Musical genres

Paraguayan polka

Rasguido Double

Valseado

Guarania


The Paraguayan music

        To define this generic figure, used by all the Paraguayans we should appeal to an exhaustive study, the facts of the situation that were being captured in our sound habit in becoming of the time investigating and when learning them, we were them developing and expanding with our autochthonous accent. For that reason, to find in our essence what is identified more with our expressive, frank, affectionate behavior in spirit and until romantic, we should appeal to the music that when singing it with expressions guaraníticas and with peculiar style, it was achieving an own identity, characteristic, very differentiated of other musical expressions of Latin America, being constituted in reflection faithful of our more authentic musical nationality.

        Clearing is that to justify these appreciations we should make a retrospective analysis of the evolution of our autochthonous music. For we will appeal it to the data and obtained documents, as being the written scores of the time of the López, those that have demonstrated that the musical interpretations of beginnings of the XX century didn't coincide with the writings, just as they prove it the few documents that have been able to rescue.

        In the musical works (polka, songs, valseados and dance music) that were transcriptas or created and that they have arrived to our days through loose scores or in album, as that of Nonon Domínguez, for example, notaciones is observed completely different from the correct ones achieved later.

        As it was the time happening and the musicians acquired bigger technician-musical knowledge, through their searches and experiments were being given more exact connotations. The most curious case is that of José Asunción Flores that taken by the desire of contributing to the musical patrimony of the country, he knew how to impose its proposal of new conception in the writing of new rhythms, conformed to the new melodies, defining them, at the same time, with new generic denominations as " Guarani " and Kire'y" that to support its proposal, with the brilliant idea that characterized it, creó, without being left the pattern of writing of that premise, works of ríquisimas textures for guía  of the later composers to its generation, such as: " India ", Nerendape Aju", Arribeño Resay", "Panambi vera ", "Gallito cantor", Musiqueada Che ámape", " Cholí " and other so many topics that they constitute the most genuine in the wealth musical Paraguayan.

        Of there from now on, with this praiseworthy event in our sound firmament, it left affirming the value of our musical gender, as if with it the true consolidation of the authenticity of our music was born newly. The new creators and followers of the experiment Flowers, with commendation, without objection, began to contribute with similar proposals, with writings of harmonic characteristics, with melodic airs and rhythmic cells inside the gender already established, captured in the genuine sentir  of our nationality like the true Paraguayan Music.