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canario timbrado

Spanish Timbrado canary song Spanish

Miguel Angel Martín Espada
Judge C.N.J./F.O.C.D.E. of Song T. Espa6nol

The mission of these lines is really complicated. In them one is going away to try to explain to the profane one what is and what it characterizes the canary of Spanish Song (Spanish Timbrado). The difficulty is mainly in the ignorance of this race between the own Spanish liking, because he is not infrequent to see as it denominates " Timbrado " all that one green canary or pmo that, in fact, is not more than a common canary understanding like so to that it does not belong to race some. In fact, the fame of good reproducers, it has caused that many false fans proclaimed that their canaries " were Timbrado " thus to be able to sell them better.

The truth is that the morphologic characteristics of the race that occupies to us (enough similars, in appearance, to those of the common canaries since the fundamental thing is the song and unfortunately, generally, so much is not taken care of the morphologic type) give place to this type of situations, however, I will try to give something more of light on the subject and to make see that a good canary of Spanish Song (Spanish Timbrado) cannot, in way some, be confused with a current canary

INTRODUCTION

The song canaries are those that grow up, logically, by the beauty of their song, which has been modeled by the man throughout the centuries looking for the purity in the transmission of the sound (tone intensity and stamp and the greater possible musicalidad (rate harmony and melodma , using itself for it of its musical sensitivity and the excellent one raw material that the wild canary provided to him. C.o.m. (World-wide Ornithological Confederation) it recognizes as races of song canaries the Roller (Germany), the Malinois (Belgium) and the Spanish Timbrado one The main difference between the song of these canaries is in tone in which they emit it and in the type of turns that make. Serve like differentiating criterion, in relation to the tone of transmission of the song, that the Roller emits his melodma in low tonalities, the Malinois in average tonalities and the Spanish Singer in high tonalities, in relation to the other two races and without for that reason its song is excessively high or estridente (in other words and denying a certain black legend that it circulates on the matter, the reader could have one of ours perfectly national singers in the hall its house and to enjoy melodma of its song calmly).

Nowadays, in Spain, the cultivated race of song more is the Timbrado one The Malinois and the Roller mainly this one last one, are in clear backward movement, which, as far as sport canaricultura talks about, is truely lamentable.

Brief History Of The Canary Timbrado One Or Of Spanish Song

Ours first race internationally recognized is next to its wild ancestor. The explanation is in which the only thing that was wanted to perfect was its song, the morphologic variations that have taken place must to the acclimatization to the life in captivity and the precise transformations for the attainment of a maximum yield in their dowries canoras. In sum, the stature has been increased to something and those anatomical parts have been developed that influence somehow in the song (greater head and a greater pectoral width, as a result of the development of the respiratory apparatus of the bird and a greater pulmonary capacity, mainly).

The canary of the Country like was well-known formerly, it enjoyed a great acceptance between the liking. Antonio Drove Aza described to the primitive canaries of the Country as those " whose commendable song was appreciated outside our borders not to emit disagreeable notes yes and, however, affluent multitude of vocalized and modulated variations, in a resisted repertoire of diverse tonalities, in which (...) they expressed estrofas complete of the song of the ruise6nor emitted with discreet loudness and delicate tones of voice.".

The canary of the Country was on the verge of disappearing in our century due to a series of causes, the main ones they were:

1:) the appearance in Spain of the first concerned curly canaries, that were crossed those " of the Country " to look for anatomical characteristics next to the position canaries (mainly increase of stature).

2:) the height of the Roller canary that did that most of the little pure units " of the Country " that were they were crossed.

3:). The Spanish Civil War and its disastrous consequences.

4:) For some authors of the time also decreased the establishment of breeders the discovery of the canaries of " red factor ".

The centers where the genuine canaries of Spanish Song cultivated themselves were lost in the forgetfulness.

Thus the situation stayed until, in the Forties, a group of Spanish partners of the Association of Canaricultores of Madrid seted out to recover our old race of canaries. The debate arose between the liking and between all " hands to the work " were put. In the Fifties the first " Code of Song " was made and a new name occurred him to the race: " Timbrado Spanish " (at the moment they are used indifferently Timbrado and canary of Spanish Song . At this time they already emphasized two currents within the liking, that advocated two different lines of song, one of them was in Asturias (current majority between the breeders of the A.o.n.s. present F.o.c.d.e. and the other in Madrid (around the A.c.e. and the F.o.e. , it was one more a sample of the enthusiasm with that this race take refook again between the liking native In this order of things and after an insolvent attempt in 1956, the Spanish Timbrado one was recognized internationally in Brussels in 1962 by the C.o.m. It would be first of so many successes of the Spanish canaricultura, later they would get to obtain the international doctorate other races of our country.

From 1962 it has been walked much and have been several the Codes of Song that has had our canary. To only lament the existing difference of criteria, with respect to the Timbrado one Spanish between our different national federations, differences that give rise to that the selection is carried out in attention to parameters, sometimes, very different, when noncontradictory, in each one of them.

CHARACTERISTIC OF THE CANARY OF SPANISH SONG

The physical appearance of this race defers little from the one of the wild canary, as already it has scored previously, despite the stature is greater. We were before a canary of robust appearance, so large means, great head, very wide chest, smooth and compact plumage (the curls very marked are cause of disqualification in the aids , tail not very long and short legs. It is not possible to make a valued general description for the totality of the units, since when prioritizing the song has given up, from old, to a unification of the morphologic type. The physical appearance varia much between the bred canaries in different geographic zones. In which one talks about the color, in principle, all are admitted whenever they do not present/display red factor However, outside the classic colors, that are the green one, the gray or slate, the dark brown one - erroneously called by many fans isabela -, the yellow, the target and the respective pmos, it is necessary to distrust and to think about the possibility of crossings with color canaries. Finally, to mention that the mo6nudos units are admitted.

In which one talks about the song to say that it is a canary of metallic song, cheers and very varied The transmission of the song in average and low tones, accompanied of the accomplishment of an excess of own turns of other races, it is a crossing indication that entails the disqualification in the aid of the unit at issue.

We can classify the turns that conform the Code of Song of multiple forms, here we will use three classifications:

  1. BY THE TRANSMISSION RATE.

Taking care of the cadence or speed of transmission of the different syllables or parts from the turn we spoke of:

  1. Turns of continuous rate They are those in which the human ear cannot appreciate separation some between the different syllables that conform the turn, because the number of the same ones emitted per second very it is elevated and an effect of continuity of the sound favored by the special sonorous characteristics of the consonants takes place that take part, generally the " r " and, occasionally, the " l ".
  2. Turns of semicontinuous rate They are those in which we appreciated each one of the syllables of the turn, but that as soon as there is separation or rest between his transmission.
  3. Turns of discontinuous rate Variations in which the transmission of its different parts is made clearly of spaced form, we could say that the canary rests between syllable and syllable (This type of turns is emitted to a approximate minimum cadence of four syllables per second).

  1. BY THE LOUDNESS

By the sonorous peculiarities of the turns we distinguished between:

  1. Metallic turns Whose sound remembers to which they produce the metallic materials.
  2. Hollow turns Its sound remembers us to the produced one, for example, when striking the wood.
  3. Watery turns They remember the sound of the water, in different situations.

The three previous types are the main ones, but also we can speak of slanted turns made high-pitched turns etc..

  1. BY ITS VALUATION

By its valuation in the Code of Song we can distinguish three groups. Although not always they correspond valuation and difficulty degree, we can say that, in general terms, the valued turns more are those than they offer to the canary a greater difficulty of accomplishment:

  1. Turns scored up to 9 (in fact 27 .
  2. Turns scored up to 6 (in fact 18 .
  3. Turns scored up to 3 (in fact 9

The different turns can be made with ascending and descendent modulations, with which melodma of the canary desire in beauty and difficulty.

Advancing in the knowledge of the song of our national race the moment has arrived for knowing the different variations that compose it. As the reader can observe, many of the turns receive the name of musical instruments or of characteristic sounds that all we have presents in our memory, it is thus because the guard and sound other a great similarity.

We will make a scheme of the turns of the canary of Song Spanish (Timbrado) helping us for it of the seen classifications previously:

TURNS OF CONTINUOUS RATE

Metalists: Timbres (3 p.)

Hollows: Rolled variations (6 p.)

TURNS OF SEMICONTINUOUS RATE

Metalists: Timbres (3p.)

Bell (3 p.)

Hollows: Cloqueos (6 p.)

Castanets (3 p.)

Watery: Water timbre (3 p.)

Semibound water (3 p.)

TURNS OF DISCONTINUOUS RATE

The Floreos (9 p.) and Floreos slow (9 p.) they can as much be hollow as metalists.

Metalists: Bell (3 p.)

Hollows: Cloqueos (6 p.)

Watery: Slow water (6 p.)

The joint Variations (9 p.) are composed turns, as it indicates his name, and are the result of the conjunction in a same turn of several simple ones. Its location in this part of the scheme must to that the joint variations usually occur like turns of discontinuous rate, although is not the only form in which they are possible to be heard.

Those turns that are emitted with rascada, estridencia or nasalidad reduce score

This has been, approximately the presentation of the song of the Spanish Timbrado one we can speak of two great lines of song that correspond, basically, with those currents that we have mentioned when speaking of the history of the race. Let us see what characterizes them:

Asturian line It emphasizes in these canaries the slow, cloqueos variety of floreos, floreos and waters (semibound and slow), in other words, canary are selected to make the most beautiful and difficult turns: the discontinuous ones. It is cultivated, mainly, in the North third of Spain In Andalusia and Valencia it coexists with the other line.

Madrilenian line their cultivators look for a complete song that is to say, that has the greater possible number of turns of the list. Its culture is centered, mainly, in Madrid Extremadura Castile Mancha and Catalonia Also it is the line cultivated in Ibero-America by influence of the F.o.e.

CONCLUSION

In these lines I have tried to make an approach to the canary of Spanish Song (Timbrado) and to demonstrate its greatness. I will occur by satisfied if with himself that the reader has basic ideas on this pretty race and see the mistaken thing of the topics that circulate between the canaricultores on her. It stops to finish, reading friend, an advice, if sometimes you want to acquire authentic canary of Spanish Song (Timbrado) ponte in contact with a breeder that exclusively dedicates to to the culture of this race and, if does not know any, consults in an association so that they put to you in contact with one, single thus you will have guarantees of which the unit that you acquire is of pure race.

© Miguel Angel Martín Espada

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