Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in These Traditional Genres By

Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in these Traditional Genres by

David López, BA, MM

A Project In

TUBA 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 (Tuba)

Approved

Kevin Wass Chair of Committee James Decker Andrew Stetson

Mark Sheridan Dean of the Graduate School

May, 2016

Texas Tech University, David López, May 2016

ACKNOWLEDGMENTS I want to thank my parents Heriberto López and Carmen González for their unconditional support, and my siblings Cristian López, Mariana López, and Sara López for all their love and kind words during my DMA.

Thanks to my first music teacher Juan Felipe Arias Villa who not only taught me fundamentals in music but also to have big dreams and to always do my best.

Special thanks to my tuba mentors Professor Donald Little and Dr. Kevin Wass 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 Professor Alan Shinn, Dr. Andrew Stetson, and Professor James Decker for being part of my committee. Your input has been very valuable for me.

Thanks to Santiago Baena, my good friend and colleague who has always has always cheered me up in this process and with whom I have made beautiful music.

Thanks to Colombian historian William Fortich who kindly provided me with his research about porro, to composers Carlos Andres Restrepo for composing “Quartet for Clarinet, Tuba, Vibraphone, and Drum Set” for me and my colleague Santiago Baena, and Alfredo Mejia Vallejo for arranging his piece “San Juan de la Vega” for tuba and clarinet.

Finally, I want to thank my wonderful wife, Brittany Primavera, who encouraged me to study a DMA and made sure that I finish it. You are the reason why I keep going. I am indebted to you.

Texas Tech University, David López, May 2016

TABLE OF CONTENTS ACKNOWLEDGMENTS ...... II

TABLE OF CONTENTS ...... III

INTRODUCTION...... IX

CHAPTER I GEOGRAPHICAL, HISTORICAL, AND CULTURAL ASPECTS OFCOLOMBIA ...... 1

ADMINISTRATIVE DIVISION...... 2 NATURAL DIVISION ...... 3 CHAPTER II BAMBUCO AND PASILLO: TRADITIONAL GENRES FROM THE COLOMBIAN ANDEAN REGION ...... 8

HISTORICAL BACKGROUND ...... 8 BAMBUCO ...... 8 PASILLO ...... 11 INSTRUMENTATION ...... 13 STRINGED INSTRUMENTS ...... 13 WIND INSTRUMENTS ...... 17 PERCUSSION ...... 19 ENSEMBLES ...... 21 THE TUBA IN BAMBUCO AND PASILLO ...... 25 CHAPTER III PORRO: A MUSICAL GENRE FROM THE COLOMBIAN CARIBBEAN...... 29

HISTORICAL BACKGROUND ...... 29 INSTRUMENTATION ...... 30 WIND INSTRUMENTS ...... 30 PERCUSSION ...... 32 WIND BANDS ...... 36 PORRO PALITIA’O OR PORRO PELAYERO AND PORRO TAPAO ...... 38 THE TUBA IN PORRO ...... 40 CHAPTER IV MUSICAL ANALYSIS OF BAMBUCO, PASILLO, AND PORRO AND THE ROLE OF THE TUBA IN THESE GENRES ...... 42

MUSICAL ANALYSIS OF BAMBUCO ...... 42 MUSICAL ANALYSIS OF PASILLO ...... 45 MUSICAL ANALYSIS OF PORRO PALITIA’O ...... 49

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CHAPTER V CONCLUSION ...... 54

BIBLIOGRAPHY ...... 56

APPENDIX A ...... 57

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LIST OF FIGURES

Figure 1.1 Geographical location of Colombia………………………………………… 2

Figure 1.2 Administrative Division of Colombia ……………………………………… 2

Figure 1.3 Colombian Andean Region………………………………………………….. 3

Figure 1.4 Andean Mountain Range …………………………………………………… 4

Figure 1.5 Colombian Caribbean Region ……………………………………………… 5

Figure 2.1 El Bambuco, watercolor by Ramon Torres Mendez…………………………. 9

Figure 2.2 Colombian tiple……………………………………………………………… 14

Figure 2.3 Tiple pitch distribution ……………………………………………………….14

Figure 2.4 Colombian requinto…………………………………………………………. 15

Figure 2.5 Requinto pitch distribution………………………………………………….. 15

Figure 2.6 Andean bandola ……………………………………………………………. 16

Figure 2.7 Bandola pitch distribution ………………………………………………….. 16

Figure 2.8 Flauta de Caña……………………………………………………………… 17

Figure 2.9 Quena ………………………………………………………………………. 18

Figure 2.10 Zampoña…………………………………………………………………… 19

Figure 2.11 Tambor ……………………………………………………………………. 19

Figure 2.12 Cucharas ………………………………………………………………….. 20

Figure 2.13 Carraca …………………………………………………………………… 21

Figure 2.14 Chirimia ensemble………………………………………………………… 22

Figure 2.15 Colombian string trio ensemble……………………………………………. 23

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Figure 2.16 Colombian estudiantina…………………………………………………… 24

Figure 2.17 Banda de Música de Ciudad Bolívar, Antioquia ………………………….. 25

Figure 2.18 Bambuco rhythmic patterns of Espejos for band by Andrés Acosta………. 26

Figure 2.19 Picture of bambuco rhythmic patterns of Varykunia for band by Rubian Zuluaga…………………………………………………………………………………. 26

Figure 2.20 Bambuco rhythmic patterns of Añoranza for band by Nestor Herrera ……. 26

Figure 2.21 Pasillo rhythmic patterns of Marca Pasos for band by Jonny Pasos……… 27

Figure 2.22 Pasillo rhythmic patterns of Pesares by José Barros and arranged for band by Ruben Darío Gómez …………………………………………………………………… 27

Figure 2.23 Pasillo rhythmic patterns of Rio de Oro by Luis Francisco Soto Márquez... 28

Figure 3.1 Gaita macho and gaita hembra …………………………………………….. 31

Figure 3.2 Reed of the caña de millo ………………………………………………….. 32

Figure 3.3 Caña de millo ………………………………………………………………. 32

Figure 3.4 Alegre and llamador ……………………………………………………….. 33

Figure 3.5 Tambora ……………………………………………………………………. 34

Figure 3.6 Maracón ……………………………………………………………………. 34

Figure 3.7 Guache ……………………………………………………………………… 34

Figure 3.8 Picture of guacharaca and trinche …………………………………………. 35

Figure 3.9 Amerindians playing gaita and tambora …………………………………… 35

Figure 3.10 Gaiteros de San Jacinto …………………………………………………… 36

Figure 3.11 Banda pelayera ……………………………………………………………. 38

Figure 3.12 Porro rhythmic patterns of Profe for band by Victoriano Valencia………. 41

Texas Tech University, David López, May 2016

Figure 3.13 Porro rhythmic patterns of Estamos Pasando Bueno for band by Armando Ariel Ramírez Marín …………………………………………………………………… 41

Figure 3.14 Porro rhythmic patterns of Malala for band by Victoriano Valencia …….. 41

Figure 4.1 Archetypal rhythmical structures in Andean string trio and Chirimia ……… 43

Figure 4.2 San Juan de la Vega, mm 1-5 ……………………………………………... 43

Figure 4.3 San Juan de la Vega, mm 17-22 …………………………………………… 44

Figure 4.4 Tres Piezas Colombianas, tuba score, mm 5-16…………………………… 44

Figure 4.5 Tres Piezas Colombianas, piano score, mm 5-12 …………………………. 45

Figure 4.6 Basic accompanying pattern for pasillo ……………………………………. 46

Figure 4.7 Tres Piezas Colombianas, piano score, mm 5-16…………………………… 46

Figure 4.8 Pasillo archetypal rhythmical structure and variations ...... 47

Figure 4.9 Quartet for clarinet, tuba, vibraphone, and drum set, mm 45-50 ………….. 47

Figure 4.10 Variations of accompaniment for tiple and drum set……………………… 48

Figure 4.11 Quartet for clarinet, tuba, vibraphone, and drum set, mm 57-60 ………… 48

Figure 4.12 Quartet for clarinet, tuba, vibraphone, and drum set, mm 90-94 ………… 48

Figure 4.13 Danza patterns on cymbals, bass drum, and snare drum ………………….. 49

Figure 4.14 Quartet for clarinet, tuba, vibraphone, and drum set, mm 227-238………. 50

Figure 4.15 Common rhythmic patterns in porro palitia’o ……………………………. 51

Figure 4.16 Quartet for clarinet, tuba, vibraphone, and drum set, mm 190-199 ……… 51

Figure 4.17 Quartet for clarinet, tuba, vibraphone, and drum set, mm 213-217………. 51

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Figure 4.18 Quartet for clarinet, tuba, vibraphone, and drum set, mm 190-199 ……… 52

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INTRODUCTION Colombia is a country of contrasts; its landscape ranges from low-lands and plains in the east to the Andes mountain range that branch out from north to south. Its climate varies from hot lands to frozen lands. Its cultural life is vibrant and contains three contrasting components: the European, African, and Native.

Bambuco, pasillo, and porro are three traditional Colombian genres from two of the six natural and cultural regions in which Colombia is divided: bambuco and pasillo from the Andean region and porro from the Caribbean region. These two regions are as contrasting as their musical genres, but both have a common tri-cultural origin with contributions from Europe, Africa, and the Native South American indigenous tribes.

One of the European contributions to the origin of such contrasting cultures and musical genres is instrumentation. Thanks to the military bands, brass and woodwind instruments made their way into Colombia and started being assimilated by the autochthonous ensembles whose musicians considered them superior and more effective in some cases.

The tuba was not an exception and started appearing in wind bands that performed bambuco, pasillo, and porro and other traditional Colombian genres and it took accompaniment and harmonic roles. As the level of execution of the tuba performers improved, performers and composers have teamed up to create pieces originally written for tuba either as a solo instrument or as a principal instrument in chamber ensembles where the tuba is given a more melodic role along with its traditional accompaniment lines.

This document is not intended to be a complete report of Colombia’s history, culture, natural or administrative systems but it is rather an initial contact between the reader and bambuco, pasillo, and porro, three of the most representative traditional genres from Colombia. These three genres were chosen based on my experience as a tuba player of the Banda Sinfónica, a wind band from La Ceja, a municipality from the department of Antioquia located in the Andean region of Colombia. One of my first

Texas Tech University, David López, May 2016 contacts with music was through playing bambuco, pasillo, and porro with the band. This project is intended to show the role of the tuba in the interpretation of these three genres.

This document intends to provide that reader with basic geographical, cultural, and musical information that allow the tuba player or any other reader interested in the subject matter to understand the nature of bambuco, pasillo, and porro and the aspects to look for when attempting to perform them. It is not intended to be a complete musicological or ethno musicological project but rather a selective compilation of information and analysis on these Colombian traditional genres and the role of the tuba as an accompaniment instrument, accompanimental and melodic, or as a purely solo melodic instrument in these genres.

The document starts by providing a geographical, historical, and cultural approach to understand the diversity of the country and the influence of the tri-cultural component in the origin and performance of bambuco, pasillo, and porro. Next, the document explores the origin of the bambuco pasillo and porro, the instrumentation both autochthonous and European, and the ensembles that perform these traditional genres. It is important to remark that bambuco and pasillo are presented in one single chapter, chapter two, given their similar origin and the fact that both come from the Andean region. Porro is presented in chapter three. Some examples of extant literature are provided at the end of each of these chapters to show basic patterns of the traditional accompaniment role of the tuba. Finally, this document presents a general musical analysis of bambuco, pasillo, and porro emphasizing some archetypal accompaniment or rhythmical patterns in each of the genres and identifying the role of the tuba by comparing these patterns to “San Juan de la Vega”, a transcription for tuba and clarinet of a bambuco for band by Alfredo Mejia Vallejo, the bambuco and pasillo from “Tres Piezas Colombianas” an original piece for tuba and piano by John Mauricio Herrera Diaz and published by euphonium.com®, and “Quartet for clarinet, tuba, vibraphone, and drum set”, a piece commissioned by Santiago Baena, clarinetist, and the author of this document and written by Carlos Andrés Restrepo.

The bibliography used in this document comprises texts written in both English and Spanish. I have translated into English some passages that illustrate some of my

Texas Tech University, David López, May 2016 arguments well. There are several books, articles, and dissertations written by Colombian musicologists that have proven to be a valuable resource for research such as “Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras” by William Fortich and “El pasillo: forma y estilo: guía para el análisis de la formación musical” by Hernán Darío Castrillón Montoya. I am particularly indebted to “Colombian Folk music in an international context” a master’s thesis by Andrés Ramón whose research nourished the historical and organological component of this project. John Varney’s article “An Introduction to the Colombian "Bambuco", published in the Latin American Music Review/ Revista de Música Latinoamericana provided valuable insights about the origin, organology, ensembles, and distinctive features of bambuco.

This paper was inspired by my early experience in the interpretation of these genres as a tuba player in band and brass quintet settings and the need for more literature that talks about the role of the tuba in traditional Colombian music. I hope this idea encourages tuba players in Colombia to write and document other Colombian genres in relation to the tuba.

Texas Tech University, David López, May 2016

CHAPTER I GEOGRAPHICAL, HISTORICAL, AND CULTURAL ASPECTS OF COLOMBIA Colombia is a country located in the northwest of South America. It borders with Panama in the northwest, Venezuela and Brazil in the east, and Ecuador and Peru in the south. It shares maritime limits with Costa Rica, Nicaragua, Honduras, Jamaica, Dominican Republic, and Haiti. Colombia was originally inhabited by indigenous tribes, namely Tayronas, Muiscas, Quimbayas, Zenues, Calima, Yotoco, Nariño, Tumaco among others. The Spanish arrived in 1499 and started a period of colonization that ended with the war of independence in 1819, leaded by Simon Bolivar who freed Bolivia, Colombia, Ecuador, Panama, Peru and Venezuela and funded the Great Republic (Colombia, Venezuela, Ecuador, Panama, Peru, northern Guyana and northwest Brazil) that collapsed in 1832 with the secession of Venezuela and Ecuador. After the secession, Colombia and Panama emerged as the Republic of New Granada, later bore the name of Granadine Confederation and United States of Colombia before the Republic of Colombia was officially declared in 1886. Panama seceded in 1903.1 Colombia is an ethnically diverse country with a mixture of cultures that descend from the original indigenous tribes, Spanish colonists, and African tribes that were brought to the country originally as slaves. 20th-century European immigrants from Europe and the Middle East also contribute to the Colombian cultural diversity. 2 Colombia’s varied geography and special landscape also contributes to unique cultural traits and strong regional identities. Colombia is second in South America in terms of population after Brazil with approximately 47.662.000 inhabitants. 3

1 https://en.wikipedia.org/wiki/Gran_Colombia accessed 4 March 2106 2 Silvio Aristizábal Giraldo. “La Diversidad Étnica y Cultural de Colombia: Un Desafío para la Educación.” Revista Pedagogía y Saberes, no. 15, 2000. 3 http://www.datosmacro.com/demografia/poblacion/colombia accessed 2 April 2016.

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Figure 2.1 Geographical location of Colombia4

ADMINISTRATIVE DIVISION Colombia is divided is divided into 32 departments and Bogotá is the capital district. The 32 departments are subdivided into 1,123 municipalities.

Figure 1.2 Administrative Division of Colombia5

4 http://www.worldatlas.com/webimage/countrys/samerica/co.htm accessed 9 March 2016. 5 http://www.mapsopensource.com/colombia accessed 9 March 2016.

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NATURAL DIVISION The natural regions of Colombia are territorial divisions based on characteristics in terms of landscape, climate, and vegetation. Due to the wide array of climates and the diversity of the landscape, these divisions take into account characteristics of landscape (mountain or flat), distance to the sea, precipitation, and soil. Colombia is crossed by the Andes mountain range that branches in three and represents 25% of the territory. The Pacific coast on the west and the Atlantic (Caribbean) coast on the north constitute 7% and 13% of the territory respectively. The plains and low lands of the east represent 27% of the territory and the Amazon jungle in the south represents 28% of the territory. 6 Due to the pronounced landscape and the diversity of climates in addition to the ethnical diversity of the country, the country is divided into six natural – cultural regions: Andean, Caribbean, Pacific, Orinoquía, and Insular. Each natural division has strong regional cultures that differentiate one region from another. For purposes of this document, I will only expand on some traits of the Andean and the Caribbean region since these are the regions where bambuco, pasillo, and porro are originated.

a. Andean Region

Figure 1.3 Colombian Andean Region7

6 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 26. 7 http://fabulasmundomagico.blogspot.com/2011/04/coplas-de-las-regiones-de-colombia.html accessed 9 March 2016.

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The Andean region is the most populated region in Colombia, contains the majority of the country’s urban centers, and is the most economically active. It is also the location of the most significant pre-Columbian indigenous settlements. 8 The Andean mountain rage is located in this region and divides in three branches or “cordilleras”, the Cordillera Occidental (West), the Cordillera Central (Central), and the Cordillera Oriental (East). The Andean region also has two valleys, the valleys of the Cauca and the Magdalena River. Ten departments are part of the Andean region: Antioquia, Boyacá, Caldas, Cundinamarca, Huila, Norte de Santander, Quindío, Risaralda, Santander and Tolima.

Figure 1.4 Andean Mountain Range9

The climate of this region varies considerably depending of the altitude. Five climates can be identified: tierra caliente (hot lands) below 1,000 m, tierra templada (temperate land) approximately 1,000 m to 2,000 m, tierra fria (cold land) 2,000 m to 3,200 m, forested zone 3,200 m to 3,900 m, páramos between 3,900 m to 4,600 m, and tierra helada (frozen land, 4,600 m and above).

The cultural traits that underline this region are from indigenous heritage, mainly from the Muisca indigenous tribe, and from the Spanish aristocracy. The mestizo race, product of the mixture of Spaniards and Amerindians, is highly predominant in this region. With the introduction of African slaves by the Spanish in the 16th century, the

8 https://en.wikipedia.org/wiki/Andean_natural_region accessed 4 March 2016 9 http://www.salutip.com/2012/03/mapa-del-relieve-colombiano-cordilleras.html accessed 9 March 2016.

Texas Tech University, David López, May 2016 region started experiencing African cultural influences. The paisa culture10 is the dominant trait of the Andean region. Paisas are welcoming and proud of their customs and their land.

The musical styles of this region are dominated by string instruments derived from the Spanish vihuela and the guitar. Tiple and bandola are the most common. Likewise, native wind instruments such as the flauta de caña and percussion instruments can be found. The bambuco and pasillo are the dominant genres in this region although other Andean music genres can be found such as bambuco fiestero, bunde, caña, cañabrava, carranga, copla, danza criolla, porro antioqueño, rajaleña, rumba campesina, fandanguillo criollo, guabina, guaneña, guasca, sanjuanero, torbellino, and vueltas antioqueñas,

b. Caribbean Region

Also known as Atlantic Region, the Caribbean region is adjacent to the Caribbean Sea stretching from the Gulf of Urabá in the west to the Guajira Peninsula in the north east. The Caribbean region is the most septentrional territory in Colombia and in South America, it borders with the Caribbean Sea or Atlantic Ocean. Córdoba, Bolivar, Atlántico, and Sucre are the departments in the Caribbean Region.

Figure 1.5 Colombian Caribbean Region 11

10 Apocope for paisano (countryman).

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This region was inhabited by numerous indigenous tribes prior to the arrival of the Spanish conquistadors. These tribes belonged to the Arwak and the Chibcha linguistic groups. The Caribe, Muisca, and Tayrona indigenous tribes dominated the region. The Sinú tribe, although smaller than the indigenous tribes mentioned above, had also a strong presence in the Caribbean region.12

The Spanish recognized the fertility of the lands and the access to the sea and upon their arrival funded two important cities: Santa Marta in 1524 and Cartagena in 1525. Many indigenous tribes decimated quickly after the arrival of the Spanish colonists. They died due to unknown diseases brought by Europeans and many others were killed or forced to labor in gold and precious stones mines that the Spaniards created to extract these minerals.

The need for more hand labor became imperative so the Spaniards started bringing slaves from Africa. The African slaves brought to Colombia during the second half of the 16th century were from West Africa and belonged to the Bantu, Yoruba, and Dahomeyan cultural groups who were settled in today’s Senegal, Gambia, Ivory Coast, Mali, Angola, Mozambique, and Guinea. 13 Cartagena became one of the most important ports in the new world and a center for the trade of slaves, gold, and precious stones.

Racial mixture in the Caribbean region was inevitable given the conjunction of the three racial groups: Spanish, indigenous tribes, black African slaves, and different possible mixtures: mestizos (Europeans and Natives), mulatos (European and African), and zambos (African and Natives). With the independence in 1819 and the abolition of slavery in 1821, the three groups had the opportunity of interacting more freely and the African and native groups had a better chance not only to preserve and practice their cultural expressions but also to share them with one another. Amerindian flutes, African drums and rhythm patterns, and Spanish text, dance attires and instruments started to interact.

11 https://colombiapatrimoniocultural.wordpress.com/region-caribe/ accessed 22 February 2016. 12 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 27. 13 Ibid. 42.

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In addition to porro, there are many other genres from the Caribbean region: chalupa, champeta, chandé, cumbión, bullerengue, décimas, fandango, gaita, lumbalú, mapalé, maya, merecumbé, pajarito, parrandí, pilón, pompo, puya, son sabanero, son palenquero, tambora, and tamborito.

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CHAPTER II BAMBUCO AND PASILLO: TRADITIONAL GENRES FROM THE COLOMBIAN ANDEAN REGION

HISTORICAL BACKGROUND

BAMBUCO The periods in which Jorge Añez,14 a Colombian singer, composer, author, and researcher of bambuco, classifies the history of song in Colombia can also be applied to the history of bambuco. The Formative Period (until 1837) takes into account the first documented appearance of the word bambuco until it starts being recognized as one of the national styles by the Colombian society. The documented appearance of the word bambuco appeared in a letter that the 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 that the Cauca region had to offer along with its landmarks. The bambuco identification as one of the main national genres occurred in the final battle of Peru’s War of Independence on December 6, 1824 in Ayacucho, Peru. Colombian Voltigeros15 charged against the Spanish army while their regimental band played bambuco. These are the beginnings of bambuco as a genre with nationalistic connotations because 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. The emergent period (1837-1890) covers the establishment, recognition, and acceptance of bambuco alongside with traditional European styles such as waltz and polka. According to Jorge Añez, “an early record of the bambuco beyond Colombian borders was recorded as the “famous bambuco” in Guatemala in 1837”.16 One of the first known iconographic representation of bambuco appeared in 1845 in Raquira, a

14 Varney, John. “An Introduction to the Colombian "Bambuco." Latin American Music Review / Revista de Música Latinoamericana 22, no. 3 (Autumn - Winter, 2001): 128. 15 Division of the Independence Army of the Gran Colombia (Great Colombia) , a territory that encompassed Colombia, Venezuela, Ecuador, Panama, Peru, northern Guyana and northwest Brazil. 16 Añez, Jorge. “Canciones y Recuerdos” (Bogotá: Imprenta Nacional, 1951), 23.

Texas Tech University, David López, May 2016 municipality of the Department of Boyacá, in a watercolor painted by Edward Walhouse Mark entitled “Indios bailando bambuco” (Indians dancing bambuco). The acceptance of bambuco in Bogotá can be seen in the painting “El Bambuco- Bogotá” by Ramón Torres Mendez in 1951 in which a couple with formal attires dancing accompanied by an ensemble consisting of violin, tiple, and clarinet (see Fig. 1.11).

In only thirty-two years after its first documented appearance, the bambuco became a well-established genre in Colombia. In this period, bambuco also made its way to concert halls and was mentioned by Jorge Isaacs, one the most important writers of the romantic period of Colombian literature, in his novel “Maria” (1867). Several famous composers of bambuco emerged during this period. Pedro Morales Pino (1863-1826) was one representative composer not only for bambuco, but also for pasillo and danza. In 1890, Morales Pino started composing in styles from the Colombian folklore using standard western compositional techniques. Morales Pino also created the estudiantina “La Lira Colombiana”, a group with up to16 musicians that toured Central America and the United States at the end of the 19th century playing traditional Colombian genres such as bambuco and pasillo. Morales Pino is considered as the person that improved the 17 bandola, a string instrument widely used in these two genres.

Figure 2.1 El Bambuco, watercolor by Ramon Torres Mendez 18

In the golden age period (1890-1930), the bambuco became predominant in Colombia and was established as the musical genre to represent the national Colombian identity. While Morales Pino was on tour with “La Lira Colombiana” whose most

17 Varney, John. “An Introduction to the Colombian "Bambuco." Latin American Music Review / Revista de Música Latinoamericana 22, no. 3 (Autumn - Winter, 2001): 129. 18 http://www.banrepcultural.org/node/32596 accessed 29 February 2016.

Texas Tech University, David López, May 2016 important performance occurred at the Buffalo Exposition in 1901, Bogotá was experiencing an intense cultural life which earned it the label of the “Athens of South America”. Bambuco was also being composed and played in other parts of the country. The publication of the first published bambuco “Las Brisas del Pamplonita” by Elias Soto took place in this period, the first phonographic recordings made in Mexico appeared, and the popularity of this genre in South America led to arrangements of bambuco in other Latin-American genres. In the 1920s, bambucos were used as music for silent films and were also broadcasted on the radio.19 The contemporary period (1930 onwards) is characterized by the decline of bambuco. Two factors contributed to this: the lack of a solid recording industry in Colombia and the raise in popularity of other South American traditional genres such as the Argentinean tango. The bambuco, however, underwent some modifications in the 1940s. The bambuco fiestero, a hybrid of bambuco and Cuban rumba, was created by famous composers such as Emilio Sierra and Milciades Garavito. This was the period in which the porro from the Atlantic coast elevated its status to a national genre and this led to the establishment of the Colombian recording industry that helped the bambuco to be recorded in Colombia.20 In the 1960, the first musical festival dedicated to bambuco was created in Neiva, capital city of the department of Huila: the national Festival del Bambuco. This festival has a signature bambuco fiestero called “El Sanjuanero” composed by Anselmo Durán in 1936 which became a staple of the Colombian music. In 1974, the Mono Nuñez21 festival was created in Ginebra, Valle del Cauca. This festival is dedicated to foster the traditional genres of the Andean region and selects twelve vocal and twelve instrumental works to be assigned to the finalists so they can arrange and rehearse them for the final rounds. Each year since 1997, the festival pays homage to one composer selected among the most influential composers of the genre.

19 Varney, John. “An Introduction to the Colombian "Bambuco." Latin American Music Review / Revista de Música Latinoamericana 22, no. 3 (Autumn - Winter, 2001): 135. 20 Ibid, 137. 21 For more information about this festival visit: http://funmusica.org/paginas_menu_principal/festival/historia/historia.html

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The Colombian Andean music experienced a rise in popularity 1970s and 1980s and was consolidated as one of main representatives of the Colombian traditional culture. Important Colombian composers in the western practice such as Blas Emilio Atehortúa and Julio Gentil Albarracín Montaña included stylized forms of bambuco in their compositions. A new festival, the Festival Hatoviejo-Cotrafa, appeared in 1987. With the appearance of organized wind band programs such as the “Plan Departamental de Bandas” in Antioquia, and similar programs in other departments of Colombia in the 1980s and 1990s, the Colombian Andean Music was included in the repertoire of wind bands both as a pedagogical tool to teach young musicians to read music and also as a way to preserve the tradition of these autochthonous genres. In 1997, the Colombian Cultural Institute Colcultura created a competition for musical arrangements of bambuco in instrumental, vocal, and symphonic categories showing a governmental effort to preserve and foster traditional Colombian genres. Today, the bambuco is considered a national icon, but it is suffering the loss of popularity among the new generations that are more attracted to foreign music such as pop, rock, hip-hop, reggaeton, and bachata.

PASILLO Pasillo is one of the most generalized traditional genres in Colombia because there are few Colombian composers who have not composed a vocal, instrumental, or a mixture of vocal and instrumental piece that does not follow the melodic, rhythmic, and harmonic parameters of pasillo.22 The word pasillo (small step) is the diminutive of the Spanish word paso (step) and it was used by dancers to indicate smaller steps than those used in other dances such as the European waltz. In fact, pasillo is a derivation of waltz that in the times of independence was called “vals al estilo de país” (waltz in the style of the country) and that was twice as fast as the traditional waltz which made it more appealing to dances that found more possibilities for expression and choreography. The Colombian pasillo went through a change period in which it was influenced by other traditional Colombian genres

22 Castrillón Montoya, Hernán Darío. “El pasillo forma y estilo: guía para el análisis de la formación musical”, Medellín, 1997, 25.

Texas Tech University, David López, May 2016 from the Andean region such as bambuco and torbellino. This was especially true in the vocal pasillos which were performed slower so the singers could use fermatas and rubato in their phrasing. This contributed to a more lyrical character to the text lines that expressed happiness, sadness, or love for a mother, a woman or the land.23 The origin of the pasillo is closely attached to the origin of the bambuco. Since it is also both a vocal and an instrumental genre and a genre from the Colombian Andean region, the division of the history of Colombian song by Jorge Añez that was explained for bambuco can also be applied to pasillo. Pasillo became popular among the aristocratic classes of Santa Fé de Bogotá that were looking for a dance that was appropriate for their social status since they wanted to separate themselves from dances such as bambuco and guabina adopted by the popular classes. They looked to the waltz, the most popular genre in Europe in the first half of the 19th century, and through a process of creolization the pasillo appeared as a Colombian derivation of its European source. Hernán Darío Castrillón Montoya proposes some examples of European music where rhythmical and harmonic features of pasillo can be found: En el caso particular del pasillo, se ha de analizar como primer elemento de juicio, la influencia que ha tenido de la música europea del siglo XIX y XX. Son varios elementos los que nos pueden ilustrar dicha influencia: El Scherzo del cuarteto OP. 59 de Beethoven, que es un pasillo en su estructura y estilo de forma musical; la danza húngara No. 6 de Johannes Brahms, es también un ejemplo en el cual se puede apreciar la “candencia” en la línea melódica, tipo pasillo colombiano. Lo mismo sucede en algunas polonesas de Chopin y el Scherzo del cuarteto No. 2 de Tchaikovski. Todo esto demuestra el origen altamente culto y la influencia que ha recibido nuestro aire de pasillo. Y finalmente agrego que en las “variaciones sinfónicas” de Cesar Frank, año 1885, hay un pasillo.24

In the particular case of pasillo, it is to be analyzed as first important element, the influence that the European music of the 19th and 20th century has had. There are several examples that can illustrate said influence. Beethoven’s Scherzo from the string quartet Op. 59 which is a pasillo in its structure and musical form; Brahms Hungarian dance no. 6 in which a good example of the “cadence” in pasillo-like melodic lines can be appreciated. The same happens in some of Chopin’s polonaises and Tchaikovsky’s Scherzo in the Quartet no. 2. All of these examples

23 Castrillón Montoya, Hernán Darío. “El pasillo forma y estilo: guía para el análisis de la formación musical”, Medellín, 1997, 26. 24 Ibid, 28.

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demonstrate the cultured origin and the influence that our air pasillo has received. Finally, I consider that there is a pasillo in Cesar Frank’s Symphonic Variations.

Pasillo was widely used in the social context of the Colombian Andean region. From the period of independence until the 1960s, the pasillo dance was part of every social celebration and every class. The pasillo dance was meant to be danced by couples. The man grabbed the woman by the arm, which generated all sorts of controversy at the time because it was not customary to dance closely in other “hall” genres such as contradanza, minué, and rerigodón.25

INSTRUMENTATION

STRINGED INSTRUMENTS

The Colombian Andean region instrumentation features mainly string instruments that can be plucked and strummed. In the case of bambuco and pasillo, guitar, tiple, and bandola are the stringed instruments that contributed to the evolution of these two traditional genres. There is a beautiful symbiosis here: the stringed instruments contributed to the evolution of the music, but as the music developed, the instruments also went through modifications creating autochthonous Colombian instruments derived from European ones. The guitar is the traditional European six-string instrument. It is a very common instrument in Colombian folk music and is traditionally used as an accompaniment instrument. The performer usually plays the bass lines on the lower strings followed by three note chords or more depending on the harmony on the higher strings.26

a. Tiple

The tiple is probably the most characteristic 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 that allows for the

25 Ibid, 29. 26 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 84.

Texas Tech University, David López, May 2016 instrument to be played with a “rasgeo” technique involving striking and damping which produces a marked percussion effect. It is used both as a harmonic and melodic instrument and its twelve strings produce a sound that can be comparable to that of the harpsichord. The tiple is a direct descendant of the Spanish four-string vihuela brought by the colonists in the 16th century. It later went through several modifications such as reducing its size and putting three strings in each course to become an autochthonous Colombian instrument. The tiple is similar to a guitar in shape and it shares the tuning of the four upper strings of the guitar d' g' b' e''.27

Figure 2.2 Colombian tiple 28

Figure 2.3 Tiple pitch distribution 29

27 Ibid, 84. 28 http://www.luth.org/back_issue/al081-084/al082.html accessed 2 March, 2016. 29 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 85.

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b. Requinto

Also known as the “tiple’s little brother”, it is a ten-string instrument derived directly from the tiple. The requinto has a brighter sound than the tiple and is used for the execution of melodies in ensembles such as trios, quartets, and estudiantinas. It has almost the same tuning as the tiple only it does not have low – octave strings in the last two courses.30

Figure 2.4 Colombian requinto 31

Figure 2.5 Requinto pitch distribution 32

c. Bandola

30 Ibid, 85. 31 http://www.fundacionbat.com.co/interna.php?ids=109&id=570 accessed 5 March 2016. 32 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 85.

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It 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 four courses of three strings each that is directly related to the Italian mandolin. In the 1880s, Diego Fallón, a musician and engineer from Bogotá, added a fifth course with two strings and Pedro Morales Pino added one more course with two strings in 1895 giving birth to the twelve-string bandola that musicians use nowadays. It is tuned in perfect fourths with two strings instead of three in the four upper courses. The bandola is used in the execution of melodic lines, arpeggios, and chords providing the player with the possibility of playing virtuosic, lyric, and fast passages. The bandola is widely used in Andean music such as bambuco, pasillo, torbellino, and contradanza. Proficient bandola players are also able to use it also as a harmonic and rhythmic instrument. It is used in ensembles such as trios, quartets, and estudiantinas.33

Figure 2.6 Andean bandola 34

Figure 2.7 Bandola pitch distribution 35

33 Ibid, 86. 34 http://www.bandolitis.com/blog/primer-encuentro-nacional-de-la-bandola-andina-colombiana accessed 3 March 2016.

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WIND INSTRUMENTS

a. Flauta de caña

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 an instrument that is also used in the Pacific region of Colombia. This flute is made of a cane which is pierced with a hot iron rod and is played sideways like a transverse flute. It is pitched diatonically and the most common pitches are C, D, G, and A. This instrument is a legacy of the Amerindian tribes of the Colombian Andean region.36

37 Figure 2.8 Flauta de Caña

b. Quena

The quena, an indigenous instrument from the Inca culture of modern Peru, Bolivia, and Ecuador, arrived in Colombia by cultural exchange prior to the arrival of the Spanish conquistadors in 1492. Traditionally made of totora cane, the quena is a vertical flute that has six finger holes and one thumb hole. When totally closed, it produces a diatonic scale and when partially closed, it produces semitones. They usually come in different keys

35 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 86. 36 Ibid, 88. 37 http://www.artesanum.com/artesania-traversa_de_cana-44980.html accessed 3 March 2016.

Texas Tech University, David López, May 2016 especially the keys of C, D, G, and A with their relative minor scales A, B, E, and F# minor, very common keys in music from this region.38

Figure 2.9 Quena 39

c. Zampoña

Zampoña is a native name for the pan flute, a group of musical instruments based on the closed tube principle with multiple lengths that produce different pitches that are present in several cultures in the world. The zampoña is a legacy 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 which share cultural traits with the Inca culture from Peru and Bolivia. It used for a variety of folk music including the bambuco nariñense. It can be heard in a famous interpretation of La Guaneña by Omar Florez de Armas, a tune that traditional song from the southern region of the Colombian Andes traditionally performed in bambuco form and that said to be one of the favorite songs of the independence hero Simón Bolivar and that was used during the independence war against Spain in the 19th century.40

38 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 90. 39 http://baileseinstrumentosdechile.blogspot.com/p/instrumentos-musicales.html accessed 5 April 2016 40 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 90.

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Figure 2.10 Zampoña 41

PERCUSSION

Percussion instruments are used in a variety of traditional ensembles such as the chirimia and not so much in the string trio or the estudiantina settings.

a. Tambora (bombo) and Tambor (caja, redoblante)

The tambora (see page 33) and tambor (snare drum) are characteristic instruments used in bambuco and pasillo. The tambor has a smaller body and a higher pitch than the tambora and it has snares attached to the bottom which give it the timbre equivalent to a snare drum. It is played only on the upper side and on the wooden rim.42

Figure 2.11 Tambor 43

41 http://historiadosinstrumentos.tumblr.com/ accessed 3 March 2016. 42 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 91. 43 http://www.banrepcultural.org/musica/coleccion-de-instrumentos/membranofonos accessed 3 March 2016.

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b. Percusión menor or small percussion

Many small percussion instruments are used in traditional genres from the Andean region in Colombia such as bambuco, pasillo, torbellino, and contradanza.

The most common idiophones are pandereta or tambourine of Spanish descent used by the estudiantina ensemble; maracas made of dried pumpkins and filled with seeds or pebbles; guacharaca or raspa; carrasca (or güiro depending on the region), a dried pumpkin with a serrated surface that is struck or scrapped with a metallic scraper called trinche; esterillas which consist of small canes tied together with a rope and held by both hands that produce a wooden sound when they are rubbed together; cucharas , a pair of wooden spoons that are held with one hand and are placed so they hit each other; carraca or quijada, a donkey or horse jawbone that is beaten or rubbed with a stick; guacho or guache, a cylindrical rattle made of dried elongated pumpkin or thick cane filled with pebbles or dried seed, it is sealed in both ends and it is played by shaking and undulating movement by both hands or one hand; mates or chuchos made with half of a pumpkin filled with dried seeds or pebbles and covered on one end with a cloth; finally, puerca, an elongated pumpkin covered with skin and crossed by a waxed stick that produces a squeak like a pig (puerco in Spanish) when the stick is rubbed.44

Figure 2.12 Cucharas 45

44 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 92. 45 http://www.monografias.com/trabajos68/region-andina-colombia/region-andina-colombia2.shtml accessed 3 March 2016.

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Figure 2.13 Carraca 46

c. Piano

Hernán Darío Castrillón Montoya advocates for the inclusion of the piano as one of the instruments used for the interpretation of the genres from the Colombian Andean region. Castrillón Montoya argues that there are two main reasons for this: the fact that a large number of compositions have been written for piano due to the “hall music” period in which Colombian music was taken to the concert halls and social events and also the fact that most of the most famous composers of Colombian Andean music played piano and, therefore, composed for this instrument. Some of the most important composers for piano are Guillermo Uribe Olguín, Antonio María Valencia, Francisco Cristancho, Luis Antonio Calvo, Carlos Vieco Ortiz, Manuel J. Bernal. Renowned pianists are Elvia Mendoza, Oriol Rangel, Ruth Marulanda, Teresita Gómez, and Iván Uribe. 47

ENSEMBLES

a. Chirimía

The chirimía ensemble is most common in the western and southern areas of the Colombian Andean region. This ensemble is more associated with the Pacific region but this does not mean that it is not common in the Andean region as well. The Andean chirimía generally consists of two flutes, referred also as chirimia or flautas de caña, and

46 Ibid. 47 Castrillón Montoya, Hernán Darío. “El pasillo forma y estilo: guía para el análisis de la formación musical”, Medellín, 1997, 31.

Texas Tech University, David López, May 2016 percussion instruments most commonly tambor, tambora, maracas, guacharaca, and güiro. They usually perform bambucos, pasillos, torbellinos, and cotradanzas.48

The music performed by the chirimía is melodic and rhythmic, with a harmonic context given by the melodic lines of the flutes A good example of chirimía can be heard in the YouTube reproduction list49 called “Flautas Campesinas del Cauca Andino” featuring pasillos such as “Me Voy Con Mi Negra”, “Pasillo Sotelo”, “Pasillo Rosaleño”, “La Gallinita Saliendo Del Nidito”, and bambucos such as “Mi Rancho Grande”, “La Caquioneja”, and “El Pájaro Amarillo.”

50 Figure 2.14 Chirimia ensemble

b. Colombian string trio

The basic Colombian string trio consists of bandola, tiple, and guitar but some variations of this ensemble can include requinto or double bass. In comparison with the classical European string trio, in the Andean trio the guitar would play the role of the cello, the tiple that of the viola with a harmonic role and the bandola or requinto that of the violin.51

48 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 89. 49 https://www.youtube.com/playlist?list=PLMCIHUI48X8QGsGgAU_YRyiWRVw2coQvV accessed 4 April 2016 50 http://www.territoriosonoro.org/CDM/acontratiempo/?ediciones/revista-13/artculos/chirimia.html accessed 5 March 2016. 51 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 88.

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The performance of the trio “Espíritu Colombiano” featuring the pasillos “Mis cucuruchos,” and “Que vaina” and the bambucos "Alejandro” and “Dinamita” is a good example of the sonority of the Colombian string trio.52

53 Figure 2.15 Colombian string trio ensemble

c. Estudiantina

The estudiantinas are larger ensembles that come from the expansion of the string trio by increasing the numbers of bandolas, tiples, and guitars to form sections. In addition to these sections, estudiantinas also include violoncello or double bass and other melodic European instruments such as clarinet, violin, flute, and trumpet. Small percussion instruments such as pandereta, maracas, guacharacas, and chuchos might also be included.54

The estudiantina “Melodías de Colombia” represents a good example of the traditional sound of this type of Andean ensembles. 55

52 https://www.youtube.com/watch?v=s0Q78DU3VEI accessed 4 April 2016 53 http://www.territoriosonoro.org/CDM/acontratiempo/?ediciones/revista-23/que-est- sonando/agrupaciones-de-cuerdas-andinas-en-antioquia-dilogo-entre-las-tradiciones-populares-y- academicas-197.html accessed 5 March 2016. 54 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 88. 55 https://www.youtube.com/playlist?list=PLBdzXBcUlXUQuAQsTufBSHS_DXjkdlTzz accessed 4 April, 2016

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Figure 2.16 Colombian estudiantina 56

d. Other ensembles

Other ensembles such as symphonic orchestras, wind bands, and chamber groups often include Colombian music in their programs not only from the Andean region but also from all the other regions. Important Colombian symphonic orchestras such as Orquesta Sinfónica Nacional de Colombia, Orquesta Filarmónica de Bogotá, and Orquesta Filarmónica de Medellín have recorded arrangements for symphonic orchestra of bambucos, pasillos, porros, cumbias, joropos, and other Colombian genres.

The importance of the wind band movement in Colombia as an advocate for Colombian music cannot be overstated. Since the introduction of the wind band format in Colombia at the beginning of the 19th century for political and military reasons, the wind bands have incorporated 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 along with European music such as waltzes, polkas, and adaptations from operas, suites, and symphonies.

With the appearance of the Plan Departamental de Bandas (1978) in the department of Antioquia, the first department in Colombia to carry out this model, wind bands were

56 http://laplataforma.net/?parent_sec=162&pag=1340 accessed 5 April 2016.

Texas Tech University, David López, May 2016 created in many municipalities of the department and music directors were appointed to teach music at a more 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.57

Figure 2.17 Banda de Música de Ciudad Bolívar, Antioquia 58

THE TUBA IN BAMBUCO AND PASILLO

The tuba began to be used in bambuco and pasillo via the wind band movement. It is generally used as an accompaniment instrument highlighting basic rhythmic patterns of these two genres and common harmonic progressions in western popular music such as I-V-I, I-IV-V-I, i-V- i, i-IV-V-i, and other variations of these basic progressions. The following examples were taken from extant compositions and arrangements for band and constitute original samples of bambuco and pasillo scoring for tuba.59 These bambuco rhythmic patterns are common in the accompaniment role of the tuba and are written in 6/8 but with a marked 3/4 feel:

57López 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. 58 http://bandaciudadbolivar2009.blogspot.com/ accessed 7 March 2016.

59 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/

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Figure 2.18 Bambuco rhythmic patterns of Espejos for band by Andrés Acosta 60

Figure 2.19 Picture of bambuco rhythmic patterns of Varykunia for band by Rubian Zuluaga61

Figure 2.20 Bambuco rhythmic patterns of Añoranza for band by Nestor Herrera62

60 http://celebralamusica.mincultura.gov.co/ver/descargas/partituras/banda/ accessed 3 February 2016. 61 Ibid.

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These pasillo rhythmic patterns are common in the accompaniment role of the tuba and are in 3/4:

Figure 2.21 Pasillo rhythmic patterns of Marca Pasos for band by Jonny Pasos 63

Figure 2.22 Pasillo rhythmic patterns of Pesares by José Barros and arranged for band by Ruben Darío Gómez 64

62 Ibid. 63 Ibid. 64 Ibid.

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Figure 2.23 Pasillo rhythmic patterns of Rio de Oro by Luis Francisco Soto Márquez65

65 Ibid.

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CHAPTER III PORRO: A MUSICAL GENRE FROM THE COLOMBIAN CARIBBEAN HISTORICAL BACKGROUND 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 did not have music for them. This was the time when several cultural manifestations started to mingle and become one; the European component, the African culture brought to Colombia by the slave trade, and the native South American tribes. They did not have instruments to make music but they really needed to overcome the hardships of the times. They created flutes and gaitas from canes from the swamps, they created drums with trees and animal skin and soon they started making music. ” 66

This is the origin of rich musical genres such as cumbia, gaita, puya, mapalé, and porro. There still a debate as to the most predominant cultural trait in these genres because in order for researchers to get information about the origin of this music, they have to rely on the uncertainty of oral culture. The two most important researchers from the department of Cordoba have failed to agree about the origin of porro. Guillermo Valencia Salgado states that the root of this genre should be traced back to the African Culture, especially, the Yoruba tradition. Valencia Salgado also affirms that the origin of porro can be linked to the Cuban Santeria and that any of the Neo African styles come from the Yuka tradition that derives from the older calenda or caringa in the times of slavery. 67

William Fortich, an academic and researcher of porro, argues that the origins of porro can be found in indigenous gaitero68 groups. Despite this technical disagreement on the origin of porro, both researchers agree on its popular origin. Porro began to be performed in outdoor town parties. These festivities were organized by farmers that decided to break the routine of an agrarian town with an economy of subsistence for several consecutive days to dance day and night.

66 Lotero Botero, Amparo “El porro: de las gaitas y tambores a las bandas de viento” Boletín Cultural y Bibliográfico, Vol. 26. núm. 19. 1989. 67 Ortiz, Fernando. “La africanía de la música folclórica de Cuba.” 68 Gaiteros are people who play gaita, an indigenous instrument made of cane.

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The bailes cantaos (sung dances) are also part of these festivities. Bailes cantaos were dances accompanied by drums playing the metric and by the clapping of the dancers. A choir sung a refrain responding to verses improvised by a soloist, usually a woman. These soloists were professional improvisers that traveled from town to town. Valencia Salgado affirms that “bailes cantaos” mixed with gaitero groups and European cultural expressions resulted in genres such as porro, fandango, cumbia, gaita, and puya.69

INSTRUMENTATION This section does not intend to be an exhaustive itemization of every instrument used in porro and other genres but rather a sample of their ethnic origin: Amerindian, African, and European.

WIND INSTRUMENTS The gaita and caña de millo first appeared among Amerindian tribes located in the Atlantic Coast of Colombia.

a. Gaitas

The gaita is made from a hollow cane or cactus and is played like a flute. It resembles a rustic oboe 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 come on pairs. The gaita hembra (female instrument) is in charge of the melody and of establishing the general form of the piece, whereas the gaita macho (male instrument) has a more limited range and its function to play bass not in

69 Fortich, William, Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras (Colombia: Domus Libri, 1994), 9.

Texas Tech University, David López, May 2016 consonance with the melody and it creates the rhythmic patterns of the piece being performed. 70

Figure 3.1 Gaita macho and gaita hembra71

b. Flute or Caña de millo

The caña de millo is a mixture between a flute and an oboe. It is a hollowed cane not longer than 11.8 inches. It is played like a traverse flute but it has a reed carved in on one of the ends. Millo is the name of the wood preferred by the makers of these flutes. It produces pentatonic scales and it plays the melody and determines the form of the piece.72

Figure 3.2 Reed of the caña de millo 73

70 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 43. 71http://solar.physics.montana.edu/munoz/AboutMe/ColombianMusic/NaturalRegions/Caribe/Espanol_Cu mbia.html accessed 22 February 2016. 72 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 47. 73http://solar.physics.montana.edu/munoz/AboutMe/ColombianMusic/NaturalRegions/Caribe/Espanol_Cu mbia.html accessed 22 February 2016.

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Figure 3.3 Caña de millo 74

PERCUSSION 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 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.

a. Alegre and llamador

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. 75

74http://solar.physics.montana.edu/munoz/AboutMe/ColombianMusic/NaturalRegions/Caribe/Espanol_Cu mbia.html accessed 22 February 2016. 75 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 48.

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Figure 3.4 Alegre and llamador76

b. Tambora

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 instrument.77

Figure 3.5 Tambora78

76 http://jonathangutierrez2medio.blogspot.com/2013_03_01_archive.html accessed 22 February 2016. 77 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 49. 78 http://tolima-musical.co/musical/instrumentotambora accessed 22 February 2016.

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c. Maracón or maraca costeña

The maracón is similar to the popular maraca. It is two or three times bigger that 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 melody.79

d. Guacho, Guache, or Guasá

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 shaking and undulating movement by either both hands or one hand (see figure 1.7)80.

81 Figure 3.6 Maracón Figure 3.7 Guache82

c. Guacharaca, Güiro, and Güira

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

79 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 51. 80 Ibid, 52. 81 http://xatale9495.blogspot.com/ accessed 22 February 2016. 82 http://www.colombiaaprende.edu.co/html/etnias/1604/articles-83197_archivo.pdf accessed 22 February 2016.

Texas Tech University, David López, May 2016 of tin. The guacharaca is the Colombian version of the güira made of a thin, elongated pumpkin. 83

Figure 3.8 Picture of guacharaca and trinche 84

Figure 3.9 Amerindians playing gaita and tambora85

The sounds of the “Gaiteros de San Jacinto” in their recording “Un Fuego de Sangre Pura” 86 depict the characteristic sound of the autochthonous instruments of the Caribbean region.

83 Ibid, 52. 84 http://digitalstamp.suppa.jp/musical_instruments/colombia.html accessed 22 February 2016. 85 http://www.elheraldo.co/tendencias/la-gaita-se-reinventa-201011 accessed 22 February 2016. 86 https://www.youtube.com/watch?v=Dcos-vaMGdg accessed 4 April 2016

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WIND BANDS The wind bands appeared in Colombia in the twentieth century and they soon started to replace the native instruments made by African slaves and native Amerindians with clarinets, trumpets, baritones, and snare and bass drums, all from European origin. William Fortich in his book “Con bombos y platillos: origen del porro, aproximación al fandango y las bandas pelayeras” quotes Javier Ocampo López, a Colombian Historian and Folklore expert:

La revolución musical el invento de los instrumentos de vientos y caña se presentó en los siglos XVII y XVIII en la música del occidente, cambió casi por completo las formas de interpretación de la música popular de los pueblos, los cuales fueron cambiando sus chirimías y conjuntos por pequeñas bandas de música.” 87

The musical revolution with the invention of woodwind and brass instruments in the 17th and 18th century for western music, changed almost completely the way of interpreting popular music in towns which changed their chirimías and musical groups for small wind bands.

Figure 3.10 Gaiteros de San Jacinto 88

While farmers had outdoors festivities, landowners and aristocrats had fun in halls dancing European styles such as mazurkas and polkas played by brass bands with

87 Fortich, William, Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras (Colombia: Domus Libri, 1994), 39. 88 http://lagaitadesanjacinto.blogspot.com/ accessed 22 February 2016.

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European instruments. 89 The wind bands did not limit their repertoire only to porros and cumbias but they also could be heard during parties of the rich classes of the Colombian Caribbean Coast or Atlantic Coast playing European genres such as waltzes, polkas, mazurkas, and foxtrots. William Fortich affirms:

Por lo menos dos factores son responsables de esta modificación:

1. La superioridad técnica de los instrumentos metálicos de origen europeo desplazó a los instrumentos nativos. Su volumen permitió dominar un mayor auditorio y en aquellos se encontraron mayores posibilidades musicales.

2. Razones de orden socioeconómicos ponen en manos del campesino pobre, del trabajador del campo, los instrumentos metálicos, porque la tarea que debe cumplir en corralejas y fandangos es dura. Cinco tardes de toro con sus correspondientes carreras de caballos y fandangos, desde las nueve de la noche hasta el amanecer, es trabajo para hombres acostumbrados a las actividades rudas… el pueblo, con grandes sacrificios, se apropió de las bandas de música. 90

There are at least two factors responsible for this [instrument] modification: 1. The technical superiority of the instruments from Europe was preferred over the native instruments. The loudness of the European instruments allowed for musicians to reach greater audiences and also they found more musical possibilities with them.

2. Socioeconomically driven reasons give poor farmers brass instruments because it is hard work in the corralejas and fandangos. 91 Five bull afternoons with their correspondent horse races and fandangos (festivities) from 9:00 pm until sunrise, this is work for men that are used to physical activities… the town, with great sacrifices, embraced wind bands.

With the wind bands, the costeños (that is what the people from the Atlantic coast are called) recreate the old tambora, gaitas and güaches with the European bass drum, clarinet, and cymbals. The instrumentation of these wind bands started to unify near the

89 Lotero Botero, Amparo “El porro: de las gaitas y tambores a las bandas de viento” Boletín Cultural y Bibliográfico, Vol. 26. núm. 19. 1989,41. 90 Ibid, 41. 91 Corralejas and fandangos are festivities involving bulls, music, and dancing. They are considered a Spanish legacy in the area.

Texas Tech University, David López, May 2016 turn to the twentieth century. In 1913 a merchant named Diógenes Galván Paternina was charged to go to the USA to purchase new instruments for the band at San Pelayo, and after two years returned with new clarinets, trumpets, trombones, and three-valve bell- front euphoniums92. This trip to the USA solidified the traditional instrumentation for the porro and created a place for the euphonium/ baritone 93in the ensemble for the next 100 years.

The bands “9 de Marzo de Laguneta”, “Super Banda de Colomboy”, “Bajera de San Pelayo”, and “Nueva Esperanza de Manguelito” are good examples of the traditional sound of the bandas pelayeras.

Figure 3.11 Banda pelayera94

PORRO PALITIA’O OR PORRO PELAYERO AND PORRO TAPAO The porro palitia’o or porro pelayero is originally from San Pelayo, a small town in the Department of Cordoba in the Caribbean Region of Colombia. William Fortich explains about the structure of the porro palitia’o or porro pelayero:

El porro pelayero tiene básicamente dos partes el porro en sí y la “bozá” que se repite dos o tres veces que se ejecuta la misma obra.

92 Lotero Botero, Amparo “El porro: de las gaitas y tambores a las bandas de viento” Boletín Cultural y Bibliográfico, Vol. 26. núm. 19. 1989, 44. 93 The euphonium and the baritone horn are used interchangeably depending on the availability of either instrument. 94 http://www.eluniversal.com.co/monteria/sociales/finalizo-el-xxxiii-festival-del-porro accessed 22 February 2016.

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La su estructura, el porro en sí, es un dialogo musical que se establece entre trompetas que preguntan, clarinetes y bombardinos que responden, en tanto que en la “bozá” se suspende el dialogo, callan las trompetas y el bombo golpea con el mango de la porra una tablilla que está en la parte superior de este; los clarinetes, siguiendo una idea musical preestablecida, improvisan un discurso musical adornado con figuras que tejen los bombardinos. 95 The porro pelayero basically has two parts, the porro part itself and the “bozá” that is played twice or three times during the piece. The structure of porro is a musical dialogue between trumpets that call and clarinets and baritones that respond while during the “bozá” the dialogue stops, trumpets stop playing and the bombo player hits the wooden part of the bombo with the sticks. The clarinets, playing a preconceived musical idea, improvise ideas embellished by the baritone musical lines.

The porro pelayero features a call and response relation between trumpets, clarinets, and baritones that resembles the call and response structure that was very important in the development of Jazz in the United States.96

Improvisation is a central element of porro pelayero. All instruments improvise during the execution of porro. The improvisations are based on fixed musical ideas. For the interests of this document, it is worth to mention the importance of the baritone and euphonium in the porro pelayero, especially for its virtuoso improvisational lines. About the general structure of porro and the importance of the baritone or euphonium in porro improvisation, William Fortich argues:

The porro has a simple traditional form to help organize the improvisation in the music. 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 euphoniums 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 euphonium accompaniment that is a harmonized version of the original theme. These euphonium countermelodies range from simple repeated melodies to incredible virtuosic solos. The euphonium is the instrument picked to solo with the clarinet because it contrasts the range, and is the only instrument that can match the clarinet's technique. The piece

95 Fortich, William, Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras (Colombia: Domus Libri, 1994), 43. 96 Ibid, 44.

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repeats back to section two, and repeats until the melody is called again to finish the tune. The structure exists for the dancers as well as the improvisation. 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.97

There are two kinds of porro palitia’o: with introduction, which is not meant to be danced; and without introduction. The introduction called “danza inicial” is an element from the aristocratic dances called “bailes de salón” (room dances) which featured nodding and bowing in which couples invite a dance partner, usually engaged couples, to dance the piece. Most of the porros pelayeros have introduction. The porro tapa’o, is a different kind of porro. It is not created in San Pelayo but in the savannah of the departments of Cordoba and Sucre, part Bolivar and north of Antioquia. Improvisation is more limited two or three instruments play the same repeated musical idea as if it was written down while in the porro pelayero instruments are always adding embellishments and improvisational lines to melodic ideas. The porro tapa’o always sounds exactly the same every time it is performed.98

THE TUBA IN PORRO

The tuba has an accompaniment role in porro. Along with the bass drum and the percussion session, it highlights several rhythmical patterns written in C or ₵. The following examples were taken from the official website of the Ministerio de Cultura de Colombia.99

97 Demy, Richard, Sonidos del Sur: Spot on San Pelayo, ITEA Journal 40, no. 4 (Summer 2013), 29-31 98 Fortich, William, Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras (Colombia: Domus Libri, 1994), 44. 99 http://celebralamusica.mincultura.gov.co/ver/descargas/partituras/banda/ accessed 3 February 2016.

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Figure 3.12 Porro rhythmic patterns of Profe for band by Victoriano Valencia 100

Figure 3.13 Porro rhythmic patterns of Estamos Pasando Bueno for band by Armando Ariel Ramírez Marín 101

Figure 3.14 Porro rhythmic patterns of Malala for band by Victoriano Valencia102

100 Ibid 101 Ibid. 102 Ibid.

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CHAPTER IV MUSICAL ANALYSIS OF BAMBUCO, PASILLO, AND PORRO AND THE ROLE OF THE TUBA IN THESE GENRES

This section is intended to explain a brief musical analysis of bambuco with emphasis in rhythm motives, some harmonic aspects and form as well as the identification the role of the tuba in such genres.

MUSICAL ANALYSIS OF BAMBUCO

Andrés Ramón in “Colombian Folk music in an international context” explains:

Due to interplay of instruments, to the rhythmic accents and the melodic phrasing, the bambuco is highly syncopated and polyrhythmic musical style that can be understood as the superposition of meters, namely 3/4 and 6/8 .It can be thus notated either in 3/4 or 6/8 meter, some people even preferring to use a mix notation of 3/4 and 6/8. The issue of notating bambuco with rhythmical clarity, particularly for musicians not acquainted with this musical style and reading from a score has been of great dispute. Presently it has been opted to use primarily the 6/8 notation.103

For the purpose of this chapter, I will list the archetypal bambuco rhythmic patterns and some variations of such patterns and then I will proceed to compare them with three pieces that were arranged or commissioned for my lecture recital and that also will help to explain the different roles of the tuba. Ramón lists the following archetypical rhythmic patterns according to the different ensembles of the Andean region that play bambuco or pasillo:

103 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 95.

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Figure 4.1 Archetypal rhythmical structures in Andean string trio and Chirimia 104

In the next few paragraphs, I will chose excerpts from “San Juan de la Vega”, a piece written and arranged for clarinet and tuba by Alfredo Mejía Vallejo and “Tres Piezas Colombianas” for tuba and piano by John Mauricio Herrera Díaz to demonstrate two different roles of the tuba in bambuco accompanying or playing the melody. In the accompanying aspect of the tuba in bambuco, the tuba is given the role of the equivalent bass rhythmic patterns of the guitar, an instrument that has an accompanying role in this ensemble. At the beginning of “San Juan de la Vega”, the tuba is highlighting the lower notes of the accompaniment of the guitar in the Andean string trio. In the tambora (bombo) part, the tuba is playing the part of the rhythmic pattern that is played on the wood rim of the tambora. Consequently, the tuba is emphasizing the upbeats, a feature that can also be seen in the Viennese waltz. The clarinet has the melody and depicts the same archetypical rhythm shown for the bandola and the flautas de caña shown above.

Figure 4.2 San Juan de la Vega, mm 1-5

104 Ibid, 96.

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The accompaniment patterns in bambuco are always played. A good example of this can be seen in measure 17 through measure 24 of “San Juan de la Vega”, in the B section, the tuba takes the melodic role for 8 measures and the clarinet takes over the accompaniment role with archetypal styles rhythms by the guitar and the tiple.

Figure 4.3 San Juan de la Vega, mm 17-22

In the bambuco from “Tres Piezas Colombianas” for tuba and piano, the tuba is given the melodic role; hence its melodic lines have the characteristic melodic patterns of the bandola in the Andean string trio and the flautas de caña in the chirimía.

Figure 4.4 Tres Piezas Colombianas, tuba score, mm 5-16

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In terms of form, the bambuco has an A-B structure or a Rondo with A-B-C sections with 16 bars per section. “San Juan de la Vega” follows the traditional 16-bar form whereas the bambuco in “Tres Piezas Colombianas” has free form that depicts a Rondo with A-B-C sections. Harmonically, the bambuco follows the patterns I-V7-I, I- IV-V7-I, and I-IV-I-V7-I which is a common trait in other Colombian genres such as porro, fandango, cumbia, and vallenato. A quick harmonic analysis to first eleven measures of bambuco in “Tres Piezas Colombianas” will show a chord progression I – ii2 –V7– I.

Figure 4.5 Tres Piezas Colombianas, piano score, mm 5-12

MUSICAL ANALYSIS OF PASILLO

Pasillo is written in 3/4 and has a basic accompanying pattern as shown below:

Figure 4.6 Basic accompanying pattern for pasillo105

105 Castrillón Montoya, Hernán Darío. “El pasillo forma y estilo: guía para el análisis de la formación musical”, Medellín, 1997, 36.

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This pattern can be played in the bass or as chords. The following examples show this archetypal rhythm for pasillo. In the pasillo section of “Tres Piezas Colombianas” the basic accompanying pattern for pasillo is clearly stated in both the accompaniment of the piano and the tuba melody.

Figure 4.7 Tres Piezas Colombianas, piano score, mm 5-16

The archetypal rhythm for pasillo is shown here in the different accompaniment patterns in small percussion, tiple, and guitar. I will use these rhythmic patterns to determine the role of the tuba in the “pasillo fiestero” section of the “Quartet for clarinet, tuba, vibraphone, and drum set” by Colombian composer Carlos Andrés Restrepo.

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106 Figure 4.8 Pasillo archetypal rhythmical structure and variations

Figure 4.9 Quartet for clarinet, tuba, vibraphone, and drum set, mm 45-50

In “pasillo fiestero”, the tuba has both an accompanying role and a melodic one. The reason for this duality in the tuba part is because this piece was written specifically for a tuba and clarinet duet with vibraphone and drum set accompaniment. This role applies only to “Quartet for clarinet, tuba, vibraphone, and drum set” in which the tuba, normally used as an accompaniment instrument, has a shared melodic and accompanying role with the clarinet. In measures 46 – 48, the tuba accompanies the melodic line of the clarinet using a variation of the basic accompaniment pattern from pasillo that is

106 Ramón, Andrés. “Colombian Folk music in an international context” (master’s thesis, Iceland academy of the arts, May 2010), 99.

Texas Tech University, David López, May 2016 normally played by the guitar or the tiple. The drum set also has a very characteristic pattern that resembles the pasillo archetypal accompaniment pattern in the tiple using the apagado technique (muffled strum) for the snare drum in which the player “drowns” the notes marked by an X.

Figure 4.10 Variations of accompaniment for tiple and drum set

The melodic role of the tuba in this piece can be clearly seen in the following two excerpts. In measures 57- 60 the tuba takes the melodic role and the clarinet accompanies that melody. Like in the bambuco, the basic rhytmical patterns are always accounted for.

Figure 4.11 Quartet for clarinet, tuba, vibraphone, and drum set, mm 57-60

Measures 90 – 94 show the same change of roles between tuba and clarinet.

Figure 4.12 Quartet for clarinet, tuba, vibraphone, and drum set, mm 90-94

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MUSICAL ANALYSIS OF PORRO PALITIA’O

William Fortich explains about the porro palitia’o:

The structure of porro is a musical dialogue between trumpets that call and clarinets and baritones responding while during the “bozá” the dialogue stops, trumpets stop playing and the bombo player hits the wooden part of the bombo with the sticks. The clarinets, playing a preconceived musical idea, improvise ideas embellished by the baritone musical lines.107

The porro palitia’o is a melodic genre with fresh rhythm with room for improvisation. As long as the performer is creative the trumpet, the baritone, the clarinet, and the trombone will each contribute to the musical discourse. The form of porro palitia’o is 70% danza and contradanza. Three basic parts constitute porro palitia’o: danza or introduction, fluid dialogue between the instruments, contradanza and bozá.

Figure 4.13 Danza patterns on cymbals, bass drum, and snare drum108 Carlos Andres Restrepo included this rhythmic pattern in the porro section his “Quartet for clarinet, tuba, vibraphone, and drum set”. The danza rhythmic pattern can be clearly seen in the drum set and the tuba.

107 Fortich, William, Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras (Colombia: Domus Libri, 1994), 43. 108 Valencia, Victoriano, pitos y tambores: cartilla de iniciación musical, Ministerio de Cultura, Colombia, 2004, 41.

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Figure 4.14 Quartet for clarinet, tuba, vibraphone, and drum set, mm 227-238

In the dissertation “la improvisación del bombardino a partir del repertorio tradicional de las bandas del departamento de Córdoba: estudio preliminar para una guía de aprendizaje” 109 by Andrés Hamid Pacheco Tamayo and Rodin Domingo Caraballo Campo, the authors single out common rhythmic patterns in porro palitia’o after the analysis of a considerable number of pieces.

109 Pacheco Tamayo, Andrés Hamid and Caraballo Campo, Rodin Domingo Caraballo Campo, “Riquezas Musicales de la Costa Atlántica”, Universidad de Córdoba. Colombia, 2011).

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Figure 4.15 Common rhythmic patterns in porro palitia’o 110 Some of these patterns can be seen in the porro section of “Quartet for clarinet, tuba, vibraphone, and drum set” in the clarinet score:

Figure 4.16 Quartet for clarinet, tuba, vibraphone, and drum set, mm 190-199

And also in the tuba score

Figure 4.17 Quartet for clarinet, tuba, vibraphone, and drum set, mm 213-217

110 Pacheco Tamayo, Andrés Hamid and Caraballo Campo, Rodin Domingo Caraballo Campo, “Riquezas Musicales de la Costa Atlántica”, (master’s thesis, Universidad de Córdoba. Colombia, 2011), 92-93.

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The bozá in the porro is characterized by a rich dialogue between the clarinet and the baritone. The percussion marks tempo rhythmically and the bombo sound is replaced by the sound of the sticks hitting the wooden part. About the role of the baritone or euphonium in porro palita’o Pacheco Tamayo and Caraballo Campo state:

Entre los instrumentos protagónicos en la improvisación de esta música se destaca el bombardino (algunas veces escrito eufonium o euphonium) instrumento de viento metal que cumple funciones de backgrounds rítmico-melódicos.111

One of the leading instruments in improvisation in porro is the baritone (sometimes known as eufonium o euphonium [Sic.], a brass instrument whose role is to play rhythmic-melodic backgrounds.

The composer Andrés Restrepo included a well written Bozá:

Figure 4.18 Quartet for clarinet, tuba, vibraphone, and drum set, mm 190-199

111 Pacheco Tamayo, Andrés Hamid and Caraballo Campo, Rodin Domingo Caraballo Campo, “Riquezas Musicales de la Costa Atlántica”, (master’s thesis, Universidad de Córdoba. Colombia, 2011), 10.

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Restrepo writes the improvisation-like melody line for the tuba, emulating the way a baritone would improvise while the clarinet plays a repetitive melodic motive and the drum set changes to a more rhythmical line with strokes in the rim of the snare drum and cymbals with the “apagado” technique.

This excerpt also depicts a more melodic role for the tuba, a role that is being explored nowadays by composers that are learning about the flexibility and capabilities of the tuba.

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CHAPTER V CONCLUSION Colombia is a country of contrasts. The climate and landscape, that change almost from town to town, are responsible for strong regional identities with their own cultural manifestations. The tri-cultural history of the country influenced every aspect of it. Music was not an exception. Three components can be found in the origin and instrumentation of bambuco, pasillo, and porro: Pre-Columbian indigenous tribes, European with the arrival of the Spanish colonists, and African with the slavery trade that started in the second half of the 16th century.

The instrumentation from the Andean region and the Caribbean region are diverse but are all connected with common historical traits. The tambora, tambor, guache or guasá are African and they are all used in bambuco, pasillo, and porro. The use of cane in these traditional genres to build woodwinds such as the gaita and the flauta de caña has indigenous and African traits that started being replaced by equivalent European instruments the clarinet and the flute respectively. Guitar, tiple, bandola all stringed instruments are a particular trait from the Andean Region, the gaita is particular trait from the Caribbean region.

The European instrumentation, especially brass, woodwinds, and percussion made their way into the country via military bands. The wind band became an important tradition in the country and the repertoire included traditional European styles such as waltz or polka along with traditional Colombian rhythms. The tuba was given an accompaniment role emulating the patterns played by accompaniment instruments such as the guitar, the tiple, and the tambora, a bass drum used in porro.

However, as the level of execution of the players improved in the country and the interest from composers to write for tuba rose, the tuba started having a more melodic role with pieces that featured an accompaniment/melodic role to the tuba and even a pure soloist role with compositions for solo tuba and piano. This paper attempted to show those different roles using examples of new repertoire as well as gave initial information for the tuba player that wants to attempt these genres for the first time. This paper did not

Texas Tech University, David López, May 2016 intend to be a complete or unabridged research project but rather a personal selection of information that anyone attempting these traditional musical genres should know.

Further research will include in the compilation of Colombian pieces written for tuba as a solo instrument or as part of an ensemble, the creation of an annotated bibliography, and gathering information on the most important performers in the country. I believe that this type of research will bring extended benefits by creating a sense of community that connects tuba players and encourages the exchange of scores and experiences.

It is important to trace the origin of the tuba in Colombia and South America. This endeavor is necessary in the tuba history since the only documented source for tuba history is the book “the Tuba Family” by English musicologist Clifford Bevan. The history of tuba is in need of more diverse views on the history of the instrument. The creation of pedagogical method books aimed for tuba and euphonium using traditional Colombian genres would be a valuable addition to the tuba repertoire.

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BIBLIOGRAPHY

Añez, Jorge. “Canciones y Recuerdos”, Bogotá: Imprenta Nacional, 1951.

Castrillón Montoya, Hernán Darío. “El pasillo forma y estilo: guía para el análisis de la formación musical”, Medellín, 1997.

Demy, Richard, “Sonidos del Sur: Spot on San Pelayo”, ITEA Journal 40, no. 4 (Summer 2013).

Fortich, William, “Con Bombos y Platillos: Origen del porro, aproximación al fandango sinuano y las bandas pelayeras”, Colombia: Domus Libri, 1994.

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).

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

Ortiz Fernández, Fernando. “La africanía de la música folclórica de cuba”. Universitaria, Cuba, 1965.

Pacheco Tamayo, Andrés Hamid and Caraballo Campo, Rodin Domingo Caraballo Campo, “Riquezas Musicales de la Costa Atlántica”, (master’s thesis, Universidad de Córdoba. Colombia, 2011).

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

Rodríguez Melo, Martha Enna, “Música nacional: el pasilloColombiano” https://www.academia.edu/8296909/M%C3%9ASICA_NACIONAL_EL_P ASILLO_COLOMBIANO accessed 3 March, 2016.

Valencia, Victoriano, pitos y tambores: cartilla de iniciación musical, Ministerio de Cultura, Colombia, 2004, 41.

Varney, John. “An Introduction to the Colombian "Bambuco." Latin American Music Review / Revista de Música Latinoamericana 22, no. 3 (Autumn - Winter, 2001).

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APPENDIX A

RECOMMENDED LISTENING One of the purposes of this document is to provide initial information available to tuba players that would like to play bambuco, pasillo and, porro. The listening suggestions in this section are a small sample of some representative pieces of the genre and it is not by any means intended to be a complete account of the repertoire. This repertoire list will help them identify general rhythmic and instrumental features of bambuco, pasillo and, porro. a. Bambuco

Ajen Antioqueñita Callecita Morena Camino y Tarde Canta un Pijao Compañero Cuatro Preguntas El Barcino El Enterrador La Guaneña La Ruana Los Cucaracheros María Manuela Mi Casta Ocañerita Pereira Recuerdos Soy Colombiano

Texas Tech University, David López, May 2016

b. Pasillo

Acíbar en los labios Atardecer El Calavera El Día de la Fuga Esperanza Espumas Humorismo La Gata Golosa Las Acacias Leonilde Lucero y Río Me llevarás en ti Pescador Ruego Señora María Rosa Sin Ti Sombras Tu risa

Texas Tech University, David López, May 2016 c. Porro Palitia’o or Pelayero

El Binde El Estanquillo El Gran Narzo El Pájaro El Pilón El Ratón El Sábado de Gloria El Sapo Viejo El Tortugo Maria Varilla María Varilla No te Tires al Suelo Pedro Julio Porro Viejo Pelayero Siete de Agosto Soy Pelayero