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ArtisticResearchReportofthe
FirstInterventionCycle
NewExplorationsofDanzón
CODARTS2016
Name:DanielVadilloNájera
MainSubject:LatinPiano
MainSubjectTeacher:ThomasBöttcher
ARdomain:WorldMusic&Crossover
ARCoach:MichalisCholevas
Title:NewexplorationsofDanzón
Keywords:Danzón,Piano,Performer,Composer,Cuba,México
INTERVENTIONCYCLE
1stReferenceRecording:LágrimasNegras(MiguelMatamoros)
ArrangementforPianoDanielVadillo
https://www.youtube.com/watch?v=YPJoImkio3U
Asses&Reflect:
WhatdidIplay?Why?LágrimasNegrasisnotaDanzón,takingintoaccountthiswhydidInot
playaproperDanzón?WhenIrecordedthereferencerecordingIwasn’tclearaboutmy
artisticresearchfinaltopicsoIdecidedtoplaysomethingthatcouldgivemeseveral
possibilitiestoexplore.LágrimasNegrasoriginallyisSon/BolerobutItriedtoplayitlikea
Danzón.ItisnotaDanzónbecausethestructureofaboleroisdifferentandtheharmonic
changesarenotthesameones,butatleastrhythmicallyIthinkIachievedtoplayitasa
DanzónbyplayingwithmylefthandthemostimportantrhythmicpatterninaDanzón,thisis
called“Cinquillo”.
TakenfrommyArtisticResearchProposal
IngeneralaspectsthefeedbackthatIgotfrommy1streferencerecordingwasaboutmypiano
playingandinterpretationofDanzónstyle.AtthetimeIdidn’treallyhavethesufficient
knowledgeaboutthetopictoplayanactualDanzónbutnowaftermyfirstinterventioncycleI
thinkIhaveit.
Ireallydidn’ttakeintoaccounttoomuchfrommy1streferencerecordingbecauseasIsaid
before,itwasamisleadinterpretationaboutwhatDanzónreallyis.Thoughthefeedbackfrom
mynetworkwasreallyimportantbecauseithelpedmetorealizethatIwasn’tlookingintothe
rightdirection.
Someimportantpointfrommyfirstreferencerecordingfeedback
• InordertoreallyunderstandDanzónpianoplayingyouhavetogobacktoitsorigin,so
I strongly recommend you to play and listen precursory compositions fromManuel
SaumellandIgnacioCervantes.(Danzas,andContradanzacomposers).
• I think it serves quite well as a starting point for you research. You managed toincorporateimportantelementsofatraditionalversionofthissong,especiallybygivingitaDanzónlikefeelusingthe“cinquillo”,mainlyinyourlefthand.
• Whenmakingapianosolopieceoutofthis,itisquiteachallengetobalancethequite
complex swing with a nicely pronounced lyrical melody on top and harmonically
interesting innervoices. I think this isan interestingpoint to take intoaccountwhen
examinematerialofotherpianists.
• Thereareniceideasinthemontunopart,rhythmicallyandharmonically.Inmyopinion,
itisdefinitelyworthwhiletoworkthemoutseparatelytomakethemontunoacoherent
thingasawhole.Dependingonhowfaryouchosetogorhythmicallyandharmonically,
thiscould(should?)evenhaveconsequencesforthefirstpartofthepiece
TakinginaccountthefeedbackIdecideduseaCasestudyasaresearchstrategy.Asthegoal
ofmyresearchistocomposeandperformoriginalmusicbasedinDanzónstyle,Ianalyzed
onetraditionalDanzónalongwithonecontemporaryDanzónandIcomparedthemtoidentify
thesimilaritiesanddifferencesbetweenthem.Thepurposeofthisanalysiswastoclearly
identifytheDanzóncharacteristicsthatcan'tbelostinordertostillidentifyitasaDanzón.
Furthermore,toidentifywhicharethenontraditionalcharacteristicsthatIcouldmodify,
exploreandexperimentwithinordertoincorporatethemtomynewDanzóncompositions.
ForthisfirstinterventioncycleIanalyzedGonzaloRubalcaba´s"Migranpasión"astheModern
DanzónandIanalyzed“Treslindascubanas”bytheCubancomposerGuillermoCastilloasthe
traditionalone.
Whythisselection?
IchoseTreslindascubanasbecauseitclearlyfollowsthebasicstructureofDanzón.Atthesame
time, Ichose itbecausethere isabigamountofdifferentversions,thereforeIcancompare
themandfinddistinctwaysofplayingthesamesong.
IchoseMigranpasión since it isawholealbumofmodernadaptationsofDanzónandalso
becauseit’scomposedbyGonzaloRubalcaba, Ithinkheisthebestexampletodemonstrate
howcanyoumergeorincorporateCubanmusicwithJazzinaveryorganicway.
• “TreslindascubanasisoneofthemostfamoussongsinCuba.Itistrulyaclassic,andastandard of every orquesta's repertoire. Originally composed as a son by GuillermoCastillo,whowasthedirectorofthefamousSextetoHabanero,AntonioMaríaRomeuadaptedittohischarangaorchestraandpermanentlyengraveditintheannalsofCubanmusichistory.”
• "Mi gran pasión album is Gonzalo's tribute to the Danzón, recorded in Germany in
1987, Gonzalo has successfully merged the three main currents of his artistic
personality(Danzón,jazz,andclassicalmusic),whileconductingthispassionateCuban
tradition through thrilling, unexplored territories" The historical significance of this
recording is quite clear. TheseDanzón experiments are comparablewithwhat Astor
PiazzollaandPacodeLuciahavedonefortangoandflamenco.”
Itranscribedcompletely(Allinstruments)bothpiecesandIanalyzedfourbigaspectsofthem:
• StructureandInstrumentation
• Melodiclines
• Harmony
• Useofthepiano
Attheend,Imadetwolistsofsimilaritiesanddifferencesthatservedmeasmyrawmaterialto
starttheintervention.
AfterIcomparedbothofthelistsImadeacriterionofwhatmakesaDanzónDanzónandwhich
weretheDanzónelementswithwhoseIcouldexperimentthemost.Myresultturnedintoa
newcompositionstrongly influencedbyDanzónstyle. I composed it forCharangaEnsemble
(Flute,2Violins,Piano,ElectricBass,Timbales,Conga)
DataCollection:
• TranscriptionMigranpasiónandTresLindasCubanas.• AnalysisofMigranpasión,TresLindasCubanasandmynewcomposition.• CompleteTranscriptionandAnalysisareattachedonmyblog.• Listofdifferencesandsimilaritiesbetweenbothpieces.
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Tres Lindas Cubanas
Antonio María RomeuVersión Giuillermo Rubalcaba
Transcription Daniel Vadillo
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Gonzalo RubalcabaTrans: Daniel Vadillo
DANZÓN
Mi gran pasion
DANZÓN
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THEMEA(PASEO)
IMRPOVISATIONOVERA THEMEA(PASEO)
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Violine 2
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Danzón 1Daniel Vadillo
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THEMEA(PASEO)
IMRPOVISATIONOVERA
ListofcharacteristicsfrombothDanzones
FORMANDINSTRUMENTATION
TRESLINDASCUBANAS1Flute2ViolinsPianoUprightBassTimbalesA8barsTutti2ndhalfwithpianoandflutefeels.B16barsThemeontheFluteA8barsTutti2ndhalfwithpianoandflutefeels.C24BarsThemeontheViolinsMinorModeC2ndpart16barsA8barsTutti2ndhalfwithpianoandflutefeels.DMontuno,Solos,etc.
MIGRANPASIÓN1Flute1Trumpet1FlugelhornPianoElectricBassDrumSetA8barsTutti2ndhalfwithpianoandflutefeels.B8barsThemeontheFlute2ndpart8barsThemeonFl,Tpt,FghlA8barsTutti2ndhalfwithpianoandflutefeels.A8barsTutti2ndhalfwithpianoandflutefeels.C32barsThemeonPiano2ndpart+FluteBridge4barsTuttiA8barsTutti2ndhalfwithpianoandflutefeels.A8barsTutti2ndhalfwithpianoandflutefeels.DMontuno,Solos,etc.
ListofcharacteristicsfrombothDanzones
MELODICLINEANDACCENTS
TRESLINDASCUBANASFluteisalmostalwaysornamentedTheuseofArpeggiosFirstMelodiclinestartswithaPickupThemostcommonTextureisHomorythmicexceptforthePiano.Alwaysasectionfinisheswithanaccentonthe2ndbeatwitha5thgradechord.CinquilloRhythmispresentallthetimeexceptfromtheMontuno.Useofappoggiaturasinthemainmelodies.
MIGRANPASIÓNFluteOrnamentationUseofTripletsinthemainmelodyTheuseofArpeggiosFirstMelodiclinestartswithaPickupThemostcommonTextureisHomorythmicexceptforthePianoAlwaysasectionfinishesWithanaccentonthe2ndbeatwitha5thgradechord.Useofappoggiaturasinthemainmelodies
MelodiclineMiGranPasiónHomorythmicTexturefromTresLindas
ListofcharacteristicsfrombothDanzones
USEOFTHEPIANO
TRESLINDASCUBANAS
Useofascendinganddescending
DiatonicThirds
Chromaticupanddownlines
Answerandresponsemovementsbetweenbothhands.
SupportingBasslinewithoctavesinthelowregister.
UseofArpeggios
Parallel3ds,6ths,andOctavemovementsbetweenhands.
UseofMayor,Minorand7thchords
MIGRANPASIÓN
Useofascendinganddescendingdiatonicthirds.
Chromaticupanddownlines.
Answerandresponsemovementsbetweenbothhands.
SupportingBasslinewithoctavesinthelowregister.
LotsofArpeggios.
Parallel3ds,6ths,andOctavemovementsbetweenhands.
Chordswithextensionsspeciallydominantswith13th#11andQuartalstructures.Useofquartalchordsthatresolvetodiatonicchords.
Useoftripletsonthesoloing.
Outsidesonoritycreatingtensionthatresolvestoadiatonicsonority.Useofoctatonicscalesoverthesolo
SelectionandanalysisofcharacteristicsusedinmyDanzónComposition
Instrumentation:
1Flute2ViolinsPianoElectricBassTimbales,CongaBlendingofthe2differentinstrumentations.Form:A8bars+8barsofImprovisationoverA(DoublethanthemostcommonForm)ThemeontheFluteA*8bars+8barsofImprovisationoverAB16bars(ThemeonFlute+Violin1)B2ndPart16bars(ThemeonViolin1)A8bars+8barsofImprovisationoverA(DoublethanthemostcommonForm)C22bars(8barsPianotheme+8barsPiano/ViolinTheme+6barsofHarmonicModulation)A8barsDOpenFluteSolo+8barsCODAMelodicLinesFluteisalmostalwaysornamentedTheuseofArpeggiosFirstMelodiclinestartswithaPickupThemostcommonTextureisHomorythmicexceptforthePiano.Alwaysasectionfinisheswithanaccentonthe2ndbeatwitha5thgradechord.CinquilloRhythmispresentallthetimeexceptfromtheMontuno.Useofappoggiaturasinthemainmelodies.
MelodicLinefrommyDanzóncomposition
UseofthepianoUseofascendinganddescendingdiatonicthirds.Chromaticupanddownlines.Answerandresponsemovementsbetweenbothhands.SupportingBasslinewithoctavesinthelowregister.LotsofArpeggios.Parallel3ds,6ths,andOctavemovementsbetweenhands.Chordswithextensionsespeciallydominantswith13th#11andQuartalstructures.Useofquartalchordsthatresolvetodiatonicchords.Useoftripletsonthesoloing.Outsidesonoritycreatingtensionthatresolvestoadiatonicsonority.Useofoctatonicscalesoverthesolo.
ArtisticResult:
TheresultofthetranscriptionandanalysisoftwodifferentapproachestoDanzónwasinmyopinionreallysatisfactory.OnereallyimportantthingthatIdidn´tmentionbeforeisthatwhileIwastranscribingIalsoplayedallthepianopartsofbothpieces.Thiswasamazinglyimportanttointernalizethethespecificvoicemovements,voicings,counterpointandrhythmofDanzón.ThefinalresultisacompositionwhichhaselementsbothtraditionalandmodernandeventhoughItooksomelibertiesIthinkthefinalcompositionhasthemostimportantcharacteristicsandthesoulofthesemusic.NowIhaveathoroughunderstandingoftheDanzónForm,Instrumentation,useofmelodyandtherhythmicpatterns.ThistimeIdidn´tfocusmuchonthesoloingbutIwilldoinmynextinterventionCycle.
ForthenextinterventionCycleIwillanalyzeArturoMárquez’sDanzónNo.2whichisanorchestralpieceandoneofthemostimportantcontemporarypiecesoftheMexicanrepertoire.Withthese,Iwouldliketocomposeapieceforachamberensembleorevenforasymphonicorchestra.AlongwiththeanalysisandcompositionIwilltranscribeandplaysolosbyGonzaloRubalcaba,FrankEmilioFlynnandPeruchíntogetabetterunderstandingofthemusicallanguageofthesolopartsinDanzónmusic.