, is a third, which is typical of the Conima style of which this music is an example. Intentional tuning variances often occur, sometimes as wide as a quartertone or more, giving the music a slightly dissonant quality. As is typical of native Andean music, the melodic line is short and repetitive and features only minor variations. In our example, a large bass drum (bombos) and a snare drum (cajas) provide a driving beat. Drums in Peru are often made with a llama- or alpaca-skin face and are struck with a
wooden mallet. Different genres of sikuri performance use different types of drums; in fact, the bass and snare drum accompaniment heard here rarely occurs outside Easter cele-brations. In most performances, occasional whistles are heard, most notably toward the end
of the performance, to signal the musicians to increase their tempo.

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The Music of Peru is an amalgamation of sounds and styles drawing on Peru's Andean, Spanish, and African roots. Andean influences can perhaps be best heard in wind instruments and the shape of the melodies, while the African influences can be heard in the rhythm and percussion instruments, and European influences can be heard in the harmonies and stringed instruments. Pre-Columbian Andean music was played on drums and string instruments, like the European pipe and tabor tradition. Andean tritonic and pentatonic scales were elaborated during the colonial period into hexatonic, and in some cases, diatonic scales.

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All other Mexican musical traditions developed from the folk legacy of son. Mariachi is perhaps the most famous. Born in the western state of Jalisco in the 19th century, Mariachi music is typically played by a large traveling ensemble (10 to 20 musicians, who are also individually called Mariachi) including guitar, vihuela, guitarrón, violins, trumpets and drums. Modern Mariachi troupes often have a lead singer, although everyone in the group contributes two- or even three-part harmony. The Mariachi repertoire is composed largely of romantic ballads meant to be sung at weddings, quinceñeras, Mother’s Day and other family celebrations. The uniform of the Mariachi is a traje de charro, the tight-fitting, heavily ornamented and embroidered outfit of a horseman, complete with a broad-rimmed sombrero

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The music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably the culture of the Europeans and Natives. Music was an expression of Mexican nationalism, beginning in the nineteenth century

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First Impressions. Samba is dance music. Its boisterous beat, wailing whistles, and shouting sambistas encourage the party atmosphere associated with its most notable context, Carnival (see below). The driving samba beat conjures up images of revelers parading through the
streets of Rio de Janeiro in frenetic celebration. Samba music makes you move from the bottom of your feet to the top of your head.
Aural Analysis. Samba is strongly Afro-Brazilian, meaning that its musical characteristics are primarily drawn from African ingredients but have a unique Brazilian flavor. Polyrhythm underlies the instrumental organization; thus, the majority of instruments in samba are percussion. African-derived double bells (agogo), tambourines, scraping instruments (rêco-rêco), and drums, large (surdo or bombo) and small (caixa), are all instruments commonly found in a wide variety of samba styles. The most distinct samba instrument is the friction drum (cuíca), which is a membranophone that has its face pierced in the center with a long, thin stick. When the stick is pushed, pulled, or twisted, it rubs against the membrane to produce a unique squeaking sound. Call-and-response vocals, usually in Portuguese, are standard, and are generally accompanied by a guitar. A prominent “samba rhythm,” usually played by the largest drum or an electrified bass guitar, is what most differentiates the music from other Latin American dance musics.

The samba rhythm is based on a standard duple meter but emphasizes the third beat by inserting a short pause just before it. In a four-beat pattern (though samba moves so
quickly, it is typically thought of as having only two beats), the samba rhythm would sound on the first beat, the “and” of the second, and the top of the third beat, that is, 1–&3–. The
rhythm is infectious and seems to call out: “Mooove your feet! Mooove your feet!” Other instruments add several other more rhythmically dense patterns to this fundamental samba
groove.

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The music of Brazil encompasses various regional musical styles influenced by African, American, European and Amerindian forms. Brazilian music developed some unique and original styles such as forró, repente, coco de roda, axé, sertanejo, samba, bossa nova, MPB, música nativista, pagode, tropicália, choro, maracatu, embolada (coco de repente), frevo, brega, Brazilian funk, modinha and Brazilian versions of foreign musical styles, such as rock, soul, hip-hop, disco music, country music, ambient, industrial and psychedelic music, rap, classical music, fado, and gospel.

Samba has become the most known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song "Desafinado", interpreted by João Gilberto, was first released.

The first four winners of the Shell Brazilian Music prize[1] have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antônio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-canção).

Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Among the later, Naná Vasconcelos, Pixinguinha, Hermeto Pascoal and Egberto Gismonti are significant figures. Notable classical composers include Heitor Villa-Lobos, Carlos Gomes and Cláudio Santoro. The country also has a growing community of modern/experimental composition, including electroacoustic music.

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First Impressions. Tango, both as a dance and as music, embodies passion. The original form of the dance it accompanies symbolically represents a battle between two men for the affections of a fickle woman. At one point in the dance, one of the male dancers lustfully looms over the helpless woman before she is torn away by the other jealous suitor. Even in its simplest form, the music evokes the predatory stares of the men and the indecisiveness
of the woman through variations of dynamics, tempo, and phonic structure.
Aural Analysis. Tango ensembles vary in size, and tango itself comes in a variety of styles. A distinctive feature of most tango orchestras is the inclusion of the bandoneón, a type of button-box accordion. The bandoneón was invented in Germany in the mid-nineteenth century by Heinrich Band and was brought to South America around 1890, initially in the hands of missionaries who found it a portable alternative to the organ. The instrument has two square wooden manuals (keyboards) separated by a bellows made of leather. Larger bandoneón have up to seventy-two buttons, but the distribution pattern does not follow the
usual melody–chord dichotomy found on typical accordions. As the performer alternately compresses or draws out the bellows, air passes through a series of “free” metal reeds to pro-duce the tones; thus, the bandoneón is a free-reed aerophone. Dynamic variations areproduced by squeezing or drawing the air through the instrument more quickly for greater volume or more slowly for a quieter sound. In addition to the bandoneón, the violin, guitar, flute, and piano are frequently found in tango ensembles and a vocalist is often present as well.

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The music of Argentina includes a variety of traditional, classical and popular genres. One of the country's most significant cultural contributions is the tango, which originated in Buenos Aires and its surroundings during the end of the 19th century and underwent profound changes throughout the 20th century. Folk music was particularly popular during the 20th century, experiencing a "boom" in popularity during the 1950s and 1960s thanks to artists such as Atahualpa Yupanqui and Mercedes Sosa, prominent figures of the Nuevo cancionero movement. In the mid-to-late 1960s, the countercultural scene of Buenos Aires originated Argentine rock (known locally as rock nacional, Spanish for "national rock"), considered the earliest incarnation of Spanish-language rock for having an autochthonous identity that differed from that of England or the United States. It was widely embraced by the youth and since then has become part of the country's musical identity as much as traditional music. According to the Harvard Dictionary of Music, Argentina also "has one of the richest art music traditions and perhaps the most active contemporary musical life.