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

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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 Copyright 2016, David López 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. ii 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 iii Texas Tech University, David López, May 2016 CHAPTER V CONCLUSION ...........................................................................54 BIBLIOGRAPHY ................................................................................................56 APPENDIX A .......................................................................................................57 iv Texas Tech University, David López, May 2016 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 v Texas Tech University, David López, May 2016 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 vi 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……….
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