Arrullo: Suite for Band (2003)
*updated 11/5/22
*words with underlines are linked sample videos
Description
Arrullo Para Banda is a suite in three movements that form part of the Five Pieces of Colombian Music for Youth Band project, which earned the 2003 National Composition Scholarship from the Colombian Ministry of Culture.
Arrullo, translates as "lullaby”, a song to put a baby to sleep. However, Arrullo in the Latin-American and Colombian context is a tradition of African women who were slaved and designated to take care of all children. They would cradle them, sing to them, and share stories full of rhythm and dance. Arrullo recognizes the contributions of Afro-descendants, a history that is many times forgotten.
*Youth Band Playing Arrullo I mov - II mov - III mov
The three movements: Mocari (pre-Colombian indigenous settlement in the present-day Cordoba region of Colombia), Goyo (father) and Mayo (mother), are based on modal melodic materials used by the traditional groups of Gaitas (flutes) and Baile Cantao (Song & Dance). The orchestral treatment is grounded as much in the tones of the rural bands of the region (known as pelayeras) as the global urban sounds that evoke North American film soundtracks.
The arrullo (or lullaby) appears in Goyo as an oboe solo, taken from the traditional song of the Colombian north coast, 'Duermete niño / duermete ya / duerme que viene / la zorra pela' (Go to sleep/Go to sleep now/Sleep/the possum is coming). This movement offers a strong contrast with the first one, which presents the Walt Disney sound, the collective children's memory of our time, as the idea of a lullaby.
The third movement expresses the notion of the lullaby from the perspective of festivals and dance, in exploring the superimposing of binary and ternary pulses over the same metric time signature. With harmonies that are static at times, consistency is obtained through the recurrent use of a chord formed by a perfect fourth and major second.
Form
MOCARI: Introduction (1 – 48) A (49 – 92) B (93 – 140) C (141 – 178) Coda (A) (179 – 202) Codetta (203-211)
GOYO: Introduction (1-13) A (14-60) A1 (61-123) Coda (124-136)
MAYO: A (1-32) B (33-88) C (89-168) Coda (A-B-C) (169-216 ) Codetta (217-224)
Notes
MOCARI:
A suspended feel in the introduction should be as even and ominous as possible.
Missing third, sustained harmonic background, and ostinati
Ostinati: breathe in the rests. Sustained harmonies: breath as desired
Brass and percussion present the folk rhythmic pattern on which the piece is based.
It should have a percussive character (snare + bass drum-like).
Accents: separate and with fast decay at the end of the note, like a bd)
Stacatisimo: as short as the snare sound.
The first melodic motif is presented by the piccolo. It should maintain the natural 2/2 agogic, and also the 4 bar hyper rhythmic ostinato.
Emphasize the two tied eight-notes and the next untied eight-note, and “ghost”/deemphasize/lighten the rest of the repeated notes.
You should hear a pattern of 8 notes over the 4 bar phrase.
The second theme is anticipated in m.33 (B.Cl, B.Sax, Bar). It should be heard but not emphasized.
Section A features more traditional aspects of porro, much more festive, and techniques from pelayera band.
Composite accompaniment rhythm creates the snare base for porro.
Be aware of the concert-Bb in the melody (Mixolydian), and the Modulation to Eb Mixolydian.
This shifting is consistent C Mixolydian to Eb Mixolydian and back.
A secondary multi-rhythmic idea starts in m.65 (an elaboration on porro but denser)
Treat them with precision, shortness, and emphasis, like a percussion ensemble.
Section B showcases a contrasting theme, that maintains the suspended harmonies used throughout.
Harmonic rhythm and melodic rhythm are stretched out.
Heorico: to the bore typical french horn imperial sound.
The percussion is shy to return but soon the theme develops and transitions (m.113)
This long transition features rhythms from the intro and a new “minor” melody.
Section C starts strongly, with no hesitation, like a bass big solo, with percussion.
Harmonies are added, finally out of modal and more tonal.
Tutti cuts should be over the top, as well as the continuing suspended cymbal.
The next theme (m.157) represents party and joy, the idea is to imitate the sonority of a pelayera band playing outdoors (note the small range in each instrument, no- bass or percussion, and dense polyrhythms, this is a traditional folk technique).
Bells up, bright sounds, vibrato, glissando
Portamento could be used instead of grace note… this groove is a copy of clarinet writing for porro.
m.164 is a point of harmonic tension (F-9-13), emphasize.
Coda (m.179) brings back the “indoor” sound and the themes from section A.
Percussion and brass remain homophonic for the most part
m.203 suddenly goes back to the ominous introduction, after the last wash of sound (fp cresc)
GOYO:
New orchestration and sound exploration in this movement. The introduction begins with a solo:
It’s the father speaking/singing, so it should be free but without losing too much of the rhythmic intention.
Approach it by defining phrases (divided by eight-note rests).
Ostinatos should be phrased (think linearly, instead of per bar). Everyone should remain relaxed and soft, like playing for a baby.
The Arrullo (lullaby) finally appears as the main theme is played by the oboe, and harmonies remain consonant.
The first original theme, in triplets, brings in added harmonies, the melody is derived from the lullaby.
A secondary theme follows in tutti, which is copied from the lullaby.
But its second part becomes even more interesting with extended harmonies and tutti crescendo.
A third theme utilizes the upper woodwinds and features unique contrapuntal lines.
While rhythmic it’s delicate and sutile.
Harmonic shift to Abmaj7, Ebmaj7, F9, C11, Ab9
The re-stating of the first theme (tripleted) is almost a copy of the original, with the exception of the first measure (transition) and the last (abrupt cut for the intermission-like solo).
The solo starts with simple melodic material but is very playful with its syncopation and range.
The second part of the clarinet solo, while similar, should contrast the initial horn solo, and be boisterous and playful, show off!
This leads to a fourth theme (very similar to the third, at least harmonically)
Let the syncopated and heroic melody be full and sonore.
Glissandi so be paid attention to, especially to the glissando’s (middle) part.
It’s mostly written in pairs or sections, so it’s most important to play the diatonic-notes-run together, and with added volume.
Trills and glissandi are typical of clarinet playing in Colombia.
The third theme makes its way back after some tutti cut-offs.
And the fourth reiterate one last time, which creates momentum with the glissandi, and trills.
Coda shows sudden dissolution to a quiet introduction-like ending, with the Horn (father) solo signaling the end of the lullaby. The father whispers, the father sings good night.
MAYO:
This movement (mother) is strong all throughout, with impetus and force. It’s a lullaby but party and dance version. And so it starts with a clear and blunt motif, like a call, a fanfare, a call and response.
The main theme (which is repeated throughout), should groove so well like if included percussion
12/8 should feel loose, despite the articulations and accentuations, but like it is always moving ahead, forward.
Again, long phrasing approach can also help with grooving and keeping energy.
Long and accented notes in the brass should be played with written articulation and volume but come down soon, like fanfare common practice playing. *consider adding a crescendo.
The second theme, presented by the woodwinds is specially hemiola driven.
After a re-stating of the main theme, a transition comes with interesting rhythm and harmony, but a rich crescendo.
The second part showcases a theme (with two sections) that varies, theme and variations like.
It starts with basic orchestration in the woodwinds minus flute, with the theme in the piccolo.
The trumpets lead next while being accompanied by syncopated and rich rhythms.
Be sure to let these be fluid instead of micro-precise
The saxes plus trumpets lead the third reiteration, but halfway things shift back to the first idea.
Highlight the exposition of the principal 12/8 motif of the movement, this is a transition.
The third part is also a theme with two related sections, with repetitions that allow the orchestration and dynamics to grow.
The accented triplets idea is brought from the second part and used to develop.
This and Percussion should remain in the background.
Focus on the new instruments and contrasting materials, like saxophones.
The second repetition is similar to the added harmonies and rhythms in the trombones.
The third repetition features the contrasting melody in the trumpets and horns,
Everybody is playing multi rhythms at this point so, balance is key.
The CODA (at m. 169) melds/superimposes several themes from the movement, but also from the first movement “mocari” introduction.
Be aware of errata: m.169 is repeated in the 2003 version of the score.
The 3/4 brings to the forefront the fanfare theme but in an irregular shape.
Pay attention to the unique hemiolas: 2 vs 3 and 3 vs 4.
The 6/8 brings back known material and familiar orchestration where trumpets and saxes lead.
A “codetta” finally closes the movement with a revamp and revamp of the fanfare.
Terminology
Suite para Banda: Suite for Band
Picolo: Piccolo Flute
Flautas: Flutes
Fagot: Bassoon
Clarinete Requinto: Eb Clarinet
Clarinete Bajo: Bass Clarinet
Saxofon: Saxophone
Cornos: Horns
Fliscorno Alto: Eb Alto Horn
Fliscorno Baritono: Bb Baritone (TC)
Contrabajo: Doublebass
Glockenspiel: Bells
Timbales: Timpani/Kettle Drum
Guasa: cylindrical wooden shaker
Semillas: seeds shaker
Platillos y Triangulo: Cymbals and Triangle
Redoblante: Redob: Snare Drum
Bombo: Bass Drum
Baquetas: sticks
Parche: head/skin
Respiracion agil y sutil a voluntad: subtle breathing at lib.
Tempo Libre: Free
Frulato: flutter-tonguing
Heroico: heroic
Sonido abierto, callejero: Open sound, street-like
1ros: firsts only
1 por atril: 1 player per stand
1ros todos: all first part
1ros todos y 2dos 1 por atril: all first part, and second part 1 per stand
Todos 1ros y 2dos: all first and second parts
Todos: All
Audio Visual Sample
Score
Printed parts and scores are available through PILES Spain.
*this is a revised 2007 version
Digital parts and score are available through the CELEBRA LA MUSICA by the Colombian national government.
*this is the original 2003 version, which has a few discrepancies in the score. Parts are acceptable.
