In the area that is now known as San Lorenzo, very close to the Cumanacoa population in Venezuela, some types of wind instruments are known as Carrizos (Reed), Pitos or Pan Flutes. Many of these instruments were used by indigenous people Chaima and, the development of these instruments was definitely an art that was transmitted among this group of indigenous people from one generation to another; a whole inherited mastery. In the manufacture of these instruments a type of grass called Carrizo or Juasjuilla was used.
The first Chroniclers of the Indies have reviewed the use of this type of musical instruments such as the Pan Flutes, Pitos and Reeds. These instruments have remained in force with some variations in their construction and musical use in various indigenous groups of Venezuela, but in some localities of the country, their use and permanence has been quite unchanged as in the case of the Cumanacoa reeds. This tradition has been maintained, through cultores who dominate a certain manufacturing technique and, at the same time, musical interpretation.
Around this environment of manufacturing and musical interpretation have been constituted what some call "scales" or family circles or friends who share teachings and learnings about the manufacture and musical interpretation of the reeds to promote, thus, the meeting and the celebration of life itself among people.
To play music with this type of instruments you need at least two types of reeds, the "Female" and the "Male", of about five tubes each. "Female" and "Male" have a different tuning and vary from major to minor. These tones, almost always, are kept in a single plane making the tunings between them complement each other, which allows to build, in a collaborative way, the tones of the different melodies that make up the music. Each one of these musical themes or melodies are always defined by the "Female" Reed, which constitutes the highest authority within the Group. For each "Female" several "Machos" can intervene, who can complement the musical tones or heights also in unison. To this type of melodies, in some cases, they are incorporated, in addition the Botuto or indigenous Guarura, the maracas, the drum and the Cattle of Cattle. In others, the tones are sung and the Cuatro is also incorporated.
Among the most popular tones of reeds that have been played in the population of Cumanacoa we have El Mare-mare, El Matachín, El Perro y el Crab and, El Come Candela. That is why, it is a pleasure for me to refer to today's song: El Candela Candela (Eats candle). It is a Tone of Reed that is a traditional musical form that has been compiled by the Reed Group of the Cova Family. Thanks to this group the continuity of this musical tradition is maintained. With this type of reference it is a matter of contributing a bit more to promote and spread our Venezuelan culture and, at the same time, reaffirm the value of our musical expressions and their popular cultores, thus demonstrating the immense creative potential of the Venezuelan people.
Estelio Padilla
Song title: Eats candle
Genre: Tone of Carrizo (Venezuelan Folklore)
Interpreter: Carrizo Group of the Cova Family
Carrizo Female: Hilario Cova (Son)
Carrizo Males: Cristino Véliz and Mario Cova
Recorded "in situ" between August and September 2001 in the town of Cumanacoa, Sucre State, Venezuela
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