Its versatility allows the interpretation of all genres of music, from "Yaravi" (romantic, and sad), carnival music, "Waynos" (traditional dances), even the "wasichaky", a traditional "roof-raising" dance. It can be played solo or accompanied by guitars, and provides a very important sonority to Andean folk ensembles. Like its European ancestors, the charango is "multiple", and it is that which gives it such richness. Charangos often are strung with "gut" strings, or metal or nylon with the strings strung doubled or tripled, with the third, second, fifth, or octaves. Some play the instrument with a pick, like the "Huancavelica", others simply play with the fingers. Peru's most popular charangos resemble tiny guitars, but there are also those with soundboards made of plastic, fruit bark, animal horn, tin-cans, tortoise shell in circular form, trapezoidal, triangular, in the shape of siren, concave or in the shape of an armadillo shell, and sometimes even made with an actual armadillo shell (in this case the charango is called a "quirquincho"). To the surprise of many skeptics, the standard model of the charango, echoing the design of Spanish guitar, is constantly evolving, resulting in a great diversity of charangos. Empirical scientific evidence, supported by many researchers, suggests that it is improbable that the charango would have been born from the deformation of the European guitar. However, we do know that previously validated accounts that its characteristic appearance was born from the intention to mock of the European guitar, and that its small dimensions are the fruit of a strategy making it possible to hide it Spanish authorities are only legends. We know next to nothing about the origins of the charango. In fact, at the National Superior School of Folklore, there are more and more young charanguists, from children to teens, who study the works of the old masters, and little by little learn from them. The various new uses of the charango have by no means damaged the local traditions, nor a loss of respect for the founding masters of the instrument. It enchants and inspires pedestrians, Wayno (folk dancing) amateurs, rock fans, jazz musicians-even academic composers who have begun to compose very interesting pieces for the instrument. Romantic and eloquent in the serenades of the Andean people, faithful companion to sing native melodies in the "chicherillas" (country bars) carrier of goodwill in the hands of the Cusco K'anas Indians, impetuous in Puno's K'aqello (folk dance), a part of Apurimac mythology the charango is also a faithful companion to city-dwellers. No longer is it a marginally-known instrument in the Peruvian Capital, nor in the large cities of America and Europe. ![]() Today, things have certainly changed for the charango.
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