Juan Pardal, Atahualpa Yupanqui, Eduardo Falú, Jaime Torres, Cheo Hurtado, Eduardo Lagos, Chany Inchausti, Roberto Goyeneche, Julio Sosa, Aníbal Troilo, Horacio Salgán, Egberto Gismonti, Hermeto Pascoal, Naná Vasconcelos, Milton Nascimento, Joe Pass, Pat Metheny, Paco de Lucía, Vicente Amigo, Gerardo Nuñez, Narciso Yepes, David Russell, Hopkinson Smith, Miguel Angel Girollet, Victor Villadangos, Luis Alberto Spinetta, Ralph Towner, Larry Carlton, Lee Ritenour, Jaco Pastorius, Joe Zawinul, Bill Evans, Oscar Peterson, Lyle Mays, Ketih Jarret, James Taylor, Joni Mitchell, The Beatles
Sounds Like
The guitar began to flourish in the emancipated Latin American countries in two very different ways: As a ploughman’s constant companion to his fast-growing popular repertoire and as a classical instrument to be highly acclaimed by every celebrated Concert Hall. In Argentina, from humble cottages to aristocratic music halls, all welcomed the guitar, notwithstanding the very different social destinations. In this style the guitar arrived at Buenos Aires Port. Uncertain rumours about a splendid Spanish 18th Century instrument called “Vihuela” had reached the early Buenos Aires streets, but, although this instrument was guitar-shaped, it totally differed in its intonation, repertoire and playing techniques. It is difficult to say how many different instruments had made their way into Argentina from Spain in three long centuries, but as it turned out to be, words started playing tricks on names and the Argentine “Gaucho” miscalled the guitar “Vigüela”, and later B.A. locals gave it the name of “Viola”, name which still remains popular in artistic circles, although it really has nothing in common with the bow-played Renaissance instrument. In the early days of Tango, when this style was not so popular yet in the Rio de la Plata surroundings, the guitar was the connecting instrument to the different forms of music that emerged: Habanera, Candombe, Tango Andaluz, Zarzuela music and typical Rondallas, all styles that combine numerous guitars and bandurrias (a type of spanish folk lute). Consequently, the guitar was also included in the very first Tango Instrumental Formations, as well as the violin and flute. Carlos Gardel, the great Tango icon, is best remembered in our cultural patrimony in his “gaucho” attire and a guitar in his arms. The first instrumental Tango ensembles were trios: flute, violin and harp, and sometimes an accordion or mandolin would be added. Then the guitar started replacing the harp as a rhythmic base instrument changing the trio to flute, violin and guitar, remaining unchanged until the bandoneón was introduced in the early 1900s. After some other changes and combinations the guitar fell out of favour, being then replaced by the piano, in the same way that the bandoneón replaced the flute. This new trio, piano, violin and bandoneón, was the beginning of the typical Tango Orchestra, conformed by two bandoneones, two violins, piano and double-bass. However, the guitar went on being used in some groups as a rhythmic base instrument. Many Tango singers had their own guitar players, such as Carlos Gardel, Ignacio Corsini, Oscar Ferrari, Tito Reyes, Nelly Omar and Edmundo Rivero, among others. This led to the creation of guitar ensembles, in orchestra style, where each guitarist had his own part, either carrying the melody or as an accompaniment. Consequently, the guitar Solo in Tango has gained notoriety throughout the years, thanks to innumerable musicians, creating a much respected and recognized language of its own, with full possibilities of development.
Quito Gato nació en Buenos Aires, Argentina. Se graduó en el Conservatorio Nacional de Música “Carlos López Buchardo” y en el Conservatorio Municipal de Música “Manuel de Falla” en las especialidades de Guitarra y Piano respectivamente. Fueron sus maestros Eduardo Frassón, Jorge Martínez Zárate y Vicente Elías en guitarra, Alicia Frassia y Perla Brúgola en piano, Carlos Guastavino, Fermina Casanova y Alicia Terzián en armonía, Juan Francisco Giaccobe y Roque de Pedro en contrapunto, y Raquel Arana y Juan Pedro Franze en Historia de la Música. Realizó diversos cursos de perfeccionamiento sobre dirección, composición, arreglos, clarinete, flauta de pico y percusión, en su país, y en las ciudades de Santiago de Chile, Brasilia, Curitiba, y Boston. Participó en clínicas y stages con los maestros Joe Pass, Julie Anne Vaverka, Frederick Fox, Manolo Juárez, Gustavo Samela, Mariano Frogioni y Miguel Ángel Inchausti. Ha colaborado con importantes artistas como Félix Luna, Ara Tokatlian, Anouschka Lara, Alfredo Casero, Domingo Moles, Luis Cerávolo, Susanna Moncayo, Los Arroyeños, y Enrique Llopis entre otros. Desde 1992 trabaja en el campo de la música antigua con instrumentos de época, tales como el Laúd, la Guitarra Barroca, la Vihuela o la Tiorba. Estudió con los maestros Hopkinson Smith, Dolores Costoyas y Eduardo Egüez. Se presentó como director, solista, o integrante de diversos ensambles, en los principales teatros de Sudamérica, Estados Unidos y Europa. Realizó una extensa gira por Oriente, llevando la música barroca hispano-americana a países como Israel, Malasia, Thailandia, Indonesia y Corea del Sur. Colabora con las agrupaciones Ensemble Elyma, The Rare Fruits Council, La Chimera, Capella Mediterránea, Mare Nostrum, Cum Altam, Ensemble Clematis y Capilla Real de Madrid, entre otras. Realizó grabaciones para los sellos discográficos K617, MA Recordings, Testigo, Música Ficta, Ambronay, Naxos y Sony. Ha dictado cursos y seminarios sobre laúd y guitarra barroca, bajo continuo, música de cámara improvisación en piano y guitarra, arreglos y orquestación en música popular, en Argentina, Brasil, Cuba, Francia, Alemania, España. Ha publicado arreglos para instrumentos de viento , coro de niños y coro y orquesta, a través de las editoriales Ricordi Americana y GCC Ediciones. Como compositor y arreglador realiza producciones musicales en el ámbito publicitario y cinematográfico.
-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-.-+-..- Quito Gato graduated from the National Conservatory of Music in Buenos Aires, Argentina. He continued his studies taking courses of Orchestral Direction and Composition, Recorder and Percussion in his country and in Santiago de Chile, Brasilia, Curitiba and Boston. From 1992 he began working in the field of early music with instruments such as Lute, Baroque Guitar Vihuela and Theorbo. He studied with Hopkinson Smith, Eduardo Egüez and Dolores Costoyas. He has performed as director, soloist, or member of diverse ensembles, in the principal theatres of South America, United States and Europe. He also has toured extensively in the Asia, introducing South-American baroque music to Israel, Malaysia, Thailand and South Korea, among others. He collaborates regularly with many groups including Ensemble Elyma, The Rare Fruits Council, La Chimera, Academia Montis Regalis, Mare Nostrum and Capilla Real de Madrid. He has given seminars and master classes on Guitar, Piano, arrangements, Lute and basso continuo in Argentina, Brasil, Cuba, Spain, Germany and France. He records for several labels including K617, MA Recordings, Musica Ficta, Testigo, Naxos and Sony, among others. As composer and arranger he works in productions either in the artist area or publicity and cinematographic one. ------------------------ THE GUITAR AND THE TANGO - º - QUITO GATO --------------------------------- Early Romantic Guitar - youtube interview ---------------
Gracias a vos ,mi nuevo amigo,ypodés hablarme en español ajaja.Soy mas argentina que el mate y el dulce de leche juntos.Ya voy a escuchar algunos de tus temas.Un beso y que termines bien el domingo.Ciao mi amico
Gracias,obrigada Amigo! Tu és um grande músico e fico feliz que tenhas gostado! Talvez um dia nos encontremos! Que pena!Estive a tocar em Madrid,mas foi um concerto privado para a Embaixada de Portugal em Madrid! Quando voltar aí,te direi,ok? Um abrazo e continuação de bom trabalho! Luisa
Hello dear Quito!!! Thanks again for the request and your kind comment. Pleased to know about you and your music. We keep in touch. Greetings from Athens. Sofia
Hola Quito! Gracias por el honor que me haces al dejarme conocer tu música, gracias también por tus amables palabras. He pasado un bonito rato en tu "space", admirando tu trabajo! Un saludo cálido desde Colombia, Luz Marina.
Hola! Gracias por el saludo!! Soy medio nueva en esto de sacar mis propias canciones a la luz y me emociona mucho que reverberen en otros! Mi zamba misteriosa es una de las más queridas... ¡hermosa tú musica también, va un gran abrazo!
Quito el lullaby lo has escrito para tu hijo? Es precioso se relaja qualquiera con una musica asi! (Quando mis hijos eran peques no llegue a componer nada de decente porque soy cantante e interprete pero no compositora! Pero a la hora de dormir les cantabo tantas canciones de nana ....y asi les contaba historias diversas inventadas sobre la marcha ... que recuerdos.... ) Un saludo tambien a ti desde Genova Myriam
Estimadísimo Quito: Estuve disfrutando de tu creativa música y de tu talento, afortunadamente, sin techo. Gracias por permitirme compartirlos. Un fuerte abrazo desde nuestra querida patria!!!.
Hola otro grandotote abrazo para vos! tengo un hermano del alma, cerca de Madrid, con su banda El Chamuyo es del "Huguito" como le decimos en Nicanor Blanes (Uruguay) está entre mis amigos y ojalá se hagan amigos por que están + cerquita por que es candombe y por que es un Grande.
Hola! Dandole pa frenchi!!! tratando de estudiar cuando el laburo me lo permite...aprovechare el curso que van a dar Ariel Abramovich y Migue de Olaso cuando Ariel este por acá, imagino que va a estar bueno. y vos? avisá cuando estés por estos pagos así nos conocemos "en carne y hueso" baci Laura
Hey Quito! Was watching your videos. Wish you had more videos of yourself playing. You have such a beautiful sound, and I'd like to see you playing those medieval/renaissance instruments you play (some I have never even seen before till I looked at your slide shows). I think I would like to get a mandola one day for my next instrument to experiment with.
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