ONLINE AUDIO GUIDE 7.1 SINGING ALONG with PETE SEEGER Title: “Guantanamera” Performing Forces: Guitar, Solo Singer (Pete

ONLINE AUDIO GUIDE 7.1

SINGING ALONG WITH PETE SEEGER title: “Guantanamera” performing forces: guitar, solo singer (Pete Seeger), audience participation composer: see text lyricist: José Martí language: Spanish, with explanations in English form: verse-and-refrain, with refrain starting out function: see text source: Headlines and Footnotes. A Collection of Topical Songs (Smithsonian Folkways Recordings CD 40111, 1995). This is recording 7.1a.

Listen for:

• homophonic texture • verse-and-refrain form • oral translation by Seeger into English • spontaneous harmony from audience • two possible endings

Timing Structure and text What happens

Refrain

0: 00 Guantanamera, guajira guantanamera Seeger establishes basic strum basic phrase of refrain repeats miscellaneous voices join Seeger Verse 1

0:17 Yo soy un hombre sincero de donde crece la palma first two lines repeat y antes de morirme quiero echar mis versos del alma. applause

Refrain

0: 43 Guantanamera, guajira guantanamera basic phrase of refrain repeats more voices add harmony

1:02 While strumming, Seeger explains the history and meaning of the song

Verse 2

2:37 Mi verso es de un verde claro y de un carmen encendido first two lines repeat Mi verso es un ciervo herido que busca en el monte amparo.

Refrain

3: 02 Guantanamera, guajira guantanamera basic phrase of refrain repeats more singers join in 3:21 Seeger urges public to sing, to “get some harmony” and sings a countermelody himself.

Verse 3

3:40 Con los pobres de la tierra quiero yo mi suerte echar first two lines repeat El arroyo de la sierra me complace más que el mar.

Refrain

4:10 Guantanamera, guajira guantanamera basic phrase of refrain repeats more singing from audience, with harmony

4:28 Seeger explains the meaning of Verse 3

4:43 Seeger repeats Verse 3

Refrain

5:11 Guantanamera, guajira guantanamera audience sings, again, with harmony

5:28 Seeger proposes they sing refrain “one more time”

Guantanamera, guajira guantanamera

three final strums on a half cadence)

English translation:

I am a truthful man My verse is light green From where the palm tree grows And it is flaming red And before dying I want My verse is a wounded deer To let out the verses of my soul. Who seeks refuge on the mountain.

With the poor people of the earth I want to cast my lot The brook of the mountains Gives me more pleasure than the sea.

Consider:

• Does Seeger avoid the “gringo way of ending” in selection 7.1a or not?

• Compare the recording of this song on The Essential Pete Seeger (Sony Legacy 475 1598, 2005), the next selection in your Spotify playlist (selection 7.1b). How does this version end, and how you react to the two different endings? If necessary, revisit chapter 3 on this point. Also, do you detect any differences in his interaction with the public?

• How would you characterize Seeger’s singing voice? Having listened to this small sample of his performing style, can you speculate as to why he was such a popular performer?

• When you sing along with Seeger and his public on the refrain, what do you experience?

ONLINE AUDIO GUIDE 7.2

CORRIDO title: “Tragedia de la Plaza de las Tres Culturas” (Tragedy of the Square of the Three Cultures) type of music: traditional composer: Judith Reyes performing forces: solo voice (Judith Reyes), guitars language: Spanish form: strophic, with fifteen verses (strophes) function: to protest the massacre in Mexico City in 1968 source: Mexico: Days of Struggle (Smithsonian Folkways Archives CD PAR01012, 2006)

Listen for:

• major key • triple meter • basic harmonies, consisting of three chords, I-IV-V • symmetrical phrases • homophonic texture

Timing Structure and text What happens, translation

Introduction 00:00 active bass line triple meter established, along with major key three basic harmonies, I, IV, V established

Verse 1 harmonic progression (below), will prevail for entire song, with slight variations in the accompaniment

I ------V V------I IV ------I ---V ------I

00:19 El dos de octubre llegamos On the second of October we arrived, todos pacíficamente all peacefully, a un mitin en Tlatelolco to a rally in Tlatelolco quince mil en la corriente. about 15,000 of us.

Verse 2 harmony remains the same

00:38 Año sesenta y ocho The year of ’68 que pena me da acordarme how sad it makes me to recall la plaza estaba repleta the jam-packed plaza como a las seis de la tarde. at about six o’clock in the evening.

Verse 3 same harmony

00:57 Grupos de obreros llegaron Groups of workers arrived y el magisterio consciente politically aware teachers and students los estudiantes lograron the students made un hermoso contingente. a fine group.

Verse 4 same harmony

1:16 De pronto rayan el cielo Suddenly the sky is pierced cuatro luces de bengala by four flares ya aparecen muchos hombres Many men appear guante blanco y mala cara. with white gloves and bestial faces.

Verse 5 same harmony

1:35 Zumban las balas mortales Deadly bullets whiz rápido el pánico crece and panic spreads rapidly busco refugio y la tropa I look for shelter and the troops en todas partes aparece. are everywhere.

Verse 6 same harmony

1:55 Alzo los ojos al cielo I look up to the sky y un helicóptero miro and I see a helicopter luego sobre Tlatelolco later, over Tlatelolco, llueve un fuego muy tupido. a heavy fire is raining down.

Verse 7 same harmony

2:13 ¡Que fuerzas tan desiguales! How unequal the forces! ¡Hartos tanques y fusiles! So many tanks and guns! ¡Armados los militares, The military armed, desarmados los civiles! the civilians unarmed!

Interlude 2:30 greater activity in guitar part repeats bass-line of introduction

Verse 8 same harmony

2:40 Doce años tenía un chiquillo A twelve-year old child que muerto cayó a mi lado fell dead at my side. y el vientre de una preñada And how the belly of a pregnant woman ¡cómo lo han bayoneteado! was pierced with bayonets!

Verse 9 same harmony

3:01 Hieren a Oriana Fallaci They wounded Oriana Fallaci voz de la prensa extranjera the voice of the foreign press. ¡Ya conoció la cultura At last she knew first-hand the culture del gobierno de esta tierra! of the government of this land.

Verse 10 same harmony

3:20 Ya vió que vamos unidos She saw that we are united estudiantes con el pueblo students, along with the people contra un sistema corrupto against a corrupt system y la falacia de un gobierno. and a false government.

Verse 11 same harmony

3:40 Recordará a los muchachos She’ll remember the students, contra la pared sus caras their faces to the wall las manos sobre la nuca their hands clasped behind their heads y su derecho entre las balas. and their rights between the bullets.

Verse 12 same harmony

3:59 Jóvenes manos en alto Young people with hands raised con la “V” de la victoria making the “V for Victory” sign “V” de Vallejo me dicen “V for Vallejo” los de la Preparatoria. the high school students tell me.

Verse 13 same harmony

4:19 Piras de muertos y heridos Pyres of dead and wounded solo por una protesta all because of a protest rally El pueblo llora su angustia while the people cry out their anguish y el gobierno tiene fiesta. the government gives a party.

Verse 14 same harmony

4:38 ¡Que cruenta fue la matanza How cruel the battle was, hasta las bellas criaturas! with even little children killed! ¡Como te escurre la sangre How the blood ran through you, Plaza de las Tres Culturas! Plaza de las Tres Culturas!

Verse 15 same harmony

4:57 Y porqué estos murieron And because of this, mujeres y hombres del pueblo men and women of the people died El presidente le aumenta the president raised al ejército—su sueldo. his army’s—pause—salary.

English translation (courtesy Smithsonian Folkways Archival, slightly modified)

Consider:

• Does singing about historical events bring them to life?

• As with other corridos, this selection relies on repetition of the same musical materials. How does constant repetition affect the message?

• How would you evaluate the singer? In what ways does she vary her voice over the different verses? Is her style of singing well suited to the message of this selection?

ONLINE AUDIO GUIDE 7.3

SONG OF THE FAVELAS title: “Zelão” type of music: popular performing forces: voice (Zelia Barbosa), guitar, bass, drum kit composer: Sérgio Ricardo language: Portuguese form: free, but with repeated sections function: solo song that comments on poverty in the favelas source: Brazil: Songs of Protest (Smithsonian Folkways MFS 717, 2006)

Listen for:

• minor key • upbeat • steady duple meter • symmetrical phrases • sequences • final ritard

Timing Structure and text What happens

Instrumental introduction 00:00 open and closed sounds on the hi hat cymbal, snare drum (rim shots), and tom toms and bass drum to suggest many drummers

00:04 Todo morro entendeu minor key established with quando Zelão chorou melody and guitar chords ninguém riu, ninguém brincou singer has upbeat (on the word e era Carnaval. “todo”)

00:15 repeats: same melody, same words same accompaniment

B section

00:26 - 00:33 No fogo de um barracão sequence (melody is repeated só se cozinha ilusão three times at different pitch restos que a feira deixou levels)

e ainda é pouco só. sequence ends on half cadence

Mas assim mesmo Zelão dizia sempre a sorrir “um pobre ajuda outro pobre

até melhorar.”

C section

00:47 Choveu, choveu, longer note values on “choveu” (it rained) for emphasis

00:52 e a chuva botou seu barraco no chão chromatic notes in melody, to be treated sequentially

00:57 - 1:19 nem foi possível salvar violão sequence (melody is repeated que acompanhou morro abaixo a canção three times at different pitch das coisas todas que a chuva levou levels) pedaços tristes do seu coração.

1:19 Todo morro entendeu quando Zelão chorou ninguém riu, ninguém brincou e era Carnaval.

1:30 A repeats, same words

1:40 B section repeats, same words

2:01 C section repeats, same words

2:34 A section, same words

2:45 A section repeats, same words

final ritard, enhanced by hi hat cymbal

English translation

Everybody on the hill heard would always say with a smile when Zelão cried “one poor man helps another No one laughed, no one danced until things improve.” and it was Carnaval. It rained and rained In the woodstove of a shack and the rain knocked his shack to the ground you can only cook illusions Nor was it possible to save the guitar the leftovers left behind by the street market that accompanied, downhill, the song and even so, they’re not enough. of all that the rain washed away, But in spite of all that, Zelão sad pieces of his heart.

Consider:

• After a sequence in the B section, the listener arrives at the C section, which consists almost solely of a sequence. First, we hear a melodic idea at 0:52 (on the words “a chuva botou sem barraco no chão”). That idea is immediately repeated at 0:57 (on the words “nem foi possível salvar violão”) at the same pitch level. Then we hear (at 1:02, 1:08, and 1:14) that same idea repeated, with slight variations, at successively lower pitch levels. How might this musical strategy complement the words of “Zelão?” If necessary, review the section on sequences in chapter 3.

• As noted in the text, the sentiments expressed in the words to “Zelão” are very different from those in Ary Barroso’s “Aquarela do Brasil.” Compare the musical content of both selections, making sure to discuss at least three elements of music.

ONLINE AUDIO GUIDE 7.4

NUEVA CANCIÓN title: “Aquí me quedo” (I’ll Stay Here) performing forces: solo voice and guitar (Víctor Jara) composers: Víctor Jara and Patricio Castillo language: Spanish form: modified strophic, with slight variations in each verse function: to express optimism for the future of Chile source: Manifiesto (Wea International CD 87610, 2003)

Listen for:

• contrasting melody introduced in introduction that later appears in interludes • homophonic texture • vacillates between major and minor phrases • gradual ascent of pitches in main melody • use of silence, pause

Timing Structure and text What happens

Introduction 00:00 quiet, flowing melody in upper notes of guitar, against strummed harmonies

Verse 1

00:15 (a) Yo no quiero la Patria dividida, ni por siete contrasting melody to that of cuchillos desangrada, introduction speech-like, syllabic

00:27 (b) quiero la luz de Chile enarbolada sobre la melody related but not identical to nueva casa construida. (a), at a higher pitch

00:38 (c) Yo no quiero la Patria dividida ni por siete another related melody, also at a cuchillos desangrada . higher pitch level, melismatic treatment of “dividida” (divided)

Interlude 00:53 uses melody of Introduction

Verse 2

1:04 (a) Yo no quiero la Patria dividida, cabemos slightly modified from Verse 1 todos en la tierra mía

1:16 (b) y que los que se creen prisioneros higher pitch level se vayan lejos con su melodía.

1: 27 (c) Siempre los ricos fueron extranjeros still higher pitch level que se vayan a Miami con sus tías . . .

1:38 pause

1:40 (d) Yo no quiero la Patria dividida, melismatic treatment of “dividida” se vayan lejos con su melodía.

Interlude 1:57 again, uses melody of introduction

Verse 3

2:09 (a) Yo no quiero la Patria dividida, cabemos slightly modified from previous todos en la tierra mía verses

2:20 (b) yo me quedo a cantar con los obreros en higher pitch level esta nueva historia y geografía

2:31 (c) yo me quedo a cantar con los obreros en esta nueva historia y geografía en esta nueva historia . . .

2:45 pause

y geografía. ritard on final cadence, with melismatic setting of “—fía”

guitar follows the voice, contrast with steady strumming of rest of song

English translation

I don’t want a divided country, not by seven bloody knives I want the light of a Chile filled with trees over the newly constructed house I don’t want a divided country, not by seven bloody knives.

I don’t want a divided country, we’ll all fit in my land

And those who think themselves prisoners here can sing their tune someplace else I don’t want a divided country, we’ll all fit in my land.

I don’t want a divided country, we’ll all fit in my land I’ll stay to sing with the workers in this new history and geography I’ll stay to sing with the workers in this new history and geography.

Consider:

• How do the interludes, with their contrasting melody, strike you? As a unifying device? As a wordless refrain, as if the song were in verse-and-refrain form? Did you expect Jara to bring back this melody at the very end? Why might he not have done so?

• How would you describe the quality of Jara’s voice? Listen to several Jara selections to arrive at a more informed answer.

• Some listeners find a wandering quality in this melody. Do you agree? If so, how are the elements of music manipulated to create this impression?

• How many times does Jara repeat “Yo no quiero la patria dividida” (I don’t want a divided country”)? What is the effect of this repetition?

ONLINE AUDIO GUIDE 7.5

SYMPHONIC MUSIC OF PROTEST title: Sensemayá: A Chant for Killing a Snake performing forces: symphony orchestra, directed by Fernando Lozano composer: Silvestre Revueltas form: free function: symphonic music with likely political intent source: Mexico City Philharmonic Orchestra and Fernando Lozano (Forlane, 2009)

Listen for:

• several ostinati (plural of ostinato) • large percussion section requiring three players (xylophone, claves, maracas, rasping stick, gourd, small Indian drum, bass drum, high and low tom-toms, cymbals, large and small gongs, glockenspiel, celesta, piano) • variety of timbres • speech rhythm of words of poem replicated in orchestral writing • short, fragmented melodies • fff (triple forte or extremely loud)

Timing Structure What happens

Section 1

00:00 ostinato 1 tom toms and bass drum mark speech rhythm of word “sen-se- may-á”

enhanced by gong and bass clarinet low-pitched, “dark” sounds

00:11 ostinato 2 bassoon

00:13 ostinato 3 clave

00:22 “snake theme” in tuba narrow melodic range

00:32 ostinato 2 accompanies snake theme, enhanced with string bass

00:47 snake theme continues French horn (with mute) punctuates the snake theme

00:55 snake theme, repeated enhanced with trumpet and other instruments

1:26 snake theme repeated higher-pitched instruments

(piccolo, flute)

1:58 ostinato 4 introduced in strings, with speech rhythm of the incantation “mayombe bombe mayombe”

ostinato 4 in dialogue (antiphonally) with brass

fragmentary themes, some related to “snake” theme

buildup of intensity, multiple themes and ostinato

2:58 ostinati drop in dynamics

3:04 new theme, pentatonic flavor (trumpet)

3:40 pentatonic theme fades out drop in dynamics

woodwinds and trumpet

3:46 further drop in dynamics (sneaking up to kill the snake?)

Section 2

3:48 loud, strident chords high-pitched instruments (flute, piccolo) play loud, dissonant chords, contrasting with lower- pitched chords

short motives in brass add intensity

3:58 climax speech rhythm of the word “sensemayá” in trumpets and strings, repeated, now in double time

Section 3

4:22 drop in dynamics bass clarinet and percussion recall beginning of piece but now with greater activity in one of the drums

4:32 ostinato 2, ostinato 3 bassoon and clave, as in beginning motives in brass, hint of “snake”

theme in tuba, suspense builds but then falls off . . .

5:04 theme with pentatonic flavor flute, enhanced by xylophone, interjections from trumpet

suspense begins to build again

interjections from brass more insistent, music surges to . . .

fff (triple forte)

climax sustains itself, full orchestra, slower note values

killing the snake?

Section 4

6:09 “snake” theme, pentatonic theme, along with ostinato 2 (bassoon) and ostinato 4 (“mayombe bombe mayombe”)

dramatic silence

final chords fff (triple forte)

Consider:

• What role is the tuba assigned in this piece? What is its normal role in a symphony orchestra? In a band?

• Look up the term “mute” in its musical sense. How do mutes for different instruments work and what do they look like? Besides making the instrument quieter, how does a mute affect the timbre of particular instrument?

• What is the role of the ostinati in this piece? Note that Online Audio Guide 7.5 does not indicate each one. How does an ostinato contribute to or diminish the sense of teleological direction common in Western European classical music?