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. © 2018 Carol A. Hess 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? © 2018 Carol A. Hess 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