by
Joaquín M. Sandua FOCDE-OMJ (COM) international judge
It's always
a great satisfaction to find a new group of Timbrado breeders,
but this feeling is even stronger if it's a non Spanish one,
it seems that, after all, our race is in a steady, although
somehow slow, international expansion. For us everything started
quite a long time ago, at the end of the 40s, when in different
areas of Spain small groups of fanciers would struggle to
save what remained of the ancient Spanish song race "Canario
del Pais" (Country's Canary), almost extinct during the Spanish
Civil War (1936-39). In Asturias we followed the steps of
Mr. Antonio Drove Aza, international Roller judge and great
fancier of Timbrado and Nightingale, who was our teacher for
a long time. Mr. Drove's attempts to improve the song of his
"canarios del pais" led him to cross them with wild canaries
getting, with years of selection, birds (called "canarios
de Vich" after the city in Catalonia where Mr. Drove lived)
in which the main ! feature was their outstanding discontinuos
tours (floreos). We rebuilt those birds, lost in that dreadful
war, starting with the proper features needed for a good canary
song: deep and wide chest, short neck, big and rounded head.
Afterwards our aim was to remove the continuos (timbres) notes
of our birds, so their best tours, floreos and clucks, could
develop in all their beauty; at the same time our fight was
against whatever harsh passage could be present in their repertoire,
specially CHAUS and PIAUS that, easily, were transformed into
the more musical but still imperfect MAU-MAU and DAU-DAU.
And all this process was done without any teaching to the
youngsters, working just with their genetic pool; we understood,
then as now, that teaching just blurs the main goal, the genetic
improvement of our race.
It wasn't easy,
we were a small number of breeders and our task was said to
be "utopian". Later in the 60s, when it was clear that our
birds were a firm reality, those birds were accused of being
"atypical", the result of crosses with foreign races (unknown
at that time in Asturias) or to lack basic and hereditary
Timbrado's tours (how could they be basic and hereditary and
disappear so easily?). We didn't worry much about all that
fuss and continued working with this concept of Timbrado,
giving relevance to the real important issue, the quality,
the difficulty of the tours and not so much to the amount
of passages. The success of this policy is obvious: our canary
is widespread in Spain, each year with more supporters and
giving birds of outstanding quality.
Our Timbrado
is a bird with a discontinuos song, which repertoire is mainly
based in floreos, clucks and joint variations. Our birds don't
have "timbres" (bells/rings) or have a very few of them, but
we don't think that timbres or rolled variations should disappear
from the standard because Timbrado is able to sing them, by
themselves or forming joint variations. We don't want this
continuos turns (timbres) in our birds but if someone thinks
the opposite is free to promote them though we should know
that as in Roller the discontinuos tours damage the perfect
emission of the continuos (rolls), in our race happens the
same: timbres and rolled variations (timbre profundo in FOE's
standard) damage the emission of floreos, so a strain that
wants the highest quality of discontinuos tours has to remove
the continuos or reduce them to a minimum role.
In our work
with wild canary we realized that we could find two song lines,
watery and non watery and our birds inherited those features
from their wild ancestors. We preserved and developed the
watery line but always avoiding a change in our bird's syrinx
that could direct them towards Malinois (Waterslager) features.
Timbrado birds are able to perform watery tours, even some
difficult and discontinuos slow water, but we must prevent
an extreme specialization in these notes that move us away
from Timbrado's standard ; same can be said about "timbres"
and rolled variations in relation with Roller. From our point
of view "floreos" are the distinctive feature of Timbrado,
his most beautiful and difficult tours, and so should be the
basis of his song. This was our starting point and we built
our bird (and are still building, this is an endless process!!)
like a musical instrument, avoiding any kind of harsh passages
and with the principle of the! pure genetic song (non teaching
method). Now you fanciers must judge
TIMBRES (
DOOR BELLS / RINGS)
The word TIMBRE
in Spanish has two different meanings. It's the English door
bell and its sound ( and for us in Timbrado
the tour that remind us his throb ) but it's too, as in English,
a quality of the sound as are pitch and volume that allow
us to distinguish a musical instrument, a voice or a race
of canaries from others. In the 50s a group of judges and
fanciers defended that the name of our race should be TIMBRADO
because TIMBRES, as specific tours, would be the basis of
his song. We thought that timbres could be or not present
in Timbrado's repertoire but never like the foundation of
their song and the name could be TIMBRADO but just because
of his distinctive TIMBRE, as quality of voice, metallic,
bright, harmonious. It seems that the pass of time gave us
the reason.
As the standard
days, TIMBRE like particular note is the
tour with continuous emission rate which sound remind us the
metallic throb of a mechanic door bell, so formed by the consonant
R and the Spanish vowel I equivalent to the English long E
( rreerreerree ). However there's a school of thinking in
Timbrado that considers "timbres" not just this continuous
metallic one but, as well, the semicontinuous sounds formed
by the English long E and consonants like B, L, T, D... which
sound is similar to that traditional door bell. The standard
recognizes two of them like independent notes, TIMBRE DE AGUA
(watery bell) or NOTA BATIDA in FOE's standard and CASCABEL
(jingle bell) and in my point of view, both must be considered
like specific semicontinuous "timbres".
TIMBRE DE AGUA ( watery bell ) or TIMBRE
BATIDO ( beating bell) as it's known too, is formed by the
co! nsonants B, L and the vowel long E and is sung in a semicontinuous
rate ( bleebleeblee ). As specific note that must remind the
beating of water it needs that precise composition and, so,
if the L is missing the outcome ( beebeebee ) can't be considered
watery bell.
Something similar happen with CASCABEL ( jingle bell
) that needs the specific composition "leenleenleen".
If the N at the end is not present, the sound is quite different
( leeleelee ) and can't be described as jingle bell because
it's not like the produced by the musical instrument.
However there are some judges that consider the tour "beebeebee"
timbre de agua (watery bell) and "leeleelee" cascabel (jingle
bell). I think that this is a great mistake as it's, as well,
to include notes like "deedeedee" or "teeteetee" in floreos,
as some do. All these tours, from my point of view and other
judges and fanciers are just timbres sung in a
semicontinuous emission rate
ROLLING VARIATIONS
ROLLING
VARIATIONS ( variaciones rodadas in FOCDE's
standard or timbre profundo=deep door bell in FOE's
) are the tours that remind us the sound made by a compact
ball rolling over a rough, ridged surface. These notes share
with the continuous door bell the same features except the
vowels that participate in their composition. In the continuous
door bell the only possible vowel is the Spanish "I" ( rrirrirri
) or English long "E" ( rreerreerree) while in rolled variations
are "O" and "U" ( with the English sounds rrohrrohrroh / rroorroorroo
).
Rarely we will
find the vowel "A" ( rrarrarra ) shaping a sound in which
the "r" is stronger than the "a", scratchy, hoarse and throaty.
It's so an amusical sound that must be severely punished.
More common is the sound with the sort English "E" ( rrehrrehrreh
) not as bad as the previous but neither good, often scratchy
and, from my point of view, always nasal or twanging. This
is the, time ago called, TIMBRE INTERMEDIO
(intermediate door bell), now excluded (with great reason)
from FOCDE'S standard because is an amusical sound. Let's
remember that there's no musical instrument with this vowel
sound that just a broken one can produce like, for instance,
a cracked bell ringing. I'm musicologist ( translator's
note: and conductor of orchestra and choir ) and
can state that there's no perfect sound formed by the vowel
"eh" by itself.
So we just
have left the continuos tours with the vowel sounds "oh" and
"oo" ( Spanish "o" and "u"). These tours are basic in Waterslager
and, specially, Roller, races that have achieved the greatest
perfection in their performance thanks to their modified syrinx,
evolved towards this goal. With Timbrado's syrinx we'll never
be able to reach the same quality in these notes. As I've
explained other times the problem is that these continuous
tours prevent the full development of the semicontinuous and
discontinuous in which Timbrado can reach really outstanding
levels. So I recommend the removal of the continuous tours
in their single form ( sounds rreerreerree / rrohrrohrroh
/ rroorroorroo ), although they should remain in the standard
as can be part of interesting cojoined variations.
CLUCKS
(cloqueos)
As I've explained
previously when in the begining of the develop of Timbrado
was neccesary to choose names for the different notes that
this bird performs, was thought that the best was to relate
those tours with the sounds made by different musical instruments,
animals or objects. Following this principle CLUCKS
will be the notes similar to the cry of a broody hen, with
the composition "clohc-clohc-clohc" as the most perfect but
with some other possibilities ( "tlohc-tlohc"/ "clooc-clooc"/
"cloh-cloh"... ). In the primitive standards of Timbrado were
included in this note tours without any similarity whatsoever
with the clucks of a hen like, for instance, "bee-bee", "looee-looee"
or "lohoo-lohoo". This is a serious technical mistake that
has been corrected in FOCDE's modern codes but is still present
in FOE's.
CASTANET
shares with clucks the same composition except the vowel that
must be always "A". We can find to forms, the less valuable
"cla-cla-cla" and the most perfect (and rare) "clac-clac-clac";
both notes, but specially the second, remind us the sound
of wooden castanets. In quite a lot of "classic" Timbrado
lines was very common (and still is in some) the, so called,
castanets in "CH" with sounds "cha-cha" or "chac-chac". From
my point of view (and FOCDE's standard) these and the even
worse "chas-chas" must be severely punished as they are harsh,
faulty tours without any musical value. Same can be said about
the, more rare, clucks with "CH" ("choc-choc") and any other
note in which this sound is present.
In the clucks
we can realize easily if our Timbrados are from a watery or
a non watery ("dry") lineage. If the clucks aren't watery
the birds probably will not perform slow water tours; on the
contrary watery clucks are linked to repertoires in which
this slow water is present. These are the two lineages that
have been developed in our Timbrado and the choice is just
up to the personal preferences of each fancier because both
are producing great champions. The presence of watery clucks
in a bird will affect his whole repertoire, giving some watery
resonance to the rest of the notes and,so, the flourishes
("floreos") will be watery and the cojoined variations will
be mainly formed by whatever note plus water.
There are some quite common notes in Timbrado
derived from clucks or castanet but with a clear "N" at the
end of each syllable (sounds "clon-clon", "tlon-tlon","clan-clan","tlan-tlan")
that I believe must be scored under the note CHURCH
BELL (campana) because this end makes them similar
to the sound of that object. If the "N" is missing should
be included in clucks or castanets but with lower values than
the most perfect forms finishing in "C".
FLOURISHES
OR FANFARES (floreos)
The concept
of flourishes in Timbrado is really wide as can be formed
by all the vowels and consonants of the alphabet and, so,
there's almost no limit in their possible composition. All
the tours sung by a Timbrado in a semicontinuous or discontinuous
emission rate that can not be considered another note of the
standard, will be flourishes. If sung in a semicontinuous
rate we'll not be able to distinguish the break between the
syllabes ( looloolooloo ) as happen with semicontinuous clucks;
discontinuous flourishes, in which the break is perfectly
noticeable ( tolee-tolee-tolee ), are called SLOW
FLOURISHES (floreos lentos) in FOCDE's standard and
can still be sung in a less quick and superb beautiful manner
if the vocals of the tour are lengthen ( toleeee-toleeee-toleeee
).
The quantity
and variety of flourishes is, so, almost infinite, but not
all of them can have the same value. In Asturias we have been
always faithful to a principle which is to achieve in our
Timbrados difficult and beautiful repertoires. Our birds make
music, their throat is an amazing musical instrument, and
so in the judgement of their performances the laws of music
must be strictly considered and strained or harsh notes heavily
punished, trying to focus our bird's song towards the musical
perfection. In this sense there are sounds that never can
be perfect because their essence is closer to shrillness than
to music. "CH" sound is one of them and all the notes with
this sound must be considered defective or, even, faulty.
This was understood by Roller and Waterslager fanciers from
the beginning of the development of those races and they eradicated
these dreadful notes from their birds; why the primitives
standards of Timbrado didn't make the same with flourishes
in "CH" ( sounds chee, cheeaoo, chaoo...) and the close and
as well defective forms in "P" ( peeahoo ) is something that,
from the 50s, puzzled us. To remove CHAUS and PIAUS from the
standard was one of our main goals and, to do this, we had
to prove that it was possible to raise a high quality stock
of Timbrados without these notes, thought by many to be hereditary.
It was not just possible but easy and the offspring of the
first crosses between wild canary and Timbrado, when isolated
from tutoring, didn't perform any "chaus" or "piaus", replacing
them with other, better flourishes.
As I've said
previously our second principle was to achieve complexity,
difficulty in our bird's song. We understand that more difficult
notes must be better scored, for instance a simple and easy
flourish "loo-loo-loo" can't be considered at the same level
as a much more difficult like "toolooleeeeoh-toolooleeeeoh-toolooleeeeoh".
The first one can be performed even by second class birds;
the second just by champions. "Chaus" and "piaus" are some
of the easiest notes that can be performed by a Timbrado.
We can prove this with a simple test: if we place a bad bird,
with a song full of "chaus", close to other with a much better
repertoire, the second will quickly copy the faulty notes
of the first while the bad one will never be able to incorporate
any difficult note to his song.
As summary, if we agree that beauty and difficulty
must be the principles of our work in Timbrado, we must remove
CHAUS, PIAUS, CHAC, CHAS and other forms of, easy to perform,
harsh notes; once we have done this and if we raise a quality
stock, our birds will develop other better tours. This work
has already been done by most of good fanciers in Spain and
not just from "floreado" lineages. Finally the common sense
will prevail: if a sound is annoying it can't be good. And
I can't imagine anything more annoying that a team of birds
singing at full voice CHAUS, PIAUS and CHAS.
WATERY
TOURS
The original
codes and standards for Timbrado didn't include watery tours
like independent, characteristic notes ( still FOE's doesn't
) and from the beginning of our work with Timbrado this was
something that we couldn't accept. As we proved, some lines
of wild canary, specially from the island of Tenerife, have
a very watery repertoire and it was from birds like those
that Roller and Waterslager developed their watery lineages.
As the outcome of our crosses with wild canary we got high
quality lines of Timbrado with watery tours, notes that were
perfectly different from Roller or Malinois standard. As we
explained in hundreds of technical meetings, the main difference
between Roller, Waterslager and Timbrado is the characteristic
"timbre" ( as quality of voice) from each breed. The notes
themselves are mainly the same but sound different because
are sung by throats with dissimilar physical traits, with
dissimilar "timbre".
After years
of controversy our posture was finally accepted and watery
notes included in FOCDE's and COM's (Worldwide Ornithological
Confederation) standards. However we must be very clear in
this subject. Timbrados will just be able to sing the sort
of water notes that their syrinx allows them and will never
be as deeply watery as Waterslager's, breed specialized in
those tours and whose "timbre" has been changed to achieve
that perfection. If the water tours of our birds sound Waterslager
like we are in a wrong selective process, we are changing
Timbrado's "timbre" for Waterslager's. Exactly the same happen
with Timbrado's "rolling variations" ( "variaciones rodadas"
in FOCDE's standard and "timbre profundo" in FOE's ): if we
try to obtain perfect "rolling variations" we'll need to modify
Timbrado's syrinx towards Roller's and our birds will sound
more and more Roller like. The main difference between Timbrado
and other breeds i! s his characteristic "timbre" ( as quality
of voice ), metallic, bright, and, so, must be preserved avoiding
( and punishing in the contests ) Waterslager or Roller like
selective paths.
SLOW
WATER tours are sung in a clear discontinuous emission
rate. They will be formed by the consonants BL or GL plus
the diphthongs OI, UI and OU or the triphthong OUI ( bloi-bloi-bloi
/ glui-glui-glui...) and the sound must remind us a drop falling
inside a container half full. The tour will reach great value
if it is sung in a real slow manner.
SEMIBOUND
or SEMICONNECTED WATER notes are composed
by the same consonants BL or GL but with just the simple vowels
O or U, sung in a semicontinuous rate ( blublublu/ glogloglo
) reminding us the sound of bubbling water.
In both tours
is basic the clear composition BL or GL because, otherwise,
the watery feeling dissapears. The tours will reach more value
if are modulated and the consonants neatly sung.
Joaquín
M. Sandua is international Spanish Timbrado judge belonging
to FOCDE and OMJ-COM (Worldwide Judge Organization). With
the ,as well, judges Rafael Martinez Bouzo, Antonio Ecalle,
Jesus Gomez del Cueto and a small group of breeders, developed
from the 50s in the region of Asturias (north of Spain) a
very distinctive lineage of Timbrado, first known like "asturiano"
and lately "floreado" or "discontinuous", nowadays widespread
in Spain. Mr. Sandua, great fancier and enthusiastic judge,
belongs to a generation who saved, from the ashes of our Civil
War, the gems of our best Spanish Song Canaries.
TIMBRADO: PAST AND PRESENT
From the 50s,
begining of the Spanish Timbrado Song as a recognized race,
there were significant conceptual differences among the fanciers.
The breeders from Asturias gathered up in the only club that
at that time was nationwide spread, the ACE (Asociacion de
Canaricultores Espanoles = Spanish Canary-breeders Association);
a bit later FOE was born grouping mainly clubs from Catalonia
and, later on, some from the rest of the country. Although
there were critical voices, the "official" Timbrado that both
associations defended was mainly the same, with a repertoire
founded on what they said were "basic and hereditary" notes
as piaus, chaus, timbres and rolled variations (timbre profundo
= deep timbre in FOE's standard).
From Asturias
we never shared those thesis; we thought that those tours
were not hereditary and shouldn't be basic. If hereditary
they couldn't have been removed as a blond and blue eyed human
been will pass this features to his offspring. And in Asturias
at that time we had already began our own project, starting
from the wild canary because of his closeness with Timbrado
and his pure, untransformed song. In the first steps of our
work those harsh chaus and piaus were easily removed and we
did slowly the same with the continuous tours (timbres and
rolled variations). As our point of view was getting more
and more strength, some of our postulates (slow water, cojoined
variations...) were included like features of this "new" Timbrado
which development seemed, already, unstoppable. At this time
we, together with the fanciers from ACE and most of the Spanish
canary-culture world, formed FOCDE while FOE stayed paralized
in their old concepts, where they are still today.
Nowadays in
FOCDE we find three schools of Timbrado. One of them, still
quite strong, is headed by a group of judges that although
don't talk any more about those old "basic and hereditary
tours" in the practice don't give good scores to birds without
continuous tours or, even in some cases, without piaus and
chaus. I belive this lineage will disappear in a few years
because of the great and growing demand for the two other,
the watery and the hollow lines. This two lines share the
same concept, to do without the continuous tours and to punish
severely chaus and piaus like harsh faulty notes. The outcome
is a Timbrado with a wide repertoire based in discontinuous
(slow floreos, cojoined variations) and semidiscontinuous
tours (floreos, clucks), shaping a song of superb beauty and
great difficulty to the performer that demands good technical
level in the breeder because there's no way to exactly know
how the youngsters will develop their song, happ! ening that
nest brothers can sing quite dissimilar repertoires.
The difference
between this two "floreado" lineages is the presence, in the
watery one, of the note slow water, an individual
tour that, when present, gives a watery resonance to the whole
song of a bird. For instance in a watery bird the clucks will
be, as well, watery while, in other case, will be hollow clucks
but both canaries could be great champions, the choice of
the line is just up to the personal preferences of the fancier.
As I said there's in Spain a great demand for both lineages
but lately are prefered bright and no watery repertoires,
although this line needs some improvement because still has
not reached the slowness of the watery one, mainly because
we started with this more than 50 years ago and just 10 with
the hollow and bright one. Myself and the judges Bouzo, Ecalle
and Gomez del Cueto developed the beginning of both lineages,
so I know exactly the way to proceed. The main rule is to
remove from our birds the con! tinuous notes and harsh passages
(piaus, chaus...) with a deep genetic work and a strict selective
process.
©
Joaquín M. Sandua
©
Translated by Luis Sánchez
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