ONLINE AUDIO GUIDE 6.1 CAPOEIRAberimbau gunga (leader) plays seven notes; then berimbau medio and viola enter, establishing the four-beat toque two pandeiros, atabaque, and agogô

ONLINE AUDIO GUIDE 6.1

CAPOEIRA title: Laidinha: Rei Zumbi dos Palmares-Chula-Santa Bárbara performing forces: three berimbaus (gunga, médio, viola), caxixi, atabaque, pandeiros, agogô, reco-reco (members of Grupo Capoeira Angola Pelourinho) language: Portuguese composer: Mestre Moraes (aka Pedro Moraes Trinidade) form: three parts (laidinha, chula, corrido) function: to begin the capoeira game and recount the story of Rei Zumbi source: Capoeira Angola Pelourinho (Smithsonian Folkways SFW40465, 1995). This guide is for selections 6.1a, b, and c. Listen for:

• variety of timbres • “feel” of the basic toque • melodies of narrow intervallic range • three-part structure • call-and-response in parts 2 and 3 • monophonic texture in chorus • historical narrative

Timing

Structure and text What happens

00:00-0:09 00:11

Laidinha

caxixi throughout berimbaus enter one by one: berimbau gunga (leader) plays seven notes; then berimbau medio and viola enter, establishing the four-beat toque two pandeiros, atabaque, and agogô join the berimbaus and caixixi

00:16 00:21 00:44

Main singer begins lê . . . * A história nos engana Diz tudo pelo contrário Até diz a abolição Aconteceu no mês de maio A prova dessa mentira É que da miséria en não saio. Viva 20 de novembre Momento pra se lembrar Não vejo em 13 de maio

opening wail, sustained on a single pitch, signals beginning of roda the singer begins to tell the story in a series of short melodies, several of which repeat instruments continue to repeat the toque the occasional scratching sound is the stone vibrating loosely against berimbau strings

1:07

Nada pra comemorar Muitos tempos se passaram E o negro sempre a lutar. Zumbi é nosso herói Zumbi é nosso herói, colega velho Do Palmares foi senhor Pela causa do homem negro Foi ele quem mais lutou Apesar de toda luta, colega velho O negro não se libertou, camará!*

The word “camara” (comrade) is repeated in the next section, the chula, and connects the laidinha to it, signaling for it to begin

to next track 00:00

Chula Leader: Lê, É hora é hora Chorus: Lê, É hora é hora, camará Leader: Lê, vamos embora Chorus: Lê, vamos embora, camará Leader: Pela barra afora Chorus: Lê, pela barra afora, camará Leader: Lê, viva meu Deus Chorus: Lê, viva meu Deus, camará Leader: Lê, viva meu mestre Chorus: Lê, viva meu mestre, camará Leader: Lê, quem me ensinou Chorus: Lê, quem me ensinou, camará.

toque stays the same call-and-response singing, with chorus constantly reiterating the word “camará” both the call and the response are the same lengths throughout this section response always has same melody

to next track 00:00 00:07 00:011

Corrido Leader: O Santa Bárbara que relampuê, O Santa Bárbara que relampuá* Chorus: O Santa Bárbara que relampuê Leader: Que relampuê, que relampuá Chorus: O Santa Bárbara que relampuê call-and-response format repeats

call-and-response singing continues response always has the same melody leader’s call sometimes overlaps with the chorus’s response music intensifies: two of the berimbaus begin improvising variations of the original toque the viola and the medio interact with each other pandeiro improvises the dance-fight-game can now begin

English translation:

Ladainha

History deceives us Says everything contrary Even says that abolition Happened in the month of May The proof of this lie is that from misery I do not escape. Long live the twentieth of November Moment to be remembered I don’t see in the thirteenth of May Anything to commemorate A long time passes And the black man will always struggle. Comrade! Zumbi is our hero Zumbi is our hero, old friend Of Palmares he was the leader For the cause of the black man It was he who fought the most In spite of all the fighting, my friend The black man did not liberate himself, comrade!

Chula

Yes, time has come Yes, time has come, comrade Yes, let’s go away, comrade Away into the water channel Yes, away into the water channel, comrade. Yes, Long live my Lord Yes, Long live my Lord, comrade Yes, Long live my master Yes, Long live my [capoeira] master Yes, the one who taught me Yes, the one who taught me, comrade.

Corrido

Wow, Santa Barbara, what a lightning strike! Wow, Santa Barbara, what a lightning strike!

Text and translations courtesy Smithsonian Folkways and Leo Bernucci.

Notes on translation: “Lê” has no lexical meaning in Portuguese but is a repetitive sound that balances out the musical phrase, almost like an incantation. “Camará” is actually short for “camarada” (comrade, comrade). “Relampuê” and “relampua” are adaptations of the Portuguese word “relâmpago” (lightning), adjusted for the rhyme scheme.

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

• Describe the vocal quality of both the leader and the chorus.

• Go back to Sound Link 3.4 and try to recall your initial reaction to the berimbau. Does its timbre strike you any differently now that you are listening to several berimbaus at once and in a new context?

• What might the lightning symbolize?

© 2018 Carol A. Hess

ONLINE AUDIO GUIDE 6.2a

TANGO title: “El choclo”” (The Ear of Corn) performing forces: Sexteto Mayor: two bandoneons (José Libertella, Luis Stazo), two violins (Mario Abromovich, Eduardo Walczak), piano (Oscar Palmero), string bass (Eduardo Aulicano) composer: Ángel Villoldo (music). lyricist: 1930 lyrics by Juan Carlos Marambio Catán; 1946 lyrics by Enrique Santos Discépolo form: multisectional with coda function: music for listening; for presentation dancing source: 50 Best Tangos (EMI, 2011) Listen for:

• division into sections • timbre of bandoneón, the two bandoneones swapping off the melody • upbeats in each phrase that lead to a strong downbeat • shift from minor to major • elaboration of basic melody • slowing down (ritards) and speeding up (accerlandos)

Timing Structure

What happens

00:00

Introduction piano marks bass line (sol-do) other instruments play sustaining notes minor key established slow to moderate tempo

00:07 00:24 00:33 00:38

A (a) (a1) (b)

bandoneón 1 introduces main melody, bandoneon 2 completes phrase, back and forth tempo becomes livelier, melody continues piano briefly takes melody cadence leading to . . .

00:42 00:55 00:57

B (c) (c)

new but related melody phrase ends with a string of octaves (piano) elaboration of phrase with harmonized descending scales in piano

cadence leading to . . .

1:14 1:25 1:37 1:46

C (d) (d1)

major key now established piano alone, then joined by high notes in violin “surprise” offbeat chord by rest of ensemble, bandoneones prominent ritardando piano alone rest of ensemble joins to end the phrase cadence

1:56 2:03 2:19 2:27

Interlude

back to minor piano and string bass strings play repeated chords, while piano elaborates melody bandoneones mark cadence new melody but closely related to (a) sequence in violins, piano and bass mark harmony drawn-out cadence shift to major, relaxed tempo long, drawn-out cadence all leading to . . .

2:42 2:52 2:55 3:06

C (d)

melody in bandoneón quickening of tempo glissandi in piano tapping on instruments

3:13

Coda (a)

minor key reestablished theme in bandoneónes pause, followed by big final cadence in whole ensemble

Consider:

• You read that this classic tango has been performed by dance orchestras and by ensembles that interpret the music more freely. Listening to as many recordings of this tango as you can. In what category do you place this rendering? Why? Remember that this ensemble, the Sexteto Mayor, had its heyday after Piazzolla had begun to make his mark on the genre.

• What, specifically, makes this arrangement of “El choclo” more suitable for presentation dancing than for ordinary dancing?

• What dances do you consider scandalous, if any? Why?


ONLINE AUDIO GUIDE 6.2b

TANGO CANCIÓN title: “Adios, muchachos” (So Long, Boys) performing forces: voice (Carlos Gardel), two guitars composer: Julio Sanders lyricist: César Vedani language: Spanish form: A, B, B, A, with brief introduction in this version function: performance or private enjoyment, catharsis source: Carlos Gardel: Sus 40 Tangos Más Famosos (Suramusic S.R.L. FK 026, 2003) Listen for:

• balanced phrases • steady duple meter • repeated chords in accompaniment • strategic use of silence in accompaniment • dramatic vocal style

Timing Structure and text

What happens

00:00

Introduction

guitars introduce melody and accompaniment driving, repeated chords with strong downbeat, suggesting the nature of the dance

00:15 00:23 00:30 00:37

A (a) Adios, muchachos, compañeros de mi vida, barra querida de aquellos tiempos. (b) Me toca a mi hoy emprender la retirada debo alejarme de mi buena muchachada. (a) Adios muchachos, ya me voy y me resigno contra el destino nadie la talla. (c) Se terminaron para mi todas las farras* mi cuerpo enfermo no resiste más.

guitars are silent (resume on “vida”) guitars play a prominent bass line guitars are silent (resume driving, repeated chords on “resign”)

00:44 00:51

B (d) Acuden a mi mente recuerdos de otros tiempos De los buenos momentos que antaño disfruté (e) Cerquita de mi madre, santa viejita y de mi noviecita que tanto idolatré

guitars strum in shorter note values guitars adjust to singer’s slight bending of the rhythm

1:00 1:06

(d) Se acuerdan que era hermosa, más linda que una diosa y que, ebrio yo de amor le di mi corazón. (f) Mas el señor, celoso de sus encantos hundiendome en el llanto, me la llevo.

1:15 1:22 1:30 1:38

B (d) Es Díos el juez supremo, no hay quien se le resista. Y estoy acostumbrado su ley a respetar, (e) Pues mi vida deshizo con sus mandatos Llevándome a mi madre y a mi novia también (d) Dos lagrimas sinceras derramo en mi partida, Por la barra querida que nunca me olvido. (f) Y al darle, mis amigos el adiós postrero, Les doy con toda mi alma mi bendición.

same inner form as in previous B section

1:48

A (a) Adios, muchachos, compañeros de mi vida, barra querida de aquellos tiempos. (b) Me toca a mi hoy emprender la retirada debo alejarme de mi buena muchachada. (a) Adios muchachos, ya me voy y me resigno contra el destino nadie la talla. (c) Se terminaron para mi todas las farras* mi cuerpo enfermo no resiste más.

voice quieter and more intense than previously voice changes register in last phrase, going higher final chord

Note on translation: The expression “todas las farras” (all the good times) is lunfardo. English translation: So long, boys, lifetime friends, my dear gang of those times! Now it’s my turn to go away I have to leave my nice little group. So long, boys, I’m on my way and am resigned. Nothing can measure up against destiny. All the good times are over for me. My sick body just can’t take any more. To my mind, come memories of other times of those good moments of yesteryear that I enjoyed near my mother, an aging saint,

and my little sweetheart whom I so idolized. I remember that she was beautiful, lovelier than a goddess and that I, drunk on love, gave her my heart. But the Lord, jealous of her charms plunged me into grief and took her from me. It’s God who’s the supreme judge, no one can resist him. And I’m well accustomed to respecting his law. But he unraveled my life with his commands, taking from me my mother and my sweetheart, too. Two sincere tears spill as I leave for the beloved gang that I never forget And in giving my friends the last good-by I give them with all my heart my blessing. Consider:

• The listening guide specifies a few instances in which the guitars fall silent. Listen carefully and identify all of them. What is the effect of these silences?

• In referring to the practice of sliding into a pitch, musicians use the colloquial expression “scooping.” Where does Gardel scoop? Why do you suppose he does this?

• What is the effect of those instances in which Gardel briefly seems to speak “nadie la talla,” for example, at 00:23)? What about when he stretches out a word (“madre,” 00:40) or rushes slightly (“su ley a respetar”, at 1:15)? Do these practices strike you as artistic? Exaggerated? How should singers approach such matters, i.e. are they any guiding principles?



YAQUI DEER DANCE title: In awa hisa molewaim (Old Antler Crown) performing forces: male singer, rasping sticks, water drum. language: Yaqui form: strophic function: to honor the deer and its role in Yaqui belief system source: Indian Music of Mexico (Smithsonian Folkways FE 4413 1952, 2006) Listen for:

• ten repetitions of the same melody, with some slight variation • two sets of words (verses), distributed over these repetitions • steady rhythm of rasping sticks • pitched water drum • the word “seyewailo,” a reference to the flower world • emphasis on antlers, to the dancer’s head

Timing Structure and text What happens, translation

00:00

Introduction background of rasping sticks and water drum that will continue throughout is established

00:07 00:21 00:33

Verse 1 In awa hisa molewaim nane nane kova kovate in awa hisa molemwaim nane nane kova kovateee repeat of verse 1 another repeat of verse 1

My old antler crown I move my head around My old antler crown I move my head, head around

00:47

Verse 2 Ayamansu seyewailo huyata naisukunisu wana huya kove nane kova kovate in awa hisa molewaim nane nane kova kovate

Over there, in the middle of the flower-covered grove there in the wilderness, my head, I move my head, My old antler crownI move my head, head around. slight variation in melody

1:04 1:15

repeat of verse 1 another repeat of verse 1

rasping sticks and water drum continue

1:28

repeat of verse 2

rasping sticks and water drum continue, slight variation in melody

1:44 1:56

repeat of verse 1 another repeat of Verse 1

rasping sticks and water drum continue

2:07

repeat of verse 2

rasping sticks and water drum continue, slight variation in melody

English translation and transcription of Yaqui text by Juan Avila Consider:

• What initial impression does this music make on you?

• Does your reaction have anything to do with the actual context of this music and the religious function it performs? Once you become aware of these factors do you hear the music differently?



CUECA title: “Mi vida” (My Life, or more idiomatically “My Sweetheart”) language: Spanish performing forces: voices (one female, one male), harp, bombo (very much in the background), clapping, striking the side of the harp form: strophic, with introduction, interludes, and a regular internal form in each of the three verses function: rustic dance song source: Chile: Hispano-Chilean Métisse: Traditional Music (Smithsonian Folkways Archival UNES 08001, 2014) Listen for:

• major key, i.e. in Western tonal system • glissandi (plural of glissando) • internal form of verses (not always sung to the same words) is a, a, b, b, c, b, b, c, b, b, c • close harmony, probably spontaneously improvised • hand clapping, other “noise” of live performance • meter shifts •

Note: The Spanish words “allá va,” which appear frequently in the text, mean “there it/he/she goes.” In this selection, the words have no lexical meaning but instead fill out the metric requirements of the phrases in which they appear. Because songs such as this one appear in so many versions, often a sung text will contain words from these several versions and may not make complete sense when they are combined. Timing

Structure and text What’s happening, translation

00:00 00:18 00:19

Introduction

compound duple meter harp outlines chords ascending and descending glissandi shift in meter

00: 39

Verse 1 (female singer): (a) Mi vida desde aquí desde aquí te estoy mirando (a) Mi vida desde aquí, desde aquí te estoy mirando (b) Mi vida cara a ca… cara a cara pecho al frente. (b) Mi vida desde aquí, desde aquí te estoy mirando.

harp launches an accompanimental pattern, female singer takes melody male singer will joins in, singing in close harmony, occasionally singing in unison, as in end of (b) hand claps tapping on side of the harp Sweetheart, I’m looking at you from here. Sweetheart, face to face, not looking back.

(c) Con los ojos del alma, allá va te estoy mirando (b) y con los de la cara allá va disimulando. (b) con los de la cara allá va disimulando. (c) disimulando ay si allá va que ojos tan bellos (b) que se van y me dejan allá va muerto por ellos. (b) que se van y me dejan allá va muerto por ellos. (c)Muero por tus ojitos allá van tan rebonitos.

With the eyes of my soul, I’m looking at you. And with the eyes of my face, concealing concealing, oh yes, those beautiful eyes that go away and leave me dying for them. I die for your pretty little eyes.

1:39 Harp interlude Harp plays melody established by the singers

1:56

Verse 2: (a) Mi vida los ojos, los ojos de una morena (a) Mi vida los ojos, los ojos de una morena (b) Mi vida van dici… van diciendo por la calle (b) Mi vida los ojos, los ojos de una morena (c) Tienes unos ojitos, allá va y unas pestañas (b) Y una voz que embustera, allá va con que me engañas. (b) Y una voz que embustera, allá va con que me engañas. (c) Con que me engaña ay si, allá va que ojos tan bellos (b) Que se van y me dejan, allá va muerto por ellos (b) Que se van y me dejan allá va muerto por ellos. (c) Muero por tus ojitos allá van tan rebonitos.

harp resumes accompanying Sweetheart, the eyes of a dark woman Sweetheart, they are saying out on the street That you have quite the eyes, and eyelashes too and a voice that lies, with which you deceive me, with which you deceive me, oh yes, those beautiful eyes that go away and leave me dying for them. I die for those pretty little eyes.

2:56 Harp interlude

see above

3:11

Verse 3: (a) Mi vida debajo, debajo de un limón verde (a) Mi vida debajo, debajo de un limón verde. (b) Mi vida donde el a… donde el agua no corría. (b) Mi vida debajo, debajo de un limón verde. (c) Veinticinco limones allá va tiene una rama.

Sweetheart, under a green lemon tree, Sweetheart, where no water flows, Twenty-five lemons, all on a branch,

(b) Y amanecen cincuenta, allá va por la mañana. (b) Y amanecen cincuenta, allá va por la mañana. (c) Por la mañana ay si allá va el limón maduro. (b) Y hacéle un cariñito, allá va con disimulo. (b) Y hacéle un cariñito, allá va con disimulo. (c) Y hacé lo que hizo el guaso, allá va y dale un abrazo.

And the morning brings fifty more. In the morning, the lemon tree matures. So show it a little affection, in a hidden way, And do just as a rustic guy does—embrace it.

final cadence, with ritard and broken chord

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

• Do you find that the words make sense or do you believe that the words sung here are the result of several versions that don’t necessarily cohere?

• If you do conclude that the words make sense, what do you suppose the lemon tree symbolizes?

• Evaluate the performance style. How would this selection sound if it were a studio recording and what would be the trade-off?

1


VENEZUELAN GUITAR MUSIC title: “Tatiana,” Vals Venezolano no. 1, from Four Venezuelan Waltzes. Note that Tatiana is a woman’s name. performing forces: guitar (Elliot Frank) composer: Antonio Lauro form: A B A function: concert piece for performance or private enjoyment source: Elliot Frank: South American Guitar Music (ACA Digital Recordings 20049, 2006) Listen for:

• triple meter • quick tempo (“in one”) • upbeat of several notes, landing on a strong downbeat • sesquiáltera • symmetrical phrases • homophonic texture • minor key, followed by a shift to major and then back again to minor

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

Structure What happens

00:00 00:09 00:16 00:23

A (a) (a1) repeat of (a) repeat of (a1)

notice upbeat (divided into five smaller note values) minor key established

00:30

B (b)

shift to major one long phrase over the section instead of two shorter ones sesquiáltera variety of dynamics to differentiate melody and accompaniment

2

00:38

A, truncated (a1)

back to minor

00:46

repeat of B

one long phrase over the section instead of two shorter ones sesquiáltera

00: 54

A, truncated (a1)

final chord

Consider:

• This piece is very short, under a minute. (In classical music, very short works are often called miniatures.) What is the impact of such a brief listening experience? Compare with popular songs you know, many of which will likely be of a similar duration.

• Many people consider the acoustic guitar, which cannot play as loudly as other instruments, an intimate instrument. What is the effect of listening live to an instrument that plays rather quietly, at least in comparison with amplified instruments? Do you find that you listen differently?



CUMBIA title: “Así lo grita Totó” (That’s How Totó Shouts It) composer: Nicolás Hernández Pacheco language: Spanish performing forces: members of Los Gaiteros de San Jacinto: voice (Rafael Castro Fernández), gaita hembra (Toño García), gaita macho (Nicolás Hernández Pacheco), tambor alegre (Adolfo Rodríguez), tambor llamador (Rafael Rodríguez), tambora (Joche Plata), guaches, maraca. (A large maraca is played with one hand by the gaita macho player, who fingers the gaita with the other hand.) form: strophic, with introduction and interludes function: performance, community dancing source: Un fuego de sangre pura (Smithsonian Folkways Recordings CD 40531, 2006) Listen for:

• duple meter • strophic form (four verses, with introduction and interludes) • occasional ornamentation in vocal line, rather modest • timbres (gaitas, the different drums) • syllabic setting • brief moments of call-and-response singing • ostinato in tambor llamador, on the beat

Timing Structure and text

What happens

00:00 00:03 00:06 00:12 00:13 00:17 00:23

Introduction “¡Uepa!” “¡Cumbia! ¡Cumbia!”

gaita 1 starts out with first part of main melody (a), slightly ornamented maraca and guaches enter gaita 2 enters, (a) repeated drums enter with a short “call” by the tambor llamador and the tambor alegre and establish the basic pattern heard throughout shouts of performers second part of main melody (b) in gaitas (b) repeated (a)

00:29

Verse 1 (a) Lindo que suena el tambor y la gaita se llena de encanto

voice sings same pitches as gaita

00:35 00:40 00:47 00:53 00:58

repeat of (a), including words (b) Y así lo grita Totó—¡uepa! Voy a la fiesta de El Banco.* repeat of (b), including words call and response (b1) Voy a la fiesta de El Banco. Voy a la fiesta de El Banco. repeat of (b1), including words

voice continues on same pitches as gaitas

1:04

Interlude various melodies in gaitas shouts the maraca (played by the gaita player) takes an active role, interacting with the tambor alegre

1:33 1:38 1:44 1:49 1:56 2:01

Verse 2 Lindo que suena el tambor y la gaita lleva su delicia repeat of (a), including words (b) Y así lo grita Totó—¡uepa! Pa’que lo baile Patricia. repeat of (b), including words (b1) Pa’que lo baile Patricia, pa’que lo baile Patricia. repeat of (b1), including words

voice sings same pitches as gaita voice sings same pitches as gaita

2:06

Interlude

gaita, melodies (a) and (b) tambor alegre improvises with the gaita melody

2:29 2:34 2:40

Verse 3 Cuatro paquetes de vela y una botella de ron repeat of (a), including words (b) Voy a invitarle a mi negra—¡uepa!

voice sings same pitches as gaita voice sings same pitches as gaita

2:46 2:52 2:57

Pa’que baile cumbión. repeat of (b), including words (c) Pa’que baile cumbión.* Pa’que baile cumbión. repeat of (c), including words

3:03

Interlude

Shouts “¡Prende la vela que me quemo, negra!” percussion intensifies with faster note values Maraca and tambor alegre play a variation together

3:20

repeat of Verse 1, including words b1 repeated multiple times

flourish on gaita

Note: El Banco is a town in Colombia on the Magdalena River. A “cumbión” is a really special cumbia.

The author thanks Brian Rice for assistance with this guide.

English translation:

Verse 1 The drum sounds fine, the gaita is full of charm (repeats). And that’s how Totó shouts it—yeah! I’m going to the party in El Banco (repeats). Verse 2 The drum sounds fine, and the gaita is lovely (repeats). And that’s how Totó shouts it—yeah! So that Patricia dances (repeats). Verse 3 Four packets of candles and a bottle of rum (repeats). I’ll invite my old lady—yeah! So that she dances one heck of a cumbia (repeats).

Consider:

• The strophic form of this selection is quite regular: three verses, with each verse containing related phrases. Verses are separated by interludes. What if, in performance, an ensemble wanted to expand the boundaries of the form? What would be some possible strategies?

• Evaluate the vocal quality of the solo singer.

• Does the form of this selection risk monotony or does its simplicity help ensure that participants

will focus on the dance?



SON JAROCHO title: “La Bamba” performing forces: José Gutiérrez y Los Hermanos Ochoa: requinto (José Gutiérrez Ramón), harp (Felipe Ochoa Reyes), jarana (Marcos Ochoa Reyes) language: Spanish form: strophic, with introduction and extended instrumental interlude function: dance music; expression of Mexican and/or Chicano/a identity source: La Bamba: Sones Jarochos from Veracruz (Smithsonian Folkways CD 40505, 2003) Listen for:

• compás, each lasting about two seconds and repeated throughout • I-IV-V chords defining the compás • short, symmetrical melodies • repetition of text • vocables • instrumental interlude, probably with some improvisation and of no fixed length • close harmonies in vocal parts in final verse

Timing

Structure and text What happens, translation in summary form

00:00

Introduction

twelve repetitions of compás, i.e. I-IV-V-V; I-IV-V-V; etc., which will continue throughout broken chords in the harp requinto plays bass notes jarana stums and improvises notes in the melody, especially at the half cadence shouts: “¡A pariente!” and “¡Arpa chico!” varied strums

00:21

Verse 1 Para cantar la bamba Para cantar la bamba me hallo contento porque me la acompaño porque me la acompaño con mi instrumento. quitilín, quitilín quitilín, quitilín quitilín, quitilín que repiquen campanas que repiquen campanas de Medellín, de Medellín, de Medellín.*

To sing la bamba to sing la bamba I am content because I accompany myself on my instrument let the bells of Medellín ring.

00: 40

Verse 2 A la morena quiero A la morena quiero desde que supe Que morena es la Vírgen Que morena es la Vírgen de Guadalupe. Allá arriba, allá arriba Allá arriba, allá arriba, allá arriba iré Yo no soy marinero yo no soy marinero por ti seré, por ti seré , por ti seré.

I love the dark woman I love the dark woman since I found out that the dark woman is the virgin the virgin of Guadalupe I’m not a sailor but I’ll be one for you. shouts of ”¡Ah compadrito!” and “¡arribita!”

00:56

Verse 3 ¿Como quieres que tenga, como quieres que tenga la cara blanca? si soy carbonero, si soy carbonero de tierra blanca y arriba y arriba, Allá arriba, allá arriba Allá arriba, allá arriba, allá arriba iré yo no soy marinero, yo no soy marinero por ti seré, por ti seré, por ti seré.

shouts of “¡Ajá!” and “¿De a dónde?” How do you expect me to have a white face if I’m a coalman? if I’m a coalman of the white earth shouts of” ¡arribita¡” I’m not a sailor but I’ll be one for you.

1:12

Verse 4 Para qué me dijiste para qué me dijiste que estabas sola si estabas con tu amante si estabas con tu amante, falsa traidora Allá arriba, allá arriba, Allá arriba, allá arriba, allá arriba iré yo no soy marinero yo no soy marinero por ti seré, por ti seré, por ti seré.

Why did you tell me why did you tell me you were alone if you were with your lover? if you were with your lover, false traitor. I’m not a sailor but I’ll be one for you.

1:28

Verse 5 Una vez que te dije una vez que te dije que eras bonita se te puso la cara se te puso la cara coloradita Allá arriba, allá arriba Allá arriba, allá arriba, allá arriba iré yo no soy marinero yo no soy marinero por ti seré, por ti seré , por ti seré.

shouts of “¡Que cosa!” and “Cómo compadrito” One time I told you one time I told you that you were pretty and you blushed I’m not a sailor but I’ll be one for you.

1:45

Verse 6 Allá viene la bamba Allá viene la bamba del otro lado de esa tierra morena De esa tierra morena que es Alvarado* Allá arriba, allá arriba, allá arriba iré ay arriba y arriba yo no soy marinero yo no soy marinero soy capitán, soy capitán, soy capitán.

shouts of “¿De dónde?” and “¡Ajá!” There comes la bamba there comes la bamba from the other side of that dark land, That dark land which is Alvarado I’m not a sailor, I’m a captain.*

2:02 2:27 2:41

Interlude probably some improvisation shouts: “ ¡Métele al arpa compadre!” harp solo, playing melody in block chords (i.e. not broken) while other instruments maintain the accompaniment pattern in their previous roles harp returns to arpeggiation, preparing return of the voice

2:44

Verse 7 ¡ Ay! le pido, le pido ¡Ay! le pido de corazón Que se acabe la Bamba que se acabe la Bamba, venga otro son Allá arriba, allá arriba Allá arriba, allá arriba, allá arriba iré Yo no soy marinero Yo no soy marinero, por ti seré, por ti seré, por ti seré—

Ah, I ask from my heart that la bamba finish already! that la bamba ends Let’s have a different son I’m not a sailor but I’ll be one for you all voices join, in close harmony

delayed final chord

Notes on translation: Medellín refers not to the city in Colombia but to a municipality in the state of Veracruz. Alvarado is a city in Veracruz. When the singer declares “I’m a captain” (having just said repeatedly that he’s not a sailor) he is probably indirectly asserting himself as a person of rank or quality, worthy of the object of his affections.

Consider:

• The Virgin of Guadalupe is a symbol of Mexican Catholicism. Why might she figure in this son jarocho?

• Follow the repeated harmonic progression throughout the entire song. You can do this easily by singing do-fa-sol-sol. What is your experience when you concentrate mainly on this one aspect of the music? Do you feel your peripheral hearing (i.e. your perceptions of other elements of the song) at work as well?

• Revisit the section on the “gringo way” of ending a song, discussed in chapter 3. How does this performance end?

• How do you evaluate the presence of complete sentences combined with nonsense words and repetition and elements of music such as tempo and form? Is the overall effect one of playfulness? Pent-up frustration? Or is it impossible to tease out any one meaning? Be sure to support your conclusion.



CHOREOGRAPHED DANCE title: “America” (West Side Story) composer: Leonard Bernstein lyricist: Stephen Sondheim choreographer: Jerome Robbins language: English performing forces: voices (Rita Moreno as Anita; George Chakiris as Bernardo), piccolo, flute, oboe, English horn, bassoon, various saxophones, various clarinets, French horns, trumpets, trombones, timpani, piano, celesta, electric guitar, Spanish guitar, violins, cellos, upright bass [no violas], claves, vibraphone, pitched drums, xylophone, bongos, cowbells, conga, timbales, snare drum, güiro, cymbals, maracas, marimba, woodblock, clapping form: multisectional, with alternation of chorus and voices, extended introduction, and several dance interludes function: performance on Broadway, later in film source: West Side Story: Original Motion Picture Soundtrack (Sony Masterworks, 1965). Listen for:

• 3-2 son clave (opening) • close harmony • sesquiáltera throughout • multisectional form, with alternation of chorus and verses • changes of tonal center

Timing Structure and text What happens

00:00 00:05 00:10 00:16

Introduction Puerto Rico, my heart’s devotion, let it sink back in the ocean! Always the hurricanes blowing Always the population growing! And the money owing And the sunlight streaming and the natives steaming I like the isle of Manhattan Smoke on your pipe and put that in!*

three-two clave maracas enter in triplets, “out of clave” Bernardo grabs Anita, whose manner contrasts with the modest demeanor of his sister María Spanish guitar and marimba enter As Anita sings the others look on, and occasionally comment rhythm common in tango inserted Anita’s movements become more animated, the Puerto Rican women respond affirmatively sustained chords in orchestra Puerto Rican woman interjects, “I know you do!” Cadence enhanced by a roll on the bongo drum, with sticks leads to . . .

1:01 1:10

A I want to be in America Okay by me in America Everything free in America For a small fee in America!

hand claps led by Anita singing in close harmony, the Puerto Rican women stand together and confront the men Bernardo interjects women begin walking around, as if starting to think about dancing

1:15

B Buying on credit is so nice One look at us and they charge twice I have my own washing machine What will you have though to keep clean?

quartet Anita Bernardo Rosalía (another Puerto Rican woman) Puerto Rican man

1:26

A Skyscrapers bloom in America Cadillacs zoom in America Industry boom in America Twelve in a room in America!

Anita Rosalía Puerto Rican woman Sharks, in chorus

1:40

B Lots of new housing with more space Lots of doors slamming in our face I’ll get a terrace apartment Better get rid of your accent

Duet Anita, bright woodwind timbre Bernardo, punctuated with tambourine Anita Bernardo, speaking exaggeratedly

1:52

A Life can be bright in America If you can fight in America Life is all right in America If you’re a white in America!

the men and the women divide more clearly into two groups and confront one another Anita Sharks Puerto Rican women in harmony Sharks

2:05

C (extended instrumental interlude and beginning of the actual dance)

new melodic material shouts brass, strings, and percussion prominent the groups remain separated: men dance first, then Anita Anita manipulates her skirt and does

2:31

music of A section returns Lalalala America, lalala . .. etc.

several high kicks men dance in couples, as if mocking social norms, but then slap one another men imitiate the women, singing in close harmony

2: 45

B Here you are free and you have pride Long as you stay on your own side Free to be anything you chose Free to wait tables and shine shoes!

change of tonal center (to C major) Anita and another Puerto Rican woman, confront the Sharks, in unison Sharks Anita and other Puerto Rican women Sharks

2:57

A Everywhere grime in America Organized crime in America Terrible time in America You forget I’m in America!

Duet Bernardo Bernardo Bernardo Anita

3:11 3:36

C (extended instrumental interlude and dance) music of A returns

women now dominate the dance interlude, join Anita with zapateado, manipulation of their skirts, leaping brass prominent

3:50

B I think I go back to San Juan I know a boat you can get on! Everyone there will give big cheer Everyone there will have moved here.

Duet Bernardo Anita Bernardo Anita (spoken)

4:00

A higher-pitched instruments dominate (flute, higher range of xylophone) No words, just barking like dogs

4: 10

C (instrumental and dance interlude)

men begin the dance brass instruments return, cadences marked with percussion shouts of “go, go”

4:35 music of A returns

women join clapping on offbeats

4:44

Coda full orchestra women lifted off the floor by their male partners

Note: Here Anita mangles—or plays with—the idiomatic expression in English, “put that in your pipe and smoke it” (i.e. “that’s just the way it is” or “so there”).

Consider:

• Watch again the first C section (2:05), in which Anita dances alone to the approbation of the women. What might be the significance of her numerous high kicks and her raising her skirt, which accentuate her pelvic area? How does the men’s brief but mocking couple dance comment on Anita’s lack of inhibition?

• What do the shouts of “go, go!” in the third C section (4:10) suggest to you?

• Compare “America” to other numbers in the show, such as “Cool.” Which gang, the Jets or the Sharks,

seems to have the greater gift for irony?

• In the 1957 stage version of West Side Story, “America” portrayed a conflict between the Puerto Rican women, all of whom wanted to go back home except for Anita, who defended the United States. How has the film version, which we’ve studied here, change this situation? How are the gender roles outlined? Does the music or the choreography comment on these adjustments in any way?

• For both sides, the dance not only complements the music, but simulates fighting, intimidation, and the exuberance of power. Just as the Puerto Rican women recognize the virtues of “America,” the men complain about being excluded. Is the choreography substantially different for the two groups or do the two sides have many movements in common?


Documents

ONLINE AUDIO GUIDE 6.1 CAPOEIRAberimbau gunga (leader) plays seven notes; then berimbau medio and viola enter, establishing the four-beat toque two pandeiros, atabaque, and agogô