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Fiona Devereaux Group

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Maksim Ustinov
Maksim Ustinov

Manolete Pasodoble Partitura Pdf PATCHED



En la línea de los espectáculos folclóricos de la época, Antoñita Moreno estrena el 6 de agosto de 1947 Colores de España, en el Teatro de La Latina, original de Antonio Paso (hijo) y José Ruiz Azagra. El 28 de agosto de ese año, Manuel Rodríguez "Manolete" muere en la plaza de toros de Linares. Jacinto Guerrero y el marqués de Luca de Tena, dueño y director de ABC, componen un pasodoble que dan a conocer a Antoñita. Lo estrena en la función de tarde del 6 de septiembre, con Guerrero acompañando al piano. Ese mismo día ya se pudo comprar ya el disco que Antoñita había grabado unos días antes junto con el número "Moreno tiene que ser" de la revista La blanca doble. [Emilio García Carretero: Antoñita Moreno. La voz que nunca muere, Rayego, Madrid, 2011]




Manolete Pasodoble Partitura Pdf



"En La Latina, la magnífica intérprete de la canción andaluza Antoñita Moreno renovó, con motivo de la función homenaje que le fue ofrecida sus triunfos sobre la escena. En Colores de España la sugestiva artista hizo gala de su preciosa voz y gran estilo, cantando insuperablemente el pasodoble La muerte de Manolete, dirigido por su autor, el ilustre maestro Guerrero, número que fue repetido entre una clamorosa ovación..." [Informaciones y noticias teatrales y cinematográficas, en ABC, 21 de septiembre de 1947, página 26]


Pasodoble (Spanish: double step) is a fast-paced Spanish military march used by infantry troops. Its speed allowed troops to give 120 steps per minute (double the average of a regular unit, hence its name). This military march gave rise recently to a modern Spanish dance, a musical genre including both voice and instruments, and a genre of instrumental music often played during bullfight. Both the dance and the non martial compositions are also called pasodoble.


All pasodobles have binary rhythm. Its musical structure consists of an introduction based on the dominant chord of the piece, followed by a first fragment based on the main tone and a second part, called "the trío", based on the sub-dominant note, based yet again on the dominant chord. Each change is preceded by a brieph. The last segment of the pasodoble is usually "the trío" strongly played.[1]The different types of pasodoble- popular, taurino, militar- can vary in rhythm, with the taurine pasodobles being the slowest and the popular being faster and often incorporating voice.Pasodoble as we know it started in Spain but is now played in a wide variety of Hispanic nations. Each region has developed its own subgenre and personal style of pasodoble, adjusting some formal aspects of the structure to fit their local musical tradition.[2]In modern Spain, the most prolific composition of pasodobles is happening in the Levantine coast, associated to the festivals of Moors and Christians.


The facts known about it due to physical historical evidence are that it was being written as early as the 18th century, since Spain has pasodoble scores dating back to 1780; that it was incorporated into comedies and adopted as a regulatory step for the Spanish infantry; and that the music was not introduced into bullfights until the 19th century.


One hypothesis suggests, based on the etymology of the name, that it comes from the French "pas-redouble", a form of speedy march of the French infantry during the late 18th century. It is calimed to have both Spanish and French characteristics. The modern steps often contain French terms, but the dance resembles the nature of the bullfight. It is said to have emerged from southern French culture during the 1930s. Supporters of this hypothesis, mostly French musicologists, suggested that pasodoble was a way for the French to portray the techniques used in Spanish bullfights. This hypothesis neglects to explain the presence of scores dating from 1780, that Spanish infantry already marched at doble speed before the French army did and French musicologist usually refers the bullfight-related movements or themes, peculiarity that does not make sense since in Spain it was associated with bullfighting a long time later.


Famous bullfighters have been honored with pasodoble tunes named for them. Other tunes have been inspired by patriotic motifs or local characters. The pasodoble is well-known and used today for dance competitions.


During the early 20th century, the pasodoble became part of the repertoire of Italian American musicians in San Francisco playing in the ballo liscio style.[3] Four pasodobles were collected by Sidney Robertson Cowell for the WPA California Folk Music Project in 1939 by Mexican American wedding party band on mandolin, guitar, and violin.[4]


Also called "military pasodoble", it was created as, or keeps its role as, an infantry march. It is usually fast and lacks lyrics.[5] Famous examples are "Soldadito español", "El Abanico", "Los nardos", "Las Corsarias" or " Los Voluntarios"


Often played during bullfights, or with that intense atmosphere in mind. They are slowed and more dramatic than martial pasodobles, and lack lyrics, too. This pasodoble is based on music played at bullfights during the bullfighters' entrance (paseo), or during the passes (faena) just before the kill. It is also composed to honor outstanding bullfighters.[6] Some of the most famous are Suspiros de España, España cañí, Agüero, La Gracia de Dios,1 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.


Pasodobles that require an entire band to be played, and are almost exclusively designed for popular parades and village celebrations. They often use colorful characters of the region and light hearted subjects as inspiration. This pasodobles are very alive in Spain, Today, the largest center for the mass production and creation of new pasodobles is the southeast of Spain, mainly the Valencian Community, related to the popular Moors and Christians festivals. The traditional ones can be heard in Spanish popular celebrations, patron saint verbenas, and weddings.[8] Well known examples are "Paquito el Chocolatero", "Fiesta en Benidorm", "Alegría Agostense" or "Pirata Quiero Ser".


The leader of this dance plays the part of the matador. The follower generally plays the part of the matador's cape, but can also represent the shadow of the matador, as well as the flamenco dancer in some figures. The follower never represents the bull, although this is a common misconception.This form of pasodoble is a lively style of dance to the duple meter march-like music, and is often performed in the context of theater. This form of pasodoble was mistakenly taken as the original form by English and French musicologists visiting Spain in the 20th century.


Tunas is the name given to a brotherhood of students that play popular music together on the street to get some extra coins, or under the window of the beloved of one of them, to try and help the lovestruck member to get a date with her. Tunas have become one of the main forces keeping Spanish pasodoble alive. Tunas tend to adapt or repeat simple pieces that are already composed, but they sometimes compose their own, satirical pieces.[10]


Puerto Rican pasodobles are known for their nostalgic quality.Some of the most famous are: Ecos de Puerto Rico (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).


Pasodoble is not as popular in Colombia as in other countries, but the Colombia pasodoble, "Feria de Manizales", is an emblematic piece. It was composed in 1957, with lyrics by Guillermo González Ospina and music by Juan Mari Asins inspired by the Spanish classic "España Cañi". This pasodoble is based on the development of a parade and a dance with every single "Queen of the city" of Manizales, and it lasts one week.


Many pasodoble songs are variations of España Cañi. The song has breaks or "highlights" in fixed positions in the song (two highlights at syllabus levels,[clarification needed] three highlights and a longer song at open levels). Highlights emphasize music and are more powerful than other parts of the music. Usually, dancers strike a dramatic pose and then hold position until the end of the highlight. Traditionally, pasodoble routines are choreographed to match these highlights, as well as the musical phrases. Accordingly, most ballroom pasodoble tunes are written with similar highlights (those without are simply avoided in competition).


Because of its heavily choreographed tradition, ballroom pasodoble is danced mostly competitively, almost never socially, or without a previously learned routine. That said, in Spain, France, Vietnam, Colombia, Costa Rica and some parts of Germany, it is danced socially as a led (unchoreographed) dance. In Venezuela, pasodoble is almost a must-have dance in weddings and big parties. It became especially famous thanks to the hit song "Guitarra Española" by Los Melódicos.


In competitive dance, modern pasodoble is combined with other four dances (samba, cha-cha-cha, rumba and jive) under the banner International Latin. Modern pasodoble dance consists of two dancing parts and one break in between for dancers of class D and of three parts and two breaks in between for dancers of class C, B, A, according to the IDSF classification.[12] Dancers of lower than D-class usually perform only four official dances of the Latin-American Program.


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