Copyright

by

Ivan Valbuena

2018
 The Lecture Recital Committee for Ivan Javier Valbuena Paez
Certifies that this is the approved version of the following Lecture Recital
Document:

Characteristic Etudes for Clarinet based in Four Colombian Music Genres:

Bambuco, Porro, Pasillo and Currulao

Committee:

Guido Olivieri, Supervisor

Jonathan Gunn, Co-Supervisor

Andrew Parker

Marianne Gedigian

Dan Welcher

Jason Roberts
Characteristic Etudes for Clarinet based in Four Colombian Music Genres:

Bambuco, Porro, Pasillo and Currulao

by

Ivan Javier Valbuena Paez, MM

Lecture Recital Document

Presented to the Faculty of the Graduate School of

The University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts in Clarinet Performance

The University of Texas at Austin

April, 2018
 Acknowledgements

I want to thank my wonderful wife, Luz Elena Sarmiento, for all her support,

encouragement and patience during these years. You are the love of my life.

I also want to thank my parents Blanca Cecilia Paez and Gustavo Valbuena for

their unconditional support, and my siblings John Freddy Valbuena, Wilson Hernando

Valbuena and Carlos Alberto Valbuena for their words of encouragement and admiration.

Special thanks to my Professor Jonathan Gunn for believing in me and instructing

me not only musically but also personally and professionally. Thanks to Professor Guido

Olivieri for his guidance and advice and thanks to Professor Andrew Parker, Professor

Marianne Gedigian, Professor Dan Welcher and Professor Jason Roberts for being part of

my committee.

iv
 Table of Contents

ACKNOWLEDGMENTS……………………………………………………… iv

TABLE OF CONTENTS………………………………………………………. v

LIST OF FIGURES……………………………………………………………. vi

INTRODUCTION AND CONTEXTUALIZATION ……………………….. 8

PART I. INTRODUCTION TO COLOMBIAN MUSIC……………………. 13

THE CLARINET AND THE WIND BAND TRADITION

IN COLOMBIA…………………………………………………………… 18
PART II. CHARACTERISTIC ETUDES FOR CLARINET

INSPIRED BY FOUR COLOMBIAN GENRES……………………………... 26

ETUDE No. 1 BAMBUCO………………………………………………. 26

ETUDE No. 2 PORRO……………………………………………………30

ETUDE No. 3 PASILLO…………………………………………………. 35

ETUDE No. 4 CURRULAO………………………………………………40

CONCLUSIONS…..………………………………………………………………45

BIBLIOGRAPHY…………………………………………………………………46

APPENDIX A Etude no. 1 Bambuco ……………………………………………. 48

APPENDIX B Etude no. 2 Porro…………………………………………………. 52

APPENDIX C Etude no. 3 Pasillo………………………………………………...58

APPENDIX D Etude no. 4 Currulao ……………………………………………...63

APPENDIX E Etude no. 5 Bambuco # 2………………………………………….67

APPENDIX F Technical Considerations for the Performer……………………… 72

APPENDIX G Traditional Music Genres in Latin America………………………76

Figure 1. Topographic map of Colombia………………………………………… 16

Figure 2. Geographical-cultural regions of Colombia……………………………. 17

Figure 3. Three clarinet players from San Pelayo area……………………………25

Figure 4. Young child from San Pelayo…………………………………………. 27

Figure 5. Archetypal rhythmical structures of the Bambuco………………………30

Figure 6. Characteristic Etude Bambuco m.61-64…………………………………31

Figure 7. Characteristic Etude Bambuco m. 15-16………………………………...31

Figure 8. Gaita ensemble instruments and Gaiteros de San Jacinto……………… .34

Figure 9. Archetypal Rhythmical Structure of the Porro…………………………. .34

Figure 10. Characteristic Etude Porro m. 14-27…………………………………...36

Figure 11 m.45-55 Characteristic Etude Porro…………………………………….37

Figure 12 m. 120-131. Characteristic Etude Porro………………………………...38

Figure 13. Traditional Andean Chirimia ensemble………………………………...39

Figure 14. Traditional Colombian String Trio……………………………………...40

Figure 15. Archetypal Rhythmical Structure and Variations of the pasillo………...41

Figure 16. Characteristic Etude Pasillo m. 1-4……………………………………...42

Figure 17. Characteristic Etude Pasillo m. 64-67…………………………………...42

Figure 18. Characteristic Etude Pasillo m. 56-63 ………………………………..42

Figure 19. Characteristic Etude Pasillo m. 85-88…………………………………...43

Figure 20. Traditional Instruments of the Marimba de Chonta Ensemble………......45

Figure 22. Characteristic Etude Currulao m. 94-95………………………………. 46

Figure 23. Characteristic Etude Currulao m. 26-33. Marimba pattern #1………...47

Figure 24. Characteristic Etude Currulao m. 45-47. Marimba pattern #2…………47

Figure 25. Characteristic Etude Currulao m. 59-71……………………………….47

vii
INTRODUCTION AND CONTEXTUALIZATION

The idea for this project comes from the experiences I have acquired in different

areas of musical practice. Colombian folk music is so extraordinarily rich that it is

inevitable for any Colombian musician to be influenced by the local musical traditions. A

clarinetist would not be the exception, considering the crucial role of the clarinet in many

regional musical genres. My early experiences in traditional music led me to develop an

interest in clarinet performance practice and the academic and technical study of the

instrument, together with the study of the Western traditions and repertoire, the exploration

of contemporary musical resources, and orchestral practice. Another important aspect that

inspired this project is the practice of instrumental teaching. The experience of creating

methodologies to overcome different technical aspects in performance practice reveals the

lack of pedagogical material for approaching particular styles of music, in this case,

Colombian traditional music. Additionally, the use of the rhythmic and melodic elements of

Latin American music into the technical instrumental practice can be particularly useful for

any player who is interest in exploring new sounds and resources into his or her personal

practice.

The Characteristic Etudes included in this document are a collection of etudes for

clarinet carefully designed to add a new dimension of technical challenge for the player

while using elements from the traditional Colombian musical genres. The idea is to capture

in each etude the specific characteristics and challenges of each genre (e.g. polyrhythms,

contrasting accents, melodies, specific accompaniment patterns, etc.), while expanding the

player’s performance capabilities. It is important to clarify that for this project I have used

8
only four Colombian musical genres, although there are dozens of different genres in the

country. The construction of these etudes relies on the intention of portraying the diversity

and richness of these musical models while emphasizing specific characteristic features and

elements that can be used for pedagogical purposes.

The wide range of Colombian musical traditions is reflected in the different

problematics that appear in every region and their specific cultural practices. For each

geographical region into which Colombia is divided, we can find dozens of folk musical

styles with particular instrumental, rhythmical, harmonic, and melodic components. The

origins and roles of traditional music in the communities are also different and

representative of each region. While traditional music in the Andean region has elements

originating in the Spanish and Amerindian traditions, the music in the Pacific region is

marked by African culture and the musical manifestations based on oral traditions.

Colombian traditional music has an enormous quantity of musical resources that are

fundamental in the construction of a particular musical language. However, Colombian

traditional genres present problems that are not approached by methods and books used in

the academic context, and this is why many students interested in the performance of

Colombian music find it difficult to approach, which is fairly demanding at technical and

musical levels.

One of the fundamentals of any good classical clarinetist is the practice of etudes.

Etudes are pieces whose principal purpose is to develop a specific technical or musical

feature on which the player focuses its entire attention. The universe of “classical” clarinet

repertoire has a wide selection of material covering from the classical and romantic, to

contemporary periods to prepare clarinetists for the type of repertoire they will be expected

to perform. Composers such as C. Rose, P. Jeanjean, K. Opperman and A. Uhl among

9
others, have created series of etudes that are mandatory in music schools around the world.1

These etudes approach multiple technical and musical aspects: scales, arpeggios, chords

progressions, voice leading, phrasing, dynamics, etc.

In the second half of the 20th century, Colombian composers such as Leon Cardona,

Alfredo Mejia and Jose Revelo contributed to Andean2 music with the incorporation of

elements from jazz and modern Western harmony into traditional music and also with the

use of non-traditional instrumentations in compositions featuring the clarinet as a solo

instrument.3 Young Colombian clarinetists and composers as Mauricio Murcia, Alejandro

Sanchez and Jonny Pasos followed them in the production of Colombian music for clarinet

solo and clarinet ensembles (duos, trios and quartets). Mauricio Murcia is a Colombian

composer who, in the last decade, has particularly produced a large amount of music for

clarinet based in Colombian rhythms. His solo pieces, duos, trios and quartets have become

very popular, not just among the Colombian players, but also internationally. 4

In a wider range, works such as De negros y blancos en blancas y negras by

composer Jesus Alberto Rey5, which consists of a group of brief pieces written for piano

students to initiate them into the performance of Colombian music, and dissertations works

such as Composicion de música para saxofón basada en ritmos Colombianos by Jonny

1
Cyrille Rose, Thirty-Two Etudes for Clarinet (New York: Carl Fischer Music, 2002); Paul
Jeanjean, 18 Etudes for the Clarinet (New York: Alfred Pub. 1940); Kalmen Opperman,
Modern Daily Studies for the Clarinet (NewYork: M. Baron Company, Inc. 1952); Alfred
Uhl, 48 Etüden (Mainz: B. Schott’s Söhne, 1940).
2
Region located in the center of the county in the Andes mountains. It is the most
populated region of Colombia and contains the majority of the country’s urban centers.
3
Leon Cardona’s Sincopando Pa’un Solista (instrumental pasillo) and Gloria Beatriz
(instrumental bambuco); Alfredo Mejía’s Acuarela (instrumental pasillo); José Revelo’s
Fantasia en 6/8 (instrumental bambuco).
4
Mauricio Murcia Bedoya, Colombian Dances (Bloomington: Woodwindiada, Inc. 2008).
5
Jesus Alberto Rey Mariño, De Negros y Blancos en Blancas y Negras: 50 piezas breves
para Piano (Bucaramanga: UNAB Press, 1996).

10
Pasos6 and En el espíritu popular Colombiano, propuesta interpretativa de la musica

Colombiana escrita para guitarra by Julián Cardona,7 have approached the problematic of

traditional Colombian music from compositional, interpretative and pedagogical stand

points.

Yet the production of Colombian musical material for clarinet with a pedagogical

approach is still very limited considering Colombia has a diverse and rich musical tradition

and its increasing amount of wind instrument programs resulting in a growing

“clarinetistic” movement. From here the need the need to create a group of etudes that are

accessible and at the same time technically challenging, while exploring new aesthetics and

sonorities in the wake of the innovations of new composers.

The etudes presented in this document are not based on transcriptions, arrangement

or adaptations of preexisting works, although characteristic elements of the traditional

genres are used to create new pieces and eventually some common melodic and rhythmic

designs that belong to each traditional genre can appear in the etudes.

Each etude is based on the following criteria:

- Synthesis of musical elements from its particular traditional genre that allow

its identification

- Technical complexity

- Brevity

- Balance

- Aesthetic interest

6
Jonny Pasos, “Composición de música para saxofón basada en ritmos Colombianos,”
(MM Diss., Universidad de Antioquia, 2006).
7
Julián Amador Cardona, “En el espíritu popular Colombiano,” (MM Diss., Universidad
de Antioquia, 2005).

11
 The broader goal of this project is to produce a compilation of etudes for solo

clarinet using characteristic elements from different genres of the Colombian traditional

music.

Some of the more specific goals are:

- To identify and extract musical elements that characterize the musical genres used

for the etudes;

- To select and apply the most suitable elements of the traditional genres for the

performance of the solo clarinet repertory;

- To promote the performance of Colombian traditional music to new generations of

clarinet players;

- To contribute to the clarinet repertoire with new pedagogical materials designed to

improve technical and interpretative aspects of the instrument;

- To encourage the implementation of technical development into the performance of

folk music within the traditional practices;

- To provide an innovative and challenging book of etudes that can be performed by

clarinet players interested in exploring Latin American music while improving their

playing.

12
 PART I. INTRODUCTION TO COLOMBIAN MUSIC

The development of music in Colombia, like the development of most cultural

expressions in Latin American countries, is characterized by the hybridization of African,

Aboriginal, and European cultures. The majority of colonizers or conquistadores that came

to Colombia during the years of the Conquista at the end of 15th century were from the

Iberian Peninsula. The Spaniards settled in different regions of the country where they

found aboriginal groups, starting a process of ethnic and cultural assimilation, originating

the so-called criollo and mestizo cultures; criollo being the pure-blooded European

descendant born on Colombian soil and mestizo being the combination between European

and native blood.8 In Colombia, the blend of Europeans with black African races is called

mulato, and the combination of native Amerindians with black Africans is called zambo.

Religious music was predominant in the musical life of the Spanish colonizers.

Spanish music had a great influence on the musical culture of the local communities

through the imposition of Catholic traditions. The musical activities in the cathedrals

started to blossom thanks to the Catholic missionaries who brought with them European

musicians to serve in liturgical events. Jesuit missionaries were sent to convert the natives

to Catholicism and they were among the first Europeans on American soil to make use of

music as a way to impose European culture on the New World.9 One of the techniques they

used was to teach the local inhabitants to play European musical instruments used in the

8
Andrés Ramón, “Colombian Folk Music in an International Context,” (PhD diss., Iceland
Academy of the Arts, 2010), 9.
9
Ramón, “Colombian Folk Music,” 13.

13
liturgy, such as organ, harp, violin and flute.10 In many cases European musicians also

introduced European “classical” traditions, instruments and folk music. String instruments

such as the guitar (in those times known as the vihuela) were employed in all sorts of music

and later transformed into traditional instruments such as the requinto, tiple, bandola,

cuatro and others. The Spanish legacy also includes folk traditions such as narrations,

pregones, tonadillas (children songs), villancicos (Christmas songs) romances (love songs),

and flamenco which later evolved into canciones, tonadas, coplas and the joropo. 11

Another important influence that enriched the cultural and racial mixture came

from African slaves that were brought to Colombia to replace the indigenous labor that was

being exterminated due to extreme and inhuman working conditions as well as diseases

brought by the Europeans.12 One of the main South-American ports for slave trade was the

Colombian city of Cartagena. African inhabitants were unevenly distributed across the

country. The conquers isolated slaves in the Pacific coast to work in mines and properties,

while some African communities escaped and founded villages called Palenques where

they developed their own religious and cultural traditions. African music is strongly

influenced by drums and rhythm. Dance-like chants, the use of call and response and

instruments such as the conical drums and the marimba were adopted not just by the

African communities but also by the mestizo and criollo musical traditions. The use of

syncopation and polyrhythmic patterns is also an important legacy of African music.

10
Diana Jaramillo, “An Analysis of Colombian Folklore Music and the Development of
Musical Resources for Clinical Improvisation” (PhD diss., Wilfrid Laurier University,
2013), 19.
11
Ramón, “Colombian Folk Music,” 14.
12
Daniel Devoto, "Expresiones musicales; sus relaciones y alcance en las clases sociales"
in América Latina en su Música, Ed. Isabel Aretz (México: Siglo XXI Editores, 2004),
27.

14
 Music of Amerindian cultures had an important social and ritual role and it was of

great significance to the pre-Columbian societies. Indigenous tribes like the Chibchas,

Taironas, Sinús, Muiscas, Calima, Yotoco, Tumaco, among others, were highly developed

communities with strong musical traditions. According to archaeological findings and

surviving traditions, Amerindian groups had an assortment of musical instruments,

including drums (made in various sizes), cymbals, maracas (shakers made of fruit dried

seeds and baked clay), raspadores (scrapers made of bones), and various types of flutes. In

the Andean regions, wind instruments were the most representative including the capador,

zampoña and the quena.13 Pentatonic scale was also predominant in Indigenous traditions

together with songs of lamentation with lyrical content. Many indigenous instruments and

musical traditions are almost exclusively used within indigenous cultural traditions, having

an important social and spiritual role in the communities. However, native traditions have

experienced a process of transformation and blending with European and African elements

producing particular hybrid genres that became part of Colombian national identity.

The actual population in Colombia numbers over 45 million inhabitants and is the

result of this tri-ethnic mixture. The estimated ethnic distribution is 57% mestizos, 19.2%

blancos, 19% mulatos and Afro-Colombians, 3% zambos and 1.8% native Amerindians. 14

Colombia is one of the most incredibly rich and diverse countries in South America;

this diversity comes from historical, geographical, ethnic, economic, and cultural forces

that have molded a unique identity and character. The country is divided politically into 32

departamentos (states). Its surface covers 1’141.748 km2, being the fourth in size in South

Ramón, “Colombian Folk Music,” 11

DANE (National Administrative Department of Statistics), “Colombia, Una Nación

Multicultural. Su Diversidad Etnica,” (Bogota, 2007), 37.

15
America and second in terms of population after Brazil, with approximately 48’653.419

inhabitants.15

Colombia is located in the northwest of the continent and it is traversed by the

Andes mountain range, which represents 25% of the territory. It has coasts and islands on

the Caribbean Sea and also the Pacific Ocean on the north and west. It enjoys a vast

territory of lowlands and plains in the eastern territories and it has a large region pertaining

to the Amazonas jungle in the south.

Figure 1: Topographic map of Colombia 16

Due to this contrasting topographical constitution and its dramatic ethnic and

cultural variety, five different geographical-cultural regions have been established. The

15
[Link] (accessed March 2018).
16
[Link]
(accessed March 18th, 2018).

16
Atlantic or Caribbean Region, the Pacific Region, The Andean Region, The Orinoquia

(Eastern Plains) Region, and the Amazon Region. (See Figure 2) Although there are not

marked boundaries between these regions, the specific character of each region is reflected

in its cultural traditions.

Figure 2: Geographical-cultural regions of Colombia17

As a reflection of this geographical phenomena, the genres of folk or traditional

music in Colombia are extremely varied and numerous, (over a hundred) and they are

distributed among the five geographical-cultural regions, interacting and interrelating with

one another as the cultural manifestations of a changing society. Although there are more

17
[Link]
(accessed March 29th, 2018)

17
than one hundred different dances in Colombia, some of the most popular are: Bambuco,

torbellino, guabina, pasillo, vals, danza, carranga, rajaleña, sanjuanero, bunde, trova,

(Andean Region); cumbia, gaita, porro, mapalé, puya, son, vallenato, paseo, merengue,

fandango, bullerengue, lumbalú (Caribbean Region); abozao, currulao, arrullo, berejú,

jota, porro chocoano, patacoré, polka, bolero Viejo, maquerule (Pacific region); joropo,

pasaje, catira, pajarillo, seis por derecho, Zumba, gavilán, revuelta (Eastern Plains

Region); carimbó, forró, lambada, samba callejera, samba cançao (Amazon Region).

THE CLARINET AND THE WIND BAND TRADITION IN COLOMBIA

The clarinet was introduced in Colombia in the second half of the 18th century with

the European importation of wind instruments for military and religious purposes. As well

as in Europe, the music for wind band progressively acquired a wider social and festive

role, especially in the 19th century, when new independent nations in Latin America started

to become more active in the global market.18 The development of the valve and the Boehm

systems in the first half of the 19th century influenced and transformed the use and

functionality of wind instruments in Latin America. The fanfarrias from the Spanish Army

were ensembles consisting of natural trumpets, timpani, fifes, two-membrane drum, and

bells. With the invention of new brass and woodwind instrument systems, and the boom of

the railway in England at the beginning of 19th century, these military bands introduced

Victoriano Valencia Rincón. “Bandas de Musica en Colombia,” (MM Thesis,

Universidad Eafit, 2010), 2.

18
new instruments such as the clarinet, horn, and oboe, bringing a massive popularity and

purpose to wind bands not just in England and Spain, but also in Latin America.19

This phenomenon was also reflected in the musical environment in Colombia,

where the importation of improved instruments and the growth of repertoire due to the

access to edited music, diversified the ensembles and musical practices. The first civil

bands appeared in the 19th century and were primarily related to ballroom dancing in the

aristocratic society. In this process of transformation from the military function to a wider

public role, wind bands diversified their repertoire and instrumentation according to their

particular cultural region. On the one hand, wind bands in the center of the country (mainly

Andean region) enjoyed the educational development promoted by the government which

invested in social, cultural, and infrastructural advancement in the main cities. Musicians

like Jorge Price (1853-1956), Manuel Conti (1868-1914) and Manuel Rozo Contreras

(1884-1976) contributed to the development of music education programs and wind band

systems for children and youth. These programs promoted the creation of school and

professional ensembles and the performance of modern repertoire with international

instrumentations. On the other hand, in regions such as the Caribbean and Pacific, wind

bands had strong connections with the regional traditional music and dances, and the

players were mainly adults from peasant origins that learned the musical practices by oral

tradition.

The Colombian government classifies Colombian bands as “traditional” and

“academic.” In the first category we find the pelayeras, sabaneras and sinuanas, which are

concentrated in the states of Córdoba and Sucre (Caribbean Region). Their traditional

19
Luis Omar Montoya Arias, “Bandas de Viento Colombianas,” Boletín de Antropología
25 no. 42 (2011):131.

19
repertoire mainly consists of porros, fandangos, bullerengue, cumbias and gaitas. Although

European inspired genres as the pasodoble, vals, marchas, overtures, and funeral marches

are also performed by the bandas pelayeras.20

The development of wind bands in Colombia and their different manifestations

according to the cultural region, instrumentation, and musical genres is clearly reflected in

the evolution and function of the clarinet in the traditional Colombian music. While in the

“academic bands” the clarinet plays its role as an instrumental section with a primarily

leadership position and particular colorful function following contemporary practices, the

“traditional bands” give a leading and improvisatory position to the clarinet into the

performance of the folk genres. This is also reflected in the number and distribution of

players in each particular ensemble. The instrumentation of “academic” or municipal bands

is generally classified as follows:

Woodwinds: Flutes (2-3), clarinets (6-10), saxophones (3-4), oboes (1-2), bassoons (1-2).

Brass: Trumpets (3), horns (2-4), trombones (2-3), baritones (2), tubas (1-2)

Percussion:

- Basic: Bass drum, cymbals, snare drum.

- Traditional: Maracas, guacharaca, tambores, cencerro, drum set, congas, guiro,

tambora.

- Symphonic: Timpani, Vibraphone, xylophone, bells, piano.

Professional ensembles also use string bass and cello depending on the repertoire. 21

20
The term pelayera comes from San Pelayo, a town in the state of Córdoba, on the slope
of the Sinú river.
21
Ministry of Culture of Colombia, Manual para la Gestion de Bandas-Escuela de Musica
(Bogota: MinCultura, 2012), 21-25

20
 The “academic” bands perform primarily Colombian traditional music arranged for

this particular instrumentation. With the support of the Ministry of Culture and the Plan

Nacional de Bandas (Bands National Plan), a series of arrangements and compositions

have become available to school bands of different levels. Other public initiatives in

Antioquia, Caldas, and Cundinamarca (States in the Andean Region) have motivated the

creation of new repertoire appropriate to the particular difficulty levels and

instrumentations. Although the introduction of pedagogical material for wind bands from

the United States started in the mid-20th century, in the last three decades, the increasing

circulation of repertoire and academic methods from North America and Europe have

encouraged conductors, composers and teachers to include international band works into

their repertoire. 22

Since the 1970s, the Colombian State and its band program have been building a

band tradition and identity based on European models, looking for a symphonic format

based in an academic tradition, a concept that has been rejected and resisted by the bandas

pelayeras. It seems that for the Colombian government, the bandas pelayeras do not

require attention for being part of a tradition of “amateur musicians,” workers, peasants,

and older adults that get together to play music without a specific technical preparation.

Following this idea, government investment is mainly focused on school bands and

municipal music schools from the center of the country and very limited in regions where

the bandas pelayeras are situated. (Pacific, Caribbean).

However, new generations of musicians pelayeros have started to promote the

pelayera tradition in children and youth with education centers where the tradition is being

transmitted to the new generations. The Banda Pelayera started as an effort to recreate the

22
Valencia Rincón, “Bandas de Musica en Colombia,” 15.

21
traditional gaita ensemble23 with European instruments. The instrumentation of these bands

started to unify at the beginning of the 20th century with the contribution of new

instruments brought by a merchant named Diógenes Galván from the USA in 1913.24

Its instrumentation may vary, although it is generally constituted by 3-4 clarinets, 2

trumpets, 3 trombones, 2-3 bombardinos (saxhorn) and the percussion section: snare drum,

bass drum and cymbal. The repertoire of bandas pelayeras is festive and with social

purposes. The call and response structure and the improvisation are central elements in the

music of bandas pelayeras. One of the most representative genres of the pelayera music is

the porro. All instruments improvise during the execution of porro, the clarinet and

bombardino are the instruments that play the most virtuoso improvisational lines. 25

One of the efforts of the Colombian government to promote the construction of a

national band tradition is the creation of festivals such as the Festival Nacional de Bandas

de Paipa, where outstanding municipal bands from different states and regions are

recognized for their musical development and cultural management. In the last decade, the

Paipa Festival has included a category dedicated to the participation of Bandas Pelayeras,

promoting the appreciation and development of the pelayera tradition. The cultural

resistance to the European and academic traditions by the musicians pelayeros is clearly

23
Ensemble constituted by Indigenous type of flutes and African drums performing the
genres of the Atlantic coast.
24
Amparo, Lotero Botero, “El Porro: de las gaitas y tambores a las bandas de viento,”
Boletín Cultural y Bibliográfico 26, no.19 (1989): 44.
25
William Fortich, Con Bombos y Platillos: Origen del porro, aproximación al fandango
sinuano y las bandas pelayeras (Colombia: Domus Libri, 1994), 44.

22
visible in their clothing, the use of the sombrero vueltiao,26 and their distinctive way of

performing standing up and in a semi-circle shape.27

Other festivals as the Sincelejo and San Pelayo are the epicenter of the Pelayera

tradition; however, these events do not receive financial or technical support from the

government. The resources come from sponsors, local companies, and ranchers that hire the

musicians for the corralejas. This historical relationship between musicians (peasants) and

the businessmen (ranchers) is important to understand the existence and development of the

bandas pelayeras. The performers are adult musicians that receive income for their musical

activities in the festive scenarios of the region.

Figure 3: Three clarinet players from San Pelayo area.28

26
The sombrero vueltiao (turned hat) is a traditional hat from the Caribbean region made of
caña flecha, a type of cane that grows in the region.
27
Montoya Arias, “Bandas de Viento Colombianas,” 137.
28
Fortich, Con Bombos y Platillos. 29

23
 This dynamic is reflected in the particular musical traditions and practices that are

transmitted primarily by oral tradition. Although nowadays most of pelayero musicians can

read sheet music, the first bandas pelayeras played the porros and fandangos “by ear.”

The bandas pelayeras perform all music by memory and there is no technical

instrumental training involved in this tradition. It is important to recognize that the

particular sound of the bandas pelayeras belongs to this intrinsic folk tradition that is

connected with the historic and cultural evolution of the people of this region and it is

impossible to compare and evaluate this tradition in an academic context, since we run the

risk of omitting and undervaluing the sense and spirit of this music.

In this context, the clarinet in Colombian traditional music has different approaches,

dynamics, and functions that enrich the performance practice and repertoire. The

globalization of information and new technologies has encouraged and promoted the

academic approach and technical training particularly in young clarinetists of the academic

bands, which have been formed in the European and North American traditions. In many

cases, this has affected the promotion of Colombian musical traditions into the new

generations, putting at risk the transmission and evolution of Colombian traditional music.

At the same time, music education programs as the Escuela de Musica Lucho

Bermudez in Carmen de Bolivar (Caribbean Region) strive to rescue and promote the

pelayera tradition by teaching and transferring this legacy into young musicians of the area.

24
 Figure 4: Young child from San Pelayo. This image is very common in the area.29

The issues with a purely technical approach in a clearly popular musical tradition is

perceived today more than ever. The access to an infinite source of materials through the

internet has motivated young musicians from the pelayera tradition to improve their

technical possibilities and to contribute to a “refined” sound and virtuosic playing within

the particular “feeling” and groove that characterizes this music. Additionally, academically

trained clarinetists have also deepened their interest into the popular genres, promoting the

pelayera tradition as part of the training of conservatory musicians, encouraging the

creation of modern arrangements and instrumentations and motivating the performance of

traditional genres with higher technical standards.

29
Fortich, Con Bombos y Platillos. 16.

25
 It is worth noting that this dynamic of pedagogical “academization” of the

traditional music is eventually beneficial for both parties, since the changes that arise from

the mixture of folk and academic languages promote regional musical identity and in turn,

contribute to the rise of new aesthetics that complement the traditional practices. 30

PART II. CHARACTERISTIC ETUDES FOR CLARINET INSPIRED BY FOUR

COLOMBIAN GENRES.

ETUDE No. 1 BAMBUCO

The Bambuco31 is one of the most representative genres of Colombian music. It is

characteristically associated with the Andean region and the valleys of the Cauca and

Magdalena rivers, however many musical Latin American genres share some

characteristics of the bambuco, and similar styles can be found in Venezuela, Ecuador and

Brazil. 32 The bambuco, in its particular regional manifestations, is typical from the Andean

states of Antioquia, Caldas, Risalarda, Quindio, Tolima, Huila, Santander, Norte de

Santander, Cundinamarca, Boyaca, Cauca, Valle del Cauca and Nariño; and it can be

instrumental and vocal. The vocal style is primarily romantic and poetic, while the

instrumental bambuco, also called bambuco fiestero (festive bambuco), is energetic and in a

30
Guillermo Perna, “El Concierto como instancia de aprendizaje: Musica popular y musica
academica,” Revista Panamericana de Investigacion. (Abril 2014): 31.
31
One theory claims the origin of the word “bambuco” to be found in the locality of
Bambuk in West Africa. Another theory says that the name derives from and indigenous
tribe from the Pacific coast, called the “bambas” whose musical airs might have been
named bambucos.
32
JohnVarney, “An Introduction to the Colombian “Bambuco,” Latin American Music
Review 22 no.2 (2001): 124.

26
faster tempo. Hybrid forms such as instrumental slow and sentimental versions and vocal

pieces with bambuco fiestero characteristics, are very common.

Although the traditional instrumental ensembles of most Andean music are the

plucked string ensembles (trios and quartets of traditional plucked string instruments as the

tiple, bandola, requinto and guitar), many of these ensembles have included symphonic

instruments such as the violin, flute, clarinet and trumpet. 33 About the Bambuco rhythmical

characteristics, Andrés Ramón in “Colombian Folk Music in an International Context”

says:

Due to interplay of instruments, to the rhythmic accents and the melodic phrasing,

the bambuco is a highly syncopated and polyrhythmic musical style that can be

understood as the superposition of meters, mainly 3/4 and 6/8. It can be thus notated

either in 3/4 or 6/8. The issue of notating bambuco with rhythmical clarity for

musicians not acquainted with this musical style and reading from a score has been

of great dispute. Presently it has been opted to use primarily the 6/8 notation.34

33
Ramón, “Colombian Folk Music,” 88.
34
Ramón, “Colombian Folk Music,” 103

27
Figure 5: Archetypal rhythmical structures of the bambuco for Andean String trio and

Chirimía (Traditional ensemble of the western and southern areas of Andean region)35

The form of the Bambuco is usually a simple AB structure (16-bar segments),

although a more elaborated form of ABC sections with repetitions is also common. The

harmonic progression is generally based on a simple tonal structure. Modern compositions

display harmonic variations with the use of passing modulations, seventh and ninth chords

and non-square structures.

Most Andean genres such as the bambuco and pasillo are examples of folk notated

forms. However, these genres are also played by ear on traditional Indigenous and African

35
Ramón, “Colombian Folk Music,” 96.

28
instruments by musicians that are self-taught. Musicians who perform the notated forms

may find the bambuco demanding, especially because of its rhythmic richness, and because

it generally requires a technical expertise similar to that of conservatory training. Due to its

evolution and complexity, the bambuco can be considered “art music” that displays

folkloric traits. 36

The characteristic etude based in the bambuco displays some of the most important

features of the genre. As shown in Figure 6, the superposition and interaction of meters 3/4

and 6/8 is a trait that characterize the syncopated rhythm.

Figure 6: Characteristic Etude Bambuco m.61-64

Another important aspect of the rhythmic complexity of the bambuco is the

displacement of beats and hemiolas as seen in m. 15-16.

Figure 7: Characteristic Etude Bambuco m. 15-16

The structural content of the etude is designed to display technical challenges to the

player within the particular characteristics of the bambuco and this relationship is reflected

36
Varney, An Introduction to the Colombian “Bambuco,” 123.

29
in the extended form, the addition of 16th notes figures into the syncopated passages, and

non-conventional harmonic progressions.

The etude starts with an introduction section (m.1-46) presenting the E minor key

with a rhythmical motive. In m. 23, an introductory theme is presented in the relative G

major, as a preamble to the first theme in m. 47. Sequences displaying a wide register and

uncomfortable passages are used as transitions between sections. The second theme (m.

71) is in D major, showing a more vocal cantabile mood in contrast with the rhythmical

character of the first theme. The coda borrows the motive and key of the introduction.

An important aspect in identification of the particularities and differences of the

Colombian genres, besides aspects like the instrumentation and patterns, is the accentuation

and articulation of the syncopated rhythms. When performing this etude, it is crucial to pay

especial attention to the accents and articulation marks. However, articulation marks are not

absolute, and it is recommended to listen to different examples of bambuco to identify the

particular length of staccato and legato marks, phrasing, and general “feeling” of the music

in its popular manifestations.

ETUDE #2 PORRO

The origins of the porro are uncertain since in order to get information, researchers

have to rely on the elusiveness of collective memory. While Guillermo Valencia Salgado

states that the root of porro should be traced back to the African Yoruba tradition and

Cuban Santeria, William Fortich argues that the porro comes from the indigenous gaitero

30
(people who play the gaita, an indigenous flute made of cane) groups.37 Despite the

disagreements, researchers agree on its popular origin and its functionality in town parties

and festivities organized by farmers to break the routine.

The porro is traditionally performed in Gaita ensembles and wind bands

(pelayeras). The gaita is a type of flute made from a hollow cane and a head made of a

mixture of bees-wax and vegetable coal. A tube made of turkey’s feather is attached to the

head to serve as a mouthpiece, resembling a rustic oboe with a mellow sound. The gaitas

come in pairs, the gaita hembra (female instrument), which is in charge of the melody, and

the gaita macho (male instrument), which has a more limited range and plays the bass and

accompaniment line. The gaita macho is performed with the left hand, while playing the

maracón with the right hand.

The percussion instruments of the gaita ensemble are the alegre, llamador, tambora

and maracón.

Figure 8: Left: Gaita ensemble instruments. Right: Gaiteros de San Jacinto 38

37
Fortich, Con Bombos y Platillos, 9.
38
[Link] (accessed March 29th, 2018)
[Link] (accessed
March 16, 2018).

31
 The porro is in a 4/4 meter and its basic rhythmic cell is constituted of two

measures.

Figure 9: Archetypal Rhythmical Structure of the Porro39

As it was mentioned earlier in this document, the introduction of European wind

instruments in Colombia changed almost completely the way of interpreting popular music

in towns. William Fortich states: “The technical superiority of the instruments from Europe

was preferred over the native instruments. The loudness of the European instruments

allowed for musicians to reach greater audiences and also they found more musical

possibilities with them.” 40

The bandas pelayeras recreate the tambora, gaitas and maracón with the bass

drum, clarinet and cymbal, performing porros, cumbias, bullerengues and fandangos.

The characteristic etude inspired by the porro takes the improvisational role of the

clarinet to higher technical level. The etude is designed as a long written improvisation

39
Ramón, “Colombian Folk Music,” 58.
40
Fortich, Con Bombos y Platillos, 41

32
using the traditional patterns that pelayero clarinetists use in their improvisations, and

developing them into complex figurations, sequences and demanding passages.

Most porros pelayero or palitia’o have a slow introduction that is not to be danced,

but designed to be the background music for the nodding and bowing moment when

couples invite a dance partner to dance a piece in aristocratic dances. The characteristic

etude based on the porro starts with a slow introduction in D minor, followed by the

presentation of a bass accompaniment pattern.

Figure 10: Characteristic Etude Porro m. 14-27

This pattern continues as a simultaneous accompaniment until the improvisation

develops into more complex figuration, as seen in figure 10 m. 14-27.

The use of pattern repetitions is a characteristic of porro improvisation. The

harmonic motion is simple and allows the player to explore variations of the patterns and

33
virtuosic configurations. The basic pattern presented in m. 45 and 46 (figure 11) is

ornamented and transformed into more complex figurations.

Figure 11: Characteristic Etude Porro, m.45-55.

In its traditional manifestations, porros are performed outdoors and in festive

scenarios. Clarinet players play their melodies and improvisation in the high register of the

instrument to be able to project more, which requires skills in the management of that

register. The etude displays different sections involving the altissimo register of the

clarinet as shown in figure 12.

34
Figure 12: Characteristic Etude Porro, m. 120-131.

ETUDE No. 3 PASILLO

As mentioned before, the main cultural trait that identifies Colombian music is the

tri-ethnical heritage. Particularly in the vast Andean region, the strongest influence comes

from the Muisca tribes and the Spanish traditions. Despite the general homogeneity, we can

find distinctive differences in the musical characteristic of certain genres and the

instruments that are used in specific zones.

Although different genres have developed in sub-regions of the Andean area, the

pasillo is the most representative and generalized traditional genre. The word pasillo

literally means “small step” and denotes the small and quick steps done by the dancers. Its

meter is in 3/4 and it is developed from the European waltz. In fact, at the time of the

independence of Colombia from Spain (at the beginning of the 19th century) the pasillo was

called “vals al estilo de pais” (waltz in the style of the country). However, the pasillo is

35
performed twice as fast as the traditional waltz, making it more appealing and challenging

for dancers and musicians. This early version was appropriated by the Colombian

aristocracy in search for styles that fit the higher classes in the 19th century. Over the course

of time, the pasillo was influenced by the popular styles and it has become a representative

genre for every class.41

The pasillo can be performed with different instrumentations according to the

region. The chirimia ensemble is the most common instrumentation in the western and

southern areas of the Andean regions and it is constituted of three to four flauta de caña or

chirimia (cane flute) and percussion instruments as tambor, tambora, maracas, guacharaca

and güiro.

Figure 13: Traditional Andean Chirimia ensemble. 42

41
Ramon, “Colombian Folk Music,” 98.
42
[Link] Accessed March 18th, 2018

36
 Another typical ensemble of the Andean region is the Colombian String Trio. This

trio consists in the guitar (playing the bass role) tiple (12-strings traditional plucked string

instrument playing a harmonic role) and the bandola (16-strings instrument playing a

melodic role) or requinto (10-strings instrument playing a melodic role).43

Figure 14: Traditional Colombian String Trio44

43
Ramon, “Colombian Folk Music,” 85.
44
[Link]
sonando/agrupaciones-de-cuerdas-andinas-en-antioquia-dilogo-entre-las-tradiciones-
[Link]. Accessed March 18th, 2018

37
 Figure 15:Archetypal Rhythmical Structure and Variations of the pasillo for tiple,

guitar and two percussion instruments, the cucharas (wooden spoons) and the raspa

(scraped idiophone).45

The pasillo is one of the most demanding genres for the performers due to its fast

tempo and harmonic complexity. It shares elements from the bambuco as the formal

structure and rhythmic connotations (relationship between 3/4 and 6/8). However, the

fluency of the melodic lines and the tempo differentiates the pasillo from other genres with

more rhythmical character.

The characteristic etude based on the pasillo has an ABC general structure with

some non-conventional elements. A six-measure brief introduction anticipates the

presentation of the first theme. In traditional pasillo the sections are usually 16-measure

phrases with repetition. However, this etude presents a 32-measure big A section with two

phrases of 18 and 14 measures respectively, a 32-measure B section with a cadential

extension, a 16-measure C section (in C minor) with repetition and a cadenza section. The

structural form can be represented in this diagram: AA’BB’C-Cadenza-ABB’

45
Ramon, “Colombian Folk Music,” 99.

38
 The etude uses elements that are characteristic of the genre to help its identification.

Patterns from the rhythmic structure can be found in m. 1-4 (figure 16) and m. 64-67

(figure 17)

Figure 16: Characteristic Etude Pasillo m. 1-4

Figure 17: Characteristic Etude Pasillo m. 64-67

The specific characteristics of the pasillo are ideal for the addition of technical

elements that contribute to the performance level of the player such as sequences in leaps

and extended phrases.

Figure 18: m. Characteristic Etude Pasillo m. 56-63

39
 Like most genres of popular music in Colombian, the rhythmic element is of great

importance to the recognition of the music. As in genres mentioned previously,

displacements of rhythmic patterns, polyrhythm, syncopation and absence of downbeat are

traits of the pasillo.

Figure 19: Characteristic Etude Pasillo m. 85-88

ETUDE No. 4 CURRULAO

The currulao is the most representative musical style of the Pacific region and it is

considered as the purest musical genre in Colombia. The number of Spaniards never grew

as much in this region as in other areas of the country and the African population surpassed

in number of Spaniards and native Amerindians. The social dynamic and development of

the region was quite different from the Caribbean and Andean regions. Since the ethnic

mixture was not very common in this region, many cultural and religious traits were

preserved. Another determining factor was the big number of runaway communities of

slaves that settled in the southern Pacific areas and established communities increasing the

number of African descendants and conserving aspects of their original culture. 46

46
Ramon, “Colombian Folk Music,” 66.

40
 The currulao is zambo (the mixture of native Amerindians with black Africans) and

its most important musical traits are the African drums and responsorial songs. The word

currulao represents not just a particular musical genre, but also a musical tradition that

includes other genres as the anderele, berejú, juga, makerule, pregón, patacoré, etc. The

word currulao may have originated from the word cununo which is the name for the small

hand drum used to perform the currulao.

The rhythmic section is constituted by two bombos, the bombo golpeador (striking

bass drum) and bombo arrullador (“lullaby” drum), two small cununos, the cununo macho

(male hand drum) and the cununo hembra (female hand drum) and the guasá shaker. The

central melodic and harmonic element is carried by the marimba de chonta, a large

xylophone made of chonta wood with 14 to 28 keys suspended over bamboo resonator and

arranged in traditional tunings that are in some cases outside of the tempered western

scale.47

47
Ramon, “Colombian Folk Music,” 72.

41
 Figure 20: Traditional Instruments of the Marimba de Chonta Ensemble48

The currulao can be performed in instrumental and vocal settings. When song is

added, the text can be religious or secular with a structure of call-and-response in which the

lead singer (cantador) is followed by a female choir (cantadoras) who sing in harmonies of

three or four voices. Currulaos are generally performed in a meter of 6/8. Although many

genres of the currulao style share a similar rhythmical accompaniment, it is the marimba

pattern with its bass lines and the melodic and improvisatory lines that defines the

particular genre.

48
[Link]
fico/English_Currulao.jpg (accessed March 29th, 2018)

42
 Figure 21: Rhythmical Structure of the Currulao49

The music of the Pacific region is mostly modal, making use of pentatonic scales

and drones. The characteristic etude based in the currulao is in minor mode and it uses the

first five notes of the minor diatonic scale, adding the seventh and not using the sixth

degree of the scale. (figure 22)

Figure 22: Characteristic Etude Currulao m. 94-95.

49
Ramon, “Colombian Folk Music,” 75.

43
 Three-note and two-note repetitive patterns over the 6/8 meter are very common in

the marimba part of the currulao. The etude recreates the marimba patterns and

improvisations adapting them to a single melodic line.

Figure 23: Characteristic Etude Currulao m.26-33. Typical Marimba pattern #1

Figure 24: Characteristic Etude Currulao m. 45-47. Typical Marimba pattern #2

Off-beat phrasing, hemiolas, overlapping call and response patterns and irregular

cycles are some of the traits that characterized the currulao:

Figure 25: Characteristic Etude Currulao m. 59-71.

44
 CONCLUSIONS

The vast diversity in Colombian traditional music is a formidable compositional

source. The use of these elements in the creation of the Characteristic Etudes is not just an

effort to preserve the identity and richness of the music, but it also fulfills the need of

finding musical problems that affect the performance practice. In my time as clarinetist and

pedagogue in Colombia, I have found in many traditional music players the genuine need

for pedagogical material that is focused on their particular needs and challenges, not just

because of its educational benefits, but also because of the evolution and development of

this music. In the same way, clarinetists with academic and technical training also find

difficulties approaching the traditional genres and its particular rhythmic complexities and

harmonic, melodic and improvisational traits.

Looking for solutions to these issues is what inspired the creation of the

characteristic etudes. Their purpose is to bring the clarinet students closer to some of the

most representative genres of the Colombian traditional music and contribute to the

pedagogical sources of instrumental study while using the attractive elements of Latin

music.

45
BIBLIOGRAPHY

Amador Cardona, Julián. “En el espíritu popular Colombiano.” MM diss., Universidad de

DANE (National Administrative Department of Statistics), “Colombia, Una Nación

Devoto, Daniel. "Expresiones musicales; sus relaciones y alcance en las clases sociales." In
América Latina en su Música, edited by Isabel Aretz, 20-34. México: Siglo XXI Editores,
2004.

Fortich, William. Con Bombos y Platillos: Origen del porro, aproximación al fandango
sinuano y las bandas pelayeras. Colombia: Domus Libri, 1994.

Jaramillo, Diana. “An Analysis of Colombian Folklore Music and the Development of
Musical Resources for Clinical Improvisation.” PhD diss., Wilfrid Laurier University,
2013.

Jeanjean, Paul. 18 Etudes for the Clarinet. New York: Alfred Pub., 1940.

Lotero Botero, Amparo. “El Porro: de las gaitas y tambores a las bandas de viento.” Boletín
Cultural y Bibliográfico 26, no.19 (1989): 39-53.

Ministry of Culture of Colombia. Manual para la Gestion de Bandas-Escuela de Musica.

Montoya Arias, Luis Omar. “Bandas de Viento Colombianas,” Boletín de Antropología 25

Murcia Bedoya, Mauricio. Colombian Dances. Bloomington: Woodwindiada, Inc. 2012.

46
Opperman, Kalmen. Modern Daily Studies for the Clarinet. NewYork: M. Baron
Company, Inc., 1952.

Pasos, Jonny. “Composición de música para saxofón basada en ritmos Colombianos.” MM

Perna, Guillermo. “El Concierto como instancia de aprendizaje: Musica popular y musica
academica.” Revista Panamericana de Investigacion. 2 no.1 (2014): 31-46.

Ramón, Andrés. “Colombian Folk Music in an International Context.” PhD diss., Iceland
Academy of the Arts, 2010.

Rey Mariño, Jesus Alberto. De Negros y Blancos en Blancas y Negras: 50 piezas breves
para Piano. Bucaramanga: UNAB Press, 1996. Beca de Creación COLCULTURA 1996

Rose, Cyrille. Thirty-Two Etudes for Clarinet. New York: Carl Fischer Music, 2002.

Uhl, Alfred. 48 Etüden. Mainz: B. Schott’s Söhne, 1940.

Valencia Rincón. Victoriano. “Bandas de Musica en Colombia.” MM Thesis., Universidad

Varney, John. “An Introduction to the Colombian “Bambuco.” Latin American Music
Review 22 no.2 (2001): 123-156.

47
APPENDIX A

48
49
50
51
APPENDIX B

52
53
54
55
56
57
APPENDIX C

58
59
60
61
62
APPENDIX D

63
64
65
66
APPENDIX E

67
68
69
70
71
 APPENDIX F

Technical Considerations for the Performer

ETUDE No. 1 and 5 Bambuco

One of the most important technical elements to work on the Bambuco etudes is the

definition of the articulations and syncopations. It is essential to follow the articulation

marks with these particular recommendations:

o The syncopated rhythms (beat 2 and 5) should be slightly accented using air

support. Most of the time, when the accent is on the upbeat, the previous eight-note

should be slightly shorter.

o It is important to not to exaggerated the accentuation and articulation marks.

Accents and articulation marks are a guide to the performer, however, it is

important to listen to different performances of the traditional genres to identify the

particularities of the articulation and phrasing in general.

o The articulation in general should be long and relaxed.

o Articulation should follow the gestures and accents of the percussion patterns and

rhythmic accompaniment instruments (guitar, tiple).

o Highlight the hemiola patterns.

LISTENING EXAMPLES:

- [Link] 3-2-1 Trio, Contra la Piedras (Bambuco) by Jorge

Andres Arbelaez (Plucked Strings Andean Trio).

- [Link] Manigua, El Guacirqueño (Bambuco) by Jorge

Villamil (Traditional Chirimia Ensemble)

72
ETUDE No. 2 Porro

The first section of the etude is a cadencial free section that can be played ad libitum in a

slow tempo. Once the theme starts, it is important to have a strong sense of the tempo

highlighting beats 2 and 4. The accents and articulation must be long, light and relaxed.

As in the bambuco, syncopation passages should be played naturally without rushing.

The tempo should be stable and “elegant”, with high energy and lively character. It is

important to keep a good air support through the phrases to produce a soloistic and

projecting sound. It is recommendable to practice arpeggios with flexibility exercises to

develop good speed and control since the melody uses the notes of the chords through all

the registers.

The sound in the high register should be consistent and in tune while using long articulation

and high tongue position to avoid squeaks.

LISTENING EXAMPLES

- [Link] San Pelayo (porro) Banda Pelayera

- [Link] Los Gaiteros de San Jacinto, La Mica Prieta

(porro) Gaita ensemble.

ETUDE No. 3 Pasillo

Unlike the currulao and other more rhythmic genres, the pasillo uses longer and lighter

phrases. Focus on the air support to produce an even and balance sound and facilitate the

fast passages. As any other dance, a steady feel of the tempo is important, highlighting the

first beat as in the European waltz. The biggest challenge in most pasillos is the speed and

73
the proficiency in all the registers of the clarinet. The etude displays melodic passages with

chromaticisms, accidentals and arpeggios within long phrases, requiring good skills in

stepwise motion and intervals in all tonalities, as well as a good breathing capability.

It is important to practice at a slower tempo with the metronome to be able to perform the

passages as clean as possible while using the phrase shape to lead the air to the climax

points. Unlike other genres, the pasillo gives more importance to the dynamics along the

piece. Practice scales in linear, intervals and broken chords patterns using the tonality of the

etude to develop more control and organization in the melodic lines and analyze the

harmonic motion and the structural form of the piece to understand the melodic line, the

contrasting sections and the harmonic dissonances

The articulation in the pasillo must be long and relaxed. The legato must be practiced by

using a lot of air pressure and support to the scales and passages while connecting all the

notes with a full and round sound. It is important to show the differences between the

legato and the articulated and syncopated passages. Although the accents are not as strong

and heavy as in other genres, it is important to do a slight separation and soft accentuation

to the syncopation to contribute to the rhythmic characteristics of the pasillo.

LISTENING EXAMPLES

- [Link] Trio Morales Pino, Patasdilo (pasillo) by Carlos

Vieco. Plucked strings Andean trio and Flute.

- [Link] Renacer Folklorico Dance Group, pasillo fiestero

74
ETUDE No. 4 Currulao

The articulation in the currulao must be long and relaxed, using air impulses (air accents)

instead of hard tongue articulation to produce the accentuation in the syncopated beats. It is

important to have a stable sense of the pulse without rushing, especially during syncopated

sections, since the tempo must have some feeling of relaxation like being in the slow side

of the beat.

The phrasing of the melody should try to imitate the phrasing of the traditional currulao

singer in terms of the accents and shape (see listening examples). The pulse and rhythm are

the most important aspects in the performances of the currulao. This melodic structure uses

short rhythmic melodies instead of large melodic lines as in the pasillo.

LISTENING EXAMPLES

- [Link] Grupo Bahia, Mi Buenaventura (currulao) by

Petronio Alvarez

- [Link] Grupo Socavon, Quitate de mi Escalera

(currulao)

75
APPENDIX G

TRADITIONAL MUSIC GENRES IN LATIN AMERICA

76