ONLINE AUDIO GUIDE 5.1 MÚSICA VALLENATA · ONLINE AUDIO GUIDE 5.1 MÚSICA VALLENATA title: “Sin ti” (Without You) subgenre: paseo composer: Náfer Durán (b. 1932) language:

ONLINE AUDIO GUIDE 5.1

MÚSICA VALLENATA title: “Sin ti” (Without You) subgenre: paseo composer: Náfer Durán (b. 1932) language: Spanish performing forces: accordion (Náfer Durán), lead singer (Ivo Díaz), caja (Daniel Castilla), guacharaca (Maime Maestre), bass (José Vásquez), guitar (Luis Ángel Pastor), congas (Jesús Cervantes), chorus (Eder Manjarrez, Jesús Suarith) form: verse and refrain function: public performance and/or individual enjoyment; expression of costeña identity source:, ¡Ayombe! The Heart of Colombia’s Música Vallenata (Smithsonian Folkways Recordings SFW CD 40546, 2008) Listen for:

• minor key • quadruple meter (common time) • upbeat • lively tempo • verse and refrain form • close harmony in chorus • recurring motive

Timing

Structure and text What happens

00:00 00:07

Introduction

accordion has upbeat (subdivided) congas, guacharaca, caja enter accordion introduces and then repeats a descending four-note motive that will recur throughout

00:21

Verse 1 Con mi nota triste vengo a decirle a tu alma lo que está sintiendo mi sincero corazón ya no tengo paciencia, ya no tengo calma mi vida está triste y sola por tu amor.

bongos establish rhythmic basis melodic interjections in accordion roll in guacharaca concludes verse

00: 37

Verse 1 repeats, same words

00:48

Instrumental interlude

melody of refrain, introduced in accordion

roll in bongos leads to . . .

1:02 1:14 1:20

Refrain Sin ti no puedo estar, mi corazón se desespera no lo dejes sufrir más porque le duele y se queja. Toda la culpa la tienes tu si lo dejas que se muera. Toda la culpa la tienes tu si lo dejas que se muera.

singers enter, in close harmony four-note motive heard in the introduction reiterated, now with the words (“it’s all your fault”), solo voice fleeting ornamentation on the word “tienes” other voices return motive repeats, solo voice

1:27 1:41 1:50

Instrumental interlude Performer exclaims “¡Oyélo, Pilar—con sentimiento vallenato!”

New melodic material, accordion dominates rhythmic basis in percussion, guacharaca prominent quickening of note values

2:19

Verse 2 Ya yo no siento alegría en mi corazón solo vivo triste y pensando en ti mi amante y se me hace extensivo este dolor y solo veo que pronto me olvidaste.

strong presence of accordion continues

2:33

Verse 2 repeats, slight changes in lyrics

2:48

Instrumental interlude

reiterates melody of the refrain

3:00 3:11

Refrain Sin ti no puedo estar, mi corazón se desespera no lo dejes sufrir más porque le duele y se queja. Toda la culpa la tienes tu

other singers enter, singing in close harmony four-note motive reiterated in

3:17

si lo dejas que se muera. Toda la culpa la tienes tu si lo dejas que se muera.

solo voice other singers rejoin four-note motive reiterated in solo voice other singers rejoin

3:24

Instrumental interlude free, possibly improvised guacharaca prominent

4:13

melody of the refrain restated

random strummed guitar chord at the end

English translation:

Verse 1 On this sad note, I come to tell your soul what my sincere heart is feeling. I no longer have patience, I am no longer calm my life is so sad and lonely because of your love. Refrain Without you, I cannot be, my heart is desperate don’t let it suffer any more because it hurts and it laments. The fault is all yours if you leave it to die. The fault is all yours if you leave it to die. Spoken: Listen to this, Pilar—with vallenato feeling! Verse 2 I no longer feel happiness in my heart I only live in sadness, thinking of you, my love this pain intensifies, seeing that you forgot me so quickly. Consider:

• Describe the tempo and rhythmic activity of this selection. How does the treatment of these musical elements correspond to the minor key and the sentiments expressed in the words?

• How would you describe the timbre of the accordion? Do you concur with García Márquez?

• What, in your view, does the repeated four-note motive (first in the accordion and then in the voice) contribute to the impact of this selection? Consider the words (“toda la culpa la tienes tu/it’s all your fault”).

• Listen again to the instrumental interlude beginning at 1:27. At 1:40, the singer exclaims, “Listen

to this, Pilar—with vallenato feeling!” Of what do you suppose “vallenato feeling” consists? Be sure to consider relevant elements of music as you formulate your response.

© 2018 Carol A. Hess


ANDEAN WAYNO title: “Cholo orgulloso” (Proud Cholo) composer: Glicerio Agreda language: Spanish performing forces: female singer (La Pallasquinita); two violins, two guitars (one mainly strumming and the other playing the melody with a pick, both with nylon strings) form: strophic, each verse consisting of an (a) and a (b) idea, with a concluding (c) section function: public performance, individual enjoyment; catharsis; expression of Andean identity source: Huayno Music of Peru, vol. 1 (Arhoolie Records CD 320, 1989) Listen for:

• long-short-short rhythmic pattern repeated throughout, often varied • pentatonic melody • both major and minor chords in accompaniment • upbeat • high tessitura of female voice • intensification at end, some speaking mixed with singing

Uppercase letters stand for longer sections and lowercase letters for subsections. Note: A lachaquino is someone from the Lachaqui district in the province of Canta, Peru; Llapo is a district in the province of Pallasca, Peru. In the final section, the singer acknowledges her collaborators, the guitarist and the composer, while affirming the community (“race”) of cholos.

Timing


00:00

Introduction

opening scale on the melody guitar, violins prominent strong cadence in a minor key

00:14 00:19 00:23

Verse 1 (a) Un cholito llega a Lima con su ponchito incaico. repeat of (a), including words (b) Toda la gente le murmura de su pantalón de lana.

upbeat pentatonic melody violin plays same notes as in vocal part or rounds off phrases with rapid passagework some accompanying harmonies in major

00:28

repeat of (b), including words

section cadences in minor

00: 36 00:41 00:45 00:49

Verse 2 (a) Al pasar por la parada una gringa así se le dijo repeat of (a), including words (b) Sube cholito a mi carro que te llevaré a mi casa. repeat of (b), including words

same musical features as Verse 1

00:57

Instrumental interlude, with speaking: Salud señores, Torfio Fuertes, lachaquino de pura cepa y que viva siempre el distrito de Llapo y sus lindas mujeres.

main melody in violin, in dialogue with other violin

1:16

repeat of Verse 2

1:37 1:42 1:47 1:51

Verse 3 (a) Su patron así le dijo: cholo, sopla la candela repeat of (a), including words (b) Cómo muchacho inocente no sopla la cocinera repeat of (b), including words

same musical features as previous verses

1:58 2:12 2:19

Fuga (c) Eres cholito valiente, orgullo del continente. (c) Que lo sepan que la raza de los cholos es superior. (c) Eres cholito valiente, orgullo del continente. (c) Que lo sepan que la raza de los cholos es superior. ¡Así Nimaira, con gusto rompe esa guitarra! ¡Salud, compadre Gricelio Agreda! (c) Eres cholito valiente, orgullo del continente. (c) Que lo sepan que la raza de los cholos es superior. (c) Eres cholito valiente, orgullo del continente. (c) Que lo sepan que la raza de los cholos es superior.

sung spoken sung Instrumental parts intensify with repeated notes quicker tempo decisive final cadence

English translation (Joel Cohen, slightly modified):

Verse 1. A cholo arrives in Lima with his nice Incan poncho Everyone has something to say about his wool pants. Verse 2. Upon passing by the bus stop, a gringa [white woman] teases him: “Get in my car, cholito. I’ll take you to my house.” Spoken interlude. “Greetings, gentlemen. Torfirio Fuertes, a true lachaquino. And long live the district of Llapo and its beautiful women!” Verse 3. So his boss told him: “Cholo, blow on the candle [fire]: the cook can’t help along a fire the way an innocent boy can.” Fuga. You are a brave cholito, the pride of the continent. They ought to know that the race of the cholos is superior! That’s it, Nimaira—play the hell out of that guitar. And cheers to you, old friend Gricelio Agreda.

Consider:

• How do you interpret the overall meaning of this wayno? Is the singer being ironic? Encouraging?

• When rural people moved to Lima, they might be criticized for behavior that was perfectly ordinary in the altiplano, such as going barefoot or chewing coca leaves. (Coca is the same plant from which cocaine is made but chewing the leaves in this form affords mild stimulation only.) Why might the newcomer’s wool pants attract notice?

• How does the intensification in the fuga portion complement the words?



AFRO-URUGUAYAN CANDOMBE title: Cordon: Candombe Lento performing forces: percussion ensemble of repique (Juan José Quintana “Juancho”), chico (Daniel Abal “Chino”), and piano (Carlos Pintos “Bocha”) form: improvised, although within the norms of the toque function: street celebrations or other group performance, expression of Afro-Uruguayan identity source: Uruguay: Tambores del Candombe (Musique du Monde, Buda Records 92745-2, 1999). Listen for:

• pitches of drums • ostinato • calls of various drums • wide range of performance techniques (stick on shell of drum, rim shot, slap with hand, strike with

stick)

Timing

Structure What happens

00:00

repique call open tones and rim shots repique strikes shell of the drum with stick chico and piano establish toque: chico alternates right and left hands, open tones with stick and open slaps with left hand piano produces bass tones with left hand, open tones with stick, and closed tones with the stick, dampened by the left hand

00:28

piano call and repique variation piano plays open tones with stick and strikes shell of drum with stick repique combines rim shots with open tones and striking stick on shell of drum chico maintains previously established pattern

00:41

piano call to repique and chico piano plays open tones with stick repique plays on side of drum

chico plays on side of drum piano returns to pattern previously established

00:54

piano call for chico to play piano plays a series of open tones with stick chico strikes shell twice with stick and then resumes previously established pattern repique continues playing on the shell of the drum, piano joins with repique in this technique

1:04

repique call to chico and piano to play a new pattern

repique plays faster note values, rim shots, and open tones chico plays on shell of drum with stick before resuming pattern previously established piano plays on the shell with stick

1:10

piano call to return to basic toque piano plays open tones with stick, then returns to previously established pattern chico plays previously established pattern repique plays previously established pattern with slight variations

1:33

repique call to end repique plays quicker note values and rim shots chico ends with previously established pattern piano plays previously established pattern with some quicker note values to conclude

The author thanks Brian Rice for extensive assistance with this guide.

Consider:

• What is the musical effect of an all-percussion ensemble?

• How easy or hard is it to hear the various calls?

• How do you suppose the players know when to end?

• Some contemporary candombe players have added instruments such as electric guitar and saxophone to the ensemble. Is this decision artistically valid? How would it affect candombe’s status as an expression of cultural identity?



PARAGUAYAN HARP MUSIC title: “Piririta” performing forces: harp (Martín Portillo), guitar (Alejo Benítez), string bass (Ariel Burgos) composer: Alejandro Villamayor form: free, with two main sections, melodically varied function: for private or public performance; expression of Paraguayan identity source: Maiteí América: Harps of Paraguay (Smithsonian Folkways SFW CD 40549, 2009). Note that “Maiteí América” is Guaraní for “Greetings, America.” Listen for:

• recurring “walking” bass line, sometimes varied, played by the lower strings of harp (bordonas) and string bass, plucking the string

• compound meter • sesquiáltera • basic I-IV-V harmonies • changes of texture • symmetrical phrases • broken chords • glissandi (singular: glissando)

Timing


00:00

Introduction “walking” bass, enhanced with off-beat chords and strumming in guitar

00:12 00:27 00:35 00:42

A (a) (a1)

symmetrical phrases, each punctuated by “walking” bass (a) starts on I, goes to V, then back to I, affirmed by an . . . . authentic cadence starts in I, goes to IV then to V, then back to I, affirmed by an . . . . authentic cadence

00:45

B contrasting rhythm, chordal texture strategic moments of silence in the supporting instruments

00:58 1:14

symmetrical phrase structure continues reliance on I-IV-V continues sesquiáltera broken chord and a glissando lead back to . . . . walking bass, now with variants

1:25

A1 same chords as A, same symmetrical phrases, and same punctuation by walking bass but extra notes (ornaments) added

1:59 2:12 2:27

B1

same harmonies as previous interlude and same symmetrical phrase structure but more frequent glissandi than in B sesquiáltera extended broken chord leading to . . . walking bass (notice unusual timbre)

2:43 3:17 3:29

A2 B2

see above, A and A1 more flourishes than in A1 via form of brief but repeated glissandi and rapid hand-motion back and forth see above, B and B1 greater resonance, variety of timbre sesquiáltera broken chords and other flourishes combine with walking bass strong final cadence preceded by an ornamented descending scale

Consider:

• The listening chart enables you to identify the initial statement of the bass line. Can you follow its course throughout the piece? What is the musical function of the bass line?

• The composer of “Piririta” was inspired by bird calls and believed he was duplicating them. (You can search the internet for a picture of the piririta.) Does the piece suggest bird calls to you? Why or why not? Is it reasonable for composers to suggest real sounds in their music? If so, what are some sounds that would lend themselves well to musical realization and which instruments would be best suited to them?

• Can you hear the difference between a broken chord, quickly played, and a glissando?



GUATEMALAN MARIMBA MUSIC title: “Los Trece” (The Thirteen) subgenre: guarimba performing forces: two marimbas (with seven players), string bass, drum kit (played by members of Chapinlandia) composer: Wotzbelí Aguilar form: free, with contrasting sections (A A, B, B1, C, C) function: public performance, possibly at a party; expression of identity source: Chapinlandia: Marimba Music of Guatemala (Smithsonian Folkways SFW CD 40542, 2007) Listen for:

• timbre • charleo (buzz) • symmetrical phrases, often of eight bars • compound meter • sesquiáltera • changes of tonal center • variations in melody • chromatic scale

Don’t be concerned if you don’t hear the changes of tonal center. Do, however listen for the chromatic scale, identified below. Again, the uppercase letters indicate sectional divisions and the lowercase letters the phrases within each section. Timing


00:00

Introduction

establishes key

00:09 00:13 00:18 00:21 00:27

A (a) (b) (a) (b) repeat of A

new tonal center main melody introduced roll in marimba, as will be frequent at ends of phrases sesquiáltera sesquiáltera

00:46

B (c)

new melodic idea, with upbeat

00:55 1:04 1:13

(d) (c) (d)

prominent rolls in marimba sesquiáltera sesquiáltera cadence

1:22 1:33 1:41 1:50 1:58

B1 (B repeats, with variations) (c) (d) (c) (d)

new notes added to melody enhanced accompaniment sesquiáltera with new notes in melody and enhanced accompaniment sesquiáltera rolls on the marimba at higher pitch than previously final chord of section repeated for emphasis

1:59 2:04

Interlude chromatic motion descending chromatic scale, concludes with a “choked” cymbal

2:09 2: 19 2:25 2:36

C (in another key area) (e) (e) repeat of C

new melodic idea, with second half of phrase a sequence of first half (compare 2:09 and 2:13) cymbal at end of phrase material from introduction returns material from introduction returns again, cadence on B flat final cadence

Consider:

• Do performances such as these, with drum kit and upright bass, enhance the folkloric tradition—however it may be understood in Guatemala—or do they do it a disservice?

• How do you characterize the charleo?

• What is the overall effect of one symmetrical phrase followed by another?

• How does Aguilar offset the chromatic scale, that is, what comes before it and what follows it?



PLENA title: “Ahora Sí” (All Right Now) performing forces: male voice, seguidor, segundo, requinto (Tito Matos), güiro (members of Viento de Agua) composer: Juan “Llonsi” Martínez language: Spanish form: call-and-response singing, mainly with alternating verses and chorus function: invitation to the plena; expression of Puerto Rico identity source: Viento de Agua Unplugged: Materia prima (Smithsonian Folkways SFW CD 40513, 2004) Listen for:

• different qualities of sounds in the drums • unison statements of the drums • presence of güiro • free section (probably improvised) and departure from verse and refrain structure, especially the

requinto (‘quinto) solo near the end Timing


00:00 00:11 00:13

Verse 1 (solo) Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto . . . Refrain (chorus): Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto va a cantar.

unison statements in drums mark ends of vocal phrases slap sound in requinto, responds to tones from the lower-pitched drums drummers begin plena rhythm soloist interjects “plena buena”

00:25 00:37 00:38

Verse 2 (solo) Yo no tengo nada en contra del merengue de la salsa y tampoco del rap. Pero si me tocan mi ritmo de plena yo te digo que ese me gusta más, me gusta más. Refrain (chorus): chorus: Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar.

güiro in steady rhythm verse concludes with unison statement in drums and güiro drums on plena rhythm

00:51

Ahora sí, mi güiro y su cadencia ahora sí, mi quinto va a cantar.

soloist interjects “plena buena” requinto plays three slap sounds

00:52 1:05 1:06

Verse 3 (solo) Viento de aguacara viene sonando güiro y pandereta pa poder bailar. Que ritmo, ritmo rico de mi tierra cumpa y plena te traemo’ pa cantar. Refrain (chorus): Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto va a cantar.

verse concludes with unison statement in drums and güiro drums on plena rhythm

1:18 1:31 1:33

Verse 4 (solo) Esto mira que es un lindo homenaje Para los pleneros de verdad goza [unclear] del caño general del pueblo [unclear] truco vamos a bailar, vamos a bailar! Refrain (chorus): Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto va a cantar.

seguidor and requinto interact (1:21, 1:25, 1:28) verse concludes with unison statement in drums and güiro drums on plena rhythm soloist interjects “plena buena”

1:44 1:46 1:51

free section mi quinto va a cantar quinto, quinto . .

soloist picks up on “mi quinto va a cantar” (my quinto will sing) unison statement in drums punctuate short statements by chorus chorus repeats “mi quinto va a cantar” soloist sings new melody soloist calls to requinto player,

2:14 2:18

inviting him to do a solo requinto plays high “slap” sound and lower tones of the requinto, all very rapidly chorus repeats “mi quinto va a cantar” call and response between soloist and chorus requinto keeps solo part, now with syncopation soloist calls for chorus to sing refrain

2:57 3:11

Refrain (chorus) Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto va a cantar. Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto . . .

interjections from soloist drums play throughout, including the same unison statements from drums as in first chorus final unison, with güiro, to end

Summary of English translation: All right now [repeated throughout], I bring you this plena that I come to sing. My güiro and its rhythm, my requinto will sing. I don’t have anything against merengue or salsa or rap but if they play me a plena rhythm, I tell you, it’s what I like best. The wind of water keeps sounding güiro and drums for dancing. What a rhythm, what a rich rhythm from my country! We bring you plena to sing. Look what a nice homage this is for the real pleneros Let’s dance, let’s dance! The author thanks Brian Rice for extensive assistance with this guide.

Consider:

• How many references to plena do you find throughout? How is the genre described?

• Does the fact that this selection is about the genre affect our enjoyment of the music and its status as a symbol of Puerto Rican identity?

• How would you describe the melody of this selection?



SYMPHONIC MALAMBO title: “Malambo” from Estancia performing forces: symphony orchestra, including piano (Simón Bolívar Venezuelan Youth Symphony, directed by Gustavo Dudamel) composer: Alberto Ginastera form: two related sections with introduction and coda function: music for symphony concert source: ¡Fiesta! Gustavo Dudamel and Simón Bolívar Venezuelan Youth Symphony (Deutsche Grammophon 0289 477 7457 0 GH, 2008) Listen for:

• sesquiáltera • repetition of melodic fragments • long stretches of harmonic stability • large percussion section, which includes piano, xylophone, four different kinds of drums (timpani,

bass drum, military drum, tenor drum), castanets, cymbals, tam-tam, tambourine, triangle. • sequences • massive coda

Timing


00:00

Introduction

prominent piccolo, other instruments join glissando on piano leads to A section

00:13 00:25 00:31 00:45 1:00

A (a) (b) Contrasting material, containing more than one theme (b) (b) transitional material return of introduction

main theme, prominent in strings main theme in trumpets, insistently repeated xylophone prominent (notice sequence) trumpets violins repeated pitches lead to . . . bass line leads to . . .

1:10

reprise of A (varied) (a1)

1:22

(b1)

sequences (xylophone, strings) repeated loud chords in brass lead to . . .

1:38 1:57 2:01 2:24 2:30 2:49 2:56

Coda (c) (c1) (c) (c1) (c) (d) (c) (e)

glissandi in piano prominent percussion trumpets prominent with new motive French horns produce the equivalent of a glissando (known as “ripping”) screeching effects (xylophone, piccolo) loud dissonant chords in piano “ripping” in French horns repetition loud brass glissandi, loud brass, final chords relentlessly repeated enhanced with percussion

Consider:

• Given that this selection is three and a half minutes long, approximately what percentage is the coda? Comment on how these proportions affect our experience of the selection. Is it too much to say that it starts ending almost as soon as it starts?

• What advantages and pitfalls does a composer confront in seeking to depict in symphonic format the traditional music of his or her country?

• What do we experience when we listen to a piece in which one of the composer’s central strategies is repetition?



SAMBA title: “Aquarela do Brasil” (Watercolor of Brazil) composer: Ari Barroso language: Portuguese performing forces: singer (Francisco Alves), chorus, big band, pandeiro (tambourine), shaker, enhanced drum kit form: multisectional, with varied A and B sections alternating with Introduction function: public performance; expression of Brazilian identity and/or Good Neighbor solidarity; portion of a film score (see text) source: Ary Barroso: Aquarelas, vol. 1 (historic recording, reissued by Instituto Cultural Cravo Albin, 2014) Listen for:

• big band instrumentation • big band gestures, such as sliding from one note to the next • syncopation (“swing,” or anticipation of downbeat) in brass • contrasts in tempo, distribution of instruments and voices • distribution of melody between voice and instruments • change of tonal center

Timing


00:00 00:15

Instrumental introduction solo singer: Brasil! Meu Brasil brasileiro Meu mulato inzoneiro* Vou cantar-te nos meus versos

slow tempo ends on half cadence prepares the vocal entry with a broken chord repeated chords punctuate the singer’s phrases leads to . . . . .

00:33 00:49

A O Brasil, samba que dá Bamboleio, que faz gingá O Brasil do meu amor Terra de Nosso Senhor . . . Brasil! “Brasil!” . . . “prá mim”

sudden shift to samba tempo, entrance of percussion accompanying chords in woodwinds and brass call-and-response interaction between soloist and chorus rhythmic energy

00:58

Instrumental interlude offbeat jabs in trumpets three-note motive in saxophones, repeated and enhanced by woodblock

1:01 1:22 1:23 1:39 1:43 2:08

B (soloist) O, abre a cortina do passado Tira a mãe preta do cerrado Bota o rei congo no congado, Brasil! Brasil!

Deixa cantar de novo o trovador A merencória à luz da lua Toda canção do meu amor Quero ver essa dona caminhando Pelos salões arrastando O seu vestido rendado . . . Brasil! Brasil! Prá mim! Prá mim!

woodwinds continue repeating the three-note motive introduced in Interlude, now as part of accompaniment chorus repeats homorhythmic chords in band punctuate singer’s statement

three-note motive, rhythmic energy continue band answers briefly with a new melody three-note motive varied (trumpets) call and response, solo and chorus on cadence, band thins out to a reduced texture, tempo winds down slower tempo established, jazz-like clarinet solo that sounds improvised slow chords, lead to . . .

2:15

return of music of Introduction now instrumental rather than vocal

clarinet on melody line, now in lower register repeated chords punctuate the saxophone melody leading to . . .

2:33 2:44 2:55

A1 instruments only

shift to samba tempo melody and countermelody in brass instruments substitute for soloist and chorus in call-and-response homorhythmic chords lead to . . . change of tonal center

3:04 3:19 3:24 4:03

B1 instruments continue alone

melody in trumpets, woodblock bird-like effect in saxophones melody distributed among the different instruments saxophones prominent brass and saxophones simulate call and response of soloist and chorus band thins out, tempo winds down leads to . . . .

4:05

music of Introduction returns Brasil! Terra boa e gostosa Da morena sestrosa De olhar indiscreto

chords punctuate singer’s phrases, as before

4:24 4:38

A O, Brasil, verde que dá Para o mundo se admirar O Brasil, do meu amor Terra de Nosso Senhor . . . Brasil! Brasil! Prá mim! Prá mim!

call-and-response interaction, as above

4:46

B

instrumental accompaniment stays the same but now woodblock prominent

4:50 5:11 5:54

O, Esse coqueiro que dá coco Onde amarro minha rede Nas noites claras de luar, Brasil! Brasil! O! oi essas fontes murmurantes Oi onde eu mato a minha sede E onde a lua vem brincá O! Esse Brasil lindo e trigueiro É o meu Brasil brasileiro Terra de samba e pandeiro . . . Brasil! Brasil! Prá mim! Prá mim!

solo chorus answers homorhythmic chords in band connect to call-and-response singing, as above tempo slows for final cadence concludes with hit a “cymbal splash” (designates a small cymbal)

English translation taken from Lisa Shaw, The Social History of the Brazilian Samba (slight modifications): Brazil! My Brazilian Brazil my gossipy mulatto I’m going to sing of you in my songs. Oh Brazil, of the samba that makes us sway and swing, oh Brazil, the place I love, Land of Our Lord. Brazil! Brazil! For me, for me. Oh, draw back the curtain from the past Take the black wet-nurse from the fields Let the king of the Congo perform, Brazil, Brazil. Let the troubadour sing again in the melancholy light of the moon all the songs of my love. I want to see the lady of the house walk by through the great rooms in her lace-trimmed dress , Brazil, Brazil for me, for me.

Brazil, the good and beautiful land of the headstrong mulatto girl with the indiscreet look. Oh, Brazil, a green land for the world to admire. Oh Brazil, the place I love Land of Our Lord . . . Brazil, Brazil for me, for me. Oh, that coconut palms that bears coconuts where I hang my hammock in the clear moonlit nights, Brazil, Brazil. Oh, those murmuring springs where I quench my thirst and where the moon comes out to play Oh, that beautiful dark Brazil Is my Brazilian Brazil the land of samba and the tambourine. Brazil, Brazil, for me, for me.

Translation notes: “Inzoneiro” (gossipy, sly, devious) is rather uncommon slang. It was evidently unfamiliar to Alves, the singer on our recording, who instead sings “rizoneiro,” a word that doesn’t exist.

The references to Nosso Senhor (Our Lord) may refer to the Church of Nosso Senhor do Bonfim in the northeastern city of Salvador, which made a tremendous impression of Barroso when he visited there. Whether Barroso had that church in mind, clearly the Eden he describes, with its murmuring springs, greenery, moonlight, abundance, is ordained by God. Consider:

• How does the slow introduction contribute to the element of surprise in this selection (i.e., when the samba rhythms first burst forth)?

• Where does the first reference to race appear? With what racial group is Brazil equated? How many references to racial harmony do you find in the translation (or, if you know Portuguese, in the original)? Why do you suppose the colonial past is emphasized?

• Barroso was sometimes criticized for redundant phrases such as “my Brazilian Brazil” and “the coconut palms that bear coconuts.” Are these criticisms justified?

• In the final segment, instead of inserting “land of Our Lord” as in parallel sections, Barroso refers to the “land of samba and the tambourine.” What narrative reason might he have had for doing so?



SALSA title: “¡No! composer: Freddy Sánchez language: Spanish form: canto and montuno function: dance, social protest, expression of pan-Latino identity performing forces: singer (Willie Colon), chorus, trumpet, trombone, saxophones, piano, electronic keyboard, bass, timbales, maracas, claves, bongos, congas, güiro, cowbells source: Willie Colon: Mis Favoritas (Sony U.S. Latin CD 8869 770886 2, 2010) Listen for:

• “up” or “down” percussion • interlocking percussion • percussion “breaks,” i.e. moments of punctuation of varying lengths, either brass or percussion-

dominated, that prepare for the next section • abanico • duple meter • 2-3 clave orientation (background) • vocables • half cadence • shift from minor to major

Note: “¡No!” indicates the chorus, who can be players in the band.

Timing

Structure and text

What happens

00:00 00:01 00:02

Introduction vocables (ah-la-la)

trombone and saxophones lead into . . . abanico lively tempo interlocking percussion chorus percussion is “up,” with the timbalero and bongocero playing cowbells electric bass prominent

00:22

Break

motives in melody instruments

00:31 00:51 1:10

Verse 1 (canto) Esta vez protestar no es simplemente lo que quiero También quiero sus conciencias despertar para que griten fuerte no a todo aquello que subyuga y destruye nuestra moral. Y aunque a muchos les molestarán las cosas que cantemos que no importe, no nos vamos a callar. al contrario con más fuerza gritaremos! Este “¡No!” y nos tendrán que escuchar vocables

minor key countermelody in piano percussion “down” (bongos, one conga only, and timbales play on the shell) brass punctuate singer’s phrases half cadence authentic cadence chorus overlaps with soloist same melody as introduction interjections in brass percussion “up,” with cowbells and two congas

1:30

Interlude

unison drum statement, leading to abanico, which launches the montuno

1:38

Montuno ¡No! Un no para la maldad ¡No! Un no al hambre y la guerra ¡No! Un no para todo aquel ¡No! que con su mañas destruye la tierra ¡No! Un no a la maldita droga ¡No! que destruye tanta gente ¡No! Un no a la burguesia ¡No! Un no a los terratenientes ¡No! Un no para aquel que deja ¡No! morir a un niño de hambre ¡No! al que voltea la cara ¡No! para no sentirse culpable ¡No! a los que resuelven problemas ¡No! con agresión y bombardeos ¡No! los que subrayan sus puntos ¡No! con la sangre del pueblo.

new melody shift to major chorus sings on “¡No!” percussion is “up” (notice cowbells)

2:21 2:40 2:44 3:08

Interlude new material trombone prominent percussion up string sound produced by electronic keyboard flourishes on saxophone conga player slapping the drum

3:23

Montuno ¡No! Un no para el que no crea ¡No! y que no deja crear ¡No! que solo emplea su tiempo ¡No! a criticar y criticar ¡No! para el que hace negocios ¡No! con armas y militarismo ¡No! luego declara ante pueblo ¡No! que es cuestión de patriotismo.

shorter than previous montuno

3:43 3:56

Interlude new material (saxophones and trombone, antiphonal) bongos player stays “on bell” (plays cowbell) conga “fill”

4:03 4:14 4:36

Montuno ¡No! Un no para aquellos hombres ¡No! que en la esquinas se paran ¡No! a vocear piropos sucios ¡No! a cada dama que pasa ¡No! para aquellas suegras ¡No! que no respetan las leyes ¡No! que por más que se les diga ¡No! siempre entre hijos se meten ¡No! A ese viejo general ¡No! que al joven manda la guerra ¡No! y cuando la cosa está recia ¡No! lejos de batalla queda ¡No! Un no a los explotadores ¡No! se empeñan en reemplazar ¡No! con sus mensajes inertes ¡No! queriendo al pueblo domar.

lead singer alters melody of montuno, perhaps improvising singer returns to initial melody singer alters melody singers ends on “sol” rather than “do”

4:45

coda dominated by brass final cadence

English translation:

This is not just another protest song. I want to awaken your conscience so you can all shout a strong NO to all those things that subjugate and destroy our morale. Although many are bothered by the things we sing about it doesn’t matter, for we will not be silent. On the contrary, we’ll sing even louder than this NO! And they will have to listen. A no to evil A no to hunger and war A no to anyone who, with his cunning, would destroy the world. A no to those damned drugs that ruin people A no to the bourgeoisie A no to the landowners A no to one who lets a child die of hunger, who turns his face away so as not to feel guilty. A no to those who resolve problems with aggression and bombings those who underscore their points

with the blood of the people. A no for the one who doesn’t create and who doesn’t allow creation who only uses his time to criticize and criticize. For one who does business with weapons and the military and later declares to the people that it was all a question of patriotism. A no for those men who hang out on street corners to make dirty remarks to every lady who passes. A no to those mothers-in-law who don’t respect norms of behavior and who however much they’re told not to, meddle in their children’s business. A no to that old general who sends young people to war and when it’s going full tilt removes himself from the battle. A no to the exploiters who strive to push others aside with their lame messages wanting only to control the people.

The author thanks Brian Rice for extensive assistance with this guide. Consider:

• The breaks in this song are almost as significant as the texted parts. Compare each one and discuss the role of the various instruments you hear. Do the breaks complement the text in any way?

• How do sameness and contrast inform this song? What is the role of repetition?

• How do you see the fact that proclamations of social malaise would accompany dancing?



MARIACHI title: “Las Abajeñas” (The Lowland Women) composer: traditional, arranged by Rubén Vargas and Silvestre Fuentes language: Spanish performing forces: guitarrón, guitar, vihuela, violins, trumpets, voices, male voices, including singing, gritos (shouts) and whistles, form: multisectional, with two principal parts (A, B) function: performance, either by amateurs or professionals; expression of Mexican identity source: Mariachi Cobre (Kuckuck Schallplatten CD 11105-2, 1995) Listen for:

• timbres (trumpets versus strings) • alternation of vocal and instrumental passages • singing in harmony • gritos (whooping, shouting) • sesquiáltera • sudden ending • long coda in proportion to rest of piece

Timing


00:00

Instrumental Introduction main melody in trumpets, close harmony strumming (harmony) and bass line covered by other instruments, including interlocking rhythm between guitarrón and vihuela

whistling

trumpets drop out at end of introduction

00:16

A Me gustan las abajeñas por altas y presumidas. Se bañan y se componen y siempre descoloridas.

singing in close harmony interjections in violins constant activity in strummed instruments

00:24

A repeats (same words)

00:32

B Mariquita, mi alma yo te lo decía

sequence

que tarde o temprano, mi vida tú habías de ser mía.

sesquiáltera (“que tarde o temprano, mi vida”)

00: 41

B repeats (same words)

00:48 00:59

Instrumental interlude violins introduce new melody, close harmony sesquiáltera trumpets enter with another melody, close harmony sesquiáltera

1:12

A Me gustan las abajeñas que saben la ley de Dios que largan a sus maridos, por irse con otros dos.

interjections in violins

1:20 A section repeats (same words)

1:28

B section: Déjala que vaya ella volverá si amores la llevan, mi vida, celos la traerán.

sequence sesquiáltera

1:36 B section repeats (same words)

1:44 1:56 2:08 2:14

Coda Instruments only repeats material of interlude (see above) gritos and whooping trumpets repeat material of introduction (main melody) sudden cessation of strumming and bright brass timbres final cadence

English Translation

I like the lowland women For their haughtiness and arrogance They bathe and they doll themselves up and they are fair-skinned. Mariquita, my dear I used to tell you that sooner or later, my darling, you’d be mine.

I like the lowland women who know the law of God. They get rid of their husbands by going around with two other guys. Go ahead and let her go, she’ll come back if various loves take her away, my darling, jealousy will bring her back.

Consider:

• How does the structure of this selection resemble strophic form? How does it depart from it?

• How do you interpret the words to this traditional mariachi number?



MÚSICA LLANERA title: “Llanero, sí, soy llanero” (Yes, I am a plainsman) performing forces: members of Grupo Cimarrón: male voice (Wilton Games Balcárel), cuatro (Pedro Libardo Rey Rojas), maracas (Omar Edgar Fandiño Ramírez), string bass (Ricardo Albino Zapata Barrios), harp (Carlos Rojas Hernández)). To simulate the traditional bandola, the harpist has damped the strings of the instrument to imitate the bandola’s dry picking language: Spanish subgenre: pajarillo form: strophic, freely modified function: performance, informal enjoyment; expression of llanero (male) identity source: Joropo Music from the Orinoco Plains of Colombia (Smithsonian Folkways CD 40515, 2004) Listen for:

• Phrygian sonority (opening chord) • minor mode • ending on half cadence • brief melodic patterns, repeated in instruments and voice • penetrating vocal quality, frequently in a high register (passages marked with an “x” lie high in the

voice, contrasting with lower-pitched melodic fragments, which are not marked) • syllabic setting • abundance of text • intensification in second verse (see below)

Timing Structure and text

What happens, English translation

00:00 00:17

Introduction golpe con leco ¡Ay!

Repeated Phrygian chord in cuatro, followed by melodic fragments percussive strumming bass instruments mark harmony, establish instrumental accompaniment sustained cry, in a single breath, sings over the melodic fragments, which continue and lead to . . .

00:24

Verse 1 Llanero, sí, soy llanero, primo, x y el que quiera comprobarlo x que vaya pa’ mi llanura y pregunte en la costa el Pauto* como aprendí desde niño x a dominar un potranco, x a ponerle el rejo a un toro,

A plainsman, yes, I am a man of the plains and he who wants to prove it should go to the plains and ask on the banks of the Pauto River how I learned, as a boy, to break a colt to tie up a bull

a cogé’ un novillo po’ el tallo, a patroneá’ una curiara x en las crecientes de Mayo, x a conocer el aguaje del pescao’ grande en el charco y la astucia del caimán x velando altivo en el paso, x al chigüire* lateperro zumbarse al río del barranco, al grito madrugador del caporal en el hato. Me acuesto al zumbarse el sol y con el sol me levanto, con trinos de guacharaca y quejíos de un araguato, algarabía de chenchena* en los rebalses del caño, x y dentro del monte oscuro el ronquío de un tigre macho.

to grab a young bull by the tail, to skipper a boat in the rising May waters, to learn the ways of the big fish in the water and the cunning of the alligator watching haughtily nearby, and the chigüire lateperro jumping into the river from the cliff at the morning shout of the herdsman in the camp. I go to bed with the sun and I rise with the sun with the trilling of the guacharaca bird and the cries of the howling monkey, the twittering of the chenchena where the torrent dams up and in the dark brush, the growl of a male tiger (notice how singer growls on the word “tigre,” or tiger).

1:20 2:08

Instrumental interlude in cuatro, varied strums new patterns interact with melody notes slapped (“ripped”) strings

2:32 2:39

golpe con leco ¡Ay! Verse 2 Llanero, sí, soy llanero, primo, x criollito como el mastranto, x dulce como miel de abeja y amargo como el barbasco,* puro como un manantial, x recio como sol de Marzo, x caballicero y mensual peón de sabana pa’ rato, críao’ entre bosta y ganao’, x soga, cabresto y caballo, x puntero en sabana abierta cuando no tenía quince años. Cuántos rodeos ajilé x con la melodía del canto, x cuantas travesías eché

again, in a single breath ¡Ay! A plainsman, yes, I am a man of the plains, as criollo as the native aromatic plants as sweet as the bee’s honey and bitter as the barbasco as pure as the spring as strong as the March sun, a horseman and peón of the plains, paid by the month, for a while, growing up amid manure and livestock, lasso, harness, and horse, a marksman on the open plains when I was not yet fifteen. How many skirmishes I negotiated with the melody of song, how many scrapes I got into

3: 33 3:53

con el casco e’ mi caballo, trochas de noches oscuras palabreando los espantos, x noches de luna fiestera con el cariño de un cuatro oyendo guaruras* tristes x de un canoero en el paso. x Fue así que este corazón se formó en el llano amplio, altivo como el pitío’ del toro en un bajún bajo, noble como el coleador que acaricia su caballo, sin rencores por la vida por lo mucho que ella ha dado: una mujé, una familia y allá en mi sabana un rancho. Y esta garganta coplera repleta de orgullo nato pa’ gritá a los cuatro vientos cada vez que me embarbasco: x Llanero, sí, soy llanero de las sabanas del Pauto.

with my cowboy hat and my horse, following trails in the dead of night cussing out my bad spirits, nights of the festive moon with the caress of a cuatro listening to the cry of the melancholy flute of a canoer passing by. In the next part, the singer starts off in a high range but then inserts a series of lower-pitched melodic fragments not present in the first verse. It was thus that this heart came to be, in this broad plain, proud as the whistle of the bull of the lowlands, noble as a cattle-roper who pats his horse tenderly, without rancor toward life for all that it has given him: a wife, a family and there, on my plains, a ranch. And this coplero’s throat filled with native pride ready to sing to the four winds each time I am so moved: Plainsman, yes, I’m a plainsman from the plains of the Pauto River.

ends on half cadence

Translation notes The Pauto River, part of the Orinoco basin, is in Colombia. A chigüire is species of rodent, among the largest in the world. A chenchena is a plumed bird found in Venezuela and Colombia. Barbasco is a plant indigenous to the Americas and contains poisonous chemical compounds. A guarura is a large snail, native to parts of Venezuela. It emits a sound and is the material used for the musical instrument mentioned in this selection. The author thanks Víctor Márquez for extensive assistance with the English translation. Consider:

• What is the effect of the sudden higher-pitched vocal line at 2:32? How do the golpes con leco frame the selection?

• How do the words suggest that the singer is more than just a “tough guy?” What do you make of the frequent references to music in the text?

• What is the effect of the (a) rapid, syllabic declamation throughout and (b) the “extra” melodic insertions in the middle of verse 2 (at 3:33)?

• Why might this selection end on a half cadence?


Documents

ONLINE AUDIO GUIDE 5.1 MÚSICA VALLENATA · ONLINE AUDIO GUIDE 5.1 MÚSICA VALLENATA title: “Sin ti” (Without You) subgenre: paseo composer: Náfer Durán (b. 1932) language: