Bolivia's Musical Mystery: Is It A Ii-V-I Song?

Bolivia is the name of a jazz standard written by American pianist Cedar Walton, and it has no relation to the country. The country of Bolivia, however, does have its own national anthem, adopted in 1851, called Bolivianos, el Hado Propicio or Patriotic Song. Interestingly, the country's name also appears in a court case, I.V. v. Bolivia, which addressed the issue of forced sterilization.

The national anthem of Bolivia

The anthem is a march in 4/4 time but is often sung in 12/8. It was first performed in La Paz, in front of the Palacio de Gobierno, on November 18, 1845, by approximately 90 musicians from the military bands of the 5th, 6th, and 8th battalions. The performance coincided with the fourth anniversary of the Battle of Ingavi and the inauguration of the Municipal Theatre.

The anthem's lyrics reflect the country's independence and sovereignty, with themes of freedom, unity, and patriotism. The chorus emphasizes the pride and determination of Bolivians, expressing their willingness to die rather than live as slaves.

The first verse and chorus of the Bolivian national anthem, as written by José Ignacio de Sanjinés, are as follows:

> I Bolivianos: el hado propicio coronó nuestros votos y anhelo. Es ya libre, ya libre este suelo, ya cesó su servil condición. Al estruendo marcial que ayer fuera y al clamor de la guerra horroroso, siguen hoy en contraste armonioso, dulces himnos de paz y de unión.

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> Chorus: De la Patria, el alto nombre, en glorioso esplendor conservemos. Y en sus aras de nuevo juremos: ¡Morir antes que esclavos vivir! ¡Morir antes que esclavos vivir! ¡Morir antes que esclavos vivir!

Traditional Bolivian instruments

Bolivian music styles vary from region to region and are invariably connected to traditional Bolivian dances. In Bolivia, music is usually not just created for playing, and almost all traditional music can be danced to.

The siku (aymara), antara (quechua), or zampoa (Spanish) is a wind pipe composed of two series of bamboo pipes of different lengths tied together with llama wool strings. The origin of this wind pipe is from ancient Aymara settlements living on the altiplano. The siku player is called a sikuri or zamponero.

The quena (kena) is a simple flute made of bamboo, which has a round aperture at its end on which the lower lip is placed. The Quena flute is 50cm long and has a diameter of 2 to 3 cm, and comprises 6 frontal holes and a back hole.

The tarka (tarq’a) is a flute carved from wood, painted with bright colours, and perforated with 6 frontal holes. The tarqueada is a pentatonic (5-toned) rhythm played with only the tarka.

The ocarina is a round wind instrument made of terracotta, which can be decorated and painted in multiple ways.

The bombo is a circular drum manufactured from a hollow tree trunk, with two faces made of animal skins and firmly attached to each other by a series of ropes.

The chajcha is a chain made of several goat or pig nails that hit each other and produce a sound at a rhythm given by the movements of hands or feet.

Other traditional Bolivian instruments include the hualaycho, ronroco, zampoña, pinquillo, tarka, toyos, pututu, Andean saxophone, and Chajchas, as well as European instruments such as the violin and guitar.

Bolivian folk music

One of the most popular folklorico genres is Morenada, which tells the story of African slaves who were brought to work in the silver mines of Potosi under Spanish rule. The dance is represented by the outfits worn by the performers: the men wear black masks and beards, with bells around their ankles to signify the clinking of slave chains, while the women wear miniskirts and colourful, plunging blouses. The upbeat rhythm, outfits, and dance moves are surprising for a dance that symbolises oppression.

Another well-known dance is the Caporales, which originated in the Afro-Boliviano community of Los Yungas. The dance is dedicated to the Virgin of Socavón and inspired by El Caporal, a mixed-race foreman who supervised the slaves of Potosi. The men in the dance wear multi-coloured body suits, a foreman's hat, and carry a whip, while the women are dressed in revealing outfits. This dance is considered one of the most challenging to master, requiring complex steps and athletic leaps in Bolivia's high-altitude regions.

Traditional Bolivian musical instruments include the charango, zampoña, quena, bombo, huancara, and pututu, as well as European instruments like the violin and guitar.

In 1952, a revolution brought about nationalistic reforms that included cultural and political awareness of the Aymara and Quechua natives. This led to a fusion of traditional and modern music, with groups like Los Kjarkas and Kalamarka gaining international recognition for their blend of folk instruments and modern instruments to create beautiful Andean music.

Jazz standard Bolivia

"Bolivia" is a jazz standard written by American jazz pianist Cedar Walton. It is widely regarded as his most well-known composition. The song was first recorded for the self-titled album 'Eastern Rebellion' in 1976, with Walton on piano, George Coleman on tenor saxophone, Sam Jones on bass, and Billy Higgins on drums.

The composition is in the key of G major and is typically played in an Afro-Cuban style. The song features a repeating bass ostinato in the first 16 bars, which are based entirely on a G7(13) chord. The B section, or the final 16 bars, introduces a new melody before returning to the initial bass ostinato.

"Bolivia" has been covered by numerous artists and has become a popular jazz standard. It was notably recorded by Freddie Hubbard in 1991 for his album of the same name. Hubbard's version received positive reviews, with the Los Angeles Times praising the song's ability to "sashay back and forth between an undulating Latin feeling and a driving swing section."

The composition has also been interpreted by various other artists, including Sam Jones, Doug Raney Quintet, Cody Moffett, John Carlini, Sean Dobbins and the Modern Jazz Messengers, and many others. "Bolivia" has firmly established itself as a beloved and frequently performed jazz standard, showcasing the enduring appeal of Cedar Walton's musical legacy.

Popular songs in Bolivia

Bolivia has a rich musical tradition that blends indigenous sounds with Spanish and African influences. The country's diverse cultural heritage is reflected in its songs, which often tell stories about love, nature, daily life, festivals, and historical events. Music is an integral part of Bolivian life, bringing people together and preserving their culture and identity.

Traditional Bolivian musical instruments include the charango, a small string instrument that resembles a ukulele but has a distinct sound, and the pan flute, or siku, which produces haunting melodies. Drums and other percussion instruments, such as the bombo, huancara, and reco-reco, add rhythm and depth to the music. European instruments like the violin and guitar are also used in Bolivian music.

One of the most popular genres in Bolivia is Andean music, which originates in the mountainous regions of the country. This style typically uses flutes and string instruments to create melancholic melodies that evoke the beauty and isolation of the Andes. Another popular genre is Cumbia, a more modern and danceable style that combines traditional rhythms with contemporary beats. Cumbia is particularly popular in urban areas and often features electric guitars and synthesizers.

Folk music also remains important in Bolivia, with many artists performing at festivals and cultural events. Some well-known folk songs include "Llorando se fue" by Los K'jarkas, "Cuando Florezca el Chuño" and "Ama, Ama, Amazonas" by Kalamarka, and "Lagrimas de dolor" by Grupo Semilla. These songs blend traditional music with modern influences to appeal to both urban and international audiences.

In addition to folk music, Bolivian artists have also gained recognition in other genres. For example, Luzmila Carpio, Ruphay, and Grupo Aymara have toured abroad and received international praise for their compositions that showcase indigenous Bolivian culture and history.

While folk and traditional music remain popular in Bolivia, the country also keeps up with modern trends. For the week of August 3, 2024, the top songs in Bolivia based on streaming and sales activity included "Si Antes Te Hubiera Conocido" by Karol G, "Real Gangsta Love" by Trueno, "Luna" by Feid & ATL Jacob, and "Perdonarte Para Que" by Los Angeles Azules y Emilia. These songs reflect the dynamic nature of music popularity in Bolivia, as artists continue to blend traditional and modern elements to create timeless and cherished songs.

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