The Art of Performing the Spanish Paso Doble Dr
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The Art of Performing the Spanish Paso Doble Dr. Abel Saldivar Ramirez Throughout my entire one defines “artistic.” With the music that has become a signature professional career, the Paso much appreciated assistance of item during bullfights. As the Doble, or pasodoble, has truly the Stevens High School Wind audience enters the arena and been a mystery to me. Over the Ensemble, Robert Rubio, Director locates their seats, the band will past 20 years, our profession has of Bands and John Dominguez, often play a spirited Paso Doble at experienced a steady decline in the Assistant Director of a faster tempo than performance of Paso Dobles. I can, Bands, the following the one’s to follow. “The Art of however, appreciate why music performance The event then Performing the educators often resist adding Paso practice items will begins with a single Spanish Paso Doble” Dobles to their list of traditional be addressed. trumpeter blowing Monday, July 28 concert program selections. Based a fanfare while the 4:00-5:00 p.m. upon recent and completely I. Historical large gate at one CC Room: 217 unscientific polls that I have References: end of the arena is Clinician: Dr. Abel taken, it has become increasingly (In our quest opened. One or two Saldivar Ramirez evident to me that the absence of to identify bailiffs (alguaciles) Accompanied by the significant resources (historical specific points of ride across the ring John Paul Stevens and performance practice treatises) reference from to the president High School Wind is part of the reason why fewer which informed and tip their hats. Ensemble performances of these musical musical decisions The official thereby treasures are heard. Although can be reached, returns the gesture tracing the origins of the Paso the following items should be and waives a white handkerchief Doble (as they are perceived in considered by the conductor. granting permission for the the modern concert band setting) Although the origins of the “corrida” to officially begin. This is nearly impossible, this exercise popular dance-style of Paso Dobles gesture is acknowledged by a loud is an attempt to at the very least can be traced to motets of the trumpet call. After the “alguaciles” provide the music educator with twelfth and thirteenth centuries, as return to the gate, the “corrida” definitive points of reference from well as Zarzuelas, more practical band performs a dramatic Paso which informed decisions can be references will be addressed) Doble, which is played at a tempo reached. Paso Doble (literal Spanish that reflects and controls the grand The presentation that will be translation: double-step) is a nature of the opening “paseo.” In given during the TBA Clinic/ typical “march-like” musical most Spanish bullfights, there are Convention is entitled: The Art of and dance style performed by a three matadors and six bulls-two Performing Spanish Paso Dobles. couple. The Paso Doble is one of for each matador. The “paseo” In the interest of preserving many Spanish folk dances that are is led by three matadors with all time, let us assume that we are associated with various aspects of of their teams following closely all in agreement in terms of how Spanish culture. It is this style of behind. (More details regarding 27 Bandmasters Review • June 2008 Texas Bandmasters Association The Art of Performing the Spanish Paso Doble the nature of the Spanish bullfight and the music IV. Tempo: performed during these events will be included in the Throughout the history of music, the issue of clinic handout) tempo (and all that it implies) has been one of the most pressing interpretive concerns for the II. Style: performer. While discrepancies in performance are Because not all Paso Dobles were written for often the result of misconceptions, several issues will bullfights (or in honor of famous bullfighter’s), there be addressed in attempt to identify specific points are diverse stylistic issues that should be considered. of reference from which the conductor can draw Some ideas that will be addressed throughout the while making decisions about appropriate tempi. presentation include: For example, some items that a conductor should 1. Definitive attacks that are not too abrupt and consider include: “eloquent” releases. 1. Composer: Who wrote the music? What was 2. Hierarchy of musical lines. the composer’s INTENT!!? Birth place? When was the 3. Length of notes (especially in bass lines), as well music written? Who published the music? When was as notes followed by RESTS. it published? 4. Ensemble Color: Low Reeds (especially during 2. How does choice of tempi affect phrasing? the trio) Expressivity? Style? 5. VIBRATO!! 3. Tempo rubato III. Articulation: This presentation is by no means an attempt to With the assistance of the Stevens High School reveal the “truth” or the “correct way” to approach Wind Ensemble, issues regarding articulation Paso Dobles; rather, it is intended to help the music (especially brass articulation) will be examined. The educator identify points of reference that will allow Stevens High School Wind Ensemble will perform for informed decision-making. I have discovered excerpts taken from well-known Paso Dobles to throughout this investigation that for every answer help make more clear the importance of teaching there exists a multitude of new questions. The beauty appropriate articulation. of music is not in the discovery of a single solution. It is in the risk-taking and experimental nature of the art form itself that motivates us to continue along in our musical adventures. Associate Professor, Co-founder and Conductor-in-Residence of the International Honor’s Wind Symphony, Dr. Abel Ramirez was recently appointed Acting Director of Bands for the University of Illinois, Urbana-Champaign, School of Music beginning in the fall of 2008. Ramirez holds the Doctor of Musical Arts Degree in Wind Conducting from UCLA. During his tenure as the Director of Wind Bands at California State University, Los Angeles, Ramirez served as the Head of the Conducting Division and Chair of the Instrumental Area. Ramirez also served on 6 departmental and university committee’s each year. Throughout his appointment as a Teaching Assistant at UCLA from 2000-2004, Ramirez served as the principle graduate conductor for the UCLA Wind Ensemble and Symphonic Band, both of which he rehearsed and conducted during numerous concert performances. In 2003, Ramirez was appointed Interim-Director of Bands at California State University, Los Angeles. Prior to accepting an invitation to begin graduate study at UCLA, Ramirez enjoyed a successful career as a Texas 5A high school band director. 28 Bandmasters Review • June 2008 Texas Bandmasters Association.