William Richard Cumpiano | |
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Born | April 30, 1945 |
Occupation(s) | Master guitarmaker, cultural researcher and educator |
Spouse | Jeanette A. Rodríguez |
William Richard Cumpiano (born April 30, 1945) is a builder of stringed musical instruments and is known for his writing and teaching of the art of luthiery. He has been involved in the preservation and understanding of the fading musical and musical craft traditions of his native Puerto Rico. Cumpiano was instrumental in the development of the first feature-length documentary about the cuatro and its music, Our Cuatro: The Puerto Ricans and Stringed Instruments, Volumes 1 and 2. [1] [2]
Cumpiano was born into a middle-class family in San Juan, Puerto Rico. His father was a native of the town of Rincón, Puerto Rico, and his mother from Boston, Massachusetts. He was raised in the capital of Puerto Rico where he received his primary and secondary education. On one occasion, Cumpiano wandered into an eatery next to his grade school which had a jukebox. He listened to Odilio González sing a décima with a guitar and a cuatro in the background. In Puerto Rico the type of music that Odilio González sang is known as "música jíbara", which is Puerto Rico's cultural equivalent of what in the United States is called country music. This early experience would eventually grow into his passion for Puerto Rican traditional instruments and singing. [3]
Cumpiano attended the University of Puerto Rico High School in Río Piedras from 1959 to 1961 and St. John's Preparatory School in Santurce from 1961 until his graduation in 1962.
He wanted to study engineering, and in 1962 he moved to Medford, Massachusetts. There he enrolled at Tufts University where he discovered that he was more interested in studying art. In 1964, he moved to New York City and studied industrial design at Pratt Institute. He earned his B.Ind.D. (Bachelor of Industrial Design) in 1968, and went to work as a professional furniture designer. [4]
Cumpiano met master guitarmaker Michael Gurian in 1969, and under Gurian's mentoring he began his training in the craft of guitarmaking. Cumpiano left his job and went to work in Gurian's guitarmaking shop in New Hampshire. In Gurian's guitarmaking shop he met and befriended Gurian's shop foreman, Michael Millard. Eventually Cumpiano and Millard established a shop together named "Froggy Bottom Guitars", where Cumpiano completed his training in guitarmaking. In 1974, Cumpiano left to establish his first private guitarmaking studio in Williamstown, Massachusetts. During the next twenty-five years he would move his workshop to North Adams, Leeds and then to Amherst, Massachusetts. In 1997, Cumpiano moved his studio to Easthampton Road in Northampton where it currently resides. [3]
Cumpiano's career spans almost forty years of hand-crafting all sorts of fretted stringed instruments from the North American, European and Latin American traditions. In 1985, his interests turned to the stringed instrument traditions of his native Puerto Rico and over the years Cumpiano became an authority on the craft and traditions that surround the "national instrument" of Puerto Rico, the ten string cuatro. He has built numerous cuatros for musicians in the United States and also has crafted cuatro variants of his own design: he developed a "seis", or six course (twelve string) cuatro that can be tuned in the same string intervals as a guitar. He also developed the "thinline" cuatro with a body depth of only two inches instead of the traditional three. [5]
Among his customers are Arlo Guthrie, Michael Lorimer, John Abercrombie, Country Joe MacDonald, the Todd Rundgren band, June Millington, and Joel Zoss. [4]
Cumpiano has taught his craft for over twenty years out of his studio, in schools, during workshops and lectures and through numerous publications. He has taught cuatro making to young Puerto Rican artisans under grants originating from the National Endowment for the Arts (NEA) through various regional arts organizations.
External audio | |
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You may watch a segment from "Nuestro Cuatro" on YouTube about the "Cuatro" with Tomás "Maso" Rivera |
Cumpiano met Juan Sotomayor, a prize-winning photographer who worked on the New York Times staff. They discovered that there was no serious effort being expended at the University of Puerto Rico to study or research the origins and history, the corpus, of the jíbaro musical and musical craft traditions. They decided to set out to discover the story of Puerto Rico's traditional stringed instruments and later the story of Puerto Rico's traditional music.
In 1992, he co-founded "The Puerto Rican Cuatro Project" with Juan Sotomayor and Wilfredo Echevarría, an expert in media communications.
The Puerto Rican Cuatro Project is a non-profit organization dedicated to fostering the traditions that surround the national instrument of Puerto Rico, by means of gathering, promoting and preserving its cultural memories of Puerto Rican musical traditions, folkloric stringed instruments and musicians. The Cuatro Project is also dedicated to promoting and preserving the Puerto Rican décima verse form and the traditional song as created by its greatest troubadours, living and past. [6]
Cumpiano, who is also a founding board member and president of the Association of Stringed Instrument Artisans (ASIA), has lectured about his skills at conventions of the Guild of American Luthiers (GAL). He has received the recognition of various institutes, among them the American Institute of Architects and the Smithsonian Institution. He is also the co-recipient of a 1993 U.S. Patent for the compression-molded carbon fibre composite guitar soundboard. [7] [8]
Cumpiano co-authored, with Jonathon Natelson, the world's leading guitarmaking textbook, [9] "GUITARMAKING: Tradition and Technology", a complete reference for the design and construction of the steel string folk guitar and the classical guitar, which has been acclaimed as the principal textbook in his field and considered by many as the Bible of guitarmaking. [1]
In 1998, Cumpiano and his colleagues wrote, directed and produced "Un Canto en Otra Montaña: Música Puertorriqueña en Hawaii" (A Song [Heard] on Another Mountain: Puerto Rican Music in Hawaii), a short-feature video documentary on the music and social history of the century-old Puerto Rican Diaspora in Hawaii.
Cumpiano, together with Sotomayor and Echevarría, wrote, directed and produced twoDVD documentaries for The Cuatro Project. They are:OUR CUATRO Vol.1, the first feature-length documentary about the cuatro and its music and OUR CUATRO Vol. 2: A Historic Concert. Cumpiano and cultural researcher David Morales produced another DVD documentary THE DÉCIMA BORINQUEÑA: An Ancient Poetic Singing Tradition, directed by Myriam Fuentes. The proceeds of these recordings were to be used for the research and documentation activities of the Puerto Rican Cuatro Project. [10]
Cumpiano also co-produced and co-directed in 2001, the documentary "Construyendo Cuatros" ("Making Cuatros"), which comprises visits with two of Puerto Rico's most respected cuatro makers, showing them at work, the sequence of constructing a cuatro, and their impressions of their craft and the future prospects for the instrument.
Cumpiano has been a member of the following associations: [4]
Among Cumpiano's awards and exhibitions are the following: [4]
Awards:
Exhibits:
Cumpiano has been married to Jeanette Rodríguez for the last twenty-three years and has a stepson. He continues to run his shop and is active with The Puerto Rican Cuatro Project. He currently shares his Northampton studio with a partner of many years, the master luthier Harry Becker, and they call their studio, "Becker and Cumpiano Stringed Instruments".
He has been featured in many magazines and he has written articles which have been featured in the following publications: Journal of Guitar Acoustics, Frets magazine, Guitar Player Magazine, Fine Woodworking Magazine, Stringed Instrument Craftsman, Acoustic Guitar , Guitarmaker, the journal of the Association of Stringed Instrument Artisans (ASIA), American Luthierie, the journal of the Guild of American Luthiers (GAL) and is the author of "Manuel Velázquez, guitarrero", an article included in the Houghton Mifflin Spanish language reader "Portales" (published in 1997). Cumpiano is writer/consultant for the Question & Answer column of Acoustic Guitar. [11]
Cumpiano is putting the finishing touches on the manuscript of "The Cuatro Project", which he and his comrades began fifteen years ago, tracing the roots and evolution of Puerto Rican traditional stringed instruments. He has been active giving community instrument-making workshops in Chicago, Massachusetts and Puerto Rico.
A guitarist is a person who plays the guitar. Guitarists may play a variety of guitar family instruments such as classical guitars, acoustic guitars, electric guitars, and bass guitars. Some guitarists accompany themselves on the guitar by singing or playing the harmonica, or both.
The Music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources of Puerto Rico have primarily included African, Taino Indigenous, and European influences. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially native genres such as bomba, jíbaro, seis, danza, and plena to more recent hybrid genres such as salsa, Latin trap and reggaeton. Broadly conceived, the realm of "Puerto Rican music" should naturally comprise the music culture of the millions of people of Puerto Rican descent who have lived in the United States, especially in New York City. Their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself.
A tiple, is a plucked typically 12-string chordophone of the guitar family. A tiple player is called a tiplista. The first mention of the tiple comes from musicologist Pablo Minguet e Irol in 1752. Although many variations of the instrument exist, the tiple is mostly associated with Colombia, and is considered the national instrument. The Puerto Rican version characteristically has fewer strings, as do variants from Cuba, Mallorca, and elsewhere among countries of Hispanic origin.
Aguinaldo It is a genre of Puerto Rican and Venezuelan traditional and cultural music, popular in several Latin American countries., based on Spanish Christmas carols or villancicos which is traditionally sung on Christmas itself or during the holiday season. Aguinaldo music is often performed by parrandas - a casual group of people, often family or friends, who merrily go from house to house taking along their singing. The instruments used are the cuatro, maracas and drums. Some popular aguinaldos are Burrito Sabanero (Venezuela), El Asalto, Feliz Navidad, and De la Montaña Venimos.
Puerto Rican migration to Hawaii began when Puerto Rico's sugar industry was devastated by two hurricanes in 1899. The devastation caused a worldwide shortage in sugar and a huge demand for the product from Hawaii. Consequently, Hawaiian sugarcane plantation owners began to recruit the jobless, but experienced, laborers from Puerto Rico. In thirteen separate groups, 5883 Puerto Rican men, women and children traveled by ship, train then ship again to the islands of Hawaii to begin their new lives in the sugar plantations.
The Bordonua (Bordonúa) is a large, deep body bass guitar which is native to Puerto Rico. They are made using several different shapes and sizes.
The cuatro is a family of Latin American string instruments played in Colombia, Puerto Rico, Venezuela and other Latin American countries. It is derived from the Spanish guitar. Although some have viola-like shapes, most cuatros resemble a small to mid-sized classical guitar. In Puerto Rico and Venezuela, the cuatro is an ensemble instrument for secular and religious music, and is played at parties and traditional gatherings.
A person who is specialized in the making of stringed instruments such as guitars, lutes and violins is called a luthier.
Víctor Guillermo "Yomo" Toro was a Puerto Rican left-handed guitarist and cuatro player. Known internationally as "The King of the Cuatro," Toro recorded over 150 albums throughout a 60-year career and worked extensively with Cuban legends Arsenio Rodríguez and Alfonso "El Panameño" Joseph; salsa artists Willie Colón, Héctor Lavoe and Rubén Blades; and artists from other music genres including Frankie Cutlass, Harry Belafonte, Paul Simon, Linda Ronstadt and David Byrne.
The seis is a type of Puerto Rican Jíbaro dance music closely associated with the décima. It originated in the latter half of the 17th century in the southern part of Spain. The seis is influenced by Spanish, African, and Taino cultures. The Arabian aspects come from Spain, where the Muslims or the Moors had ruled for over 700 years. Like other Jíbaro music, the seis is associated with Christmas, folkloric festivals, concursos de trovadores, and other large celebrations. The word means six, which may have come from the custom of having six couples perform the dance, though many more couples eventually became quite common. Men and women form separate lines down the hall or in an open place of beaten earth, one group facing the other. The lines would approach and cross each other and at prescribed intervals the dancers would tap out the rhythm with their feet.
Tito Vicente, 1959 born in Ponce, Puerto Rico, is a pianist, keyboardist, and a one man band.
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The Puerto Rican cuatro is the national instrument of Puerto Rico. It belongs to the lute family of string instruments, and is guitar-like in function, but with a shape closer to that of the violin. The word cuatro means "four", which was the total number of strings of the earliest Puerto Rican instrument known by the cuatro name.
Tomás Rivera Morales, simply known as "Maso Rivera", was a Puerto Rican musician and a major exponent of Puerto Rico's Jíbaro music. Rivera composed over 1,000 instrumental compositions for the Cuatro, Puerto Rico's national instrument.
Ladislao Martinez a.k.a. "El Maestro Ladi", was a master cuatro musician. He became the first Puerto Rican to play a cuatro solo on the radio.
The tiple is the smallest of the three string instruments of Puerto Rico that make up the orquesta jibara. According to investigations made by Jose Reyes Zamora, the tiple in Puerto Rico dates back to the 18th century. It is believed to have evolved from the Spanish guitarrillo. There was never a standard for the tiple and as a result there are many variations throughout the island of Puerto Rico. Most tiples have four or five strings and most tiple requintos have three strings. Some tiples have as many as 6 strings and as few as a single string, though these types are rare.
Edwin Colón Zayas, is a Puerto Rican cuatro player from Puerto Rico. He joins a large number of Puerto Rican artists, "innovative tradition-bearing," who focus their talents in extolling the virtues of the Puerto Rican creole and Jíbaro way of life.
Gurian Guitars was a manufacturer of high quality acoustic guitars based in New York City, then Hinsdale, New Hampshire and finally West Swanzey, New Hampshire, from the 1960s to 1981. The instruments were designed by luthier Michael Gurian who also supervised production of the instruments bearing his name. The company was one of the earliest "boutique" acoustic guitar makers in the United States, offering an alternative product to those of the larger, factory-based makers of the day, with instruments characterized by a distinctive shape, features and sound.
Michael Gurian is an American-born guitarist and luthier of Armenian descent. He had some initial furniture making experience when he became a guitar teacher at the Guitar Workshop, Roslyn, New York in 1961.
Cachi Cachi music, also spelled Kachi Kachi, Kachi-Kachi and Katchi-Katchi, is a term that was coined to refer to music played by Puerto Ricans in Hawaii, after they migrated to Hawaii in 1901.