Ángel Tavira Maldonado
(text by Paul Anastasio)
While studying traditional violin with Juan Reynoso in Tierra Caliente, I began to hear intriguing stories of a one-handed violinist, Ángel Tavira, from Corral Falso, Guerrero. Although convinced that this man actually existed, I knew little more about him.
In those days an annual Concurso de Sones y Gustos was held in Tlapehuala, Guerero and it was there that I had the opportunity to meet Ángel.
I knew that he transcribed the region’s music, and I told him that I was trying to do the same. He immediately asked to see some of my work, saying something to the effect of “Many people try to transcribe this music, but few can do it successfully.” I showed him some of my transcriptions, and I guess that what he saw looked OK to him. I was soon invited to visit him in his home in Iguala, where he lived with his wife Elpidia. We immediately fell into a daily routine, wherein Angel would pull out some of his immaculately hand- written transcriptions, I would offer some of my substantially sloppier ones, and we would both inspect them for errors.
At one point, I remember finding a minor error in one of Ángel’s transcriptions. “Profe (he disliked being called Maestro, but was OK with Profe), hay un error aqui.” Without saying a word, he simply handed me his pencil so that I could make the correction. This teamwork, based on mutual respect, continued throughout our days and weeks of working together.
At first I was unsure of whether Ángel would allow me to Xerox his partituras. As it turned out, he was more than willing to share his work, pointing me in the direction of a small store a few blocks down his street that had a copy machine. He handed me everything he had transcribed and sent me to the store. I knew that Ángel ran on Coca-Cola Zero, which everyone called “gasolina para el maestro,” so naturally I bought him a couple of bottles.
Often when I arrived at his home he would be out in front of his house coaching some young players. This was always gratifying to see, as in those days in Tierra Caliente there were very few young people interested in learning the music.
Ángel and Elpidia were wonderful hosts, with Elpidia cooking the most incredible Mexican food I’ve ever eaten. Her meals were always a highlight of every visit.
On different visits to Iguala I was accompanied by different musicians. If memory serves, Hugo Reynoso always accompanied me. At other times we were joined by some of Juan Reynoso’s other students, including David Tobin and Tim “Loquito” Wetmiller. Having multiple violinists allowed us to play through some of the harmonized melodies arranged by either Juan or Ángel.
At times Ángel’s sons accompanied us, as well as a fine guitarist who was in Ángel’s group as well. Angel’s daughter Margarita sang with us at times, and towards the end of our visits we were making preparations to record her singing some of the boleros written by Ángel’s uncle Guadalupe Tavira. While we weren’t able to complete these recordings to professional standards, Margarita’s passionate vocals were featured on a later CD on which she was accompanied by Ángel and his group.
The world owes a great debt to Ángel Tavira. His large, accurate archive of transcriptions ensure that this music will survive, especially now that the transcriptions have been copied to PDF and Finale and distributed on free CD-ROMs.
Ángel not only transcribed well over a hundred pieces in several genres but also composed counter-melodies for some of the boleros composed by his uncle Guadalupe Tavira. A little detective work allowed me to find counter-melodies that were not labeled as such. In fact, some were not titled at all, and a process of trial and error allowed me to pair them with the original melodies they we intended to decorate. Some boleros had more than one counter-melody. One had four. All are included here.
In a few cases it was necessary for me to flesh out incomplete melodies, harmonies and counter-melodies. I did this only when necessary, to correct a few obvious errors, fill in partial counter-melodies or to add harmonies to multi-sectioned waltzes in which some sections were not harmonized. In doing so I had the luxury of drawing from pieces in my archive of transcriptions that had been harmonized by Juan Reynoso. I did so in the interest of making as many of the transcriptions complete and playable. When it was necessary for me to compose short counter-melodic sections I tried to channel Ángel and write as close to his voice as possible. When I needed to add a section I composed or a section I drew from a Juan Reynoso transcription I made note of this on the transcription.
Some of the sones and gustos were left incomplete, as Ángel did not complete the transcriptions. Knowledgeable students of these styles will easily be able to add stylistically correct endings and adornos if desired. Multiple versions of tunes in these two styles were included when they differed from one another in significant ways. Some were in different keys while others featured different adornos and/or endings.
In our attempt to make this CD-ROM as comprehensive as possible I also included some transcriptions that were clearly incomplete. For example, a few waltz transcriptions only included one section. It is hopes that students will be able to cross-index these charts with other oral and/or written sources and complete the tunes.
Ángel left us a priceless legacy of transcriptions. As I recorded all of my lessons with him, I have also been able to transcribe many other pieces that he played but were not included in his transcriptions. These pieces, as well as close to a thousand more transcribed from recordings of Ángel, Juan Reynoso and over a dozen other fine violinists from Tierra Caliente, will be made available as soon as possible on future CD-ROMS. In addition, I have hundreds of other pieces transcribed by others, including Plutarco Ignacio and Marciano (Chano) Calderón. Chano was also very kind to allow me to Xerox a book containing well over a hundred piano reductions of pieces by Margarito Vargas, the director of the state band of Guerrero. These will also be made available on future CD-ROMs.
A million thanks to don Ángel, doña Elipdia and everyone else who has helped with this project. This work could not have happened without the Herculean labors of Zarina Palafox and Lindajoy Fenley and the patience, financial and emotional support of my loving wife Claudia Anastasio. Significant financial support has also come from the State of Guerrero and from a grant to the Seattle Folklore Society from Sage Arts.
Nothing is forever, but we can rest assured that this music will be safe in the near future. It has been my distinct pleasure to have played a part in the preservation and diffusion of this music. Needless to say, our work is ongoing. Please share the music. It belongs to us all. If I can be of any assistance in any way please don’t hesitate to contact me on Facebook.
Paul Anastasio
May, 2018
