Leyendas: An Andean Walkabout IV. Chasqui
Gabriela Lena FrankPiece Duration: 3:17
About this Piece
(Movement IV is 6:06-9:23)
Program Note: "Leyendas: An Andean Walkabout draws inspiration from the idea of mestizaje as envisioned by Peruvian writer José María Arguedas, where cultures can coexist without the subjugation of one by the other. As such, this piece mixes elements from the western classical and Andean folk music traditions.
'Chasqui' depicts a legendary figure from the Inca period, the chasqui runner, who sprinted great distances to deliver messages between towns separated from one another by the Andean peaks. The chasqui needed to travel light. Hence, I take artistic license to imagine his choice of instruments to be the charango, a high-pitched cousin of the guitar, and the lightweight bamboo quena flute, both of which are featured in this movement." -Gabriela Lena Frank
Listen to the charango at this link!
Listen to the bamboo quena flute at this link!
Form Map:
A - 6:06
B - 6:33
C - 7:02
D - 7:43
B (abridged) - 8:15
C - 8:36
Coda - 9:04
"Leyendas" Movements Featured:
II. Tarqueda
III. Himno de Zampoñas
IV. Chasqui
V. Canto de Velorio
VI. Coqueteos
Notable Passages
Description:
A Section:
Parallel Motion: The second violins and the cellos are playing fast, sixteenth note runs in parallel motion! Their notes are always the same distance away from one another. In this case, the cellos and second violins are always a major second apart from one another.
Pentatonic Scales / Bitonality: The second violins and cellos are both playing pentatonic scales. However, their pentatonic scales are in two different keys! The second violins are playing an F Pentatonic scale [F G A C D], and the cellos are playing an Eb Pentatonic scale [Eb F G Bb C].
At 6:14, the violins use the D Pentatonic scale [D E F# A B], and the lower strings respond with the F and Eb Pentatonic scales. This creates a tritonal moment!
Keywords: Bitonality , Parallel Motion , Pentatonic Scale
Description:
C Section:
Pizzicato and Chords: The viola, cello, and bass sections are playing chords with pizzicato! They strum three or four notes at once across multiple strings, creating a harmony that rings.
Extended Technique: Sometimes the musicians use an extended technique called a Bartok Pizzicato. The musicians pluck the string so aggressively, that it slaps against the wood of the fingerboard!
Rhythmic Patterns and Syncopation: The strings are strummed in rhythmic patterns that work with and against each other! These patterns creating a rhythmic pulse full of syncopation.
Keywords: Chords , Extended Technique - Composition Technique , Pizzicato , Rhythmic Pattern , Syncopation
Description:
Now let's listen for melodic imitation in the C Section!
- 7:11 - The first violins starts playing a melody
- 7:22 - The second violins imitate the melody!
Imagine a brother and sister having a conversation. Let's say that their names are Jimmy and Maureen. Maureen says, "I am playing a really great melody." Jimmy is a bit of a trouble maker, and maybe he wants to create some drama today. He starts talking while Maureen is still talking!
Jimmy rolls his eyes and says, "Playing, really playing a great melody." Jimmy copied most of what Maureen said, but he actually changed some of Maureen's sentence so that he could succeed at annoying his sister. This is how the violin sections imitate each other during this passage! The second violins copy most of the melody, but make little changes here and there. Can you hear it?
Ornamentation: The violin melody uses an ornament called an upper mordent! The violins quickly visit the note right above the main note (do re do). Click here to see an excerpt in the score!
Listen for these upper mordents at 7:15, 7:18, and 7:23-7:24!
Keywords: Imitation - Composition Technique , Imitation - Melody , Melodic Ornamentation , Ornamentation - Composition Technique , Ornamentation - Expressive Elements
Description:
In the second C Section, Gabriela Lena Frank utilizes the full musical range of the string orchestra!
- High Range: First violin melody [G6] and Second violin countermelody [Bb5]
- Middle Range: syncopated chords [C3-Eb5]
- Low Range: downbeat chords [C2-C4]
Keywords: Range - Composition Technique , Range - Expressive Elements , Range - Melody , Range - Texture , String Instruments , String Orchestra
Description:
To end the movement, the musical range descends to the ensemble's lowest point, before a big C Minor cadence!
Keywords: Range - Composition Technique , Range - Expressive Elements , Range - Texture