Alicia Dominguez Arcos : Solidariteit & Perdón

SOLIDARITY AND FORGIVENESS Within classical music, within sacred music, some moments mix in this work. At first, the voices of the choir can accompany the instrumentation in solidarity in a mixture of African milongas typical of the gaucho culture. In binary time signature, but often with 6/8 accompaniment. It is presented in two modalities: La Milonga Campera, Pampeana or Surera, which belong to the so-called Sureña music, and La Milonga Ciudadana, a late form that originated in 1931 with the Sentimental Milonga. I composed it and I composed it in church music 3 3 2, I changed the compás composed by three singles, I incorporated the music of Mozarabic chant, although a more accurate term would be Visigothic or Hispanic, the musical expression associated with the Hispanic liturgy peculiar to the Spanish Visigothic Church, which survives to this day. It combines the black roots of the tango with choral voices and the appropriate instrumentation, alternating at 273 vibrations per minute, and is in the key of A minor. 71 with a frequency of 70 vibrations per minute and changing all the instrumentation, resulting in a very classical work. In which the voices are amplified.