Trikitixa

The trikitixa ("small accordion"), created in 1889, is a diatonic button accordion, of Italian origin. It is a wind instrument that has been used since the 19th century in the Basque Country. It is also known in other parts of Europe and America with many changes.

Most often it is played together with a tambourine, that is, together with a tambourine player. Therefore, more than the instrument, it is the type of music that this couple creates that is called by the onomatopoeic name trikiti. It is a musical instrument that is played in pilgrimages in the Basque Country.

History

Its origin is Italian, although its use spread to regions that include the Basque Country. At this point, we focus on the evolution of the instrument in the Basque Country. It began to spread throughout the current autonomous community of the Basque Country, at the end of the 19th century. In 1889 we have the first written mention of a pilgrimage in Urkiola. The most open theories say that this musical instrument came from the Alps, from the border between France and Italy. In the Basque Country, according to the belief of many, this instrument had its extension process from Vizcaya to Guipúzcoa. Today the Association of Trikitixas of the Basque Country is located in Zarauz. The trikitixa was despised and frowned upon in society: Catholic priests saw it as "the bellows of hell", because it incited people to dance together and the Church prohibited these dances in those centuries. The Church, the City Council and the Government were united in a war against the trikitixa, prohibiting pilgrimages and in some cases even arresting dancers who danced their music and musicians who played it. Basque Nationalism also did not accept this musical instrument as its own until after the war.

This name is used mainly in the Basque Country, Navarra or in places with the presence of Basque culture and this term is usually used to designate a dance, held dance and loose dance, or a style of traditional Basque music that uses this type of accordion.

In the Basque Country, in the 19th century this instrument made room for performing popular music, since in addition to It has a very complete sound, it is very small and easy to carry anywhere: it is very common to see performers playing this instrument standing or walking, when they play at a pilgrimage.

The trikitixa in the Basque Country

The first written information about this diatonic accordion is from the year 1889. In that year Juan Carlos Guerra, in the Urkiola pilgrimage, placed and called this instrument as "a new diatonic accordion." Where it came from and where it expanded to, however, is not so clear. There are two main theories about this. The best known is that it expanded when workers from the Alps (both French and Italian) came to build the train tracks. Other theories say that it spread from Vizcaya to Guipúzcoa. From Bilbao to Arratia, Zornoza, Guernica, Lea-Artibai and then to Elgóibar, to the surroundings of Éibar and Elgueta. The Zengotita store was in Bilbao and it is most likely that the first instruments were of the Hohner brand and that the Zengotita store sold them. What is clear is that this diatonic accordion spread throughout Europe at the end of the 19th century, by boat, by train and in every possible way.

Rooting

The trikitixa soon occupied an important place among the instruments that performed the popular music repertoire. In Urraza's opinion, it is a light, small instrument, easy to carry to any hermitage. The bass makes it possible to continue at a pace. It established its roots in rural environments, since in the cities it had many competitors, such as bands, brass, etc. The txistularis and atabalaris were paid in any municipality, and the trikitixa became a fundamental part of the pilgrimages.

Repertoires and dances

The repertoire of the trikitixa is closely linked to dance pieces. For both the held dance and the loose dance, the trikitixa has been a fundamental element of the pilgrimages. The word fandango has been known in the Basque Country since the XVIII century. If the trikitixa was successful it was not because they copied the pieces that were performed until then with traditional musical instruments, but thanks to the repertoire that showed close links with the grab dance, the waltz and others. There was already loose dancing, it was successful with the held dance, says Urraza. He cites three sources of the trikitixa repertoire: the music of the Carlists, the music bands and the repertoire of the usual instruments. In Beltrán's opinion, the trikitixa adopts the repertoire of the previous drummers, albokaris and especially dulzaineros, and adapts them, since the trikitixa offers many more options than those. The dulzainero needed a drum, and the accordion offers the option of leaving the left hand free to carry out the tasks of the drum. Furthermore, if we refer to the economic aspect, one person did the work of two. On the other hand, Urbeltz highlights the importance that dance has in the relationships between boys and girls. With dance there was a crypto language to be able to make relationships. Hence the custom of accompanying girls at dances and others. That's why it was frowned upon in some points.

Traditional Basque music

What is Basque music? What is traditional music? These are complex questions, but no one denies that the trikitixa, which is little more than a century old in the Basque Country, is a popular and traditional instrument. Beltrán has no doubts about it: There are roots that are new. The root does not have to be an old story, but rather something that has taken root, an essential element. The trikitixa has not been an academic instrument at all, it has been a popular instrument. The treasure he has achieved has been popular, the repertoire was composed taking from popular pieces (alboka, txistu, dulzaina...), and he made them his own. Traditional is what is carried out by tradition, what is repeated. When the people give something their own idiosyncrasy, it becomes popular, its own, Basque popular music. When we make external influences our own, in our own way, then they become popular, and if they are repeated over and over again, traditional. Joseba Tapia adds the following based on his own experience: On other instruments, musical theory is learned and then applied to the instrument, and with the trikitixa the musical definition is carried out with the instrument, and many times it is It clashed with music theory. It is another way of understanding the same music.

Currently

Society has witnessed great changes from the previous century to today. The trikitixa has changed along with society, and has opened itself to new influences, styles and ways of interpreting. In Beltrán's opinion, "that desire for square dances does not exist in today's society. The trikitixa has found new spaces and is still something in constant change. Many paths are being created, but in general it remains popular. Many people continue to make a living from trikitixa (teaching, selling, playing, organizing...)». Urraza, on the other hand, is very critical: “It is an element in musical training. Many who do not show any interest in music theory learn trikitixa. It has spread to the popular level. There were creators and there are a few, but there are too many who repeat.” We can say that the traditional trend of trikitixa is part of the cultural heritage. If it is not transformed it is not maintained, and if it is not maintained, it dies.

Trikitilaris

Those who play this instrument are called accordionists and in Basque trikitilariak. These are the most recognized:

• Pedro Sodupe Gelatxo (Elgoibar, 1928-2007)
• Kaxiano (Lizartza, 1932-2002)
• Iñaki Garmendia Laja (Azkoitia, 1994-2019)
• Tomás Soraluze – by mote Tomás Epelde- (Azkoitia, 1945), from the group Eepelde and Larrañaga.
• Iñaki Malbadi (Albiztur, 1957)
• Joseba Tapia (Lasarte-Oria, 1964)
• Kepa Junkera (Bilbao, 1965)
• Iker Goenaga (Zizurkil, 1974)
• Alaitz Telletxea (Oiartzun, 1976), member of the group Alaitz eta Maider.
• Maixa Lizarribar (Tolosa), member of the Maixa ta Ixiar group.
• Xabi Aburruzaga (Portugalete, 1978)

The trikitixa and the tambourine are very close, so much so that it is very difficult to see someone playing this instrument without a partner who plays and sets a rhythm with the tambourine.

The person who plays the trikitixa is called trikitilari.

• Kepa Junkera.
• Joseba Tapia.
• Julen Alonso.
• Xabi Aburruzaga.
• Adolfo Jainaga.
• Xabier Solano.
• Xabier Arakama.
• Pedro Sodupe "Gelatxo". †
• Kaxiano Ibarguren. †
• Iñaki Garmendia "Laja". †
• Tomas Soraluze "Epelde".
• Iñaki Malbadi.
• Iker Goenaga.
• Alaitz Telletxea.
• Maixa Lizarribar.
• Ines Osinaga.
• Xabier Zabale.
• Iker Goenaga.
• Lorea Jainaga.
• Josune Arakistain.
• Maddi Alberdi.
• Maier Fernandez.
• Agurtzane Elustondo.
• Joxe Agustin Elorza.
• Iñaki Plaza.
• Oskar Estanga.
• Itsaso Elizagoien.

Groups

• Iñaki eta Ramon
• Alaitz eta Maider.
• Egarri.
• Esne Beltza.
• Etzakit.
• Gose
• Maixa eta Ixiar.
• Salbluespunk
• Tapia eta Leturia.
• Gozategi
• Imuntzo eta Beloki.
• Epelde eta Larrañaga.
• Elorza anaiak.
• Kupela Taldea.
• Lin Ton Taun.
• Ken Zazpi.
• Korrontzi.
• Huntza.