A Look At The Puya Vallenata From Its Execution On The Piano. Musical And Interpretative Analysis.

Resumen

Vallenato, over the years, has transcended, evolved and has been marketed representing part of the Colombian cultural identity worldwide, remembering that in 2015 it was declared intangible cultural heritage of humanity by UNESCO. The puya occupies a relevant position within the indigenous musical airs of the Colombian Caribbean region, “since it demands from the instrumentalist a high degree of virtuosity and performance skills in the accordion” (Gutiérrez, 2015). For that reason and in response to the pedagogical assumptions of Zoltán Kodály, which refers to the importance of using indigenous musical language to access universal musical language (quoted by Pascua, 2006) the adaptation to the piano of the puya was proposed, “me dejó solito” by Colombian singer songwriter Jorge Celedón. This essay addresses a novel topic in the Colombian musical field, as it intends to approach the puya vallenata since its execution on the piano, using for this purpose the musical analysis as a tool to understand the characteristic elements of the process of adaptation and interpretation to the piano of the theme “me dejó solito”, but focusing on the contributions that the technical difficulties of this musical air (such as polyrhythmia, sections in third and sixth intervals, rhythmic melodic accompaniment designs with extensions of more than one octave, among others), and the results of the transcription for the piano by the author of this essay can contribute to the development of skills in the pianist in training.