La Muerte de Neftolio

Bambazu
Augusto Lozano
(arr. Angelo Lingine)

If there is any Colombian song that is almost too cool for anyone over 30, this is it! Every child
already knows the magical story that's conveyed by the words. So when they are then offered
the chance to play this heart-pumping instrumental version, they are especially motivated to
meet the challenges. As with other Linguine arrangements of popular Colombian songs, there
are extra Elementary parts for 3rd violin, 2nd viola, 2nd cello, and 2nd bass which make it
possible for everyone to participate. The Elementary kids feel like rock stars, and the
Intermediate and Advanced students share the responsibility for the children's progress. Just as
one is never too old to learn, one is never too young to help others learn.

In addition to the technical challenges in this piece, there are many opportunities to introduce
important terms and historical points that broaden one's musical knowledge and perspective.
Some of the terms include syncopation (bars 3, 5, 11-14), triplet (10), chromatic (75), diminution
& augmentation (19), and inversion (82). Some of the historical information includes the
symbolism (from the Renaissance) of descending chromatic scales that signified death -- which
is relevant given the title of this song.

Special attention could also be directed to the "layering" of multiple musical elements in the
final section of La Muerto de Neftolio. This is similar to what Mozart does in his operas -- in
particular, the choruses that conclude most acts -- where each of the main characters is singing
his/her own very different music from different parts of the stage, as the chorus and orchestra
are meanwhile playing music that holds everything together. Mozart does something similar at
the very end of the finale of the "Jupitor" symphony, where all the movement's themes are
"layered on" simultaneously. And of course Wagner takes an even more complex approach to
this idea. As always, BATUTA instructors should be looking for chances to teach "larger lessons"
that expand the musical and cultural horizons of their students, well beyond the details of any
particular piece.

Above all, though, teachers must take advantage of every opportunity to make this piece fun.
For example, in the middle "sempre p" section, there can be hand-clapping, finger-snapping,
and even dancing. (Does anyone in the world dance with more passion than Colombians?)
Teachers will know that they have been successful whenever a rehearsal or performance of this
piece makes them feel at least 10 years younger!