ONLINE AUDIO GUIDE 5.1 MÚSICA VALLENATA Title: “Sin

ONLINE AUDIO GUIDE 5.1

MÚSICA VALLENATA title: “Sin ti” (Without You) subgenre: paseo composer: Náfer Durán (b. 1932) language: Spanish performing forces: accordion (Náfer Durán), lead singer (Ivo Díaz), caja (Daniel Castilla), guacharaca (Maime Maestre), bass (José Vásquez), guitar (Luis Ángel Pastor), congas (Jesús Cervantes), chorus (Eder Manjarrez, Jesús Suarith) form: verse and refrain function: public performance and/or individual enjoyment; expression of costeña identity source:, ¡Ayombe! The Heart of Colombia’s Música Vallenata (Smithsonian Folkways Recordings SFW CD 40546, 2008)

Listen for:

• minor key • quadruple meter (common time) • upbeat • lively tempo • verse and refrain form • close harmony in chorus • recurring motive

Timing Structure and text What happens

Introduction 00:00 accordion has upbeat (subdivided)

congas, guacharaca, caja enter

00:07 accordion introduces and then repeats a descending four-note motive that will recur throughout

Verse 1

00:21 Con mi nota triste vengo a decirle a tu alma bongos establish rhythmic basis lo que está sintiendo mi sincero corazón ya no tengo paciencia, ya no tengo calma melodic interjections in accordion mi vida está triste y sola por tu amor. roll in guacharaca concludes verse

Verse 1 repeats, same words 00: 37 Instrumental interlude 00:48 melody of refrain, introduced in accordion

roll in bongos leads to . . .

Refrain

1:02 Sin ti no puedo estar, mi corazón se desespera singers enter, in close harmony no lo dejes sufrir más porque le duele y se queja.

1:14 Toda la culpa la tienes tu four-note motive heard in the introduction reiterated, now with the words (“it’s all your fault”), solo voice

fleeting ornamentation on the word “tienes”

si lo dejas que se muera. other voices return

1:20 Toda la culpa la tienes tu motive repeats, solo voice si lo dejas que se muera.

Instrumental interlude 1:27 New melodic material, accordion dominates

1:41 Performer exclaims “¡Oyélo, Pilar—con rhythmic basis in percussion, sentimiento vallenato!” guacharaca prominent

1:50 quickening of note values

Verse 2

2:19 Ya yo no siento alegría en mi corazón strong presence of accordion solo vivo triste y pensando en ti mi amante continues y se me hace extensivo este dolor y solo veo que pronto me olvidaste.

Verse 2 repeats, slight changes in lyrics

2:33

Instrumental interlude 2:48 reiterates melody of the refrain

Refrain

3:00 Sin ti no puedo estar, mi corazón se desespera other singers enter, singing in no lo dejes sufrir más close harmony porque le duele y se queja.

3:11 Toda la culpa la tienes tu four-note motive reiterated in

solo voice

si lo dejas que se muera. other singers rejoin

3:17 Toda la culpa la tienes tu four-note motive reiterated in solo voice

si lo dejas que se muera. other singers rejoin

Instrumental interlude 3:24 free, possibly improvised

guacharaca prominent

melody of the refrain restated 4:13 random strummed guitar chord at the end

English translation:

Verse 1 On this sad note, I come to tell your soul what my sincere heart is feeling. I no longer have patience, I am no longer calm my life is so sad and lonely because of your love.

Refrain Without you, I cannot be, my heart is desperate don’t let it suffer any more because it hurts and it laments. The fault is all yours if you leave it to die. The fault is all yours if you leave it to die.

Spoken: Listen to this, Pilar—with vallenato feeling!

Verse 2 I no longer feel happiness in my heart I only live in sadness, thinking of you, my love this pain intensifies, seeing that you forgot me so quickly.

Consider:

• Describe the tempo and rhythmic activity of this selection. How does the treatment of these musical elements correspond to the minor key and the sentiments expressed in the words?

• How would you describe the timbre of the accordion? Do you concur with García Márquez?

• What, in your view, does the repeated four-note motive (first in the accordion and then in the voice) contribute to the impact of this selection? Consider the words (“toda la culpa la tienes tu/it’s all your fault”).

• Listen again to the instrumental interlude beginning at 1:27. At 1:40, the singer exclaims, “Listen to this, Pilar—with vallenato feeling!” Of what do you suppose “vallenato feeling” consists? Be sure to consider relevant elements of music as you formulate your response.

ONLINE AUDIO GUIDE 5.2

ANDEAN WAYNO title: “Cholo orgulloso” (Proud Cholo) composer: Glicerio Agreda language: Spanish performing forces: female singer (La Pallasquinita); two violins, two guitars (one mainly strumming and the other playing the melody with a pick, both with nylon strings) form: strophic, each verse consisting of an (a) and a (b) idea, with a concluding (c) section function: public performance, individual enjoyment; catharsis; expression of Andean identity source: Huayno Music of Peru, vol. 1 (Arhoolie Records CD 320, 1989)

Listen for:

• long-short-short rhythmic pattern repeated throughout, often varied • pentatonic melody • both major and minor chords in accompaniment • upbeat • high tessitura of female voice • intensification at end, some speaking mixed with singing

Uppercase letters stand for longer sections and lowercase letters for subsections.

Note: A lachaquino is someone from the Lachaqui district in the province of Canta, Peru; Llapo is a district in the province of Pallasca, Peru. In the final section, the singer acknowledges her collaborators, the guitarist and the composer, while affirming the community (“race”) of cholos.

Timing Structure and text What happens

Introduction 00:00 opening scale on the melody guitar, violins prominent

strong cadence in a minor key Verse 1

00:14 (a) Un cholito llega a Lima con su ponchito incaico. upbeat

pentatonic melody

00:19 repeat of (a), including words violin plays same notes as in vocal part or rounds off phrases with rapid passagework

00:23 (b) Toda la gente le murmura de su pantalón de lana. some accompanying harmonies in major

00:28 repeat of (b), including words section cadences in minor

Verse 2

00: 36 (a) Al pasar por la parada una gringa así se le dijo same musical features as Verse 1 00:41 repeat of (a), including words

00:45 (b) Sube cholito a mi carro que te llevaré a mi casa.

00:49 repeat of (b), including words

Instrumental interlude, with speaking:

00:57 Salud señores, Torfio Fuertes, lachaquino de pura main melody in violin, in cepa y que viva siempre el distrito de Llapo y sus dialogue with other violin lindas mujeres.

repeat of Verse 2 1:16

Verse 3

1:37 (a) Su patron así le dijo: cholo, sopla la candela same musical features as previous verses 1:42 repeat of (a), including words

1:47 (b) Cómo muchacho inocente no sopla la cocinera

1:51 repeat of (b), including words

Fuga

1:58 (c) Eres cholito valiente, orgullo del continente. sung (c) Que lo sepan que la raza de los cholos es superior. (c) Eres cholito valiente, orgullo del continente. (c) Que lo sepan que la raza de los cholos es superior.

¡Así Nimaira, con gusto rompe esa guitarra! spoken ¡Salud, compadre Gricelio Agreda!

2:12 (c) Eres cholito valiente, orgullo del continente. sung (c) Que lo sepan que la raza de los cholos es superior. (c) Eres cholito valiente, orgullo del continente. (c) Que lo sepan que la raza de los cholos es superior.

2:19 Instrumental parts intensify with repeated notes

quicker tempo

decisive final cadence

English translation (Joel Cohen, slightly modified):

Verse 1. A cholo arrives in Lima with his nice Incan poncho Everyone has something to say about his wool pants.

Verse 2. Upon passing by the bus stop, a gringa [white woman] teases him: “Get in my car, cholito. I’ll take you to my house.”

Spoken interlude. “Greetings, gentlemen. Torfirio Fuertes, a true lachaquino. And long live the district of Llapo and its beautiful women!”

Verse 3. So his boss told him: “Cholo, blow on the candle [fire]: the cook can’t help along a fire the way an innocent boy can.”

Fuga. You are a brave cholito, the pride of the continent. They ought to know that the race of the cholos is superior! That’s it, Nimaira—play the hell out of that guitar. And cheers to you, old friend Gricelio Agreda.

Consider:

• How do you interpret the overall meaning of this wayno? Is the singer being ironic? Encouraging?

• When rural people moved to Lima, they might be criticized for behavior that was perfectly ordinary in the altiplano, such as going barefoot or chewing coca leaves. (Coca is the same plant from which cocaine is made but chewing the leaves in this form affords mild stimulation only.) Why might the newcomer’s wool pants attract notice?

• How does the intensification in the fuga portion complement the words?

ONLINE AUDIO GUIDE 5.3

AFRO-URUGUAYAN CANDOMBE title: Cordon: Candombe Lento performing forces: percussion ensemble of repique (Juan José Quintana “Juancho”), chico (Daniel Abal “Chino”), and piano (Carlos Pintos “Bocha”) form: improvised, although within the norms of the toque function: street celebrations or other group performance, expression of Afro-Uruguayan identity source: Uruguay: Tambores del Candombe (Musique du Monde, Buda Records 92745-2, 1999).

Listen for:

• pitches of drums • ostinato • calls of various drums • wide range of performance techniques (stick on shell of drum, rim shot, slap with hand, strike with stick)

Timing Structure What happens

repique call 00:00 open tones and rim shots

repique strikes shell of the drum with stick

chico and piano establish toque:

chico alternates right and left hands, open tones with stick and open slaps with left hand

piano produces bass tones with left hand, open tones with stick, and closed tones with the stick, dampened by the left hand

piano call and repique variation 00:28 piano plays open tones with stick and strikes shell of drum with stick

repique combines rim shots with open tones and striking stick on shell of drum

chico maintains previously established pattern

piano call to repique and chico 00:41 piano plays open tones with stick

repique plays on side of drum

chico plays on side of drum

piano returns to pattern previously established

piano call for chico to play 00:54 piano plays a series of open tones with stick

chico strikes shell twice with stick and then resumes previously established pattern

repique continues playing on the shell of the drum, piano joins with repique in this technique

repique call to chico and piano to play a new pattern 1:04 repique plays faster note values, rim shots, and open tones

chico plays on shell of drum with stick before resuming pattern previously established

piano plays on the shell with stick

piano call to return to basic toque 1:10 piano plays open tones with stick, then returns to previously established pattern

chico plays previously established pattern

repique plays previously established pattern with slight variations

repique call to end 1:33 repique plays quicker note values and rim shots

chico ends with previously established pattern

piano plays previously established pattern with some quicker note values to conclude

The author thanks Brian Rice for extensive assistance with this guide.

Consider:

• What is the musical effect of an all-percussion ensemble?

• How easy or hard is it to hear the various calls?

• How do you suppose the players know when to end?

• Some contemporary candombe players have added instruments such as electric guitar and saxophone to the ensemble. Is this decision artistically valid? How would it affect candombe’s status as an expression of cultural identity?

ONLINE AUDIO GUIDE 5.4

PARAGUAYAN HARP MUSIC title: “Piririta” performing forces: harp (Martín Portillo), guitar (Alejo Benítez), string bass (Ariel Burgos) composer: Alejandro Villamayor form: free, with two main sections, melodically varied function: for private or public performance; expression of Paraguayan identity source: Maiteí América: Harps of Paraguay (Smithsonian Folkways SFW CD 40549, 2009). Note that “Maiteí América” is Guaraní for “Greetings, America.”

Listen for:

• recurring “walking” bass line, sometimes varied, played by the lower strings of harp (bordonas) and string bass, plucking the string • compound meter • sesquiáltera • basic I-IV-V harmonies • changes of texture • symmetrical phrases • broken chords • glissandi (singular: glissando)

Timing Structure What happens

Introduction 00:00 “walking” bass, enhanced with off-beat chords and strumming in guitar

00:12 (a) symmetrical phrases, each punctuated by “walking” bass

(a) starts on I, goes to V, then back to I, affirmed by an . . . .

00:27 authentic cadence

00:35 (a1) starts in I, goes to IV

then to V, then back to I, affirmed by an . . . .

00:42 authentic cadence

B 00:45 contrasting rhythm, chordal texture

strategic moments of silence in the supporting instruments

symmetrical phrase structure continues

reliance on I-IV-V continues

00:58 sesquiáltera

broken chord and a glissando lead back to . . . .

1:14 walking bass, now with variants

A1 1:25 same chords as A, same symmetrical phrases, and same punctuation by walking bass

but extra notes (ornaments) added

B1 1:59 same harmonies as previous interlude and same symmetrical phrase structure

but more frequent glissandi than in B

2:12 sesquiáltera

2:27 extended broken chord leading to . . . walking bass (notice unusual timbre)

A2 2:43 see above, A and A1

more flourishes than in A1 via form of brief but repeated glissandi and rapid hand-motion back and forth

3:17 B2 see above, B and B1

greater resonance, variety of timbre

3:29 sesquiáltera

broken chords and other flourishes combine with walking bass

strong final cadence preceded by an ornamented descending scale

Consider:

• The listening chart enables you to identify the initial statement of the bass line. Can you follow its course throughout the piece? What is the musical function of the bass line?

• The composer of “Piririta” was inspired by bird calls and believed he was duplicating them. (You can search the internet for a picture of the piririta.) Does the piece suggest bird calls to you? Why or why not? Is it reasonable for composers to suggest real sounds in their music? If so, what are some sounds that would lend themselves well to musical realization and which instruments would be best suited to them?

• Can you hear the difference between a broken chord, quickly played, and a glissando?

ONLINE AUDIO GUIDE 5.5

GUATEMALAN MARIMBA MUSIC title: “Los Trece” (The Thirteen) subgenre: guarimba performing forces: two marimbas (with seven players), string bass, drum kit (played by members of Chapinlandia) composer: Wotzbelí Aguilar form: free, with contrasting sections (A A, B, B1, C, C) function: public performance, possibly at a party; expression of identity source: Chapinlandia: Marimba Music of Guatemala (Smithsonian Folkways SFW CD 40542, 2007)

Listen for:

• timbre • charleo (buzz) • symmetrical phrases, often of eight bars • compound meter • sesquiáltera • changes of tonal center • variations in melody • chromatic scale

Don’t be concerned if you don’t hear the changes of tonal center. Do, however listen for the chromatic scale, identified below. Again, the uppercase letters indicate sectional divisions and the lowercase letters the phrases within each section.

Timing Structure What happens

Introduction 00:00 establishes key A

00:09 (a) new tonal center

main melody introduced

roll in marimba, as will be frequent at ends of phrases

00:13 (b) sesquiáltera

00:18 (a)

00:21 (b) sesquiáltera

00:27 repeat of A

00:46 (c) new melodic idea, with upbeat

prominent rolls in marimba

00:55 (d) sesquiáltera

1:04 (c)

1:13 (d) sesquiáltera

cadence

B1 (B repeats, with variations)

1:22 (c) new notes added to melody enhanced accompaniment

1:33 (d) sesquiáltera

1:41 (c) with new notes in melody and enhanced accompaniment

1:50 (d) sesquiáltera

rolls on the marimba at higher pitch than previously

1:58 final chord of section repeated for emphasis

Interlude 1:59 chromatic motion

2:04 descending chromatic scale, concludes with a “choked” cymbal

C (in another key area)

2:09 (e) new melodic idea, with second half of phrase a sequence of first half (compare 2:09 and 2:13)

cymbal at end of phrase material from introduction returns

2: 19 (e) material from introduction returns again, cadence on B flat 2:25

2:36 repeat of C

final cadence

Consider:

• Do performances such as these, with drum kit and upright bass, enhance the folkloric tradition— however it may be understood in Guatemala—or do they do it a disservice?

• How do you characterize the charleo?

• What is the overall effect of one symmetrical phrase followed by another?

• How does Aguilar offset the chromatic scale, that is, what comes before it and what follows it?

ONLINE AUDIO GUIDE 5.6

PLENA title: “Ahora Sí” (All Right Now) performing forces: male voice, seguidor, segundo, requinto (Tito Matos), güiro (members of Viento de Agua) composer: Juan “Llonsi” Martínez language: Spanish form: call-and-response singing, mainly with alternating verses and chorus function: invitation to the plena; expression of Puerto Rico identity source: Viento de Agua Unplugged: Materia prima (Smithsonian Folkways SFW CD 40513, 2004)

Listen for:

• different qualities of sounds in the drums • unison statements of the drums • presence of güiro • free section (probably improvised) and departure from verse and refrain structure, especially the requinto (‘quinto) solo near the end

Timing Structure and text What happens

Verse 1 (solo)

00:00 Ahora sí, que yo te traigo plena unison statements in drums mark ahora sí que yo vengo a cantar. ends of vocal phrases Ahora sí, mi güiro y su cadencia ahora sí, mi quinto . . . 00:11 slap sound in requinto, responds to tones from the lower-pitched drums

Refrain (chorus):

00:13 Ahora sí, que yo te traigo plena drummers begin plena rhythm ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia soloist interjects “plena buena” ahora sí, mi quinto va a cantar.

Verse 2 (solo)

00:25 Yo no tengo nada en contra del merengue güiro in steady rhythm de la salsa y tampoco del rap. Pero si me tocan mi ritmo de plena yo te digo que ese me gusta más, me gusta más. 00:37 verse concludes with unison statement in drums and güiro

Refrain (chorus):

00:38 chorus: Ahora sí, que yo te traigo plena drums on plena rhythm ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia soloist interjects “plena buena” ahora sí, mi quinto va a cantar.

00:51 requinto plays three slap sounds

Verse 3 (solo)

00:52 Viento de aguacara viene sonando güiro y pandereta pa poder bailar. Que ritmo, ritmo rico de mi tierra cumpa y plena te traemo’ pa cantar.

1:05 verse concludes with unison statement in drums and güiro

Refrain (chorus):

1:06 Ahora sí, que yo te traigo plena drums on plena rhythm ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia ahora sí, mi quinto va a cantar.

Verse 4 (solo)

1:18 Esto mira que es un lindo homenaje seguidor and requinto interact Para los pleneros de verdad (1:21, 1:25, 1:28) goza [unclear] del caño general del pueblo [unclear] truco vamos a bailar, vamos a bailar! 1:31 verse concludes with unison statement in drums and güiro Refrain (chorus):

1:33 Ahora sí, que yo te traigo plena drums on plena rhythm ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia soloist interjects “plena buena” ahora sí, mi quinto va a cantar.

free section

1:44 mi quinto va a cantar soloist picks up on “mi quinto va a cantar” (my quinto will sing)

1:46 quinto, quinto . . unison statement in drums punctuate short statements by chorus

chorus repeats “mi quinto va a cantar”

1:51 soloist sings new melody

soloist calls to requinto player, 2:14 inviting him to do a solo

requinto plays high “slap” sound 2:18 and lower tones of the requinto, all very rapidly

chorus repeats “mi quinto va a cantar”

call and response between soloist and chorus

requinto keeps solo part, now with syncopation

soloist calls for chorus to sing refrain

Refrain (chorus)

2:57 Ahora sí, que yo te traigo plena ahora sí que yo vengo a cantar. Ahora sí, mi güiro y su cadencia interjections from soloist ahora sí, mi quinto va a cantar.

3:11 Ahora sí, que yo te traigo plena drums play throughout, including ahora sí que yo vengo a cantar. the same unison statements from Ahora sí, mi güiro y su cadencia drums as in first chorus ahora sí, mi quinto . . . final unison, with güiro, to end

Summary of English translation:

All right now [repeated throughout], I bring you this plena that I come to sing. My güiro and its rhythm, my requinto will sing. I don’t have anything against merengue or salsa or rap but if they play me a plena rhythm, I tell you, it’s what I like best. The wind of water keeps sounding güiro and drums for dancing. What a rhythm, what a rich rhythm from my country! We bring you plena to sing. Look what a nice homage this is for the real pleneros Let’s dance, let’s dance!

The author thanks Brian Rice for extensive assistance with this guide.

Consider:

• How many references to plena do you find throughout? How is the genre described?

• Does the fact that this selection is about the genre affect our enjoyment of the music and its status as a symbol of Puerto Rican identity?

• How would you describe the melody of this selection?

ONLINE AUDIO GUIDE 5.7

SYMPHONIC MALAMBO title: “Malambo” from Estancia performing forces: symphony orchestra, including piano (Simón Bolívar Venezuelan Youth Symphony, directed by Gustavo Dudamel) composer: Alberto Ginastera form: two related sections with introduction and coda function: music for symphony concert source: ¡Fiesta! Gustavo Dudamel and Simón Bolívar Venezuelan Youth Symphony (Deutsche Grammophon 0289 477 7457 0 GH, 2008)

Listen for:

• sesquiáltera • repetition of melodic fragments • long stretches of harmonic stability • large percussion section, which includes piano, xylophone, four different kinds of drums (timpani, bass drum, military drum, tenor drum), castanets, cymbals, tam-tam, tambourine, triangle. • sequences • massive coda

Timing Structure What happens

Introduction 00:00 prominent piccolo, other instruments join

glissando on piano leads to A section

00:13 (a) main theme, prominent in strings

main theme in trumpets, insistently repeated

00:25 (b) Contrasting material, containing more than xylophone prominent (notice one theme sequence)

00:31 (b) trumpets (b) violins

00:45 transitional material repeated pitches lead to . . .

1:00 return of introduction bass line leads to . . .

reprise of A (varied)

1:10 (a1)

1:22 (b1) sequences (xylophone, strings)

repeated loud chords in brass lead to . . .

Coda

1:38 (c) glissandi in piano

prominent percussion

1:57 (c1) trumpets prominent with new motive

2:01 (c) French horns produce the equivalent of a glissando (known as “ripping”)

screeching effects (xylophone, piccolo)

(c1) loud dissonant chords in piano

2:24 (c) “ripping” in French horns

(d)

2:30 (c) repetition

2:49 (e) loud brass

2:56 glissandi, loud brass,

final chords relentlessly repeated

enhanced with percussion

Consider:

• Given that this selection is three and a half minutes long, approximately what percentage is the coda? Comment on how these proportions affect our experience of the selection. Is it too much to say that it starts ending almost as soon as it starts?

• What advantages and pitfalls does a composer confront in seeking to depict in symphonic format the traditional music of his or her country?

• What do we experience when we listen to a piece in which one of the composer’s central strategies is repetition?

ONLINE AUDIO GUIDE 5.8

SAMBA title: “Aquarela do Brasil” (Watercolor of Brazil) composer: Ari Barroso language: Portuguese performing forces: singer (Francisco Alves), chorus, big band, pandeiro (tambourine), shaker, enhanced drum kit form: multisectional, with varied A and B sections alternating with Introduction function: public performance; expression of Brazilian identity and/or Good Neighbor solidarity; portion of a film score (see text) source: Ary Barroso: Aquarelas, vol. 1 (historic recording, reissued by Instituto Cultural Cravo Albin, 2014)

Listen for:

• big band instrumentation • big band gestures, such as sliding from one note to the next • syncopation (“swing,” or anticipation of downbeat) in brass • contrasts in tempo, distribution of instruments and voices • distribution of melody between voice and instruments • change of tonal center

Timing Structure and text What happens

Instrumental introduction 00:00 slow tempo

ends on half cadence prepares the vocal entry with a broken chord

solo singer:

00:15 Brasil! Meu Brasil brasileiro repeated chords punctuate the singer’s Meu mulato inzoneiro* phrases Vou cantar-te nos meus versos leads to . . . . .

00:33 O Brasil, samba que dá sudden shift to samba tempo, entrance of Bamboleio, que faz gingá percussion O Brasil do meu amor Terra de Nosso Senhor . . . Brasil! accompanying chords in woodwinds and brass

00:49 “Brasil!” . . . “prá mim” call-and-response interaction between soloist and chorus

rhythmic energy

Instrumental interlude 00:58 offbeat jabs in trumpets

three-note motive in saxophones, repeated and enhanced by woodblock

B (soloist)

1:01 O, abre a cortina do passado woodwinds continue repeating the three- Tira a mãe preta do cerrado note motive introduced in Interlude, now Bota o rei congo no congado, Brasil! as part of accompaniment

Brasil! chorus repeats

1:22 homorhythmic chords in band punctuate singer’s statement

1:23 Deixa cantar de novo o trovador three-note motive, rhythmic energy A merencória à luz da lua continue Toda canção do meu amor

1:39 band answers briefly with a new melody

1:43 Quero ver essa dona caminhando three-note motive varied (trumpets) Pelos salões arrastando O seu vestido rendado . . . Brasil! Brasil! Prá mim! call and response, solo and chorus Prá mim! on cadence, band thins out to a reduced texture, tempo winds down

slower tempo established, jazz-like 2:08 clarinet solo that sounds improvised

slow chords, lead to . . .

return of music of Introduction

2:15 now instrumental rather than vocal clarinet on melody line, now in lower register

repeated chords punctuate the saxophone melody

leading to . . .

2:33 instruments only shift to samba tempo

melody and countermelody in brass

2:44 instruments substitute for soloist and chorus in call-and-response

2:55 homorhythmic chords lead to . . . change of tonal center

3:04 instruments continue alone melody in trumpets, woodblock

3:19 bird-like effect in saxophones

3:24 melody distributed among the different instruments

saxophones prominent

brass and saxophones simulate call and response of soloist and chorus

4:03 band thins out, tempo winds down

leads to . . . .

music of Introduction returns

4:05 Brasil! chords punctuate singer’s phrases, as Terra boa e gostosa before Da morena sestrosa De olhar indiscreto

4:24 O, Brasil, verde que dá Para o mundo se admirar O Brasil, do meu amor Terra de Nosso Senhor . . . Brasil! 4:38 Brasil! call-and-response interaction, as above Prá mim! Prá mim!

B 4:46 instrumental accompaniment stays the same but now woodblock prominent

4:50 O, Esse coqueiro que dá coco solo Onde amarro minha rede Nas noites claras de luar, Brasil! Brasil! chorus answers

homorhythmic chords in band connect to

5:11 O! oi essas fontes murmurantes Oi onde eu mato a minha sede E onde a lua vem brincá O! Esse Brasil lindo e trigueiro É o meu Brasil brasileiro Terra de samba e pandeiro . . . Brasil! Brasil! call-and-response singing, as above Prá mim! Prá mim!

5:54 tempo slows for final cadence

concludes with hit a “cymbal splash” (designates a small cymbal)

English translation taken from Lisa Shaw, The Social History of the Brazilian Samba (slight modifications):

Brazil! My Brazilian Brazil Brazil, the good and beautiful land my gossipy mulatto of the headstrong mulatto girl I’m going to sing of you in my songs. with the indiscreet look. Oh Brazil, of the samba that makes us Oh, Brazil, a green land sway and swing, for the world to admire. oh Brazil, the place I love, Oh Brazil, the place I love Land of Our Lord. Land of Our Lord . . . Brazil! Brazil! Brazil, Brazil For me, for me. for me, for me. Oh, draw back the curtain from the past Oh, that coconut palms that bears coconuts Take the black wet-nurse from the fields where I hang my hammock Let the king of the Congo perform, in the clear moonlit nights, Brazil, Brazil. Brazil, Brazil. Let the troubadour sing again Oh, those murmuring springs in the melancholy light of the moon where I quench my thirst all the songs of my love. and where the moon comes out to play I want to see the lady of the house walk by Oh, that beautiful dark Brazil through the great rooms Is my Brazilian Brazil in her lace-trimmed dress , the land of samba and the tambourine. Brazil, Brazil Brazil, Brazil, for me, for me. for me, for me.

Translation notes:

“Inzoneiro” (gossipy, sly, devious) is rather uncommon slang. It was evidently unfamiliar to Alves, the singer on our recording, who instead sings “rizoneiro,” a word that doesn’t exist.

The references to Nosso Senhor (Our Lord) may refer to the Church of Nosso Senhor do Bonfim in the northeastern city of Salvador, which made a tremendous impression of Barroso when he visited there. Whether Barroso had that church in mind, clearly the Eden he describes, with its murmuring springs, greenery, moonlight, abundance, is ordained by God.

Consider:

• How does the slow introduction contribute to the element of surprise in this selection (i.e., when the samba rhythms first burst forth)?

• Where does the first reference to race appear? With what racial group is Brazil equated? How many references to racial harmony do you find in the translation (or, if you know Portuguese, in the original)? Why do you suppose the colonial past is emphasized?

• Barroso was sometimes criticized for redundant phrases such as “my Brazilian Brazil” and “the coconut palms that bear coconuts.” Are these criticisms justified?

• In the final segment, instead of inserting “land of Our Lord” as in parallel sections, Barroso refers to the “land of samba and the tambourine.” What narrative reason might he have had for doing so?

ONLINE AUDIO GUIDE 5.9

SALSA title: “¡No! composer: Freddy Sánchez language: Spanish form: canto and montuno function: dance, social protest, expression of pan-Latino identity performing forces: singer (Willie Colon), chorus, trumpet, trombone, saxophones, piano, electronic keyboard, bass, timbales, maracas, claves, bongos, congas, güiro, cowbells source: Willie Colon: Mis Favoritas (Sony U.S. Latin CD 8869 770886 2, 2010)

Listen for:

• “up” or “down” percussion • interlocking percussion • percussion “breaks,” i.e. moments of punctuation of varying lengths, either brass or percussion- dominated, that prepare for the next section • abanico • duple meter • 2-3 clave orientation (background) • vocables • half cadence • shift from minor to major

Note: “¡No!” indicates the chorus, who can be players in the band.

Timing Structure and text What happens

Introduction 00:00 trombone and saxophones lead into . . .

00:01 abanico

00:02 vocables (ah-la-la) lively tempo

interlocking percussion

chorus

percussion is “up,” with the timbalero and bongocero playing cowbells

electric bass prominent

Break 00:22 motives in melody instruments

Verse 1 (canto)

00:31 Esta vez protestar no es simplemente lo que quiero minor key También quiero sus conciencias despertar countermelody in piano para que griten fuerte no a todo aquello que subyuga y destruye nuestra moral. percussion “down” (bongos, one conga only, and timbales play on the shell)

brass punctuate singer’s phrases

half cadence

00:51 Y aunque a muchos les molestarán las cosas que cantemos que no importe, no nos vamos a callar. al contrario con más fuerza gritaremos! Este “¡No!” y nos tendrán que escuchar authentic cadence

1:10 vocables chorus overlaps with soloist

same melody as introduction

interjections in brass

percussion “up,” with cowbells and two congas

Interlude 1:30 unison drum statement, leading to abanico, which launches the montuno

Montuno

1:38 ¡No! Un no para la maldad new melody ¡No! Un no al hambre y la guerra ¡No! Un no para todo aquel shift to major ¡No! que con su mañas destruye la tierra ¡No! Un no a la maldita droga chorus sings on “¡No!” ¡No! que destruye tanta gente ¡No! Un no a la burguesia percussion is “up” (notice cowbells) ¡No! Un no a los terratenientes ¡No! Un no para aquel que deja ¡No! morir a un niño de hambre ¡No! al que voltea la cara ¡No! para no sentirse culpable ¡No! a los que resuelven problemas ¡No! con agresión y bombardeos ¡No! los que subrayan sus puntos ¡No! con la sangre del pueblo.

Interlude 2:21 new material

trombone prominent

percussion up

2:40 string sound produced by electronic keyboard

2:44 flourishes on saxophone

3:08 conga player slapping the drum

Montuno

3:23 ¡No! Un no para el que no crea shorter than previous montuno ¡No! y que no deja crear ¡No! que solo emplea su tiempo ¡No! a criticar y criticar ¡No! para el que hace negocios ¡No! con armas y militarismo ¡No! luego declara ante pueblo ¡No! que es cuestión de patriotismo.

Interlude 3:43 new material (saxophones and trombone, antiphonal)

3:56 bongos player stays “on bell” (plays cowbell)

conga “fill”

Montuno

4:03 ¡No! Un no para aquellos hombres ¡No! que en la esquinas se paran ¡No! a vocear piropos sucios ¡No! a cada dama que pasa 4:14 ¡No! para aquellas suegras lead singer alters melody of montuno, ¡No! que no respetan las leyes perhaps improvising ¡No! que por más que se les diga ¡No! siempre entre hijos se meten ¡No! A ese viejo general singer returns to initial melody ¡No! que al joven manda la guerra ¡No! y cuando la cosa está recia ¡No! lejos de batalla queda 4:36 ¡No! Un no a los explotadores singer alters melody ¡No! se empeñan en reemplazar ¡No! con sus mensajes inertes ¡No! queriendo al pueblo domar. singers ends on “sol” rather than “do”

coda 4:45 dominated by brass

final cadence

English translation:

This is not just another protest song. with the blood of the people. I want to awaken your conscience so you can all shout a strong NO to all those A no for the one who doesn’t create things and who doesn’t allow creation that subjugate and destroy our morale. who only uses his time Although many are bothered by the things we to criticize and criticize. sing about For one who does business it doesn’t matter, for we will not be silent. with weapons and the military On the contrary, we’ll sing even louder than this and later declares to the people NO! And they will have to listen. that it was all a question of patriotism. A no for those men A no to evil who hang out on street corners A no to hunger and war to make dirty remarks A no to anyone who, to every lady who passes. with his cunning, would destroy the world. A no to those mothers-in-law A no to those damned drugs who don’t respect norms of behavior that ruin people and who however much they’re told not to, A no to the bourgeoisie meddle in their children’s business. A no to the landowners A no to that old general A no to one who lets who sends young people to war a child die of hunger, and when it’s going full tilt who turns his face away removes himself from the battle. so as not to feel guilty. A no to the exploiters A no to those who resolve problems who strive to push others aside with aggression and bombings with their lame messages those who underscore their points wanting only to control the people.

The author thanks Brian Rice for extensive assistance with this guide.

Consider:

• The breaks in this song are almost as significant as the texted parts. Compare each one and discuss the role of the various instruments you hear. Do the breaks complement the text in any way?

• How do sameness and contrast inform this song? What is the role of repetition?

• How do you see the fact that proclamations of social malaise would accompany dancing?

ONLINE AUDIO GUIDE 5.10

MARIACHI title: “Las Abajeñas” (The Lowland Women) composer: traditional, arranged by Rubén Vargas and Silvestre Fuentes language: Spanish performing forces: guitarrón, guitar, vihuela, violins, trumpets, voices, male voices, including singing, gritos (shouts) and whistles, form: multisectional, with two principal parts (A, B) function: performance, either by amateurs or professionals; expression of Mexican identity source: Mariachi Cobre (Kuckuck Schallplatten CD 11105-2, 1995)

Listen for:

• timbres (trumpets versus strings) • alternation of vocal and instrumental passages • singing in harmony • gritos (whooping, shouting) • sesquiáltera • sudden ending • long coda in proportion to rest of piece

Timing Structure and text What happens

Instrumental Introduction 00:00 main melody in trumpets, close harmony

strumming (harmony) and bass line covered by other instruments, including interlocking rhythm between guitarrón and vihuela

whistling

trumpets drop out at end of introduction

00:16 Me gustan las abajeñas singing in close harmony por altas y presumidas. Se bañan y se componen interjections in violins y siempre descoloridas. constant activity in strummed instruments

A repeats (same words) 00:24

00:32 Mariquita, mi alma sequence yo te lo decía

que tarde o temprano, mi vida sesquiáltera (“que tarde o tú habías de ser mía. temprano, mi vida”)

B repeats (same words) 00: 41

Instrumental interlude 00:48 violins introduce new melody, close harmony

sesquiáltera

00:59 trumpets enter with another melody, close harmony

sesquiáltera

1:12 Me gustan las abajeñas interjections in violins que saben la ley de Dios que largan a sus maridos, por irse con otros dos.

1:20 A section repeats (same words)

B section:

1:28 Déjala que vaya sequence ella volverá si amores la llevan, mi vida, sesquiáltera celos la traerán.

1:36 B section repeats (same words)

Coda 1:44 Instruments only

repeats material of interlude (see above)

1:56 gritos and whooping

2:08 trumpets repeat material of introduction (main melody)

2:14 sudden cessation of strumming and bright brass timbres

final cadence

English Translation

I like the lowland women I like the lowland women For their haughtiness and arrogance who know the law of God. They bathe and they doll themselves up They get rid of their husbands and they are fair-skinned. by going around with two other guys.

Mariquita, my dear Go ahead and let her go, I used to tell you she’ll come back that sooner or later, my darling, if various loves take her away, my darling, you’d be mine. jealousy will bring her back.

Consider:

• How does the structure of this selection resemble strophic form? How does it depart from it?

• How do you interpret the words to this traditional mariachi number?

ONLINE AUDIO GUIDE 5.11

MÚSICA LLANERA title: “Llanero, sí, soy llanero” (Yes, I am a plainsman) performing forces: members of Grupo Cimarrón: male voice (Wilton Games Balcárel), cuatro (Pedro Libardo Rey Rojas), maracas (Omar Edgar Fandiño Ramírez), string bass (Ricardo Albino Zapata Barrios), harp (Carlos Rojas Hernández)). To simulate the traditional bandola, the harpist has damped the strings of the instrument to imitate the bandola’s dry picking language: Spanish subgenre: pajarillo form: strophic, freely modified function: performance, informal enjoyment; expression of llanero (male) identity source: Joropo Music from the Orinoco Plains of Colombia (Smithsonian Folkways CD 40515, 2004)

Listen for:

• Phrygian sonority (opening chord) • minor mode • ending on half cadence • brief melodic patterns, repeated in instruments and voice • penetrating vocal quality, frequently in a high register (passages marked with an “x” lie high in the voice, contrasting with lower-pitched melodic fragments, which are not marked) • syllabic setting • abundance of text • intensification in second verse (see below)

Timing Structure and text What happens, English translation

Introduction 00:00 Repeated Phrygian chord in cuatro, followed by melodic fragments

percussive strumming

bass instruments mark harmony, establish instrumental accompaniment

golpe con leco

00:17 ¡Ay! sustained cry, in a single breath, sings over the melodic fragments, which continue and lead to . . .

Verse 1

00:24 Llanero, sí, soy llanero, primo, A plainsman, yes, I am a man of the plains

x y el que quiera comprobarlo and he who wants to prove it x que vaya pa’ mi llanura y pregunte en la should go to the plains costa el Pauto* and ask on the banks of the Pauto River como aprendí desde niño how I learned, as a boy, x a dominar un potranco, to break a colt x a ponerle el rejo a un toro, to tie up a bull

a cogé’ un novillo po’ el tallo, to grab a young bull by the tail, a patroneá’ una curiara to skipper a boat x en las crecientes de Mayo, in the rising May waters, x a conocer el aguaje del pescao’ grande to learn the ways of the big fish en el charco in the water y la astucia del caimán and the cunning of the alligator x velando altivo en el paso, watching haughtily nearby,

x al chigüire* lateperro and the chigüire lateperro zumbarse al río del barranco, jumping into the river from the cliff al grito madrugador at the morning shout del caporal en el hato. of the herdsman in the camp.

Me acuesto al zumbarse el sol y con el sol I go to bed with the sun and I rise with the me levanto, sun con trinos de guacharaca with the trilling of the guacharaca bird y quejíos de un araguato, and the cries of the howling monkey, algarabía de chenchena* the twittering of the chenchena en los rebalses del caño, where the torrent dams up x y dentro del monte oscuro el ronquío de and in the dark brush, the growl of a male un tigre macho. tiger (notice how singer growls on the word “tigre,” or tiger).

Instrumental interlude 1:20 in cuatro, varied strums

new patterns interact with melody notes

2:08 slapped (“ripped”) strings

golpe con leco

2:32 ¡Ay! again, in a single breath

Verse 2

2:39 Llanero, sí, soy llanero, primo, ¡Ay! A plainsman, yes, I am a man of the plains, x criollito como el mastranto, as criollo as the native aromatic plants x dulce como miel de abeja as sweet as the bee’s honey y amargo como el barbasco,* and bitter as the barbasco puro como un manantial, as pure as the spring x recio como sol de Marzo, as strong as the March sun, x caballicero y mensual a horseman and peón of the plains, peón de sabana pa’ rato, paid by the month, for a while, críao’ entre bosta y ganao’, growing up amid manure and livestock, x soga, cabresto y caballo, lasso, harness, and horse, x puntero en sabana abierta cuando no a marksman on the open plains when I was tenía quince años. not yet fifteen.

Cuántos rodeos ajilé How many skirmishes I negotiated x con la melodía del canto, with the melody of song, x cuantas travesías eché how many scrapes I got into

con el casco e’ mi caballo, with my cowboy hat and my horse, trochas de noches oscuras following trails in the dead of night palabreando los espantos, cussing out my bad spirits, x noches de luna fiestera con el cariño de nights of the festive moon with the caress of un cuatro a cuatro oyendo guaruras* tristes listening to the cry of the melancholy flute x de un canoero en el paso. of a canoer passing by.

In the next part, the singer starts off in a high range but then inserts a series of lower- pitched melodic fragments not present in the first verse.

3: 33 x Fue así que este corazón se formó en el It was thus that this heart came to be, in this llano amplio, broad plain, altivo como el pitío’ proud as the whistle of del toro en un bajún bajo, the bull of the lowlands, noble como el coleador noble as a cattle-roper que acaricia su caballo, who pats his horse tenderly, sin rencores por la vida without rancor toward life por lo mucho que ella ha dado: for all that it has given him:

una mujé, una familia a wife, a family y allá en mi sabana un rancho. and there, on my plains, a ranch. Y esta garganta coplera And this coplero’s throat repleta de orgullo nato filled with native pride pa’ gritá a los cuatro vientos ready to sing to the four winds cada vez que me embarbasco: each time I am so moved:

3:53 x Llanero, sí, soy llanero Plainsman, yes, I’m a plainsman de las sabanas del Pauto. from the plains of the Pauto River.

ends on half cadence

Translation notes

The Pauto River, part of the Orinoco basin, is in Colombia. A chigüire is species of rodent, among the largest in the world. A chenchena is a plumed bird found in Venezuela and Colombia. Barbasco is a plant indigenous to the Americas and contains poisonous chemical compounds. A guarura is a large snail, native to parts of Venezuela. It emits a sound and is the material used for the musical instrument mentioned in this selection.

The author thanks Víctor Márquez for extensive assistance with the English translation.

Consider:

• What is the effect of the sudden higher-pitched vocal line at 2:32? How do the golpes con leco frame the selection?

• How do the words suggest that the singer is more than just a “tough guy?” What do you make of the frequent references to music in the text?

• What is the effect of the (a) rapid, syllabic declamation throughout and (b) the “extra” melodic insertions in the middle of verse 2 (at 3:33)?

• Why might this selection end on a half cadence?