Elaboración e interpretación de cuatro arreglos para guitarra sola de obras pianísticas del compositor Alfonso Aráuz entre los años 1959-1973

Abstract

This work consists of the selection and elaboration of four arrangements for the guitar solo format of the four pasillos: Que es Amar, A Quién Buscas, Este es mi Sufrimiento, De Amor me Muero, and originally written for piano and previously selected from the catalog musical prepared by musicologist Lenin Estrella Aráuz, which were set considering the format, genre and musical style. The four arrangements focused on modifying the following musical elements: Form, Melody, Rhythm, and Harmony; and, the adaptation of the instrumental technique. In other words, the works for the piano format are performed on the guitar. This work consists of two chapters that are divided as follows: The first chapter refers to the Ecuadorian pasillo and the musical career of Alfonso Aráuz where the historical context of the Ecuadorian pasillo and the musical characteristics of that genre will be revealed, In other words, a brief summary of the composer's biography and his repertoire will be presented in general terms. Chapter two focuses directly on the descriptive analysis of two arrangements in contrast to the original works of Alfonso Aráuz, whose purpose is to share the techniques used on these compositions. First, it will see what types of techniques are used in the melodic treatment, which are: dead spot fillers, tail or tail rhythmic filler, lead in, counter melody, obliged cliché, sequences, reduction, augmentation, and canon; Second, morphological treatment using the following techniques, which are: introduction and chorus augmentation (repetitive structures), section repetitions, new arranger sections, coda; Third, rhythmic treatment using the following techniques, which are: polyrhythms, polymetry, rhythmic truncation (rhythmic motivic variation), pedal, breaks. Finally, in the fourth aspect, the harmonic treatment with the following techniques is presented: Chord re-harmonization, secondary dominants, tritonal substitutes, substitute chords, modulation to a key with the same key.