Music of the Whole World

- presentation # 5: June 7, 2006

Intercultural Orchestra spiced with Tango & Andean Music

study materials for composers and musicians
by Moshe Denburg
with bibliography and discography compiled by Joseph Pepe Danza
--------------------------------------------The Vancouver Inter-Cultural Orchestra gratefully acknowledges the support of the following organizations that made the series, Music of the Whole World, possible.

Intercultural Orchestra spiced with Tango & Andean Music - study materials General Note
The following study materials are being made available to participants in the educational series, Music of the Whole World, presented by the Vancouver Inter-Cultural Orchestra (VICO) at the Vancouver Public Library. The presentation, Intercultural Orchestra spiced with Tango & Andean Music, took place on June 7, 2006.

Acknowledgements
The author wishes to acknowledge the contributions of the following, for their significant help in providing materials on instruments and for clarifying many issues. Joseph Pepe Danza Quena information

Orchestration of Latin American Instruments

These materials form part of a larger work in progress (as of June 2006) entitled Orchestrating the World - a Manual of Intercultural Music Making by Moshe Denburg. Portions of this work are available for downloading on the VICO website. To download this study guide, go to:

www.vi-co.org
and click on 'VICO Instruments'.

Copyright and Fair Use Notification

The author does not object to the use of these materials for personal educational purposes or for any fair use, such as quoting or citing these materials, as long as his authorship is credited by the user. Making copies of these materials as part of any commercial venture, or for any monetary reward, requires the written consent of the author.

Moshe Denburg, 2006.

Intercultural Orchestra spiced with Tango & Andean Music - study materials

The Latin American Musical Tradition Scope and Considerations

The Latin American musical tradition includes a very large array of styles and influences, and is an amazingly rich mix of the musical cultures of Spain, Africa, and inigenous America. By Latin America we take the large view here, of all countries and peoples extending south of mainland United States. Thus for the purpose of this discussion Latin America encompasses Mexico, Central and South America, and all the AfroHispanic cultures of the Caribbean. Central to any discussion of the music of this vast region is the concept of music as a way of life, and as the repository of religious sensibility and ritual. Though our present topic of discussion is focused on Tango and Andean music in the intercultural orchestra, an appreciation of the spiritual centrality of music all over Latin America cannot be overemphasized. The following two maps illustrate the geographical area.

Intercultural Orchestra spiced with Tango & Andean Music - study materials

The transplanted slaves brought from Africa, who ended up mixing with transplanted Spaniards and indigenous American peoples, brought with them a religion known today as Santeria (of the Saints). Actually it is more correctly of the Gods; but, having to incorporate Christianity into their lives, the religion of the conquistadors, referring to their African Gods as saints helped preserve the beliefs of the transplanted Africans without giving blatant offense to the Christian hegemony. So a kind of hybrid religion and ritual was born of the cross-cultural encounter, and forms the context of meaning in these cultures today.

Intercultural Orchestra spiced with Tango & Andean Music - study materials
So much about music and dance is ritualized in the cultures of Latin America - for example, there is preserved the association of specific peoples and cultures with specific rhythms. Thus when speaking of Rumba (Cuba), Samba (Brazil), Tango (Argentina), or Candombe (Uruguay), or any of a vast number of rhythms, we are speaking of traditions that belong to certain peoples, and often play a vital role in the development of religious sensibilities. These associations go very deep. Tango, to take one example, is not only a rhythm, but is associated with dance, with certain instruments (like the bandoneon), with certain poetry, and a certain life-philosophy and world view. In sum, to those who are into it deeply, Tango is a way of life, informing both the sensual and intellectual aspects of human experience. Like the art of Flamenco, for instance, which is an entire world in itself. In Latin America therefore, the practice of a musical tradition is something to be taken very seriously, as it is the backbone of peoples lives. Of course, this attitude finds its counterpart in many cultures of the world, but we do well to bear in mind that the sensual rhythms of Latin America, though often known to us primarily via popular art forms, often come from a much deeper place, an inner place, and a religious one.

Santeria
Also known as Lukum, and other names, this is the religion originally brought to the Americas by African slaves, which over time was integrated into Christian practice. The parent African religion is Ifa, and its source is Nigeria. It is a 3 tiered spiritual world: 1. Olorun the supreme, absolute deity, unapproachable directly; 2. Orishas brought into being by Olorun, these are the deities with which humans may interact. A few examples of the Orishas are: i) Elegua the keeper of the keys, the one who opens all doors; ii) Shango the God of thunder and virility; iii) Yemaya Goddess of fertility, the mother of Shango, the goddess of the sea. Each Orisha is associated with a particular rhythm, with particular sounds, and special songs. 3. Humans the 3rd rung on the spiritual ladder. The African slaves who worshipped many Orishas found themselves in conflict with their adopted by force or otherwise Christian religion. So they bagan the practice of associating the Orishas with different Christian Saints in order to camouflage the actual act of worshipping in a non-Christian manner. Santeria, which means of the saints, was originally a derogatory term used by Catholics to deride the practices of these new Christians who seemed to worship the Saints even more than the Christian God! Over time the term has lost much of its negative connotation, and today is utilized more and more to describe the religion of its adherents. Over time the Gods - the Orishas - of the original religion have become integrated into the life of the Latin American Christian communities, and are celebrated in song and dance.

Tango
A form of music, dance, and song, native especially to Argentina and Uruguay, Tango is a large scale social phenomenon which, for its more dedicated followers, is a way of life. Musically, one writer described the Tango as the result of the meeting of African rhythms and Argentinian milonga (a fast paced polka). Its origins are somewhat obscure, though we may trace its rise beginning in the mid to late 19th century. Around 1880 close couples dancing was coming into vogue, and was indulged in by young lower class men who would go outside the city to brothels, bars, and cafes.. Of course this was done on the fringes of society, and no self-respecting person would indulge in it. The dance, breaking completely with the norms of couples dancing at a safe distance, involved erotic display, the partners seemingly invading each others space. From these lewd beginings the dance spread to boarding houses, where in large courtyards men would practice the dance, even with each other, since the only women who could be found to dance it were prostitutes

Intercultural Orchestra spiced with Tango & Andean Music - study materials
who demanded a fee. However, homosexuality did not play a role here. Gradually the dance spread to more polite society young men teaching the members of their family the dance, and then, at communal events where there was music, a certain sanitized version of the dance would be tolerated. In the early 1900s wealthy Argentinian families would travel regularly to Paris, and it is there that Tango came into its own, creating a craze of no small proportions. Finally, coming home to Argentina as a conquering and favourite son, the Tango found acceptance as a national emblem. Tangos lyrics are varied, and speak not only of erotic love and longing, but of the longing for a better life. Sometimes they are politically themed as well. Here is a lyric, translated from the Spanish, that speaks of deep love. ADELINA Your eyes are Adelina as dark as my fortune and drawn on your face is all your beauty. And your accent is well adorned by laughter and tenderness. You are the virgin pure, the image of my soul. that poured the calm of my heart. Always to contemplate you it is my only longing. a glance from you is my happiness. Being far from you I would die of sorrow and pain. I more than understand that your love is impossible I also understand that I'll never own your heart. But my love is so great that I see your image in dreams. So I wake up believing you are mine what good luck it would be to be your admirer.

Andean Music
Andean music refers to that music which stems from the regions of South America surrounding the Andes mountains, and where the Incas ruled before the coming of the Europeans (aka. the pre-Columbian era). This area comprises all or parts of present day Ecuador, Peru, Bolivia, Chile, and Argentina. Typical instruments of the Andean musical culture are the quena (notched vertical flute), the panpipes, and a variety of percussion instruments, such as the bombo (processional drum) and the chajchas (goat hooves rattle). Though originally the Incas made their music primarily with flutes and drums, the charango, a small guitar-like instrument adopted and developed after the arrival of the Spaniards in the 16th century, is much in use in todays Andean music as an accompanying instrument.

Candomb
Candombe is the national rhythm of Uruguay. With its roots amongst the Bantu speaking peoples of Africa, it was brought to the Rio de la Plata (Uruguay and Argentina) region by African slaves, who arrived from 1750 on. The tambor (drum) of candombe, represents the African heritage preserved in Uruguay. To create the rhythm of candombe 3 tambores (drums) are utilized: tambor piano (a large drum with a diameter of approximately 16), tambor chico (a small drum, about 8 diameter), and tambor repique (around 12 in diameter). The three drum ensemble together is known as a cuerda. The smallest ensemble size is 3, but more performers can be added on any of the tambores, and cuerdas can be made up of 100 performers. The tambor is hung from the shoulder and struck by one bare hand and by a stick in the other hand. Each tambor has a rhythmic role to play, resulting in powerful and complex rhythmic compositions.

Intercultural Orchestra spiced with Tango & Andean Music - study materials

Descriptions of Selected Latin American Instruments

Bandoneon - The bandoneon, originally promoted in the 19th century by a German, Heinrich Band, belongs to the family of 'squeeze boxes', i.e. - instruments which use a bellows mechanism to make reeds vibrate. The bandoneon is held in both hands and has rows of buttons on each end, which allow for the playing of melodies and the building of chords. The bandoneon has come to be associated most intimately with the tradition of Tango, a tradition which permeates the cultures of Argentina and Uruguay.

Some excellent web links are available, which tell much more about the bandoneon, its background, and its technique. Web links: http://www.tangolibre.qc.ca http://www.inorg.chem.ethz.ch/tango/band/bandoneon.html Bombo - In Andean music there are many percussion instruments. One of the most common is the bombo, a drum for processions. The bombo is traditionally made from a hollowed tree trunk, and covered on both sides with various skins, often sheep, llama, and cow. They come in a variety of sizes.

Chajchas - A common percussion instrument used in Andean music is rattle made of goat hooves. It is also known to some peoples by the name of arreglos.

Intercultural Orchestra spiced with Tango & Andean Music - study materials
Charango - The charango is a small ten string lute that was developed in South America. The back of the instrument was traditionally fashioned from an armadillo, though today many of the best charangos have wooden backs. It is strummed or plucked, and is often played together with Andean flutes such as the quena and the panpipes. It is modest in the projection of its sound but uncannily able to convey the feel of the high and airy vastness of the Andean altiplano. Web link: http://www.ancient-future.com/guitar/charango.html

Quena - The Quena, originating in the mountains of South America, is an end blown flute, generally made of cane but also made from clay, stone, bone and bamboo. It has 5 to 7 holes in front and one thumb hole in the back. The traditional instrument is about 14" long, while a larger instrument, the Quenacho, extends to 18". A full discussion of the Quena can be found on the following pages. Web Link: http://www.fippless.org/Quena

Panpipes - Andean panpipes come in many sizes. The number of pipes, and thus the range, may vary widely from instrument to instrument. Depending upon where you are in South America, they are called by different names, such as: Siku, Ankara, Rondador, and Zampoa. They can be diatonic (half and whole tone scale 7 notes to the octave), or pentatonic (5 notes to the octave). The range of the instrument varies, usually between 2 and 3 octaves. The pipes are pitched in - what in Western musical nomenclature would be called - E minor.

For more on the panpipes of the Andes and the world, see the following web links: http://en.wikipedia.org/wiki/Panpipes http://pan-flute.com/

Intercultural Orchestra spiced with Tango & Andean Music - study materials

Quena

Description The Quena is an end blown flute originally from South America. It is made variably of cane, bamboo, wood, or bone. It has 5 to 7 holes (usually 6 holes) in front and one thumb hole in back. The traditional instrument is about 14" long, while a larger instrument, the Quenacho, extends to 18". Pipe Note, Sizes, and Basic Scale All quenas are constructed to sound a pipe note of g1 (the g above middle C). All quenachos are constructed to sound a pipe note of d1 (the d above middle C). Quenas are not normally constructed in different sizes, though experimentation is always possible and undoubtedly ongoing. The basic scale of the quena - the one created by starting with all finger holes covered and then gradually uncovering them - is the diatonic major scale from g1 to g2 (i.e. - g a b c d e f# g). Range The most practical range of the quena extends from g1 (the g above middle C) to g3 . Above this this the pitch becomes piercing and difficult to produce.Up to c4 can usually be achieved in the hands of a professional player. Notes above c4 must be considered virtuosic. The quenacho sounds a fourth lower than the quena, thus its lowest note is d1, its practical range extends from d (the d above middle C) to d3, its extended range is up to g3. (See the staff notations below).
1

Accidentals, Half-Holing, Cross-Fingerings With the help of half-holing and/or cross fingering techniques, the entire 12 tone gamut is performable. Partial holing can also be utilized to produce microtones. Head movement is not normally utilized. Cross fingering techniques may compromise speed of excution somewhat, but in the hands of an excellent player the compromise is slight if any. Notation The quena belongs to the aural traditions of world's musics and so there is no traditional notation for it. Western notation shall suffice for our present purposes. Both quena and quenacho are notated in the treble clef. Written Range/Concert Pitches Though we may assume that the fundamental of the lowest note of the quena is g1 it may be permissible to write for the quena one octave lower than the concert pitch. In fact, it may be conceived that the quena begins at g rather than g1, since there is a very strong 2nd partial in its tone. Since writing from g (just below middle C) would obviate the need for excessive leger lines in the upper octaves it may be more practical. However, a note to the performer is necessary. The quenacho is best written at concert pitch, beginning with d1 (just above middle C).

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Intercultural Orchestra spiced with Tango & Andean Music - study materials

General Considerations
The quena's higher register is difficult to produce, somewhat more difficult than the quenacho's. The quena is not meant to be a chromatic instrument, meaning true chromaticism is highly unusual for the quena. Of course, diatonic scales in most keys are quite playable, though we assume that those scales which require more half-holings and/or cross fingerings are more difficult to play than those requiring less. Dynamics In the upper register it is more difficult to play pp or p. The lowest notes may not render a true ff. Dynamics depend somewhat on the individual instrument and performer. Speed of Execution All the usual considerations for flutes apply to the quena. We may assume great agility in general. Leaps are more difficult to execute quickly than are scalar passages. Very chromatic passages present a certain difficulty because of the half-holings and/or cross fingerings that are required. When in doubt consult with the performer.

Techniques
I. Tongueing All kinds of tongueing are performable, single, double, triple and flutter. Note: Fluttertongueing does not bump the pitch up an octave (as in the Bansuri). II. Vibrati and Glissandi Traditional quena playing uses a very quick (amplitude) vibrato, produced by the diaphragm. There is no head movement. One can call for slower vibrato or no vibrato at all. The composer must assume that the traditional vibrato will be utilized unless he specifically asks for something different. This traditional quick vibrato is highly idiomatic for the quena. Portamento (glissed) grace notes are no problem as well as glissandi between notes and even over larger intervals. The exception is movement across the pipe note, which is impossible to execute as a glissando since the fingering changes abruptly when crossing the pipe note in a stepwise manner.

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Intercultural Orchestra spiced with Tango & Andean Music - study materials
III. Harmonics Generally, harmonics are an extended technique and can be produced only by the pipe note, and perhaps on the note just above it. Taking the pipe note as the fundamental, the harmonics possible on this one position are 2, 3, 4, 5, and maybe 6. On the quenacho some out of tuneness may occur in the upper harmonics, so again the actual flute itself may determine whether this technique can be called for to good effect. Harmonics on the second note need to be researched on the specific instrument and with the speicific performer. Certainly a kind of glissed-harmonics effect is always achievable. IV. Accents All accents are performable: staccato, legato, tenuto and the combinations of these. V. Special Techniques 1. Head movement is not normally utilized, but can be called for as an extended technique. With this technique certain gradual microtonal slides are playable, similar to a shakuhachi. A very slow pitch vibrato may be performable as well. When the head is lowered the pitch is lowered, the only loss being the power of sound production, since the breath passing over the embouchure is rendered less intense. 2. Certain techniques of other flutes of the world are performable, for example, the bamboo flutes (Bansuri and Venu) of India use the following techniques which may be applied successfully to the quena: a) Janta Svaras - created by striking with the fingers at the edge of a hole while playing a note. The air keeps flowing, and a little 'bump' in the sound articulation is created. It is an effective way of playing a repeated note without tongueing or renewing the breath. b) Finger rocking over a hole renders another type of pitch vibrato. 3. Some performers can circular breathe as well. 4. Various degrees of breathiness are possible. 5. One can also add voice to the sound one produces.

Related Instruments
Quenacho - this is the larger sized quena, pitched a perfect fourth lower. Zampoa, Siku, Ankara, Rondador (Andean Panpipes) A universal Andean instrument, the panpipes are basically rows of reed-cane flutes strapped together. They are played by blowing, alternately, into each flute, rendering a scale. Certain in-between (non-diatonic, or accidental) notes can be achieved also, by tipping the pipe towards or away from the lips. Traditionally no single player would ever perform on the instrument alone - the flutes always came in pairs and required two perfromers working closely together to create complete melodies. In this there is a certain social philosophy, or spiritual understanding all members of the community are interdependent. Another contributing factor is that in very large sized panpipes, it is very difficult to produce a sound; the performer needs time to breath, especially in the rarified atmosphere of the high Andes. So this in fact necessitates the use of two players performing antiphonally.

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Intercultural Orchestra spiced with Tango & Andean Music - study materials
Shakuhachi The quena shares the notched end embouchure construction with the (Japanese) shakuhachi. There is probably no historical connection, but quena and shakuhachi players can approach each others' instruments and produce a sound. However, the traditional techniques involved are different and so one cannot assume that those who play the quena can legitimately double on shakuhachi. For one, the shakuhachi has an entirely different fingering problem, and raising and lowering the head is common. Also, the traditional quick vibrato on the quena is not idiomatic on the shakuhachi, the slow shakuhachi vibrato is not idiomatic on the quena.

Charango

The charango is a small ten string lute that was developed in South America. The back of the instrument was traditionally fashioned from an armadillo, though today many of the best charangos have wooden backs. It is strummed or plucked, and is often played together with Andean flutes such as the quena and the panpipes. It is modest in the projection of its sound but uncannily able to convey the feel of the high and airy vastness of the Andean altiplano. Charango Tuning The charango is tuned in five pairs of strings, as follows: e2 e2 a1 a1 e2 e1 c2 c2 g1 g1

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Intercultural Orchestra spiced with Tango & Andean Music - study materials Selected Bibliography and Discography
compiled by Joseph Pepe Danza

Bibliography
Tango, the art history of love Robert Farris Thompson Pantheon Books, 2005 Tango, the dance, the song, the story Artemis Cooper, Simon Collier Thames and Hudson, 1995 Tango, an anxious quest for freedom Rodolfo & Glora Dinzel The Bandonion, a Tango history by Javier Garca Mndes and Arturo Penn Translated by Tim Barnard Nightwood editions, 1988 World Music (The basics) Richard Nidel Rough Guide - World Music - Volume 2 by Simon Broughton, Mark Ellingham World Musics in context Peter Fletcher, Lawerence Picken Oxford Univ. Press, 2004

Selected Discography
Candomb
Uruguay y su musica (Ans Records) - Several volumes of various Uruguayan artists playing traditional and modern music. Uruguay: Tambores del Candomb - Musique du Monde series Jaime Ross - Several recordings. He is the foremost singer-songwriter in Uruguay presently, using traditional forms to crate modern music. Jorge Drexler - Excellent singer-songwriter who just won an Oscar for the music he wrote for the film about Che Guevara. Opa - A band that singlehandedly brought Candomb Fusion Jazz to international recognition.

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Intercultural Orchestra spiced with Tango & Andean Music - study materials
Ruben Rada - One of the heroes of Uruguayan Candomb music. From Jazz to Pop to traditional, he has recorded countless cd's. Antologia del Candombe - Orfeo records - A cd of various artists using Candomb as the basis for a variety of styles (several volumes) Tango Astor Piazzola - The ultimate innovator of Tango music. A hero and a martyr. A musical genius. Adriana Varela - Started as a rock singer and is now one of the most highly regarded Tango singers. Carlos Gardel - The Elvis Presley of Tango music. The great archetype that every Uruguayan and Argentinian man measures himself against. Gardel lives! Julio Sosa - One of Tango's greatest singers. 30 grandes Tangos a double cd containing a great variety of Tango interpreters - Sony Music, 1995 Roberto Goyeneche - Another of the greats. Tango Argentina - Another good compilation - Music Collection International, 1996. Anibal Troilo - Big Orchestra Tango - A seminal artist. Neo: Tango - Sunswept label - What happens when you mix Tango and electronica. Andean Music Ua Ramos - One of the greatest traditional recording artists on the Quena. Mercedes Sosa - A heroine and a diva of South American music. Inti Illimani - Excellent Andean music group. Flute Music of the Andes Legacy, 1994. Andean Legacy - Narada - Good compilation. Traditional Music of the Incas Legacy, 1995. Inkuyo - A good group mixing traditional music with New Age leanings.

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Intercultural Orchestra spiced with Tango & Andean Music - study materials Scores
Danza, Joseph Pepe I Saw a Mountain, For: Bandoneon, Quena, Quenacho, Guitar, Charango, Flute, Oboe, Clarinet, Bass Clarinet, Percussion 1: Tumba, Bongos, Goat Hooves, Quinto; Percussion 2: Clave, Snare Drum, Guiro, Campana, Bombo Andino; Percussion 3: Surdo or Bass Drum, Conga, Rainstick, Maracas; Percussion 4: Hand Cymbals, Shaker, Shekere; Violin 1, Violin 2, Viola, Cello, Contrabass. Score available from the composer. Villa-Lobos, Heitor Many of his works utilize Brazilian rhythms and other Latin American musical ideas. Piazolla, Astor Many of his works are Tango materpieces. Schifrin, Lalo - Tango (film score) - Cantos Aztecas Argentinian born composer, elements of tango and indigenous America; jazz, film scores, classical.

Study Leads on the Internet

www. andes.org (information) www.vinargentin.com (music store for Andean instruments) www.andeannation.com www.candombe.com www.todotango.com www.tangopulse.net

For more information on intercultural events, music, and study

The Vancouver Inter-Cultural Orchestra (VICO), #12 - 719 East 31st Avenue Vancouver, BC V5V 2W9 Tel. 604-879-8415 Fax 604-873-0501 mailto: info@vi-co.org web: www.vi-co.org

Copyright and Fair Use Notification The author does not object to the use of these materials for personal educational purposes or for any fair use, such as quoting or citing these materials, as long as his authorship is credited by the user. Making copies of these materials as part of any commercial venture, or for any monetary reward, requires the written consent of the author. Moshe Denburg, 2006.