CAMBA, Meeko Angela R.

2016
AS 105 WFV
Concert

24 February
UP Cherubim and Seraphim

Dirait-on (Morten Lauridsen)

Set in three-four meter, Dirait-on made use mostly of quarter and half notes,
with an occasional eighth every phrase or so. Its triple-time character naturally
called for the downbeats of nearly each measure to be emphasized, giving it a slow,
waltz-y feel. But looking at the piece in its entirety, it was clear that the focus of the
composers idea was shown in its melodic line, what with its far-off intervals and use
of harmony. Made to be sung in legato, the piece was more lyrical, rather than
rhythmic in essencehence the use of syncopation and other complicated rhythmic
patterns were not really necessary. Rhythm, as it was shown in the piece, was
instead used mainly to ensure that the integrity of the words in the song was
followed.
Libertango (Astor Piazolla)
In contrast to Dirait-on, Libertango is obviously rhythmic in naturemeaning
the idea/inspiration of the pieces creation was mostly communicated through its
rhythmic patterns. Originally an instrumental piece, the choral arrangement made
no use of words that would require specific note values for proper syllabication,
which in turn allowed more freedom in its patterns. Set in a four-four meter, the
most dominant motif (recurring throughout the piece) begins with a syncopated
beat followed by a set of eighths. The same phrase drove the entire feel of the piece
sharp and precisewhich became the very heart of this tango; the rhythm serving
as the pulse.
The use of varying rhythmic patterns in its counterpoints made the piece
more interesting and unique from other tango pieces. Towards the end, there was
even more use of sixteenth notes, as well as syncopation, which added to an overall
intense and climactic ending.
Sa Mundong Ibabaw (Lucio San Pedro)
Sa Mundong Ibabaw was one of the more interesting pieces of the bunch
because of its playful use of note values and tempo. Beginning with quarters,
eighths and sixteenths (some of which, I think were sung in staccato) on a major
key, the overall appeal was playful and childlike. After this section, the piece
changed in tempo (slower) which signaled to a change in color, introducing
another idea altogethera more legato feel.

Throughout the piece, San Pedro used dotted eighths and syncopation (where
the words permitted), and occasional rubatos. This play in note values and tempo
effectively separated each section in the piece into entirely unique ideas of their
own, yet are still artfully connected into one coherent composition. As the song said,
people in the world are diverse individuals yet are still unified and interconnected
(lahat ay magakaugnay).