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904:, txalaparta has spread out of its original haven in the School of Hernani into all directions, even outside the Basque Country. Besides extending geographically, txalaparta and its performers have soaked up the cultural trends of modern society and mixed with other music coming from different parts of the world, resulting in cultural melange. Additionally, new technologies allow for experimentation and complementarity that used to be simply unfeasible. Multimedia performances with txalaparta that mix images and sound are not unheard of, as well as DJs playing with txalapartaris, featured for one in the Txalaparta Festival of Hernani.
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660:), who every so often performed traditional txalaparta. In the 60s, in step with the Basque cultural and musical revival movement, Josean and Juan Mari Beltran, a founder of the School of Hernani himself, took up txalaparta and encouraged its expansion. Another pair of brothers teaming up to play txalaparta were Jexux and Jose Anton Artze, who should be considered within the wider framework of the
441:
needs and convenience of the performers, exactly like the sticks, following that the former 2-odd-metre planks stemming from the old cider press may rarely go beyond 1.50 metres, while the 50 cm sticks or more so the light, easily handled 37.5 cm sticks have become a standard, as opposed to the old-time long and heavy strikers.
604:), so when the instrument was carried from the couple of farmhouses it was confined to over to wider Basque cultural circles, the txalaparta evolved into more sophisticated rhythms and combinations, such as the ternary pattern. In that pattern, each player may use their own time lapse to play three even strikes on the boards (
804:. Then, they engage in a more independent project, taking to travel to various countries (India, Finland...) trying to blend txalaparta with other instruments and cultures, with a view to highlighting diversity and mutual comprehension among the peoples of the world. The result of the experience, the documentary
933:) Jose Luis Elexpe «Pelex» has turned txalaparta into the subject of his work. Himself a pupil of the renowned txalaparta player Jexux Artze, the exhibition opened at Usurbil in May 2008 attempts to cross over the immovability of Elexpe's discipline. Besides wood, metal is used to fashion figures representing
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As regards melody in txalaparta, the issue turns out contentious to some degree, due to the rhythmic nature of the instrument. During the last years, txalaparta has broken new ground by playing along other instruments, interacting with them, following that the txalaparta has sometimes been tuned for
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Starting out from those two schemes, all other modalities developed, e.g. fours (four possible even beats per each player, which may be described as four semiquavers in 2/4 time) or the so-called Papua pattern, among others, where while sticking to a ternary pattern the players add a fourth strike
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in May) featuring the former and rural txalaparta set. Actually, nowadays the most usual equipment for the txalaparta consists of two trestles with foam attached to the tops usually wrapped up in various fabrics. As for the boards, they have become increasingly shorter in order to fit the musical
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Much of the success of the performance relies on the collusion between both players, so the more they are acquainted with each other's ways, tricks and likings (the flaws too!), the smoother the performance will go and the easier will be for the txalapartaris to show their aptitudes and excel in
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Both players perform consecutively by striking with the sticks on the boards. The performance is played intuitively except for the main lines of the performance, i.e. a rhythmic pattern (binary, ternary), main beat pattern (fours...) etc., which both txalapartaris may agree on in advance of the
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The boards, which may number no less than three in modern txalaparta, are laid on the trestles hip-high, while the boards used to be arranged slightly above knee high. The material of the boards has often shifted from locally available timber (chestnut, alder, cherry, etc.) to more beautifully
527:, meaning "the Cider Call", is frequently used and easily identifiable with only slight differences from some txalapartaris to others. A pre-established whole composition may be arranged as well, while that kind of playings are rare on bare performances with no accompanying instruments.
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s (three-strike sets), even fours, were occasionally played by the last old txalaparta performers. Notwithstanding this comment, it may be contended that they were not ternary or four-strike patterns, but isolated ready-made beat sets inserted in an otherwise simple binary pattern.
610:), or any other combination available, e.g. strike - rest - strike, strike - rest- rest, etc. (a sort of 6/8 time). As for the order of the hands, the first and the third beat may usually be struck with the same stick, so creating a pendulum like, come-and-go motion with the arms.
471:) and metal tubes have been added, so widening the range of sounds and contrasts available. In some instances, they have even substituted the customary wooden boards. Big cardboard tubes can be beaten vertically on the floor. It is worth highlighting the manufacture by the group
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melody to fit in the ensemble. On the one hand, not only accompanies it other instruments by contributing to the bassline, but it also provides melody arranged in advance, which entails establishing the playing beforehand. Therefore, some argue that doing so it is taking on a
297:). After the making of cider, the same board that pressed the apples was beaten to summon the neighbours. Then, a celebration was held and txalaparta played cheerfully, while cider was drunk. Evidence gathered in this cider-making context reveals that sound-emitting ox
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The txalaparta's musical use evolved out of its original use. Traditional txalaparta was almost extinct in the 1950s with a handful of pairs of peasants maintaining the tradition. It was then revived by folklorists, such as Jesus and Jose
Antonio Artze from the group
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The basics of txalaparta is quite simple as regards the rhythm. Within a binary scheme the player's choice was originally to play two beats each with a different stick, a single beat or none. When no beat is played on the boards, it is called
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It has been a general assumption that txalaparta evolved out of a simple binary pattern. Yet in an interview to Juan Mari
Beltran, a pundit on the issue that did major field work and has afterwards elaborated on the topic, he holds that
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Felipe and Imanol Ugarte: After taking up txalaparta at the beginning of the 90s, Felipe trains brother Imanol and in no time they start playing in the streets and festivals. They are renowned for their performances at the
752:: In 2003, the 8-people group releases an album under the same name. They feature a txalaparta made of wood and marble blended with various African (Mali, Senegal...) percussion instruments, songs and influences, such as
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On the other hand, txalaparta has kept a higher profile in other musician groupings that have clustered around the instrument, where it has blended in with other percussion instruments alien to the country
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Txalaparta was about to die out when it was called back from the cold limbo by activists concerned with the Basque culture. By then, only a few players remained, namely, Miguel and Pello
Zuaznabar (
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and spots of the boards for different tones. Nowadays the boards have often been arranged to play notes and even melody along the lines of the score, which may on the one hand further widen for the
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means limp). However, the person playing the regularity can nowadays become a balance-breaker, so triggering an argument between both sides of the performance that struggle to restore the balance.
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performance. In addition, ready-made passages may be used embedded in a specific part of the playing, notably at the beginning and the ending. For example, the traditional opening phrase
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Boulevard in summer, they have toured several times all over the world and have edited a couple of albums under their own label. The brothers also perform live regularly with the group
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onto the lapse of time belonging to their mate by overlapping their first strike, resulting in a stressed beat repeated every turn of a player that conjures up a tribal like movement.
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406:), the txalaparta is made of a pair of long wooden boards held up horizontally on two ends and then beaten vertically with special, thick sticks based on the press handle, the
677:. The Txalaparta Festival was established in 1987, adding to the interest for the instrument and acting as a showcase for fresh trends. Josu Goiri should be cited here, from
922:), where site-specific txalaparta music recording provides a background for visits (as of March 2008) based on sounds created by playing with elements from the very grotto.
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However, as the txalaparta evolved, that kind of equipment has been phased out and only showcased in special festivals (such as the
Txalaparta Festival held in the town of
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the possibilities to sophisticate the music. On the other hand, some txalaparta players rule out this novelty as alien to the instrument, essentially rhythmical.
567:. The former represents the balance (two beats of one of the players), while the latter names the person who tries other combinations that break it or twist it (
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are the only traditional context for the txalaparta we have got to know first-hand. The same background applies to a related Basque percussion instrument, the
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After establishing the School of
Hernani, a steady expansion of txalaparta ensued in the 80s among younger generations and out to other regions of the
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In the 90s and later, new couples have come out from the txalaparta school network linked to the
Txalaparta School of Hernani in the area of
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841:-like role devoid of its own primary musical features at the expense of adopting a subsidiary and decorating function, e.g. txalaparta in
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Yet the binary pattern belongs to the traditional txalaparta (despite qualified remarks that point to a wider rhythmical range,
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s, as well as playing with black&white, on the one hand, and colours, on the other, to stress different approaches.
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In a pursuit to get the most out of the materials, experimentation has been taken to new levels, like in the cavern of
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is released featuring txalaparta to critical acclaim. Two further txalaparta related albums have been released since,
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accordions and other folk instruments of the ensemble. They feature a txalaparta tuned along the notes of a score (
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of a txalaparta based on ice blocks on their
Scandinavian tour, a making recorded in their 2006 documentary film
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has been attested as meaning the trot of the horse, a sense closely related to the sound of the instrument.
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808:(2006), proved an outright success, earning them numerous awards in Film Festivals around the world.
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cultural movement, made up notably of musicians, poets and theoreticians of the Basque culture (
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are used as a call for prayer, so less epic interpretations link txalaparta with a common
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sounding wood from other geographical reaches (Caribbean, West Africa...) such as
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Ttukunak (Maika and Sara Gomez) playing the txalaparta at Moers
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732:(2005), so wrapping up the trilogy. In this latest album, the swinging duo
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band in his concerts and album releases, mostly playing along with
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1102:""Hotsez hots", txalapartaren osotasuna irudikatu du "Pelex"ek"
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702:. A few txalaparta projects of this period worth highlighting:
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Two txalapartaris playing at a public performance in a festival
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were sometimes blown alongside txalaparta. Actually, cider and
698:, besides establishing new schools and workshops all over the
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were not used in
Christian churches before the 10th century.
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During the last 150 years, txalaparta has been attested as a
1080:"Mendukilo incorpora música de estalactitas y de txalaparta"
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889:, while clinging to its rhythmic nature. To summarize, the
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Beyond the boundaries of music, the sculptor native from
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and they perform together since 1984. In 1994, the album
691:. They started to try new materials with the txalaparta.
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Percussion instruments played with specialised beaters
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Some claim that txalaparta has been used this way for
980:. North American Basque Organizations. Archived from
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in
Spanish) produce differing rhythms, playing with
333:
49:. Unsourced material may be challenged and removed.
900:Thanks to groups that have sprung up all over the
400:). In its traditional construction (known as the
1209:A picture of the txalaparta players by Anoop Negi
2038:
712:): The piano and accordion player teams up with
636:Txalaparta pair Kimu, at full steam in Hernani
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249:Txalaparta players on the Gudari Eguna (2006).
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1025:"Crystal Fighters talk about the Txalaparta"
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227:(with ) means "racket", while in others (in
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1162:Explanatory clip on the txalaparta's origin
1150:Site in French, English, Basque and Spanish
812:
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1222:
967:Article in Spanish translated from Basque
109:Learn how and when to remove this message
1204:A picture of the txalaparta being played
1193:Clip series from txalaparta performances
1058:"Txalaparta trenbide luze bateko oholak"
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1003:"Tomás San Miguel y la txalaparta feliz"
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1199:A picture of a txalaparta with makilak
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832:Giving it a try in a txalaparta class
687:, standing for Perdi and Ruben, from
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1722:Benidorm International Song Festival
47:adding citations to reliable sources
18:
1737:Festival Internacional de Santander
547:There are two distinctive types of
457:etc. Furthermore, stone (the group
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652:), Asentsio and Ramon Goikoetxea (
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2057:Unpitched percussion instruments
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2062:European percussion instruments
1655:Galicia, Cantabria and Asturias
1132:The txalaparta in communication
1035:from the original on 2021-12-21
153:Hornbostel–Sachs classification
34:needs additional citations for
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596:Txalapartaris down to business
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164:More articles or information
159:(Sets of percussion plaques)
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1168:The txalaparta group Ttakun
1142:PhD Thesis about Txalaparta
627:Txalaparta old style (2017)
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10:
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2067:Basque musical instruments
1173:Tomas San Miguel's website
1126:Euskal Musika Basque Music
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392:. It is classified as an
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958:. Euskonews & Media
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350:Eastern Orthodox Church
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202:[tʃalaˈpaɾta]
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1164:Site in French
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1069:Site in Basque
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1777:Catalan shawm
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1732:Benidorm Fest
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1701:Spanish opera
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984:on 2008-01-19
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60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
1861:
1742:OTI Festival
1706:Spanish rock
1691:Spanish jazz
1481:Cartageneras
1399:Género chico
1326:New flamenco
1157:film website
1154:
1106:. Retrieved
1096:
1084:. Retrieved
1074:
1062:. Retrieved
1037:. Retrieved
1019:
1007:. Retrieved
997:
986:. Retrieved
982:the original
972:
960:. Retrieved
950:
936:txalapartari
924:
911:
899:
858:
847:
843:Kepa Junkera
835:
816:
805:
797:
782:Kepa Junkera
723:
719:
693:
679:Arrigorriaga
672:
668:Jorge Oteiza
647:
612:
599:
575:
546:
529:
524:Sagardo Deia
519:
488:
476:
472:
458:
443:
435:
390:Basque music
383:
371:
319:
303:cider houses
252:
207:Basque music
187:
185:
105:
96:
86:
79:
72:
65:
58:"Txalaparta"
53:
41:Please help
36:verification
33:
1650:Extremadura
1456:Cante jondo
1381:Tono humano
1351:Rock urbano
1346:Rock català
1128:NABO's site
760:, sanbaghs.
726:(1996) and
654:Astigarraga
279:slaked lime
269:celebration
2041:Categories
1915:Cabreiresa
1862:Txalaparta
1837:Psalterium
1827:Kirikoketa
1541:Siguiriyas
1516:Martinetes
1511:Malagueñas
1390:Xiringüelu
1386:Villancico
1356:Seguidilla
1331:Nova Cançó
1187:Txalaparta
1178:Txalaparta
1155:Nömadak Tx
1148:Txalaparta
1108:2008-05-09
1086:2008-03-18
1064:2008-01-21
1009:2008-01-28
988:2008-01-28
962:2008-01-28
943:References
821:ttukuttuna
806:Nomadak TX
741:Gerla Beti
715:Gerla Beti
709:Gerla Beti
684:Gerla Beti
607:ttukuttuna
509:wood knots
498:jotzaileak
478:Nömadak Tx
468:harriparta
461:Gerla Beti
307:kirikoketa
234:txalaparta
209:device of
188:txalaparta
122:Txalaparta
99:April 2021
69:newspapers
2011:Chirigota
1966:Classical
1935:Sanabresa
1925:Odrecillo
1772:Castanets
1767:Bandurria
1645:Catalonia
1615:Andalusia
1576:Verdiales
1521:Peteneras
1376:Tonadilla
1366:Tajaraste
1361:Sevillana
1341:Pasodoble
1336:Pasacalle
1273:Chirigota
1195:dead link
1005:. El País
915:Mendukilo
887:keyboards
883:accordion
869:trikitixa
845:'s band.
839:xylophone
788:trikitixa
658:Martutene
602:see below
485:Operation
423:vibration
394:idiophone
342:Christian
336:semantron
332:or Greek
322:millennia
224:zalaparta
172:Xylophone
2021:Rondalla
2016:Comparsa
2006:Charanga
1971:Flamenco
1920:Galician
1905:Asturian
1887:Zambomba
1822:Guitarro
1792:Dulzaina
1782:Chácaras
1670:Valencia
1561:Tarantas
1506:Guajiras
1501:Granaína
1496:Garrotín
1471:Cantiñas
1446:Bulerías
1431:Alegrías
1416:Flamenco
1394:Zarzuela
1321:Muiñeira
1298:Fandango
1293:Ensalada
1060:. entzun
1039:19 April
1033:Archived
931:Gipuzkoa
861:Ttakunpa
855:triangle
777:Oreka TX
766:Donostia
758:kenkenis
749:Ttakunpa
735:Ttukunak
696:Donostia
580:hutsunea
559:and the
473:Oreka TX
348:and the
1981:Morisca
1961:Baroque
1945:Xeremia
1930:de saco
1910:de boto
1872:Vihuela
1857:Trikiti
1847:Tambori
1802:Flabiol
1797:Fiscorn
1566:Tientos
1486:Farruca
1441:Bambera
1436:Alboreá
1288:Endecha
1029:YouTube
927:Usurbil
920:Navarre
754:djembes
729:Dan-Txa
650:Lasarte
618:Players
586:ttakuna
570:herrena
563:herrena
555:ttakuna
438:Hernani
409:makilak
386:musical
313:toberak
294:sagardo
259:funeral
229:Navarre
177:laggutu
157:111.222
83:scholar
1976:Latina
1954:Guitar
1882:Xirula
1867:Txistu
1852:Timple
1832:Palmas
1812:Gralla
1762:Alboka
1660:Murcia
1620:Aragon
1581:Zambra
1406:Romani
1371:Tiento
1311:Jácara
1263:Bolero
1252:Styles
1104:. Gara
1082:. Gara
895:melody
891:rhythm
877:alboka
851:djembe
794:melody
670:...).
455:elondo
451:sapele
287:), or
264:hileta
85:
78:
71:
64:
56:
2001:Cobla
1897:Gaita
1842:Rabel
1571:Tonás
1556:Tango
1546:Soleá
1536:Saeta
1531:Rumba
1451:Cante
1421:palos
1303:Folia
1283:Cuplé
1278:Copla
720:Lezao
689:Araia
549:beats
535:Beats
447:iroko
354:Bells
328:toacă
299:horns
289:cider
215:stone
90:JSTOR
76:books
2026:Tuna
1877:Viol
1526:Polo
1316:Jota
1041:2021
425:.
419:corn
284:kare
211:wood
186:The
62:news
1307:Isa
885:or
724:Ten
396:(a
274:jai
267:),
213:or
199:or
45:by
2043::
1049:^
1031:.
1027:.
881:,
873:,
853:,
756:,
481:.
453:,
449:,
352:.
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231:)
221:,
1423:)
1419:(
1237:e
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291:(
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106:(
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97:(
87:·
80:·
73:·
66:·
39:.
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