Zulian bagpipe
The Zulian bagpipe is a musical genre from the state of Zulia in Venezuela. In 2014 it was declared a patrimonial asset of cultural and artistic interest in Venezuela. In some regions of Venezuela and in Venezuelan communities around the world it is related to Christmas. But currently it is a genre that runs all year round in the country. As a popular musical genre, it is sung in a group made up of men and women.
According to Joan Corominas, the word «gaita» comes from the Gothic gaits (although it is still not very defined), a term that is also used by the languages of Eastern Europe (gaida in Hungary, gainda in Crete or gayda in Yugoslavia), which means "goat", since the furro or furruco membrane is made from the skin of this animal, an instrument emblematic of the bagpipe.
The themes dealt with by performers of this genre range from songs to love and religious figures, to humorous and denunciation songs. The political element is also the protagonist of many songs.
Such is the popularity of this musical genre that gave its name to the Gaiteros del Zulia basketball sports team.
Guinness World Record
The Zulian bagpipe obtained the record of bringing together more than 400 musicians to interpret the song Reina Morena by Ricardo Aguirre, the event took place in the Plaza de la Basílica de la Virgen de Chiquinquirá in Maracaibo on November 8, 2022. The Guinness World Record was obtained for the participation of musicians of the bagpipe genre, who took the title of the largest Venezuelan Folk Music Band in the world.
History
In the first forms of the bagpipe, the songs of mass taught by the Catholic missionaries, the percussion of the tamboras, the characteristic cultural sound of the furruco, the maracas and the charrasca were combined. The four, together with the Spanish songs, represented the Iberian contribution. The performance of the natives provided the definitive style to this new music.
The origins of the Zulian bagpipe have not been precisely established, but it is assumed that it was born with the republican concerns of the people, perhaps in the first decades of the 19th century, as evidenced by the patriotic Easter songs dedicated to Ana María Campos, the Altagracian patrician flogged by order of the ferocious Marshal Morales for refusing to withdraw his lapidary phrase: "O capitula o monda".
Traditionally, the bagpipe has been linked to the December devotion to Santa Lucía in the El Empedrao neighborhood of Maracaibo, and in this sense it is remembered that when Father José Tomás Urdaneta was in charge of the parish, he took the noisy people out of the temple pipers. It can be said that since then the bagpipe lost its initial religious character and definitively became happy music and a musical expression of criticism and protest.
The origin of the Zulia bagpipe according to Rafael Molina Vílchez
«The Zulian bagpipe, like many other manifestations of Latin American costumbrismo, is mestizo. It has a polyethnic genetic mosaic, but its root is Hispanic, although Hispanicity is preserved in very different progressions than the marabina bagpipe (also called the furro bagpipe), the song of urban Creoles, in which it survives strongly, compared to the bagpipe of tambora and perijanera, in which blackness leaves a more intense mark.”[citation required]
This folklore scholar points out that the bagpipe is Spanish, but that over time two divergent trends emerged: the marabina bagpipe and the black bagpipes. This opinion has generated controversy, however it is widely shared, since the term "gaita" has Galician-Portuguese roots: it comes from the Gothic "gaits" which means "goat", because the bellows of the Galician bagpipe are made from leather. of the goat From Spain through the African Arab countries it reached Turkey, in whose language it is translated as "shepherd's flute", which would be in accordance with the drawing that Agustín Pérez Piñango found with the Glorioso San Sebastián bagpipe, dating from 1668, according to a document located in the old National College of Maracaibo, which brings the lyrics and music in Gregorian characters. It would be the oldest bagpipe known. However, other scholars, including Juan de Dios Martínez, maintains that the bagpipe began with the black slaves on the haciendas in the South of the Lake, as a protest and evoking their festivals in the African areas where they came from.
First bagpipes sung live on the radio
In 1928, an Experimental Radio station called La Voz del Lago, owned by businessman Pedro Bermúdez, played live for the first time the Noche Buena by Adolfo de Pool, a musician and composer from Maracaibo, also author of the music for the Hymn to the Virgin of Chiquinquirá of Maracaibo, who with his own ensemble directed the presentation and performance of the bagpipes on that station.
First bagpipe recorded to the Virgin of Chiquinquirá
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Virgin of Chiquinquirá is the name of the first song recorded in honor of the Virgin Mary in her dedication to Chiquinquirá, composed by Ramón Bracho Lozano and José Mavárez, who recorded it in the last five years forties, with the group Gaiteros del Zulia. There were no soloists because the bagpipes were sung by the choir made up of the musicians.
The record production called Por la senda del folklore, included not only the bagpipes, but also the rhythm of the dove, Zulian waltzes, décimas, dances. Compositions such as Virgen del Valle, Sucre, Paéz and Urdaneta, En estas pascuas mi vida, Santa Lucía are remembered from there. i>, Antorcha de la Libertad, Virgen de la Coromoto, Machiques-Colón Highway and San Benito. The musical work was recorded in the Ondas del Lago studios with the Euterpe label and “Altec” sound.
It should also be mentioned that this record was the first greeting of the bagpipes to the whole country. Gaita Número 1 and Gaita Número 2, which have the same lyrics in their chorus, but different music and different stanzas sung by soloists who are popularly and commonly called verses. This bagpipe was made in two parts due to the extensiveness of the theme, which covered all the states and territories of Venezuela.
Origin of the bagpipes according to Ramón Herrera Navarro
There are other versions about the origin of the bagpipe, one of them is that of the researcher Ramón Herrera Navarro, which he compiled from the story of the piper Alfonso Huerta Bracho in 1982 who had taken it from a notebook he found in a trunk belonging to one of your ancestors.
As indicated in that notebook, the bagpipe was born on December 4, 1782 in the canton of Gibraltar in the state of Zulia. The inspiration for the song that gave rise to it arose after the master of the Santa María farm hit a black slave named Simón Chourio on the back for not promptly responding to his order. Another slave, named Chourio, as he fell to his knees on the ground, said crying: "This can no longer be / how the masters treat us." Her sister, María Dolores Chourio, who was behind him, and who was also a slave, upon hearing that lament, whispered softly in his ear: "And if we claim it / they make us suffer more." Upon hearing this, they both repeated the first part of the verse in unison: "This can't be anymore." This is how the song of claim and protest against the masters for the bad treatment they received was composed. A representative of the group of slaves, named Francisco, who knew how to read and write, suggested that the masters be asked for permission to spread the song, and the latter granted them permission, as long as they did it before their party, which was The 24th of December. The idea of the slaves was to have a party similar to the one the Spaniards do, imitating the songs of Christmas bonuses and carols, on the occasion of the celebration of Christmas and, in view of the permission granted, they decided to sing the song they had composed, the December 12, 1782. It is mentioned that the Spaniards, seeing that they could no longer bear all that they were saying in song, had the musicians and singers whipped. A slave named Candelaria received so many blows that she died the next day. The rest of the slaves, after whipping them, they made them put in stocks and they put chains on their feet.
Definition of Zulia bagpipe
It is a composition that has the art of combining the content of a theme that has a formal verse-chorus structure, in which the first is intoned by a soloist and the second by the choir; Four verses are used in the stanzas and 4, 6 or 8 verses in the chorus, both eight-syllable metric, although combinations of verses can be used. The rhythmic base is 6 X 8, 6 X 12, 6 X 14, 8 X 16, also regular and irregular metric, assonant or consonant rhyme. That is to say, that in structure, metric, rhyme and cadence it can be interpreted by a piper ensemble following the traditional way in its interpretation.
Types of bagpipes
Furro bagpipes or marabina
It has a 6x8 rhythmic scheme. For having been the most widespread Zulian musical genre on a national scale, it has become the most controversial in terms of its origins and trajectory. The traditional popular song of our town at Christmas time is known as Gaita de Furro.
The instrumentation with which the bagpipe has traditionally been accompanied is made up of: Cuatro, maracas, charrasca, tambora and the basic instrument the furro or furruco, as it is also called, formerly known as "mandullo", a descendant straight from the Spanish zambomba.
In the Maracaibo of about fifty years ago, other instruments such as the piano and even some wind instruments were included, when conditions allowed. Nowadays, the commercial influence has determined the presence in our furro bagpipes of some electronic components.
Those who had the opportunity to experience that era also say that the bagpipes were organized in family homes or commercial premises with the participation of all attendees, men and women; A handkerchief was the signal that, when delivered to one of those present, indicated their turn to say a verse, most of the time improvised, referring to the owner of the house, or the commercial firm, or the subject to which they were dedicated the chorus.
The bagpipe season originally ran from the eve of Día de la Chinita, on November 18, this beginning of the bagpipes was traditionally known as the “Download of the Furros” and lasted until February 2, the day of la Candelaria, in which the "Subida de los Furros" took place, that is, the instruments were kept until the start date of the season arrived again.
Saint Lucia Bagpipes
In the Northern Zone of Zulia State, specifically in Santa Rosa de Agua, San Rafael del El Moján, Sinamaica and nearby sites, a song has been found to which the inhabitants of these sites call Santa Lucía Gaita, and it have known under that name for many generations. It is sung in major modes and according to some informants, it has traditionally been sung accompanied by: cuatro, charrasca, maracas and furro, the tambora not having been included until after the arrival of the Chimbanguele (from the South of the Lake) to these sites.
In the entire northern area, only the refrain shown here has been found:
- Sing boys with joy
- That this is the gaita of Saint Lucia,
- Gloria, let's give Saint Lucia.
The verses are generally improvised and have the characteristic that the chorus responds in reverse to what the soloist says, for example:
- Soloist: Lucia's eyes look like two paraparas...
- Chorus: Looks like two paraparas, Lucia's eyes...
It is sung in honor of Saint Lucia, generally to pay her promises, beautiful altars are made where she is worshiped with music and prayers in a novena between December 12 and 21, (the day of Saint Lucia is the 13), however, the bagpipes continue beyond that date.
Drum Bagpipe
It is the evolution of the female chore song (in the pylon, on the grinding stone, on the table washing in the river, or in front of the stove). The slaves were used for work in the home, and this song of work is channeled by African cultural values and manages to flourish until facing urbanism, which reduces it to a simple activity that is carried out once or twice a year. It is characterized by presenting a tambora with a patch at both ends, fastened with hemp or rope; and a little drum equal to the half blow of the chimbanguele. Its compass is 2x4.
Drum Bagpipe
Called by the chronicler and researcher Juan de Dios Martínez as L«a 5.ª gaita”, it is certainly the fifth subgenre of the Gaita Zuliana. It arose at the beginning of the 1970s as a result of the fusion of the tambora bagpipe and the chimbángueles of San Benito. Its creator was the famous piper singer-songwriter Nelson Martínez together with the Gran Coquivacoa, a piper group in which he formed ranks. Its rhythm is 2x4 and it was initially performed with four, furro, tambora, charrasca and maracas. The bass, the piano, the electric guitar, the congas, the bongo, the cowbell and even brass (trumpet, trombone and saxophone) and timbales were soon added, while at the end of the 70s and beginning of the 80s the drum bagpipe It was surrounded by the Caribbean musical influence, especially salsa, all led by avant-garde bagpiper ensembles such as Estrellas del Zulia, Guaco, Santa Anita and, of course, Gran Coquivacoa. The theme is varied and does not have a special season for its execution.
Description of basic instruments
The fundamental instruments of the Zulian bagpipe, already mentioned, are described below.
Furro or furruco
The furro or furruco is made up of a wooden box, cylindrical and slightly conical, with the smaller diameter opening directed towards the floor; and, the largest, -whose diameter is about 40 centimeters-, directed upwards. At the same time it is covered by a membrane of dry, vibrant leather. Conveniently fixed with metal straps, so that it can be tempered according to the needs and taste of the interpreter. In the center of the membrane is fixed a wooden dowel, a little more than one centimeter in diameter and about 25 centimeters in length, the blunt end of which is embedded in the leather and tied tightly on the opposite side of the membrane. It could be said that the furro is the bass in the execution of the bagpipes. Among the great furriers who have played the bagpipe we can name: Jesús Lozano, Ciro Coyeyo, Douglas Soto (+), Héctor Silva, Ángel Alberto Soto, Antonio González (Mahon), José "cheo" Silva, Victor Silva, Jose Francisco "Kiko" Ochea Rincón, Luis Cohen, Elías Oviedo, Mario Zuleta (+), Omelio Medrano (+), Valmore Albornoz (Fortachon), Edgar Cohen (+), Antonio Rivera, Roberto Gotera, Jesús Méndez. The origin of the furruco or furro of the bagpipe is found in a Spanish instrument whose only difference with the Venezuelan instrument is its size, since the furruco is generally larger. In Spain to name this instrument, spread throughout the peninsula, the name Zambomba is used.
Maracas
The maracas,-a pair, of them- constitute another instrument of the bagpipe. They are made from a fruit called tapara, oval in shape, with a variable diameter, between 10 or 12 cm. Hollow inside, where about twenty seeds the size of lentils are placed, to produce the sound. Of course, both maracas have an appropriate handle for the instrumentalist to take. Nowadays, it is feasible to use more durable plastic spherules to obtain the characteristic sound of the maracas.[citation needed]
Venezuelan Four
The cuatro is the singing instrument of the Zulian bagpipe, together with the voices. It is an instrument of strummed or percussed strings. Similar to a guitar in its structure, but smaller - about half the height of a guitar. It has a fingerboard with frets, a circular opening or sound hole in the center of the sound box, a bridge fixed to the sound box, and four pegs that tighten and tune each string, the end of which is fixed to the bridge, passing through the sound box sound hole. resonance. The strings are tuned like this: starting from the fourth to the first, they are, respectively, open LA, RE, FA#, and SI. Great bagpipe cuatristas are: Douglas Isea, Renato Aguirre, Nerio Franco, Nixon Paredes, Ramir Salazar, Santiago Soto, Douglas Vera, Elvis Cano, Manuel Luzardo, Ricardo Aguirre Jr. Rafael Brito, Gustavo Polanco, Wilmer Vargas, Francisco Javier Yoris, Alexis Molina, Javier Ulacio, Jorge Glem.
Charrasca
Another instrument of the Zulia bagpipe is the charrasca. It is a metallic, bronze, cylindrical instrument, divided by a groove along its longitudinal axis, and with grooves, more or less deep, perpendicular to said axis, and carved equidistant from one end of the cylinder to the other. The performer rubs a thin metal rod, about 15 cm, over the grooves, thus obtaining the sound of the instrument. Among the greatest charrasqueros of the bagpipe we have: Alcibíades Villalobos, Humberto Sánchez, Antonio Aguillón, Quintiliano Sánchez, Alberto Bohórquez, Jorge Freire "El Ingeniero", Luis Contreras, Luis "Moncho" Martínez, Manuel A. Pirona, Alfredo Maldonado, Marcos José Espina, Antonio Espina, Leonel Oviedo, Ender Paz, Luis Ávila, Yoelbis Méndez, Ricardo "Pelón" Aguirre.[citation required]
Drum
The tambora is another bagpipe instrument. Made of wood, with a cylindrical and slightly conical box; open at the lower end, it has, similar to furro, a dry leather membrane on the upper part. Completely stretched and smooth, the leather is struck by the performer, who uses two cylindrical wooden drumsticks, 20 cm long and 2 or 3 cm thick. One is used in each hand and both the leather and the wood of the drum are struck alternately. Some of the best bagpipe drummers are: Ángel Parra «Parrita» (creator of the tambora peal and playing this instrument between the legs), he is followed by Ramón Romero, Adán Parra Socorro nicknamed << "Fried Meat" or & # 34; The other Parrita & # 34; & gt; & gt;, we have to register this one because of his age..! Who, at 14 years of age, already made what he wanted from the tambora and recorded his first bagpipe at an early age with the help of someone who became one of his best friends in this medium, such as Miguel Ordoñez + the Boulevard bagpipe with Brotherhood Bagpiper (bagpipe of the Year 1980.) as he also recorded the bagpipes Las Salinas, Para Mi, LA Sin Rival and others, also with Barrio Obrero the following year also bagpipe of the year, he recorded Dos Regalos, he was Founder of the Cagigal Group or Ensemble where study and who later became the Conjunto Birimbao, where he also obtained bagpipes of the year and where he had a very peculiar anecdote of his gift, Adán also studied with knowledge next to the famed drummer Luis Ruiz (El Panameno.) at that time from Barrio Obrero de Cabimas Who, upon seeing him, marveled at his mastery of the tambora at such an early age. Adán, who taught the also well-known "Ovejo" de alitasía, Kennedy Reyes+ and others, Adán Parra (He also stood out with his mastery of the tambora at such a young age for playing it on his side, lying down, on the floor, resting between his legs and standing with multiple types of ringing and son &# He was followed by Humberto Sánchez "El Ovejo", José Ferrer "Poke", "Black" Zambrano and son Leonardo "Nano" Zambrano, José Ferrer, Freddy Ferrer, William Molina, Alves Aguirre, Melkis Daniel Espina, Eudomar Peralta, Nestor Luis Soto, Alvis Reyes, Raul Agreda, Ender Méndez, Ricardo Aguirre Jr. José Alejandro Villalobos, Manuel A. Pirona, Ender Linares, James Calderón, Roddy Tigrera, Nelson Suárez, Luis Ruiz (the Panamanian), José Alberto Delgado, Josleni León. The tambora itself is also a percussion instrument, which belongs to the wood family.
Other instruments
Despite being those mentioned, the fundamental instruments of the bagpipe; such instrumentation can be enriched with the participation of other musical instruments; be it a clarinet, or a guitar, or a piano, or a violin, always as accompanying instruments; and, among those mentioned, one at a time; since the musical structure of the bagpipe is very simple. Precisely, and, alluding to the simplicity of the musical architecture, and its characteristic "air", this is what results in the fact that, especially from the melodic point of view, the Zulian bagpipe, precisely because of its simplicity of melody and harmony, is difficult to compose, in such a way that a demanding ear, gives it the qualification of genuine. The bass within the Zuliana bagpipe deserves a separate chapter since it appears since the late 60s and has been established since then as one of its complementary instruments that best blends with this rhythm, giving it an incomparable harmonic depth, preserving the genuineness of the bagpipe. Its first outstanding performers were, among others: Oswaldo Sanoja, William Nava Soto, Carlos Sánchez, Tony Vera, Gil Ferrer, Sunding Galué, Ricardo Domínguez and Edwin Carrasquero (Sopita).
In addition, the first bagpipe ensemble to include orchestral instruments (trumpets, trombones, saxophones) in its live performances (for which reason it was called the Gaitera Orchestra) was the Grupo Gaitero Los Portentosos, a group from Caracas whose director was Hernán Marea, in the year 1980.
Performance of the bagpipe
In its musical composition, in its lyrics, the bagpipe consists of a chorus sung in chorus, which is characterized by having six to eight verses, which rhyme like Serventesio or not, according to the poet's criteria. Let's see the following example of the set Saladillo. (Year 1963).
- Gaita, the plain soul
- of Zuliano at Christmas
- that brings happiness
- and joy everywhere
- To be the sincere expression
- of this great feast
It is the previous one, a classic chorus consisting of six verses, combined between eight syllables and heptasyllabic. The chorus has already been sung twice consecutively in chorus, by the group as a whole, both female and male voices; A soloist enters, who can be any of the members of the group, to sing, to "release" his copla. See this example of a copla from the same bagpipe:
- In Coro the coriano pole
- is the regional anthem
- and for the Zuliano people
- The gaita is traditional
As can be seen, a couplet consists of four verses, -the classic quatrain, or, the so-called cross-footed quatrain or serventesio-; and they are, as in the refrain, eight syllables and seven syllables.
The bagpipe is sung in a group made up of women and men, so that the refrain is sung in chorus by the entire group, both instrumentalists and those who do not play instruments. The chorus is sung twice in a row, and then a couplet is inserted, sung by a soloist, man or woman. Said couplet is sung twice in a row, just as it is done with the chorus. It is possible that there will be cases in which, when singing a couplet during the execution of a bagpipe, alternate, singing the same couplet, man and woman. For example, the man sings two verses, and the woman the remaining two; and, thus for the style, with the purpose of achieving more alternation and variability, as well as beauty and amenity in the execution of the bagpipe.
Piper Personalities
Among the precursors of this musical genre, Ricardo Aguirre, known as El Monumental, stands out. Aguirre marks the history of the Gaita in a before and after. Among his many collaborations, the one that is considered by many to be the anthem of the genre stands out: La Gray Zuliana, in addition to several songs that marked a milestone in the Zulian bagpipe such as: Ronda Antañona, Tiempo Gaitero, Maracaibo Marginada, La Pica Pica, La Bullanguera, La Sandunguera, La Parrandera, La Vivarachera, La Gaita del 65, La Centralización, Papal Decree , Two Old Mothers, among others.
Other figures who have stood out in the interpretation of the Zulia bagpipe are Abdénago «Neguito» Borjas, leading voice of the Gran Coquivacoa bagpipe group, a group that has evolved incorporating new instruments such as trumpets, saxophone, trombone interpreted and arranged by the well-known musician instrumentalist Edwin Pulgar and others who adorn the bagpipes and have made it more danceable and exportable, among the songs imposed by this performer, No Rencor stands out, a song that deals with the issue of the separation of couples. Another one that stands out is the Onomatopoeic Bagpipe which lacks lyrics, even when it is sung.
A separate chapter deserves the popular cultist Astolfo Romero, singer, composer, musical director, actor, bagpiper historian, one of the great defenders of the traditional bagpipe. He was in various bagpipe ensembles, among which the following stand out: Pipers of Pillopo, Cardenales del Éxito, Maragaita, La Parranda Gaitera and Gran Coquivacoa; Before he died, he recorded a bagpipe duet with Betulio Medina called Ave Cantora, with the ensemble (“Los Chiquinquireños”), it is a prayer to the Virgin of Chiquinquirá, a piece originally composed to be sung by Betulio Medina, which he left recorded in a model moments before his death. However, the perfect quality of the recording allowed a copy to be edited, leaving his original voice to the delight of collectors and bagpipe lovers.
The main argument of the Bagpipe Zuliana continues to be the Spiritual Link with the Virgin of Chiquinquirá, patron saint of Zulia and the Marabinos together with the Glorious San Sebastián. She also presents everyday topics as the main theme of her lyrics and idioms. Among them, the protest, the citizen claim, the customs in community sectors, the marabina idiosyncrasy. Love is not left out, being its great exponents from Ricardo Aguirre himself, Enrrique gotera, Fernando Rincón, Chavín, Lenín Pulgar, Argenis Sánchez, among others, leveraged with groups like the most romantic of all Amor y Gaita by the hand of his guide and composer Lenín Pulgar, Grupo Rincón Morales with Negro Rincón, El Gran Coquivacoa with Neguito Borjas. Some of them are remembered as: And I had to love you in Silence, My sweet Hope, It is never too late to love, Eternally yours, No Rancor, among others noted for his pen and inspiring muse.
One of the most well-known groups in the Capital environment, the most famous performer of them led by none other than Argimiro "MIRO" Mata (El Gran Bardo Capitalino and also known as El Maestro De la Gaita Caraqueña) singer, composer and arranger, include: Los Portentosos, Los Daniel Alvarado and Los Fulleros, Los Auténticos Fulleros, Caracuchos, Caragaiteando, Zumaque, Pipers of Rivelino, Pipers de cuchillo (of which he stood out as a singer-songwriter and musical director) and Gaita light (current group), among his songs stand out: Con Caracuchos, Señor Cartero, Canto al Madero, Gaita de Otrora, Por Nuestra Felicidad (also recorded by maestro Cheo Feliciano, one of the few pipers who has been proud that his works (songs) have been covered by a singer of the stature of Cheo Feliciano) among many other songs. He was also proud to win the Mara de Oro award.
Other personalities such as (El Colosal) Ricardo Cepeda, deep and sonorous voice, distinguished representative of the Traditional Bagpipes, Simón Sthormes M., Ricardo Portillo, Daniel Alvarado (El Negrito Fullero), Danelo Badell, Oswaldo Álvarez Parra, Carlos Méndez (Mr. Tuning), Javier León, Argenis Carruyo, Óscar Gonzales, Enrique Gotera (The Fabulous One), Ender Fuenmayor (El Parrandero Mayor), Gladys Vera (The Everlasting Queen of the Bagpipes), Jesús Terán (Chavín), Francisco Hidalgo, William Nava, Orlando Álvarez (The elegant voice of the bagpipes), Deyanira Bravo Emmanuels (The sweet voice of the bagpipes), Fernando Rincón, Pablito Grey, Germán Ávila (El Látigo de la Gaita), José Alejandro Lossada (El Internacional), Elvis Cano, Jerry Sánchez, Nelson Romero (El ayayero), Deyanira Emmanuels, Ingrid Alexandrescu, Yelitza Vilchez and Nelson Martínez, have been important participants in the bagpipe with themes found in the history of this Venezuelan musical genre.
Among the Composers of this genre include (El Monumental) Ricardo Aguirre González, Abdénago Neguito Borjas, Simón Udón García, Renato Aguirre, Jesús Reyes, José "Tan Tan" Baptista, Rafael Rincón González, Eurípides Romero, Jesús Terán Chavín, Jose "Bambaito" Guzman, Heberto Añez Duque, Ana Estael Duque de Añez, Lenín Pulgar, Víctor Hugo Márquez, Humberto (Mamaota) Rodríguez, Luis Ferrer (The poet), Rixio Aguirre, Jairo Gil (The poet of the Virgin), William Atencio, William Nava Soto, Wolfang Romero, Argenis Sánchez, L. Elvis Cano, Leandro "El Papi" Zuleta, Romoi Ulisesosalino (Shalo) García, Heriberto Molina, Ricardo Portillo, Luis Escaray, Hernán Marea his existence, Argimiro & # 34; MIRO & # 34; Kill among others. In the evolutionary process of the Zulian bagpipe there have been important inclusions because the genre in the years of its inception and in its existence did not have musical advisors who directly incorporated the bagpipe into academic music, only in isolated cases were arrangers incorporated into the bagpipe academics such as Ulises Acosta Alberto Villasmil and others who contributed their musical knowledge to the bagpipe and from 1979 Edwin Pulgar, a well-known musician, was gradually instructing the Bagpipe, incorporating introductions and including other instruments to nourish it more, bringing it closer to a harmonic field. perfect from his place as a sound engineer since 1978 at Fonográfica del Zulia and to date at Sonofuturo his own recording studio. Contribution made for the enrichment of the Gaita genre so that it was what it is today
Rincon Morales
It was the first group to win a televised bagpipe contest with Francisco Morales' bagpipe El Tartamudo. They were also the first to record a full-length album, to wear a uniform, to seek to internationalize the genre, and to use the Electric Bass permanently in their recordings and presentations. In the 1970s and 1980s, the Rincón Morales bagpipes were characterized by being allusive to the natural landscapes and culture of Venezuela, and the love motives. Among its outstanding members we can mention: Hernán Rincón (Director in the 1960s), Adafel Rincón, Néstor (El Negro) Rincón (Director from the seventies to 2009), Francísco (Pancho) Morales (Musical Director of the 1960s), Ángel Parra «Parrita» (The inventor of the chime) Fernando Rincón, Humberto (Mamaota) Rodríguez, William Nava Soto (Musical Director in the seventies and eighties), Jesús Terán «Chavín», Luis Germán Briceño, Ángel Sarabia, Lula López, José Cheo Fernández, Leandro «Papi» Zuleta, Mario (El Pájaro) Zuleta, Luis Cohen, Eduardo Aguirre, Valmore Albornoz, Ney Soto, Ender Paz, Pablo Grey, Enrique Gotera, Beatriz Alvarado, Jaime Indriago, Santiago Soto, Edgar Cohen, Manolo Ruiz, Rómulo Enrique Semprún, Benito Gotera, Carlos Celedon, Aberto Valencia, Jairo Sánchez «El Ovejo», Humberto Sánchez «El Ovejito», Elvis "Cuchillo" Cano on the piano, Claudio Baralt "El babillo" "best charrasquero of the Zulian bagpipe", Román Rincón "El Gato" The brothers Marcos, Alberto and Ernesto, Nestor Rincón (son) among others. [citation required]
Bagpipe Ensembles
Among the most popular groups of the genre, there have been and still are:
- Cheers
- Alitasia
- Barrio Obrero de Cabimas
- Grupo Leyenda 2020
- Cardinals of Success
- Castigaita
- Catatumbo
- Control and Gaita
- Koquimba
- Elite Gaitera
- Between Gaitas and Gaiteros
- Gaita Compakta
- Kiteros de Pillopo
- Kiteros de Birimba
- Gaiteros de Primera
- CABA Gaiteros
- Gaiteros del Tablazo
- Walnuts
- Great Coquivacoa
- Coat (band)
- Guasinca Zuliana
- Happy Gaita
- HV in Gaitas
- Lighting
- Inspiration Gaitera
- The Alliance
- The Great University
- The Gaitera Machine
- The Gaitera Ball
- The Brides of Father Vilchez
- The Colossals
- The Compadres of Success
- The Turpials of Tamare
- Maracaibo 15
- Maragaita
- Melody Gaita
- My Present
- Nikitao
- Q ́ Molleja
- Rebellion Gaitera
- Rincón Morales
- Rococo
- Saladillo de Nerio Matheus
- Santa Anita
- Song Gaitero
- All Stars
- Train Gaitero
- Trova Gaitera
- Lossada Project
- Venezuela Speaks Gaiteando
- The Gaiteros of Venice
Female groups
- The Carthusians (Ponial Group)
- The Sensationals.