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Home , Andean music, Bandola, Colombian culture, Joropo, Pasillo, Tambor (Tower)

THE INFLUENCE OF COLOMBIAN IN MEJIA VALLEJO’S SUITE AND REBELO BURBANO’S SUITE IN 3/4 FOR AND STRING QUARTET by

Santiago Baena Flórez, BA, MM

A Project In CLARINET PERFORMANCE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Clarinet)

David Shea Chair of Committe Lisa Garner David Dees

Mark Sheridan Dean of the Graduate School May 2018

Copyright 2018, Baena Flórez

Texas Tech University, Santiago Baena Flórez, May 2018

ACKNOWLEDGMENTS

I want to thank my parents Javier Baena and Maria Filomena Flórez, and my sister Adriana Baena for their unconditional love and support, and for their kind words during all this time living far away. Thanks to my first music teacher Juan Felipe Arias Villa who taught me fundamentals in music, and to have big dreams and to always do my best. Special thanks to my clarinet mentors Maestra Elizabeth Isaza, Maestro Jorge Montilla, and Dr David Shea for believing in me and instructing me not only musically but also as a person, and as a professional. You are my inspiration to get better every day. Thanks to Dr. Lisa Garner, and Dr. David Dees for being part of my committee. Your input has been very valuable for me Thanks to David López, my good friend and colleague who has always cheered me up in this process and with whom I have made beautiful music. Thanks to Colombian Educator and clarinet player Maestro Javier Asdrubal Vinazco who provided me great information about the clarinet background, to composer Alfredo Mejía and Jose Rebelo for composing “Suite criolla for clarinet and string quartet and Suite in 3/4 for clarinet and string quartet. Finally, I want to thank to my wonderful wife, Molly Larson, for her love, support, and for always encourage me to not give up.

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TABLE OF CONTENTS

Pag. ACKNOWLEDGMENTS ...... ii TABLE OF CONTENTS ...... iii LIST OF FIGURES ...... v INTRODUCTION ...... vii CHAPTER I: HISTORICAL BACKGROUND OF THE CLARINET IN ...... 1 CHAPTER II: MUSIC FOR THE ANDEAN REGION ...... 4 COLOMBIAN MUSICAL GENRES ...... 4 ...... 4 ...... 5 GUABINA ...... 7 INSTRUMENTS OF THE ANDEAN REGION ...... 8 STRINGED INSTRUMENTS ...... 8 TRADITIONAL WIND INSTRUMENTS ...... 10 TRADITIONAL ENSEMBLES ...... 13 THE INFLUENCE OF ANDEAN TRADITIONAL TRENDS IN THE SUITES ...... 16 CHAPTER III : MUSIC FROM THE EASTER PLAINS/LOWLANDS (LLANOS) REGION ...... 24 GENERAL MUSICAL ASPECTS ...... 24 INSTRUMENTS OF THE EASTER PLAINS/LOWLANDS (LLANOS) REGION ...... 25 TRADITIONAL ENSEMBLE ...... 29 USE OF THE JOROPO IN THE SUITES ...... 30 CHAPTER IV PORRO: A MUSICAL GENRE FROM ATLANTIC REGION ...... 36 INSTRUMENTATION OF THE ATLANTIC REGION ...... 37 WIND INSTRUMENTS ...... 37 PERCUSSION OF THE ATLANTIC REGION ...... 38 THE CLARINET IN PORRO ...... 42 THE USE OF PORRO IN THE SUITES ...... 43 CHAPTER V ...... 46 CONCLUSION ...... 46

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BIBLIOGRAPHY ...... 47

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LIST OF FIGURES

Figure 1 El Bambuco, watercolor by Ramón Torres Mendez………………………...... 1 Figure 2 Colombia: Geographical map, Andean Region……………………………………4 Figure 2.1 Colombian Tiple……………………….…………………………..…………….8 Figure 2.2 Colombian Requinto………………………………………………...………… 9 Figure 2.3 Andean Bandola…………………………………………………...……………10 Figure 2.4 Flauta de caña ………………………………………………………..…… 11 Figure 2.5 ……………………………………..…………………………………….12 Figure 2.6. Zampoña……………………………………………………...………………..13 Figure 2.7 Chirimia ensemble…………………………………………………..……….....14 Figure 2.8 Colombian string trio ensemble………………………………………………...14 Figure 2.9 Colombian estudiantina……………………………………………...…………15 Figure 2.10. Excerpt of Colombian pasillo, La gata golosa, by Fulgencio García……… 17 Figure 2.11 Excerpt of Viento del Alba, pasillo, Suite en ¾ by José Rebelo………………17 Figure 2.12 Excerpt of pasillo, Suite Criolla by Alfredo Mejía……………………….…..18 Figure 2.13 Rhythmic patterns of pasillo, written in ¾………………………………...….18 Figure 2.14 Excerpt of pasillo, Suite in ¾ by José Rebelo……………………………… 19 Figure 2.15 Excerpt of pasillo, Suite Criolla by Alfredo Mejía……………………………19 Figure 2.16 Excerpt of bambuco On tabas, by Emilio Sierra…………………………… 20 Figure 2.17 Excerpt of bambuco, Suite Criolla by Alfredo Mejía………………………....21 Figure 2.18 Bambuco rhythmic patterns of Espejos for band by Andrés Acosta ………………………………………………………………………………………… 21 Figure 2.19 Excerpt of bambuco, Suite Criolla by Alfredo Mejía………………………....22 Figure 2.20 excerpt of bambuco, Suite Criolla by Alfredo Mejía. Bars 24-26……………23 Figure 2.21 excerpt of bambuco, Suite Criolla by Alfredo Mejía. Bars 24-26 ……….…23 Figure 3 Colombian geographical map, Plain/lowlands Region…………………………...24 Figure 3.1 llanero…………………………………………………………….……26 Figure 3.2 Bandola llanera………………………………………………………….….….27

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Figure 3.3 Arpa Llanera……………………………………………………………..…..…28 Figure 3.4 Capachos/Maracas llaneras…………………………………………….….… 29 Figure 3.5 llanero………………………………………………………………..30 Figure 3.6 Excerpt of joropo Alma llanera by Pedro Elías Gutiérrez…………………. 31 Figure 3.7 Excerpt of joropo, Suite Criolla by Alfredo Mejía…………………………… 31 Figure 3.8 Excerpt of Joropo, Suite en 3/4 by José Rebelo……………………………..…32 Figure 3.9 Rhythmical structure of the joropo written in ¾……………………………….33 Figure 3.10 Excerpt of joropo, Suite Criolla by Alfredo Mejía……………………………33 Figure 3.11 Rhythmical structure of the joropo written in ¾…………………………… 34 Figure 3.12 Excerpt of joropo, Suite en ¾ by José Rebelo…………………………...……35 Figure 4 Colombian geographical map, Atlantic Region………...………………...………36 Figure 4.1 Gaita.macho and Gaita hembra………………………………………………. 37 Figure 4.2 or Caña de millo………………………………………………………... 38 Figure 4.3 Alegre and llamador…………………………………………………….…… 39 Figure 4.4 Tambora………………………………………………………………….…….40 Figure 4.5 Maracon or Maraca costeña………………………………...…………..….… 41 Figure 4.6 Guacho, guache, or Guasá…………………………………..…………………41 Figure 4.7 , Güiro, and Güira……………………………………………...…42 Figure 4.8 Excerpt of Fiesta de Negritos, Porro by Luis Eduardo (Lucho) Bermudez …. 44 Figure 4.9 Excerpt of porro by Alfredo Mejía………………………………..……..45 Figure 4.10 Bass pattern in porro……...………………………………………………… 46 Figure 4.11 Excerpt of porro paisa by Alfredo Mejía………………………………...… 46

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INTRODUCTION

Colombian music has been affected by a number of musical and regional influences throughout its history. Elements such as geographic region, ethnic and song styles, and the assimilation of various European and African influences have shaped the evolution and musical developments throughout the past two centuries. These developments have had a significant impact on modern Colombian composers as they try to create new music while maintaining a sense of traditions of folk music and .

Although the musical life in Colombia is rich and diverse, there is very little significant art music written for more established classical music ensembles. Because of this, I was inspired to apply for a grant from the Colombian government to commission and promote music for clarinet and string quartet. This project, "Comision y divugacion de obras para clarinete y de cuerdas, escrita por compositores colombianos" (Commission and promotion of pieces for clarinet and string quartet written by Colombian composers) was approved by the government and is the focus of this doctoral project.

As a result, receiving this award, I was able to commission two pieces by prominent Colombian composers, Alfredo Mejia Vallejo and Jose Rebelo. Their work resulted in the following two suites for clarinet and string quartet. Both works are based on traditional elements of Colombian folk music, primarily genre, meter, phrasing, and harmony.

Suite Criolla for Clarinet and String quartet by Alfredo Mejía Vallejo

1. Bambuco

2. Pasillo

3. Joropo

4. Porro

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Suite a 3/4 for Clarinet and String quartet by José Rebelo

1. Viento del alba (Pasillo)

2. Azul Pacifico (Guabina)

3. Preludio de la tierra (Joropo)

Alfredo Mejía, the composer of the Suite Criolla for clarinet and string quartet, was born in El Retiro, Antioquia, Colombia. For many years he a was member of the Medellin Philharmonic , and is now currently a member of Universidad de Antioquia Wind Symphony Ensemble. His work typically incorporates phrase structure, style and instrumentation that are based on traditional elements of Colombian folk music. Most of his compositions have been written for wind ensemble and are usually based on traditional dance and song styles such as the bambuco, pasillo, joropo and porro.

José Rebelo Burbano, composer of the Suite a 3/4 for clarinet and string quartet. was born in Ipiales, Nariño, Colombia. His music also incorporates traditional Colombian genres such as , , guabinas, joropo, etc. In addition, he integrates harmony into these traditional forms, to create a fresh new sound to traditional Colombian music. Rebelo earned his Bachelor of Music degree in performance from Universidad de Antioquia, Medellin, Colombia. In addition, he studied composition with Leon Cardona, and received his master’s degree in composition from Universidad Pompeu Frabra, Barcelona, .

The focus of this document is to show the influence of Colombian folk music elements as they have been integrated into the compositions commissioned for this project. The intention is to provide a basic geographical, cultural, and musical context to help clarinetists make informed decisions on how to interpret these compositions for future performances.

This document begins by providing a historical background of the clarinet in Colombia. This includes important players and the adaption of clarinet into traditional Colombian ensembles. This is followed by a presentation of folk elements of Colombian music based on geographical region. Each chapter will focus on one of the

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Texas Tech University, Santiago Baena Flórez, May 2018 three regions: Andean, Eastern Plains and Atlantic. These regions have their own cultural and musical contribution to folk music, and collectively, they have influenced the composition of the pieces in the project. Within each chapter particular traditional folk elements will be discussed, as well as how they are incorporated into the compositional style of the two Suites that are the focus of the document.

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CHAPTER I

Historical Background of the Clarinet in Colombia

The first appearance of the clarinet in the music of Colombia dates back to the Jesuit missions of the 18th and 19th centuries (Restrepo 2012). Also during this time, military bands comprised of brass and woodwind instruments were introduced to Colombia. These instruments began to be incorporated into the native ensembles of the day, whose musicians considered them superior and more effective than traditional instruments.

As the level of proficiency of the first generation of clarinetists improved, both performers and composers produced many new original works featuring the clarinet. These compositions included solo instrumental works and ensemble pieces featuring the clarinet as the primary solo instrument.

Bambuco, pasillo, guabina, joropo, and porro paisa are traditional dance genres found in the music of Colombia. These dance forms developed by assimilating elements from music of Europe, Africa, and the Native South American indigenous tribes. In the illustration below, one can see one of the first appearances of a clarinet portrayed in a painting. This watercolor was painted by Edward Walhouse Mark and is entitled “Indios bailando bambuco” (Indians dancing bambuco). It features a couple dancing in formal attire of the time accompanied by an ensemble consisting of , tiple, and clarinet.

Figure 1 El Bambuco, watercolor by Ramón Torres Mendez1

1 http://www.banrepcultural.org/node/32596 accessed 13 November 2017 1

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This painting illustrates how a modern European instrument was incorporated into a traditional ensemble performing traditional Colombian . Although this illustration shows the clarinet being incorporated into such an ensemble, this music has not always been welcomed into the classical music establishment. For example, in the early 20th century, the first Conservatory of Music in did not consider traditional/popular Colombian music to be legitimate. They did not allow it into the curriculum. As a result, there has existed a separation between music written for traditional Columbian ensembles and art music written in the European classical tradition.

In the 21st century, this trend has started to change. has become a popular source for contemporary music composers. It is in this current environment that the idea for this project was developed. The pieces for this project incorporate traditional dance forms in Columbian music with the instrumentation of western classical music. It is the intention of this project to contribute to the repertoire of classical art music that is inspired by traditional Colombian music.

After the clarinet became a regular member of traditional Colombian music ensembles, the study of clarinet in Colombia started to undergo significant change. With the arrival of different international touring opera companies and in the second half of the 19th century, many musicians in these became the first foreign teachers in the music schools in Colombia. They introduced new methods for teaching and had a dramatic impact on the evolution of clarinet playing in Colombia.

In the late 19th century and beginning of 20th century, tours of Italian opera companies became more frequent. They stayed for longer periods in the country with many musicians decided to remain and become members of the national orchestras and professional music institutions. (Restrepo 2012)

Among the most outstanding clarinetists in the twentieth century in Colombia is maestro Roberto Mantilla Álvarez. Álvarez studied at the National Conservatory of Music with Professor Solón Garcés and received the title of Clarinetista Concertista. After graduating, he was also a soloist of the Nacional Wind Ensemble and the Colombian Symphony Orchestra. He also was appointed as clarinet teacher of the

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National Conservatory of Music, and was in charge of the formation of a new generation of clarinetists from all over the country.

Luis Eduardo Bermúdez Acosta, better known as Lucho Bermúdez (1912-1994), was a composer, arranger, and clarinet player. He became one of the leading figures in popular Colombian music. Adapting the big band format from United States to his ensemble, he incorporated jazz elements to the traditional Colombian genres.

Jaime Uribe Espitia, clarinet player and educator, is one of the leading proponents of the music from the Andean Region. Maestro Uribe Espitia is known for his work in preserving traditional music such as bambuco, pasillo, guabina, and other genres from the Andean Region. He founded the ensemble, Grupo Seresta, a music group that was nominated for a Latin-America Grammy awards for best Folk Album in 2001. Maestro Uribe Espitia has been significant influence in his work by performing both popular and academic music.

Javier Asdrubal Vinazco, clarinet player and educator, serves as a full professor of the music department at EAFIT University in Medellin, Colombia. Maestro Vinazco was student of Roberto Mantilla in Bogota. He earned a Doctor in Music degree, and was awarded with the Alfonso Caso Medal from the National Autonomous University of Mexico. He enjoys a substantial career as a concerto soloist, recitalist and clinician throughout the Americas and Europe. These important clarinetists have played an important role in developing clarinet playing and repertoire in both academic and traditional folk repertoires. As a result, Columbia has produced many fine clarinetists who are skilled at playing traditional music and classical art music. In this current environment, new music can be written which can bring the two styles together.

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CHAPTER II

COLOMBIAN MUSICAL GENRES

Music from the Andean Region

Figure 2 Colombia: Geographical map, Andean Region 2

PASILLO

Pasillo is one of the most common traditional music genres in Colombia. The word pasillo (small step) is derived from the Spanish word paso (step). It was a term used by dancers to indicate smaller steps than those used in other dances such as the European waltz. The tempo was twice as fast as the traditional waltz, which made it an appealing alternative for dancers in terms of expression and choreography.3

Over time, the Colombian pasillo was influenced by other traditional Colombian genres from the Andean region, such as bambuco and torbellino.

The origin of the pasillo is closely related to the origin of the bambuco. Both can be found in vocal and instrumental genres in music of the Colombian Andean region. Jorge Añez a Colombian singer, composer, author, and researcher of bambuco, has stated that the

2 http://fanysanchezolarte.blogspot.com/2015/04/mapa-geografico-el-bambuco-en-la-region.html accessed April 10, 2018 3 Castrillón Montoya, Hernán Darío. “El pasillo forma y estilo: guía para el análisis de la formación musical”, Medellín, 1997, 26. 4

Texas Tech University, Santiago Baena Flórez, May 2018 historical developments and influences of song (bambuco) in Colombia can be also be applied to the history of pasillo. (Lopez 2016). Therefore, the historical developments are presented below in the next section entitled bambuco

BAMBUCO

The bambuco is a musical genre that is associated with the central Andean region of Colombia, the valleys of the Cauca and Magdalena rivers and the foothills and plains adjacent to them.4

Latin American society and culture have evolved from three different ethnic influences: native American, European and African cultures. These influences can be found in the music of Colombia and are prevalent in the bambuco.

The bambuco and pasillo can be traced back to the early 19th century. This point in its development is often referred to as the Formative Period. The first documented appearance of the word bambuco appeared in a letter that General Francisco de Paula Santander, one of the independence heroes and one of the first presidents of Colombia, sent to General Paris in December 6, 1819. In his letter, General Santander highlights bambuco as one of best features of the Cauca region along with its landmarks.

The bambuco became a national genre during the final battle of the War of Independence with . On December 6, 1824, Colombian Voltigeros5 were charged with crimes against the Spanish army as their regimental band played bambuco. This marked the beginning of bambuco as a genre with nationalistic connotations. The soldiers of the Voltigeros were mostly from Tolima, Huila, and Cundinamarca. The fact that they were inspired by bambuco suggests that it had appeared long before 1819 in the Cauca region. (Lopez 2016)

During the next period which is referred to as the Emergent Period (1837-1890), the establishment, recognition, and acceptance of bambuco became regarded equal to the

4 Varney, John. “An Introduction to the Colombian "Bambuco." Latin American Music Review / Revista de Música Latinoamericana 22, no. 3 (Autumn - Winter, 2001): 124 5 Division of the Independence Army of the (Great Colombia), a territory that encompassed Colombia, , , , Peru, northern Guyana and northwest Brazil. 5

Texas Tech University, Santiago Baena Flórez, May 2018 traditional European dance styles such as waltz and . According to Jorge Añez, “an early record of the bambuco beyond Colombian borders was recorded as the “famous bambuco” in Guatemala in 1837”6

Several famous composers emerged during the middle 19th century. Pedro Morales Pino (1863-1926) was a noted composer who not only wrote bambuco, but also pasillo and . In 1890, Pino started composing in styles that incoroporated Colombian folk music into standard western compositional techniques. To promote this music, Pino also created the estudiantina “La Lira Colombiana”. This was a performing group with up to16 musicians that toured and the United States at the end of the 19th century. More information on the instruments and ensembles used in Colombian music will be discussed in the next section of this document.

In the golden age period of Colombian music (1890-1930), the bambuco and pasillo became the predominant in Colombia and began to be associated with national Colombian identity. (Lopez 2016) Pasillo was widely used in the social context of the Colombian Andean region. From the period of independence (1810) until the 1960s, the pasillo dance was part of every social celebration and every social class. (Lopez 2016)

The contemporary period (1930 to present) is characterized by the decline of bambuco and pasillo. Two factors contributed to this: the lack of a solid recording industry in Colombia and the rise in popularity of other South American traditional genres such as the Argentinean tango. (Lopez 2016)

Bambuco can be seen in two different variations. First is the bambuco in song form. These songs are generally slow and feature texts that are sentimental, nostalgic and poetic. Bambuco can also be found in dance form. (also known as bambuco fiestero)

The bambuco fiestero is characterized by a faster tempo, featuring rhythms that are energetic and boisterous, which reflects the nature of the dance that it accompanies.7

The main rhythmic feature of bambuco is syncopation and the juxtaposition of ¾ and 6/8 time elements. It is aurally distinguishable from other genres, like the joropo (from

6 Añez, Jorge. “Canciones y Recuerdos” (Bogotá: Imprenta Nacional, 1951), 23. 7 Ibid, 124 6

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Colombia and Venezuela's shared llanos) and the pasillo, even though they share similar applications of mixing ¾ and 6/8 time signatures8

One can distinguish between these styles primarily by the accentuation of the different accompaniment patterns used within each genre. This accompaniment patterns will be discussed in more detail below.

GUABINA The guabina is a musical genre that originated in the mountainous region of Antioquia. From there, it quickly spread east to the Santander and Norte de Santander regions; southeast to the regions of Boyacá and Cundinamarca (including the capitol Santa Fe de Bogota); and south to Tolima and Huila.9

Like bambuco, guabina exists in both song and and dance forms. Its origin has not been clearly established, although it appears to have developed as an assimilation of the European waltz mixed with Colombian folk rhythms from the Andean region. This form typically has a moderate tempo with a 3/4 meter, and is considerably slower than the pasillo. It does not feature syncopation and cross meters as are typical in the bambuco or pasillo.

Guabina in a song form is most often referred to as guabina cancion. It may be performed a capella, or with instrumental accompaniment. One of its defining characteristics is the interaction between two or more voices. When guabina is found in its dance form, it is mainly performed with requinto or bandola as the main melodic instruments, accompanied by tiple and guitar. 10

8 Ibid,124 9 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010, 101 10 Ibid, 101 7

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INSTRUMENTS OF THE ANDEN REGION

Stringed instruments

The music of the Colombian Andean region primarily utilizes string instruments that can be plucked and strummed. One of the aural characteristics that define bambuco and pasillo are the sounds of the guitar, tiple, and bandola. These stringed instruments contributed significantly to the evolution of these two traditional genres. (Lopez 2016)

The guitar is the traditional European six-. It is commonly used in all Colombian folk music and is traditionally used as an accompaniment instrument. The performer typically will play bass lines on the lower strings followed by three note chords, or more depending on the desired harmony, on the higher strings11

Tiple

Figure 2.1 Colombian Tiple12

The tiple is probably the most popular instrument in the Andean Colombian music. The most distinctive feature of the tiple is the arrangement and distribution of its strings. It is a twelve-string instrument distributed in four courses. The tiple is a direct descendant of the Spanish four-string brought by the colonists in the 16th century. It later went

11 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 84 12 http://www.luth.org/images/backissues/al081-084/al82_tiple.jpg accessed 13 November 2017 8

Texas Tech University, Santiago Baena Flórez, May 2018 through several modifications such as reducing its size and putting three strings in each course to become a modified Colombian instrument.13

Requinto

Figure 2.2 Colombian Requinto14

Also known as the “tiple’s little brother”, the requinto is a ten-string instrument derived directly from the tiple. The requinto has a brighter sound than the tiple and is used to play melodies in an ensemble setting. Typical ensembles are trios, quartets, and estudiantinas. It requires a similar tuning as the tiple, but it does not have low – octave strings in the last two courses.15

13 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 84 14 http://guitarrasesteve.es/wp-content/uploads/2012/10/604C-01.jpg accessed 13 November 2017 15 Ibid, 85. 9

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Bandola

Figure 2.3 Andean Bandola16

The Bandola is also a stringed instrument, smaller than the tiple, pear-shaped and flat-backed. It is a direct descendant of the vihuela de peñola, a Spanish instrument with six courses of three strings, and also has many similarities to the Italian .

The bandola is used to play melodic lines, arpeggios, and chords. It is a versatile instrument which allows for lyric playing and fast virtuosic passage work. The bandola is widely used in , and is a primary instrument used for bambuco, pasillo, torbellino, and . Proficient bandola players are also able to use it also as a harmonic and rhythmic instrument. It is also commonly used in ensembles such as trios, quartets, and estudiantinas17

Traditional Wind instruments Flauta de caña

16 http://guitarrasesteve.es/wp-content/uploads/2012/10/604C-01.jpg. accessed 13 November 2017 17 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 86. 10

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Figure 2.4 Flauta de caña 18

The flauta de caña, or cane flute, is used in pasillos and bambucos mainly in the southern end of the Colombian Andean region in the departments of Cauca and Huila. It is also used in the Pacific region of Colombia. This flute is made of a cane which is pierced with a hot iron rod to create the tone holes. It is played sideways like a transverse flute. The instrument is pitched diatonically, with the most common pitch sizes being based in C, D, G, and A. This instrument is a legacy of the Amerindian tribes of the Colombian Andean region.19

Quena

18 http://www.artesanum.com/artesania-traversa_de_cana-44980.html accessed 13 November 2017 (Artesanum.com n.d.) 19 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 86. 11

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Figure 2.5 Quena20

The Quena is an indigenous instrument from the Inca culture of modern Peru, , and Ecuador, arrived in Colombia by cultural exchange prior to the arrival of the Spanish in 1492. Traditionally made of totora cane, the quena is a vertical flute that has six finger holes and one thumb hole. When the tone holes are totally covered, it produces a diatonic scale and when partially covered, it can produce semitones. These instruments come in different keys, most commonly pitched in the keys of C, D, G, and A and can accommodate relative minor scales of A, B, E, and F# minor. These are very common keys in music from this region.21

Zampoña

20 http://www.jujuyenlinea.com/fotos/Quena_02.jpg accessed 13 November 2017 (línea n.d.) 21 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 90 12

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Figure 2.6. Zampoña 22

The zampoña is a native name for the , a group of musical instruments based on the closed tube principle. These tubes come in multiple lengths, producing different pitches. The zampoña is an important instrument of the pre-Columbian indigenous tribes of Colombia, that inhabited the regions of the departments of Cundinamarca, Boyacá, Santander, and especially in the region of Nariño. These departments share cultural traits with the Inca culture from Peru and Bolivia. This instrument is used for a variety of folk music including the bambuco nariñense.23

Traditional Ensembles Chirimía

22 http://www.monografias.com/trabajos83/historia-zampona/historia-zampona.shtml accessed 13 November 2017 23 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 90 13

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Figure 2.7 Chirimia ensemble24

The chirimía ensemble is most common in the western and southern areas of the Colombian Andean region. The Andean chirimía generally consists of two , called chirimia or flautas de caña, and percussion. The percussion instruments most commonly used in this ensemble are , tambora, maracas, guacharaca, and güiro. This ensemble usually performs bambucos, pasillos, torbellinos, and contradanzas25

Colombian string trio

Figure 2.8 Colombian string trio ensemble 26

These instruments are used similarly to those that are used in classical European string trio. The guitar would play the supporting base role of the cello. The tiple is used to

24 https://i.ytimg.com/vi/vxoAzDkeVWg/maxresdefault.jpg accessed 13 November 2017 25 Ibid 89 26 https://rtvc-assets-radionacional-v2.s3.amazonaws.com/s3fs-public/senalradio/articulo- noticia/galeriaimagen/trio_palos_y_cuerdas.png accessed 13 November 2017 (Colombia n.d.) 14

Texas Tech University, Santiago Baena Flórez, May 2018 provide inner voices to establish harmony, similar to the role of a viola. The bandola or requinto are used as melodic instruments similar to the role of a violin. 27

Estudiantina

Figure 2.9 Colombian estudiantina 28

The estudiantinas are larger ensembles that expansions of the string trio. By increasing numbers of bandolas, tiples, and , sections are formed to produce more sound and texture. In addition to these sections, estudiantinas also include violoncello or double bass, and wind instruments, typically clarinet, flute, and . Percussion instruments such as pandereta, maracas, guacharacas, and chuchos could also be included.29

Other ensembles In addition to these traditional ensembles, symphonic orchestras, wind bands, and chamber groups often include Colombian music in their programs. Important Colombian orchestras including Orquesta Sinfónica Nacional de Colombia, Orquesta Filarmónica de Bogotá, and Orquesta Filarmónica de Medellín have recorded arrangements of bambucos, pasillos, porros, , , and other Colombian genres.

27 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 88. 28http://agenciadenoticias.unal.edu.co/typo3temp/_processed_/csm_AgenciaUN_0323_1_33_c8768da9a7.j pg accessed 13 November 2017 (U. N. Colombia n.d.) 29 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 88 15

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The popularity of wind bands in Colombia, and their programming of Colombian music has had a very significant impact on the development of traditional music throughout the country. Since the early 19th century, these ensembles have always included Colombian music in their repertoire. A good example of this is the Banda Sinfónica Departamental de Antioquia (currently known as Banda Sinfónica de la Universidad de Antioquia) which from its beginnings in 1920, have included Colombian genres such as bambuco, pasillo, and porro in their concerts. These traditional genres were performed with popular European music pieces, such as waltzes, , and adaptations from operas, suites, and symphonies.

With the appearance of the Plan Departamental de Bandas (1978) in the department of Antioquia, the first in Colombia, wind bands were created in many municipalities of the department. Music directors were appointed to teach music in a more formal academic level, as opposed to the tradition of teaching music by ear. The Plan Departamental de Bandas in Antioquia encouraged directors to include Colombian music in their repertoire both as pedagogical tool to teach music and as a way to foster and preserve Colombian music.30

The Influence of Andean Traditional Trends in the Suites Pasillo Pasillo is a musical form written in a ¾ meter with equal phrase lengths (4 bars, 6 bars, etc.). The phrases typically and a question/answer structure.

The following example is an excerpt from a traditional pasillo called La Gata Golosa by Fulgencio Garcia. This example was selected to illustrate how elements of traditional pasillo is used in The Suite in ¾ by Jose Revelo. In this example, the phrases are comprised of recurring four measure phrase units. These equal phrase lengths are a characteristic of pasillo.

Traditional Pasillo: La Gata Golosa (1912), Composer: Fulgencio Garcia

30 López Gil, Gustavo Adolfo and Londoño Fernández, María Eugenia. “Las Bandas de Música en Antioquia: oportunidad y compromiso.” Artes, la revista 6, no. 11 (enero-junio 2006): 46-55. 16

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Figure 2.10. Excerpt of Colombian Pasillo, La gata golosa, by Fulgencio Garcia31

Suite in ¾: Viento del Alba (Pasillo), Composer: Jose Revelo

Figure 2.11 Excerpt of Viento del Alba, Pasillo, Suite en ¾ by Jose Rebelo32

This following example shows the same 4 bar phrasing used in the Suite Criolla, written by Alfredo Mejia Vallejo. In this example, one can also see the use of question and answer structure, illustrated between the clarinet (red) and first violin (blue)

Measure 17-24

31 Public domain for educational purposes 32 Authorized by the composer 17

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Figure 2.12 Excerpt of Pasillo, Suite Criolla by Alfredo Mejia33

Accompaniment

Pasillo utilizes common rhythmic patterns in their accompaniment, most typically in 3/4 time signature. Some of the more standard accompaniment motives can be seen in the following example and are labelled a, b and c.

Figure 2.13 rhythmic patterns of pasillo, written in ¾ 34

The next example shows versions of these same patterns incorporated into the Suite in ¾ by Jose Revelo. In measures 1 and 5, pattern (a) occurs in the bass line. Also, pattern (c) can be seen in composite between the bass and other string parts

33 Authorized by the composer 34 All the examples were taken from the official website of the Ministerio de Cultura de Colombia, a division of the Colombian government in charge of fostering and protecting the cultural manifestations of the country and can be accessed and downloaded for free in the following address: http://celebralamusica.mincultura.gov.co/ver/descargas/partituras/banda/

18

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Figure 2.14 Excerpt of pasillo, Suite in ¾ by Jose Rebelo.35

The following example shows the traditional accompaniment pattern (b), and (c), found in the Suite Criolla written by Alfredo Mejia.

Measure 33-36

Figure 2.15 Excerpt of Pasillo, Suite Criolla by Alfredo Mejia36

35 Authorized by the composer 36 Authorized by the composer 19

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Bambuco: Bambuco is a form that usually has a 6/8 time signature, but does alternate between 6/8 and 3/4 in its feel. Like pasillo, phrases are typically comprised of equal four measure units. The next example was taken from a traditional bambuco called On Tabas by Emilio Sierra. This excerpt is used to show how element from bambuco are present in The Suite Criolla by Alfredo Mejia.

Traditional bambuco: On tabas, Composer: Emilio Sierra

Figure 2.16 Excerpt of bambuco On tabas, by Emilio Sierra37

Suite Criolla: Bambuco, Composer: Alfredo Mejia

37 Public domain for educational purposes 20

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Figure 2.17 Excerpt of bambuco, Suite Criolla by Alfredo Mejia38

In the bambuco movement of the Suite Criolla, one can see in the opening that phrasing is in four bar units. There is also syncopated figures (3/4 feel) within the phrases as well. Both of these are common features in bambuco

Accompaniment

Like the pasillo, bambuco also has standard rhythmic patterns which are common in the accompaniment. These patterns are within a 6/8 meter.

Figure 2.18 Bambuco rhythmic patterns of Espejos for band by Andrés Acosta written in 6/8 39

38 Authorized by the composer 39 http://celebralamusica.mincultura.gov.co/ver/descargas/partituras/banda/ accessed February 28th, 2018 21

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Suite Criolla (Mejia): Bambuco

In the following excerpt, the violin incorporates pattern (a) in measures 3-4 and 7-8. Also in measures 7 and 9, pattern (b) can be seen in the bass line. This helps to create a sense of ¾ in one line while the other lines are clearly in 6/8.

Pattern (a) bars: 3-4, 7,8.

Figure 2.19 Excerpt of bambuco, Suite Criolla by Alfredo Mejia40

In the next example, pattern (b) occurs in the viola and bass parts in measure 24-26

40 Authorized by the composer 22

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Figure 2.20 excerpt of bambuco, Suite Criolla by Alfredo Mejia. Bars 24-2641

Finally, in bar 48, pattern (c) occurs in all of the string parts

Figure 2.21 excerpt of bambuco, Suite Criolla by Alfredo Mejia. Bar 4842

CHAPTER III

41 Authorized by the composer 42 Authorized by the composer 23

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JOROPO: MUSIC FROM THE EASTER PLAINS/LOWLANDS (LLANOS)

REGION

Figure 3 Colombian geographical map, Plain/lowlands Region43

The Orinoco lowlands or plains region (region de los llanos or region llanera) is a broad expanse land in eastern Colombia and share border with Venezuela.

Among the first Spanish groups to settle in the area were the Jesuit missionaries. Their work was primarily to “civilize” the native cultures. They taught the natives the and introduced to them the principles of European music, which in the case of the Jesuits was mainly of vocal and liturgical character. (Restrepo 2012)

GENERAL MUSIC ASPECTS

43 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 107 24

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Llanos music, musica llanera and joropo are terms used to denote the festive music of the peoples of the Colombian and Venezuelan lowlands. The musical style sprung from the ranching culture of the region, people with a love of cattle, horses, music and dance44

Although, as it happens with other types of Colombian folk-music, joropo is the result of the tri-ethnic mixture of Spanish, African and indigenous elements. Scholars such as professor Abadia Morales in his Compendio General 45, argues that joropo music is the type of music within Colombian mestizo46folklore, whose roots are the most notoriously Spanish, plausibly related to the region of Andalucia in Spain. This fact is evidenced by the resemblance that both the way of singing, with its portaments and arabesques, and the way of dancing, with its characteristic zapateo tapping, have with Spanish music

After the expulsion of the Jesuits in 1767, the number of colonizers coming from other regions of Colombia increased. As a result of the War of Independence in 1819, communication between the country’s different regions increased significantly. This enabled llanos musicians to travel and expose their music to peoples from other regions, as well as offer insight into the musical development around the country. This increase in communication explains why certain musical styles pertaining to different and distant regions may share very similar traits.47

Joropo music is highly vivid, dynamic, energetic, and rhythmical. It is performed both as instrumental music and with song.

INSTRUMENTS OF THE EASTER PLAINS/LOWLANDS (LLANOS) REGION

44 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010, 107 45 Abadia Morales, Guillermo: Compendio General del Colombiano, pg 192 46 The term in Colombia denotes to the ethnical group composed by a mixture of Spanish and Indigenous peoples 47Ibid, 110 25

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The Spanish influence is not only reflected in the singing style and in the choreography of joropo music, but also in the predominant use of string instruments.

Cuatro llanero:

Figure 3.1 Cuatro llanero. 48

The cuatro llanero is a Colombian-Venezuelan derivation of the original Spanish chordophones that arrived in in the 16th century. It is a four-string instrument that is a direct descendent of the Spanish vihuela and guitar

Among all the instruments used to perform llanos music, the cuatro is the most representative of them all, as it is the most distinctive in creating the characteristic sounds of joropo music. The main melodic instrument is the bandola llanera and the arpa llanera. The cuatro conveys the most important character of the joropo in its its color and timbre, its rhythmic drive, and harmonic support. 49

48 https://instrumentosmusicalesenbogota.com/otros-instrumentos-de-cuerda/78-cuatro-llanero.html accessed February 10, 2018 49 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010, 115 26

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Bandola llanera

Figure 3.2 Bandola llanera. 50

The bandola llanera is a pear-shaped four (and sometimes five) string instrument that underwent a similar development to that of the cuatro llanero,

The bandola developed as one of the main instruments that became associated with the Colombia-Venezuelan plains region. It is rarely used in any other region of the two countries or is used in any other musical styles other than in joropo music.51

The bandola mainly play as the lead melodic instrument in the llanero ensemble, although it does offer the possibility of playing chords. When chords are used it is basically to enrich the texture of the melodic phrasing and not used for harmonic or rhythmic accompaniment. It is mostly played with a pluck or plectrum.

Arpa Llanera

50 http://www.tomasorellana.com/instrumentos/bandola-llanera-2 accessed February 11, 2018 51 Ibid, 117 27

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Figure 3.3 Arpa Llanera. 52

The entry of the arpa llanera into Colombian territory has been directly attributed to the labor done by the Jesuits in the llanos region in the beginning of the 18th century. The arpa llanera usually consists of 30 to 34 strings that are diatonically tuned.

Capachos/Maracas Llaneras

52 http://damariscailefarfan.blogspot.com/ accessed February 18, 2018 28

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Figure 3.4 Capachos/Maracas llaneras53

The capachos are a pair of gourd shakers or rattles with a handle, made of the dried, empty fruit of the calabazo (pumpkin). Seeds or little stones are introduced into the gourd so that when they strike one another against the walls of the instrument, it produces sound. In general, one of the capachos has more seeds than the other, in order to make their sound different54

TRADITIONAL ENSEMBLE

53 http://passionjustdance.blogspot.com/2014/12/instrumentos-llaneros.html accessed February 18, 2018 54 Ibid, 118 29

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Figure 3.5 Conjunto llanero. 55

The primary ensemble used for performing joropo is the conjunto llanero. The group is composed of a main melodic string instrument, a rhythmic-harmonic string instrument, and a percussive instrument. The main melodic instrument used today is either the arpa llanera or the bandola llanera. In other regions, the violin and the clarinet are also to play the melody

The main accompanying instruments in joropo music are the cuatro for rhythmic- harmonic accompaniment, and the idiophones capachos, also known as maracas llaneras. In addition, the use of double or electric bass has become more popular in current ensembles.

USE OF THE JOROPO IN THE SUITES

The following example was taken from a traditional joropo called “Alma Llanera” by Pedro Elias Gutierrez. This example is used as a model to show how elements of joropo are incorporated into The Suite Criolla by Alfredo Mejia. In this example, the phrases are in four measure units.

55 https://www.youtube.com/watch?v=Zd-zccR4mAI accessed March 3rd, 2018 30

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Figure 3.6 Excerpt of joropo Alma llanera by Pedro Elias Gutierrez. 56

In Mejia’s Suite Criolla, he uses the same four measure units in his movement called joropo

Figure 3.7 Excerpt of Joropo, Suite Criolla by Alfredo Mejia. 57

In the next example, one can see in Revelo’s Suite in 3/4, there is also a movement subtitled joropo with the same four measure phrase units.

Clarinet, Violins, and Viola: bars 0-12

56 http://quenaperu.blogspot.com/2009/05/alma-llanera.html accessed March 3rd, 2018 57 Authorized by the composer 31

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Figure 3.8 Excerpt of joropo, Suite en ¾ by Jose Rebelo. 58

Accompaniment:

The typical accompanying rhythm for joropo can be seen in the following example. The overall time signature is 3/4, but as with other Colombian dance forms, the writing shifts between 6/8 and 3/4. The rhythms are written that would be typical for the cuatro and Bass. The capachos are a percussion instrument which would be written in rhythmic notation in the score.cuatro, capachos, and bass.

Figure 3.9 Rhythmical structure of the joropo written in ¾59

58 Authorized by the composer 32

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The next example will show the similarities of these patterns with the elements used in the joropo of Suite Criolla (Mejia). In measures 5 – 11, the second violin, viola and bass utilize the above rhythms to give the composite accompaniment feel of a traditional joropo.

Violin 2dn, Viola, and bass. Bars: 5-11

Figure 3.10 Excerpt of joropo, Suite Criolla by Alfredo Mejia. 60

The typical bass pattern in joropo emphasizes beats 1 and 3

59 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010, 121 60 authorized by the composer 33

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Figure 3.11 Rhythmical structure of the joropo written in ¾ 61

In the first two measures of the joropo movement Suite in 3/4 by Revelo, one can see the basic emphasis on beats 1 and 3. The pattern uses a half note instead of the quartet note, although the performer still would emphasize the first and third beat. To give the bass a little variety, the third measure of each four measure unit introduces a syncopated feel with the two dotted eighth notes. This creates a brief shift to a 6/8 feel, if the performers choose to interpret it this way.

61 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010, 121 34

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Figure 3.12 Excerpt of joropo, Suite en ¾ by Jose Rebelo 62

62 Authorized by the composer 35

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CHAPTER IV

PORRO: A MUSICAL GENRE FROM ATLANTIC REGION

Figure 4 Colombian geographical map, Atlantic Region. 63

Amparo Lotero Botero in her article El porro “de las gaitas y tambores a las bandas de viento” states that “when the first inhabitants of the Atlantic coast had parties, they had no music. This was during the time when several cultural influences were shaping the society of people from the Atlantic Region. Influences from Europe, African and native South American tribes mixed, resulting in a rich environment for cultural change. They did not have instruments to make music so they created flutes and gaitas from canes from the swamps, they created drums with trees and animal skin and soon they started making music”.64 These cultural influences plus the creation of instruments from local resources is the origin of the rich musical genres such as , gaita, puya, mapalé, and porro.

William Fortich, an academic and researcher of porro, argues that the origins of porro can be found in indigenous gaiteros groups. The origin of porro was a musical form created to be performed at outdoor town parties. These festivities were organized by the farmers, who on occasion, would decide to break from their work in the fields. These celebrations would include lots of dancing and would last several days. (Lopez 2016)

63 http://julirpublicidad.blogspot.com/p/ritmos_12.html accessed April 10, 2018

64 Lotero Botero, Amparo “El porro: de las gaitas y tambores a las bandas de viento” Boletín Cultural y Bibliográfico, Vol. 26. núm. 19. 1989 36

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INSTRUMENTATION OF THE ATLANTIC REGION

WIND INSTRUMENTS

The gaita and caña de millo first appeared among Amerindian tribes located in the

Atlantic Coast of Colombia

Gaita

Figure 4.1 Gaita.macho and gaita hembra. 65

The gaita is made from a hollow cane or cactus and is played like a flute. It resembles a rustic and its sounds are mellow. The head of the gaita is made of a mixture of bees- wax and vegetable coal. There is an elongated tube made of the stubble of a duck’s or turkey’s feather attached to the head. The tube has an opening that serves as a mouthpiece.

The gaitas usually are played as pairs. Gaita hembra (female instrument) had the role of playing the melody and establishing the general form of the piece, and the gaita macho (male instrument) with its more limited range, provided the bass line and generating the rhythmic drive in the accompaniment. 66

65 1http://solar.physics.montana.edu/munoz/AboutMe/ColombianMusic/NaturalRegions/Caribe/Espanol_Cu mbia.html accessed January 30, 2018 66 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy 37

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Flute or Caña de millo

67

68

Figure 4.2 Flute or Caña de millo

The caña de millo is a hybrid instruments that possess features taken from the flute and the oboe. It is a hollowed cane not longer than 11.8 inches. It is played like a traverse flute but has a reed carved in one of the ends of the tube. Millo is the name of the wood preferred by the makers of these flutes. The instrument is pitched to play pentatonic scales and it used to play melodies with accompaniment from the rest of the ensemble69

PERCUSSION OF THE ATLANTIC REGION

While the origin of the wind instruments is solely Amerindian, the origin of percussion instruments used in cumbia, gaita, puya, mapalé, and porro is mix of African and Amerindian, and sometimes European. The African slaves brought to the Americas by the of the arts, May 2010), 43 67 http://solar.physics.montana.edu/munoz/AboutMe/ColombianMusic/NaturalRegions/Caribe/Espanol_Cu mbia.html accessed January 30, 2018 68 http://solar.physics.montana.edu/munoz/AboutMe/ColombianMusic/NaturalRegions/Caribe/Espanol_Cu mbia.html accessed January 30, 2018 69 Ibid, 47 38

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Spanish in the 16th century brought their music with them and soon they started building drums with materials found in the new land and creating music. The three drums used in music from the Atlantic Coast, alegre, llamador, and tambora, are from African origin. (Lopez 2016)

Alegre and llamador

Figure 4.3 Alegre and llamador70

Like the gaitas that come in pairs, the alegre and llamador come in pairs as well. The alegre’s (female) height is 27 inches and its main musical role is to play the patterns that define the rhythm and has room for improvisation. The llamador’s (male) height is between 10 or 15 inches. The llamador is in charge of the rhythm, that along with the maracón, determines the tempo of the piece. The llamador which means caller in Spanish is also in charge of cueing the instruments that need to start playing. These two instruments are made by hollow logs, animal skin, ropes, and wooden pegs to keep the skin tight and with a crisp sound 71

Tambora

70 http://jonathangutierrez2medio.blogspot.com/2013_03_01_archive.html accessed January 30, 2018 71 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 48 39

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Figure 4.4 Tambora. 72

The tambora, also known as bombo, is a double headed bass drum. It is a massive hollowed cylindrical log measuring between 15 to 20 inches and both of its ends are covered by skin (boar, deer, or sheep). The players of this instrument are known as bombero or tambolero and they use thick wooden sticks, one of them covered by a cloth, to strike the two ends and also the wooden body of the instrument73

Maracón or maraca costeña

72 http://folcloredelpacificocolombiano1210.blogspot.com/p/se-divide-en-dos-zonas-pacifico-centro.html accessed February 3rd 2018 73 Ibid, 49 40

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Figure 4.5 Maracon or Maraca costeña 74

The maracón is similar to the popular maraca. It is two or three times bigger than a regular maraca and it can be up to 9 inches in diameter. It is usually made with the gourd of the totumo cimarrón filled with pebbles or dried seeds. Its origin is attributed to the Amerindian natives. The musical role of the maracón is similar to the llamador that determines the tempo of the piece while the gaita hembra plays the melody75

Guacho, Guache, or Guasá

Figure 4.6 Guacho, guache, or Guasá 76

It is a cylindrical rattle made of dried elongated pumpkin or thick cane filled with pebbles or dried seeds. It is sealed in both ends and it is played by a shaking and undulating movement by either both hands or one hand77

74 http://xatale9495.blogspot.com/ accessed February 3, 2018 75 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 51 76 http://xatale9495.blogspot.com/ accessed February 3, 2018 77 Ibid, 51 41

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Guacharaca, güiro, and güira

Figure 4.7 Guacharaca, güiro, and güira. 78

The güiro is an idiophone with a serrated surface that is struck or scrapped with a metallic scraper called trinche. The güira is basically the same instrument but made out of tin. The guacharaca is the Colombian version of the güira made of a thin, elongated pumpkin79

THE CLARINET IN PORRO

The clarinet established its role in porro through its use in the wind bands. Performers started to replace the native instruments made by African slaves and native Amerindians with , , baritones, and snare and bass drums.

One of the main factors responsible for replacing these instruments was the technical superiority of the instruments from Europe. Performers were able to play with greater dynamic range and facility which allowed them to reach bigger audiences.

With the increase in popularity of the wind bands, the costeños, the people from the Atlantic coast, replaced the old tambora, gaitas and güaches with the European bass drum, clarinet, and cymbals.

As in the pasillo and bambuco, the clarinet also plays a melodic role. One of the common features in the porro is the musical dialogue between trumpets that call, and clarinets and baritones that respond. When the dialogue stops, the bombo player hits the

78 http://digitalstamp.suppa.jp/musical_instruments/colombia.html accessed February 3, 2018 79 Ibid, 52 42

Texas Tech University, Santiago Baena Flórez, May 2018 wooden part of the bombo with the sticks, and the clarinets play the next melody, or improvises on top of the baritone melodic line.

Improvisation is a central element of porro with all instruments taking turns of improvising through the course of the piece.

The porro has a simple traditional form which provides a good environment for improvisation. The introduction starts with a solo instrument performing the main melody. This is usually 8 measures long. The second section is a contrapuntal dialogue between the trumpets and the in call and response format. The third section adds a melodic link where the clarinets join in, and the fourth section is a clarinet solo, with an improvised accompaniment that is a harmonized version of the original theme.

The euphonium is the instrument picked to solo with the clarinet because it it’s range and tone color are a contrast to the clarinet. It is also the only instrument that can match the clarinet's technical and virtuosic possibilities. Improvisation is important in this style because most of the music is not written down, and many musicians cannot read music. The piece is recomposed every time it is played, and the music changes depending on the mood and tastes of the musicians. Historically only the bandmaster will be able to read music, and they will train the other musicians by rote. Today many older players still do not read, but there has been a push to educate the younger musicians to be classically trained as well.80

THE USE OF PORRO IN THE SUITES

The melody in the traditional porro is comprised of four bar phrases. The meter is traditionally written in cut time (2/2). The following example was taken from a traditional porro called Fiesta de Negritos by Luis Eduardo Bermudez, (Lucho Bermudez), to illustrate how elements taken from traditional porro are used in The Suite Criolla by Alfredo Mejia. In these two excerpts, one can see the four bar phrases and cut time meter.

80 Demy, Richard, Sonidos del Sur: Spot on San Pelayo, ITEA Journal 40, no. 4 (Summer 2013), 29-31 43

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Also, one can see a distinct similarity in the melodic material in the two examples, primarily with the ascending syncopated leaps in the melody.

Figure 4.8 Excerpt of Fiesta de Negritos, Porro by Luis Eduardo (Lucho) Bermudez81

Suite Criolla (Mejia): Porro, Clarinet: bars 22-29

81 Public domain for educational purposes and authorized by the arranger 44

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Figure 4.9 Excerpt of porro paisa by Alfredo Mejia82

Accompaniment:

Like other traditional forms in Colombian music, the porro also uses standard accompaniment patterns. These can be seen below. What is different in this situation, is that the patterns are primarily contained in the bass line. In the porro paisa movement in the Suite Criolla, one can clearly see bass pattern (b) as supporting the form of the opening measures

82 Authorized by the composer 45

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Figure 4.10 Bass pattern in Porro83

Porro paisa, Suite Criolla (Mejia)

Cello, bars 1-8

Figure 4.11 Excerpt of Porro Paisa by Alfredo Mejia.84

CHAPTER V

CONCLUSION

The Suite Criolla by Alfredo Mejia Vallejo and the Suite 3/4 by Jose Rebelo, newly commissioned works for this project, are clearly influenced by the traditional music of Colombia. Not only did the composers include traditional music forms in the titles and styles of traditional music forms, but they incorporated important elements of these genres

83 http://celebralamusica.mincultura.gov.co/ver/descargas/partituras/banda/ accessed February 3rd, 2018 84 Authorized by the composer. 46

Texas Tech University, Santiago Baena Flórez, May 2018 into modern music written for ensembles based on European classical music instrumentation. The result is two new works added to the clarinet chamber music literature for future performers to discover and program for concerts.

These compositions are also the result of a natural evolution of the traditional music trends of Colombia dating back to the early 19th century. As was discussed, different regions of Colombia assimilated various cultural influences from Europe, Africa and native peoples. As Colombia became more exposed to other cultures, they adapted music forms, instruments and ensembles into their own music tradition. Each region of the country contributed their own music, instruments and ensembles into the overall evolution of music trends in Colombia. Over time, many of these traditional elements were replaced or modified by outside influences.

Today, the use of traditional music sources throughout the world is becoming a major inspiration for modern classical music composers. Colombia is not different in this regard, as is evident by the success of this project.

This paper did not intend to be a complete or unabridged research project but rather a presentation of information to assist anyone who is interested in performing these pieces. Further research will include, the compilation of Colombian clarinet literature, the creation of an annotated bibliography, and gathering information on the most important performers in the country. It is a hope that having a basic overview of traditional Colombian music practices and elements will be useful for all clarinetists to gain insight and inspiration for performing these works in the future.

BIBLIOGRAPHY

Botero, Amparo Lotero. "El porro: de las gaitas y tambores a las bandas de viento." Boletín Cultural y Bibliografico, 1989: Vol 26. No. 19. Demy, Richard. "Sonidos del Sur." ITEA Journal, summer 2013: 29-31.

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Texas Tech University, Santiago Baena Flórez, May 2018

Fortich, Willian. Con bombos y platillos: origen del porro, aproximación al sinuano y las bandas pelayeras. . Unted States : Domus Libri, 1994. FreshTv, Afro. Pasion por la danza . December 18, 2014. http://passionjustdance.blogspot.com/2014/12/instrumentos-llaneros.html (accessed February 18, 2018). Koorn, Dirk. Folk Music of the Colombian . Seattle , 1977. Londono, Gustavo Adolfo Gil and Maria Eugenia. "Las Bandas de Música en Antioquia: oportunidad y compromiso." Artes, la revista, 2006: 46-55. Lopez, David Santiago. "Colombian Bambuco, Pasillo, and Porro and the Role of the in these Traditional." 2016: 11. Ministerio de Educación Nacional. n.d. http://www.colombiaaprende.edu.co/html/sitios/1610/article-84810.html (accessed December 5, 2017). Montoya, Hernan Dario Castillo. El pasillo forma y estilo: guía para el análisis de la formacion musical . Medellin , 1997. Morales, Guillermo Abadia. Compendio general de folkjore Colombiano. Bogota : Bilioteca Banco Popular , 1984. Ortiz, Fernando. La Africania de la Musica folclorica de Cuba. Cuba: Universitaria , 1965. Ramon, Andres. Colombian Folk music in an international context. Reikiavik: master’s thesis, Iceland academy of arts, 2010. Ramon, Andres. "Colombian Folk Music in an international context." 84. master's thesis, Iceland academy of the arts, 2010. Restrepo, Jorge Alberto Gaviria. "EL CLARINETE EN COLOMBIA, un devenir historico." 2012. Varney, John. "An introduction to the Colombian Bambuco." Revista de Musica Latinoamericana, 2001: 128.

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