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SENSE  OF  RHYTHM  AND  TIMING  WITH    LATIN  AMERICAN  MUSIC  Dr.  Alejandro  Cremaschi  [email protected]  University  of  Colorado  –  Boulder    Handout  and  slides  at:  www.alejandrocremaschi.com  

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Goals  • Discuss  approaches  to  teaching  and  thinking  rhythm  • Demonstrate  Latin  American  pieces  

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What  pieces?  •  Latin  American  pieces  inspired  by  folk  • Different  rhythmic  energies  •  From  elegant  salon  dances  •  To  “wild”  dissonant  toccata-­‐style  pieces  

• Mexico,  Cuba,  Brazil,  Argentina  • Available  in  the  US  

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What  can  you  learn?  •  Embodied  rhythm.  Strong  sense  of  pulse  • Different  rhythmic  energies  • Direction  •  Syncopation  •  Irregular  rhythmic  groupings    •  Layering  of  rhythms  •  Effective  management  of  stamina    •  Flexibility  

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Pieces  with  frequent  rhythm  problems  •  Sudden  changes  of  rhythmic  values  

Clementi.    Sonatina  Op.  36  No.  1  Second  mvt.  

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Mozart.  Sonata  K.  545.  First  mvt.  

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Beethoven.  Sonata  Op.  2  No.  1.  Second  mvt.  

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Technical  challenges  

Clementi.  Sonatina  Op.  36  No.  1.  First  mvt.  

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Beethoven.  Fur  Elise.  

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Complex  rhythms  and  cross-­‐rhythms  

Debussy.  Arabesque  No.  1.  

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Quick  ornaments  

Bach.  Minuet  in  G  (Anna  Magdalena  Notebook).  

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Bach.  WTC    I  Prelude  in  g.  

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Thinking  rhythm  •  First  thing  we  teach:  steady  pulse  and  counting  rhythm  •  Counting  and  clapping  •  Unit  •  Metric  •  Kodaly’s  “ti-­‐ti-­‐ta-­‐ta”  

         1                      1                      1                          1      and      1                        1                            1              2              3            1                      2                      3                          1      and      2                        3                            1              2              3            ta                    ta                  ta                      ti    ti      ta                    ta                        ta        -­‐    ah  -­‐    ah  

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Rhythmic  words  • Use  of  rhythmic  words  to  help  internalization  •  Walk •  Whole-­‐note-­‐hold-­‐it!    •  Half-­‐note   •  Mountain   •  Colorado   •  Buffalo     •  Blueberry •  Rabbit   •  Pineapple

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Teaching  rhythm  •  Sightreading  and  Rhythm  Every  Day.  Helen  Marlais  &  Kevin  Olson.  FJH  • Dictation  from  early  on  •  x      x        x            xx    x          x            x                    •  1        2        3        |  1          2          3        |  1        2          3||  

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Rhythmic  performance  •  Clap  and  count  (using  “and”,  etc.)  • Marching  &  stomping  the  beat  •  Conducting  the  beat  (“rhythmic  solfege”)  •  Scatting  with  direction  

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Organic  rhythm  •  The  grid  • Organic  rhythm  •  Breathes  •  Has  direction  •  Has  shape  

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Direction  •  Rhythm  +  dynamic  shape  +  accents  =  IT’S  ALIVE!!!!  •  “Building  blocks”  at  the  micro  level  micro  level  have  direction  •  Large  scale  direction  

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Direction  •  Pedro  de  Alcantara.  Integrated  Practice:  Coordination,  Rhythm  and  Sound.  Oxford  University  Press.  •  Building  blocks  are  the  result  of  three  types  of  energy:  •  Preparation  (p)  •  STRESS  (S)  •  Release  (r)  

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Different  combinations  •  Iambic      p  S    (to  BE  or  NOT  to  BE)  •  Trochaic          S  r    (NE-­‐ver,  NE-­‐ver,  NE-­‐ver  )  • Dactylus          S  r  r  (WA-­‐shing-­‐ton)  • Amphibrach        p  S  r  (ba-­‐NA-­‐na)  • Anapest        p  p  S  (go  to  HERE)  

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Danza  Criolla.  Ginastera  

From  Twelve  American  Preludes.  

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Danza  Criolla.  Ginastera  

From  Twelve  American  Preludes.  

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Abby  Whiteside  •  “I  feel  strongly  that  (the  term)  rhythm  should  never  be  used  for  meter  and  note  values,  but  be  reserved  for  that  continuous  undulating  action  which  once  started,  is  impelled  to  carry  the  entire  musical  performance  to  a  close.”  •  “There  must  be  a  physical  action  in  the  playing  mechanism  which  proceeds  from  the  first  tone  of  the  phrase  to  the  last  tone...  This  action  may  go  directly  from  one  accent  to  another  and  use  these  accents  as  stepping  stones  in  its  procedure  to  the  close  of  the  musical  statement.”  •  From  her  book  On  Piano  Playing    

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Latin  American  music  • Dance  and  songs  • Origins  •  Spanish/Portuguese  •  African  •  Indigenous  

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Latin  American  music  • Habanera  rhythm  as  origin  of  many  2/4  dances  •  Tango,  milonga,  candombe,  danza,  danzon,  cha-­‐cha-­‐cha,  mambo,  guaracha,  maxixe,  reggaeton,  cumbia  

•  Samba,  choro  •  Strong  African  elements  

•  Polka  • Waltz  

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Latin  American  music  •  6/8  dances  with  hemiolas  •  Chacarera,  zamba,  son  jarocho,  malambo,  huapango,  cueca  

• Multiple  layers  of  rhythm  •  Layers  with  different  accent  and  groupings  placements  

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Chacarera  

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Habanera  

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Habanera  2  

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Salsa  

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TEMPO  FLEXIBILITY  

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Rubato  /  tempo  flexibility  • Marvin  Blickenstaff’s  “body  copycat”  •  Living  metronome  exercise  on  a  C  scale  (Alcantara)    

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Rubato  /  tempo  flexibility  • Oral  tradition  •  Can  be  explained:  •  “Pull  back”  the  tempo:  

1.  Edges  a  phrase  (beginning  /  end)  2.  Special  harmonic  moment  (e.g.  mode  change)  3.  Melodic  jump  4.  Climax  and  arrival  (broadening)  

•  “Push  forward”  tempo  1.  To  build  excitement  (e.g.  sequences),  often  leading  to  climax  2.  When  “singer”  is  “quiet”  (transitions)  

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Tempo  flexibility  • Use  intuition  • Avoid  being  predictable  •  Experiment:  there  are  often  several  ways  

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Alberto  Ginastera  1916-­‐1983  

Danza  de  la  Moza  Donosa  from  Danzas  Argentinas  (Argentinean  Dances)    #6      

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GRACE  AND  DIRECTION  Salon  dances  

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Salon  dances  •  Buoyant  but  elegant  energy  •  Syncopation  •  Clear  direction  •  Tempo  stability  

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Salon  dances  • Often  subtle  African  influence  •  Habanera,  tango,  choro,  maxixe,  samba,  etc  •  Syncopation  •  Slightly  accented  often  against  the  “grid”  

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Salon  dances  •  Contemporary  pedagogical  pieces  •  Catherine  Rollin.  Dancing  on  the  Keys  series  •  Gillock  •  Vandall  •  Alexander  •  Wynn-­‐Anne  Rossi  •  Eugenie  Rocherolle  

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Salon  dances  •  Latin  American  quasi-­‐classical  composers  •  Nazareth  (Brazil)  •  Cervantes,  Lecuona  (Cuba)  •  Morel  Campos  (Puerto  Rico)  •  Piazzolla  (Argentina)  

•  Latin  American  “classical”  composers  •  Villa-­‐Lobos,  Lorenzo-­‐Fernandez,  Ginastera,  etc  

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Catherine  Rollin  

Samba  Fun,  from  Dancing  on  the  Keys  vol.  2    #11  

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Heitor  Villa-­‐Lobos  

Sacy,  from  Petizada    #13  

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Ernesto  Lecuona  1895-­‐1963    

“La  comparsa,”  from  Afro-­‐Cuban  Dances  #18      

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 Ernesto  Nazaret  1863-­‐1934    

Odeon,  from  Tangos  and  Brazilian  Dances  #15    

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Astor  Piazzolla  

Verano  Porteño    #19  

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IRREGULAR  METERS  

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Irregular  meters  • Definitely  not  from  dance!  • Often  inspired  by  “imagined  music”  of  ancient  indigenous  people  of  the  Americas  • New  music  in  the  1940s  •  Sometimes  neoclassic  

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Alberto  Ginastera  

In  the  First  Pentatonic  Mode,  from  Twelve  American  Preludes  #24    

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Juan  José  Moncayo  

No.  1  of  Tres  Piezas  #25      

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Alberto  Ginastera  

Coda,  from  Suite  de  Danzas  Criollas  (Suite  of  Creole  Dances)  #26      

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CROSS-­‐RHYTHMS  

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Cross-­‐rhythms  •  Some  habanera-­‐influenced  dances  •  Triplets  •  Several  examples  in  the  dance  anthologies  

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Alberto  Ginastera  

Milonga  #27  

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GROUPINGS  AND  RHYTHMIC  LAYERING  Latin  America  at  its  essence  

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Grouping  and  layering  •  3  +  3  +  2    •  Layering  of  different  groupings  • Origin:  African  percussion  ensembles  

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Oscar  Lorenzo-­‐Fernandez  

Dancing  Yaya,  no.  1  from  Yaya  the  Doll  #31    

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Heitor  Villa-­‐Lobos  

Caboclinha,  from  Prole  do  Bebe  (Baby’s  family)  no.  1  #32      

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Heitor  Villa-­‐Lobos  

A  Lenda  do  Caboclo  (The  legend  of  the  peasant)    

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TOCCATA-­‐STYLE  WRITING  Audience  rouser  

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Toccata-­‐style  •  Exciting  writing  • Uses  energetic  folk  dance  rhythms  •  Teach:  •  Stamina  •  Climax  building  •  Efficient  use  of  energy  •  Direction  and  forward-­‐motion  

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Toccata-­‐style  •  For  momentum  and  direction  •  Don’t  overplay  forte  dynamics  •  Whenever  possible,  understate  notes  between  beats  and  bring  out  beat  

•  Find  release  points  •  Better  on  the  dry  side,  less  pedal  

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Heitor  Villa-­‐Lobos  

Punch,  from  Baby’s  family  (Prole  do  bebe)  #39  

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Alberto  Ginastera  

Homage  to  Garcia  Morillo,  from  Twelve  American  Preludes  #37    

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Oscar  Lorenzo-­‐Fernandez  

Dance  (Caterete),  from  Second  Brazilian  Dance.  #40      

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Ginastera  

Malambo  #41  

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THANK  YOU!  Slides  available  at:  www.AlejandroCremaschi.com    Or  email  me:  [email protected]  


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