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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Danzón 1Daniel Vadillo

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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.

GeneralHarmonicScheme

ATheme

BTheme

CTheme

Montuno

CODA

ArtisticResult:

TheresultofthetranscriptionandanalysisoftwodifferentapproachestoDanzónwasinmyopinionreallysatisfactory.OnereallyimportantthingthatIdidn´tmentionbeforeisthatwhileIwastranscribingIalsoplayedallthepianopartsofbothpieces.Thiswasamazinglyimportanttointernalizethethespecificvoicemovements,voicings,counterpointandrhythmofDanzón.ThefinalresultisacompositionwhichhaselementsbothtraditionalandmodernandeventhoughItooksomelibertiesIthinkthefinalcompositionhasthemostimportantcharacteristicsandthesoulofthesemusic.NowIhaveathoroughunderstandingoftheDanzónForm,Instrumentation,useofmelodyandtherhythmicpatterns.ThistimeIdidn´tfocusmuchonthesoloingbutIwilldoinmynextinterventionCycle.

ForthenextinterventionCycleIwillanalyzeArturoMárquez’sDanzónNo.2whichisanorchestralpieceandoneofthemostimportantcontemporarypiecesoftheMexicanrepertoire.Withthese,Iwouldliketocomposeapieceforachamberensembleorevenforasymphonicorchestra.AlongwiththeanalysisandcompositionIwilltranscribeandplaysolosbyGonzaloRubalcaba,FrankEmilioFlynnandPeruchíntogetabetterunderstandingofthemusicallanguageofthesolopartsinDanzónmusic.