{"id":8618,"date":"2026-07-19T20:02:01","date_gmt":"2026-07-19T18:02:01","guid":{"rendered":"https:\/\/expoflamenco.com\/revista\/?p=8618"},"modified":"2026-07-19T20:02:01","modified_gmt":"2026-07-19T18:02:01","slug":"donde-entra-el-tirititran-expomusica-9-con-faustino-nunez","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/revista\/donde-entra-el-tirititran-expomusica-9-con-faustino-nunez\/","title":{"rendered":"\u00bfD\u00f3nde entra el tirititr\u00e1n \/ ExpoM\u00fasica #9 con Faustino N\u00fa\u00f1ez","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"<p>El tirititr\u00e1n, inconfundible introducci\u00f3n de las alegr\u00edas, es mucho m\u00e1s que un simple estribillo: su entrada marca el car\u00e1cter y el pulso del cante. Pero \u00bfsab\u00edas que no siempre comienza en el mismo lugar del comp\u00e1s?<\/p>\n<p>En este nuevo episodio de <em>ExpoM\u00fasica<\/em>, <strong>Faustino N\u00fa\u00f1ez<\/strong> explica c\u00f3mo el tirititr\u00e1n puede iniciarse de dos maneras diferentes: en anacrusa, antes del primer tiempo del comp\u00e1s, o a mitad del comp\u00e1s, tal y como acostumbran a hacerlo muchos artistas gaditanos.<\/p>\n<p>A trav\u00e9s de ejemplos pr\u00e1cticos y un an\u00e1lisis musical claro y did\u00e1ctico, descubrir\u00e1s c\u00f3mo estas dos formas de comenzar influyen en la interpretaci\u00f3n de las alegr\u00edas y enriquecen uno de los estilos m\u00e1s representativos del flamenco de C\u00e1diz.<\/p>\n<p><strong>Una nueva entrega para aprender a escuchar el comp\u00e1s con otros o\u00eddos y seguir descubriendo los secretos que esconde la m\u00fasica flamenca.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>\u25b6\ufe0f <a href=\"https:\/\/www.youtube.com\/@Expoflamenco\" target=\"_blank\" rel=\"noopener\">Suscr\u00edbete al canal de Expoflamenco<\/a> y activa las notificaciones para no perderte nuevos contenidos.<\/p>\n<p>&nbsp;<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"<p>\u00bfExisten v\u00ednculos musicales entre la llamada a la oraci\u00f3n musulmana y algunos de los cantes m\u00e1s representativos del flamenco? En este s\u00e9ptimo episodio de ExpoM\u00fasica, Faustino N\u00fa\u00f1ez aborda una de las cuestiones m\u00e1s fascinantes de la musicolog\u00eda flamenca.<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":21,"featured_media":8619,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"_acf_changed":false,"pmpro_default_level":"","jnews-multi-image_gallery":[],"jnews_single_post":null,"jnews_primary_category":{"id":"94"},"jnews_override_bookmark_settings":{"override_bookmark_button":"0","override_show_bookmark_button":"0"},"jnews_social_meta":[],"jnews_review":[],"enable_review":"","type":"percentage","name":"","summary":"","brand":"","sku":"","good":[],"bad":[],"score_override":"","override_value":"","rating":[],"price":[],"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"footnotes":""},"categories":[98,38,94],"tags":[7748,157,76,7304,7639,7747,7640],"class_list":["post-8618","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-a-cuerda-pela","category-en-portada","category-firmas","tag-alegrias","tag-estudios-flamencos","tag-investigacion-flamenca","tag-tecnica-flamenca","tag-teoria-flamenca","tag-tirititran","tag-universidad-flamenca","post_format-post-format-video","pmpro-has-access"],"acf":[],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/posts\/8618","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/comments?post=8618"}],"version-history":[{"count":1,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/posts\/8618\/revisions"}],"predecessor-version":[{"id":8621,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/posts\/8618\/revisions\/8621"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/media\/8619"}],"wp:attachment":[{"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/media?parent=8618"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/categories?post=8618"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/expoflamenco.com\/revista\/wp-json\/wp\/v2\/tags?post=8618"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}