This work is a collection of six short pieces with rhythms and styles characteristic of different places of Latin America. The composer did not attempt a systematic trip through the different countries, but he utilized the styles that inspired him. Of the six pieces, three are of Argentine style (Pampeano, Norteño, Serrano), while the other three are from other countries (Brasileño, Mexicano, Incaico).
No. 1 – Pampeano
The first number of Preludios americanos is in the style of the Argentinean pampas. Pampeano combines three different folk genres: the preludio, the cielito and the vidalita, and, as a whole, functions as the prelude to the suite.
Example 1 – Pampeano, 1st system
The introduction is a preludio criollo with no time signature. The gaucho used to sing, or play with his guitar, this kind of prelude (example 1). The tonal center is A, but without a clear establishing of a major or minor mode.
Example 2 – Pampeano, cielito section
This introduction goes into a cielito (expression marking is Movido, with movement, example 2), and now the key is clearly A major. The cielito has the characteristic juxtaposition of 6/8 for the melody and 3/4 for the bass, present in many Argentinean dances. This section lasts for seven measures and goes into the third section, a vidalita (Lento, 3/4). Vidalitas have very few variants in melody and rhythmic pattern (example 3), and they all are very similar to this:
Example 3 – Traditional vidalita
In Lasala’s vidalita, both rhythm and melody suffer some stylization (example 4):
Example 4 – Pampeano, vidalita section
The general form of the movement is: preludio – cielito – vidalita – cielito – vidalita – preludio – coda (vidalita), or ABCBCA©.
No. 2 – Brasileño
Rhythm, especially syncopation, is what predominates in the second number of the Preludios americanos. The time signature is 4/4 and from the beginning a syncopated pattern is established, to be maintained throughout the movement (example 5):
Example 5 – Brasileño, m. 1 – syncopation pattern
This movement contains more advanced harmonies, but they are not far from what a popular musician would use. The main theme appears in measure 11 (sentido, example 6) and is in the Dorian mode. An ostinato bass, four measures long, accompanies this theme (example 7). The ostinato continues the rhythmic cell of the introduction.
Example 6 – Brasileño, m. 11–17 – main theme
Example 7 – Brasileño, m. 10–11 – ostinato bass
The theme and the bass evolve into a short development (m. 25–35). Then the theme is presented again, followed by a repetition of the introduction. The movement ends with the first three notes of the theme repeated and fragmented.
No. 3 – Norteño
As Gilardi’s second movement of his Serie Argentina, this movement is inspired in the vidala (see the chapter on Gilardo Gilardi). The word Norteño is used in Argentina to refer to the Northwestern people of the country. The rhythm of the vidala (3/4 ° ± |° ± | ) is presented from the very beginning. The key is E minor, through the use of the Dorian mode (example 8.)
Example 8 – Norteño, m. 1 – Vidala rhythm
The movement’s main subject is also presented in the first measures:
Example 9 – Norteño, m. 1–8
This is alternated with more or less free sections, and the form is ABCA1DA2A. The theme undergoes some transformations in its second and third appearances (example 9), while the last is as the first, although transformed into a coda.
Example 10 – Norteño, m. 35–38 and 61–64 – transformations of the theme
No. 4 – Mexicano
Manuel Ponce was one of the pioneers of nationalism in Mexico, and he favored Indian and mestizo forms. This movement is the style of Manuel Ponce’s compositions. The canción habanera is one of the mestizo forms of Mexico. Canciones were not intended to be danced, and they require an extensive use of rubato, a feature that characterizes the canción from other Mexican styles.
This habanera is in D major, and the characteristic habanera rhythm is presented in the very first measure (example 11).
Example 11 – Mexicano, m. 1 – habanera rhythm
The form is simple, A (measures 1–10, example 1) A (11–19) B (19–28) A (29–38), and a short coda (38–42). Both melody and harmony contain frequent chromaticisms, in a highly romantic style.
Example 12 – Mexicano, m. 2–6 – main A theme
No. 5 – Serrano
Serrano means from the sierra, low mountains, and in Argentina is usually used to refer to the central region of Córdoba. This Serrano is a bailecito, a dance from Bolivia and the North of Argentina, which is also known in Córdoba. It is one of the dances with fixed form and choreography, featuring zapateo (foot-stamping), handkerchief-waving and other circular movements. Compositions that resemble the bailecito but do not follow its exact form are called aire de bailecito, and this is the case for this movement.
The form is Intro A B A B Coda (see table 1.) The Serrano starts with a slow introduction (Tranquilo), a common feature in bailecitos. Then the bailecito proper begins (section A), in the key of A minor. Bailecitos can have a pentatonic melody or they can use the bimodal scale. In this case the Dorian mode is used, which is related to the bimodal scale. The B section is in A major.
| Intro | A aa bb a b |
B cc dd codetta |
A aa bb |
B cc |
Coda |
Table 1 – Serrano - form
Example 13- Serrano, m. 1 – Introduction
Example 14 – Serrano, m. 8–13 – section A, theme a
Example 15 – Serrano, m. 35–38 – section B, theme c
No. 6 – Incaico
The Incas were the most developed native culture in South America and had a strong impact in the whole region. The Argentinean Northwest did not escape from this influence. The Incas left more than ruins there, and their culture is still felt, especially in the music. However, we do not know exactly how the music from the Incas sounded, because after colonization none of it has survived in its pure form, and this is also true for the Aztec and Maya cultures. Nationalistic Latin American composers from the 20th century have always fantasized about this, and have tried to imagine how the music of native Americas was before the conquest. This is true for the music of composers like the Mexican Carlos Chávez, and was probably what Lasala had in mind when he wrote Incaico.
This last movement, Incaico (from the Incas), has some features common to the music of Bolivia, Peru, and the Argentinean Northwest. The movement a stylized takirari, a dance in 2/4.
Incaico starts with a 10-measure introduction developed from the tuning of the guitar. The first and last six notes in this introduction are the open strings of the guitar, played sequentially at the beginning and as a chord at the end. A series of quartal chords, derived, complete the introduction (example 16).
Example 16 – Incaico, mm. 1–10 – introduction
After the introduction, almost all the notes are derived from the pentatonic major or minor scales, with occasional use of the Dorian mode. In the first section, the texture is in two voices for the most part, with the high voice proceeding by quarter notes and eighth notes and the bass in sixteenth notes (example 17). The Dorian scale appears for the first time in measure 23 (F# in the high voice, example 18), as part of a two-measure phrase, which is repeated in measures 25–26. The pentatonic scale continues to predominate with occasional appearances of the Dorian mode. The open strings of the introduction are embedded into the end of the first section to reach the first climax of the work, at measures 47–48.
Example 17 – Incaico, m. 11 – Section A
Example 18 – Incaico, mm. 23–24 – Dorian mode
The next section starts as the first, but soon departs to a monophonic texture. Then this melodic line is joined by the open 6th and 5th strings, which give the effect of a drum. The drum effect first appears every two measures, but it is soon played on every beat, with the melody in continuous sixteenth notes (example 19). This serves as an introduction to the next section, where the scale is suddenly E pentatonic major (example 20). The texture remains more or less the same as in the previous section, the high voice in sixteenth notes and the bass—now not just a drum effect—in quarter notes. Even though the pentatonic sonority predominates, all seven notes of the E major scale and a bit of functional harmony are employed.
Example 19 – Incaico, mm. 69–71 – drum effect
Example 20 – Incaico, mm. 76–78
The major section ends, and the A section is presented again, now an octave higher, but soon departs from the literal repetition, and from here until the end all notes come from the A pentatonic minor scale. The section ends with a re-elaboration of the introduction, now including harmonics on open strings (example 21). The coda starts as a repeat of section A, ending with a fast run of sixteenth notes.
Example 21 – Incaico, mm. 129–134 – harmonics and re-elaboration of the introduction
Bibliography
Suárez Urtubey, Pola. “Lasala, Ángel.” Diccionario de la música española e hispanoamericana. Madrid: Sociedad General de Autores y Editores, 1999.
Gradante, William. “Estilo.” Stanley Sadie, editor. New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries, 2000.
______. “Bailecito [bailecito de tierra].” Stanley Sadie, editor. New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries, 2000.
Aharonián, Coriún. “Uruguay. Traditional and Popular Music.” Stanley Sadie, editor. New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries, 2000.
Béhague, Gerard and Irma Ruiz. “Argentina.” Stanley Sadie, editor. New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries, 2000.
Stanford, E. Thomas. “Mexico, United States of (Sp. Estados Unidos Mexicanos); II. Traditional music; 2. Mestizo forms.” Stanley Sadie, editor. New Grove Dictionary of Music and Musicians, second edition. New York: Grove’s Dictionaries, 2000.
Score
Lasala, Ángel. Homenajes. Buenos Aires: Ricordi Americana, 1955. Catalog number: 11160.