University of Iowa

Iowa Research Online

Theses and Dissertations

Summer 2015

Kundiman love songs from the Philippines: their

development from folksong to art song and an
examination of representative repertoire
Quiliano Niñeza Anderson
University of Iowa

Copyright 2015 Quiliano Nineza Anderson

This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/1821

Recommended Citation
Anderson, Quiliano Niñeza. "Kundiman love songs from the Philippines: their development from folksong to art song and an
examination of representative repertoire." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2015.
https://ir.uiowa.edu/etd/1821.

Follow this and additional works at: https://ir.uiowa.edu/etd

Part of the Music Commons

KUNDIMAN LOVE SONGS FROM THE PHILIPPINES: THEIR DEVELOPMENT
FROM FOLKSONG TO ART SONG AND AN EXAMINATION OF
REPRESENTATIVE REPERTOIRE

by

Quiliano Niñeza Anderson

An essay submitted in partial fulfillment

of the requirements for the
Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa

August 2015

Essay Supervisor: Professor John Muriello

 Copyright by
QUILIANO NIÑEZA ANDERSON

2015

All Rights Reserved

 Graduate College
The University of Iowa
Iowa City, Iowa

CERTIFICATE OF APPROVAL

__________________________

D.M.A. ESSAY

__________________

This is to certify that the D.M.A. essay of

Quiliano Niñeza Anderson

has been approved by the Examining Committee

for the essay requirement for the Doctor of Musical Arts
degree at the August 2015 graduation.

Essay Committee: _____________________________________

John Muriello, Essay Supervisor

_____________________________________
_____________________________________
Stephen Swanson

_____________________________________
William La Rue Jones

_____________________________________
Susan Sondrol Jones

_____________________________________
William Theisen
 ACKNOWLEDGEMENTS

I would like to acknowledge my voice professor and mentor, Dr. John Muriello for

guiding me during my research on Kundiman art songs. I have learned much about this scholarly

work and have been inspired to do more research in this topic. Secondly, I would like to thank

Dr. José Uriarte, D.M.A. graduate in Piano Performance from the University of Minnesota and

private piano instructor at McPhail Center for the Arts, Minneapolis, MN, for his language

expertise and contributions in proof-reading my text translations of the Kundiman art song

selections in my essay.

I would also like to thank Dr. Colleen Jennings for her encouragement and making it

possible for me to become acquainted with Dr. Raymond Leslie Diaz, a Senior Lecturer at the

University of the Philippines and Voice Faculty member at St. Scholastica’s College in Manila.

His unique knowledge and experience with the International Phonetic Alphabet system as it

relates to the Tagalog language has given me a deeper insight in transcribing the special nuances

in the pronunciation of the Tagalog language.

Last but not least, I would like to thank my mother, Mrs. Josie Anderson, for inspiring me

and exposing me to numerous Filipino folk songs and Kundiman songs since I was a child in the

Philippines. She has been a great resource on my Tagalog language translations. Her love for

singing has made me what I am today.

ii
 PUBLIC ABSTRACT

In the Philippines, a type of love song known as the Kundiman had existed since the early

19th century. But in the early 20th century Kundiman had developed into art song. The term

Kundiman comes from the Tagalog phrase “kung hindi man” or “if it were not so”. Written in

the Tagalog language, these folksongs were subtly patriotic but typically disguised as love songs.

Filipinos, in their long struggle against an oppressive Spanish regime, saw it as a tool that would

ultimately unite Filipino revolutionaries to wage war against the Spaniards in 1896 during the

Spanish-American War.

The composer Francisco Santiago (1889-1947) is sometimes called the “Father of

Kundiman Art Song.” While his masterpiece is considered to be his Concerto in B flat minor for

pianoforte and orchestra, one of his most significant piece is his song “Kundiman, (Anak-

Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something

“that expresses the lofty sentiment of love, and even heroism in a melancholy mood.” Given the

cross-fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were

typically a blend of melodic material from native folksong and European music traditions. The

result is a song characterized by smooth flowing lines and beautiful melodies. The piano

accompaniments are typically full in texture, sometimes containing countermelodies, sometimes

merely harmonizing with the vocal line in thirds and sixths. One other significant early

composer of Kundiman art songs was Nicanor Abelardo (1893-1934). His songs, together with

those of Santiago’s became models for other Filipino composers such as Constancio De Guzman

(1903-1982) and Miguel Velarde, Jr. (1913-1986) in the decades following Abelardo’s death.

The purpose of this essay is to shed some light on this unique genre of song, and provide

the tools necessary to study and perform these representations of Filipino culture and history. To

iii
do this, I have provided brief background information on the origins of Kundiman art song. I

have also provided a guide to pronunciation, grammar and the idiosyncracies of the Tagalog

dialect. Finally, this essay contains a performance guide for 20 representative Kundiman art

songs, including original texts, literal and prose translations, International Phonetic Alphabet

(I.P.A.) transcriptions, and suggestions for interpretation and style.

In researching and analyzing these songs I have gained an understanding of the aesthetic

appeal of Kundiman art songs. More importantly, these songs are not widely known in the

classical world. But because of their unique connection to Filipino history and culture, they

deserve serious attention. These songs would indeed make a great addition to a recital program.

iv
 Table of Contents

List of Music Examples ................................................................................................................ vii

List of Figures .............................................................................................................................. viii

Chapter One: Introduction .............................................................................................................. 1

Kundiman: Beginnings and Influences ...................................................................................... 1

A Cultural Melting Pot: Inspiration for the study of Kundiman art songs .................................. 3
Need for study ............................................................................................................................. 4
Methodology ............................................................................................................................... 4
Literature Review ........................................................................................................................ 5
Santos, Ramon Pagayon, Tunugan: Four Essays on Filipino Music, (Quezon City:
University of the Phlippines Press), 2005. .............................................................................. 5
Hila, Antonio C., Music in History: History in Music, Manila: University of Santo Tomas
Press, 2004, pp. 57-69. ............................................................................................................ 6

Chapter Two: Background on the origin of Kundiman .................................................................. 8

Philippine Culture: Beginnings and Transformation .................................................................. 8

Earliest Existence of Kundiman Songs ....................................................................................... 9
Spanish Influence in Music and Culture ................................................................................... 10
Nationalism in Kundiman.......................................................................................................... 11
From Folksong to Art Song: Francisco Santiago and Nicanor Abelardo ................................. 12

Chapter Three: A Brief Description of the Tagalog language ..................................................... 14

Consonant sounds .................................................................................................................. 16

Vowel sounds ........................................................................................................................ 17
Syllabic stress ........................................................................................................................ 18
Reduplication ......................................................................................................................... 18
Affixes ................................................................................................................................... 18
Tagalog Grammar .................................................................................................................. 20
Gender ................................................................................................................................... 21

Chapter Four: A Performance Guide to 20 Representative Kundiman Art Songs ....................... 23

Notes on analyses and interpretation ......................................................................................... 23

Song Selections ......................................................................................................................... 24
1. “Kundiman” by Francisco Santiago / text by Deogracias A. Rosario ............................. 24
2. “Pakiúsap” by Francisco Santiago / text by Jose Corazon De Jesus ............................... 30
3. “Madaling Araw” by Francisco Santiago / text by Jose Corazon De Jesus .................... 36
4. “Ano Kayâ Ang Kapalaran” Music and text by Francisco Santiago ............................... 43
5. “Kung Hindî Man” Music and text by Nicanor Abelardo ............................................... 50
6. “Nasaán Ka Irog?” by Nicanor Abelardo / text by Jose Corazon de Jesus ..................... 56

v
 7. “Pahimakas” by Nicanor Abelardo / text by Jose Corazon De Jesus .............................. 62
8. “Bituing Marikit” by Nicanor Abelardo / text by S. Angeles ......................................... 68
9. “Himutok” Music and text by Nicanor Abelardo ............................................................ 73
10. “Ikaw Rin…!” Music and text by Nicanor Abelardo ...................................................... 79
11. “Kundiman” by Bonifacio Abdon / text by Pat Mariano ................................................ 82
12. “Bayan Ko” (My Country) Music and text by Constancio De Guzman ......................... 88
13. “Babalik Ka Rin” Music and text by Constancio De Guzman ........................................ 93
14. “Ang Tangì Kong Pag-íbig” Music and text by Constancio C. De Guzman .................. 97
15. “Dáhil Sa Iyó” by Miguel Velarde, Jr. / text by Dominador Santiago .......................... 102
16. “Lahat Ng Araw” by Miguel Velarde, Jr. / text by Dominador Santiago ..................... 108
17. “Ugoy Ng Duyan” by Lucio San Pedro / text by Levi Celerio ..................................... 113
18. “Hindî Kitá Malímot” Music and text by Josefino Cenizal .......................................... 118
19. “Ang Una Kong Pag-íbig” Music and text by Francisco Buencamino ......................... 123
20. “Ulila Sa Pag-íbig” by J.S. de Hernandez / text by Deogracias A. Rosario .................. 131

Conclusion .................................................................................................................................. 136

Appendix A ................................................................................................................................ 137

Copyright Permissions Documentation ................................................................................... 137

Appendix B ................................................................................................................................. 139

Vowel and Consonant Sounds in Tagalog .............................................................................. 139

Email Interview with Dr. Raymond Leslie Diaz: .................................................................... 141

Bibliography ............................................................................................................................... 142

vi
 List of Music Examples

Music Example 1: “May Isang Bulaklak Na Ibig Lumitao” ...................................................... 11

Music Example 2: “Kundiman: Cancion Filipina” .................................................................... 28
Music Example 3: “Kundiman: Cancion Filipina” .................................................................... 29
Music Example 4: “Pakiúsap”.................................................................................................... 33
Music Example 5: “Pakiusap” - B section ................................................................................. 34
Music Example 6: “Pakiusap” - A section ................................................................................. 35
Music Example 7: “Madaling Araw” ......................................................................................... 41
Music Example 8: “Madaling Araw” ......................................................................................... 42
Music Example 9: “Ano Kaya Ang Kapalaran” ........................................................................ 46
Music Example 10: “Ano Kaya Ang Kapalaran” ........................................................................ 46
Music Example 11: “Leron-Leron Sinta” .................................................................................... 47
Music Example 12: “Ano Kaya Ang Kapalaran” ........................................................................ 48
Music Example 13: “Ano Kaya Ang Kapalaran” ........................................................................ 48
Music Example 14: Santiago’s “Kundiman in 1800”................................................................. 52
Music Example 15: “Kung Hindi Man” ....................................................................................... 53
Music Example 16: “Kung Hindi Man” - B section .................................................................... 54
Music Example 17: “Nasaan Ka Irog?” ....................................................................................... 60
Music Example 18: “Nasaan Ka Irog” ......................................................................................... 61
Music Example 19: “Pahimakas” ................................................................................................. 66
Music Example 20: “Pahimakas” ................................................................................................. 67
Music Example 21: “Bituing Marikit” ......................................................................................... 71
Music Example 22: “Bituing Marikit” ......................................................................................... 72
Music Example 23: “Himutok” .................................................................................................... 76
Music Example 24: “Himutok” .................................................................................................... 77
Music Example 25: “Himutok” - B section ................................................................................. 78
Music Example 26: “Ikaw Rin…!” .............................................................................................. 81
Music Example 27: “Kundiman” ................................................................................................. 86
Music Example 28: “Bayan Ko” .................................................................................................. 91
Music Example 29: “Bayan ko” ................................................................................................... 92
Music Example 30: “Babalik Ka Rin” ......................................................................................... 95
Music Example 31: “Babalik Ka Rin” - B section ....................................................................... 96
Music Example 32: “Ang Tángi Kong Pag-íbig” ......................................................................... 99
Music Example 33: “Ang Tángi Kong Pag-íbig” ...................................................................... 100
Music Example 34: “Dahil Sa ‘Yo” ........................................................................................... 106
Music Example 35: “Dahil Sa 'Yo” ........................................................................................... 107
Music Example 36: “Lahat Ng Araw” ....................................................................................... 111
Music Example 37: “Lahat Ng Araw” ....................................................................................... 112
Music Example 38: “Ugoy Ng Duyan”...................................................................................... 117
Music Example 39: “Hindi Kita Malimot” ................................................................................ 122
Music Example 40: “Ang Una Kong Pag-ibig” - A section ...................................................... 127
Music Example 41: “Ang Una Kong Pag-ibig” - B section ....................................................... 128
Music Example 42: “Ang Una Kong Pag-ibig” - C section ....................................................... 129
Music Example 43: “Ulila Sa Pag-ibig” .................................................................................... 134
vii
 List of Figures

Figure 1: Consonant Sounds ......................................................................................................... 16

Figure 2: Affixes ........................................................................................................................... 19
Figure 3: Pronouns ........................................................................................................................ 21

viii
 Chapter One: Introduction

Kundiman: Beginnings and Influences

The term Kundiman translates from the Tagalog as “if it were not so”. But I would

interpret this phrase as “if it were only” to signify a lover’s wish to be united with his or her

beloved. Kundiman folksongs came into being in the early 19th century as love songs that

originated from the Tagalog-speaking regions in the Batangas province of the Philippines.

When the Spaniards arrived in the Philippines in 1521, Western influence became an

important part in the early development of Kundiman folksongs. Spanish colonization brought

Christianity and Spanish culture to the Filipino people. But it was also their plan to assimilate

Filipinos into Spanish culture. They did not make an effort to preserve the customs and

traditions of the Filipino people. However, as Filipinos assimilated Western influences brought

about by Spain, they realized that they could actually write songs that pertained to their own

culture and began to incorporate Spanish music styles into their own. It was in this sort of cross-

fertilization that the first Kundiman folksong, “Kundiman Ng (Of) 1800” was created by an

anonymous composer in 1800.1

But the cultural and religious changes imposed upon the Filipino people were met

with a growing resistance that led to a revolt in 1896. Filipino revolutionaries, led by

the katipunan movement (a secret society of Filipino revolutionaries let by Andrés Bonifacio

(1863–1897)), waged war against the Spanish regime.2 The revolution came to an end when

the United States, seeing that the katipuneros revolutionaries were no match against the

1
Antonio C. Hila, Music in History, History in Music; (Manila: UST Publishing House, University of Santo Tomas,
2004) p. 30.
2
Raul M. Sunico, Mga Awit Ng Himagsikan: Songs of the Philippine Revolution, 1896-1898, (Quezon City: Tawid
Publications. 1997). p. iii.

1
Spanish army, stepped in and helped defeat the Spaniards during th e Spanish-American war

of 1898 at the Battle of Manila Bay.3 It was during this time that the revolutionaries used

Kundiman folksongs to inspire unity and nationalism among the Filipinos. And while

Kundiman folksongs are largely about love and courtship, the songs often contained

undertones of subtle nationalism, and a yearning for liberty. The typical themes of unrequited

love found in Kundiman songs became symbols of the chains of Spanish oppression. The

songs therefore provided the inspiration for Filipinos not only to gain their freedom from

foreign rule, but also to create a national identity.

It is ironic that U.S. annexation of the Philippines began a year later in 1899.4 Now

within an American educational system, Filipinos learned both English and Tagalog (the

newly designated national language of the Philippines.) Additionally, buoyed by the

continued exposure to Western music and culture by way of such visiting performers as violin

virtuosos Eduard Reményi (1886), Mischa Elman (1921), Yehudi Menuhin (1948), guitar

master Andrés Segovia (1929), pianists Jan Kubelík (1929) and Rudolf Friml (1933), and

cellist Pierre Fournier (1949), Kundiman art songs couldn’t help but take on the vestiges of

Western music.5

The strong educational system established by the United States contributed to quality

music training at the newly established University of the Philippines in 1908. The Conservatory

of Music Annex was later established in 1916. As music education in the Philippines

strengthened over the next several years, there was a push to preserve the country’s beautiful

3
Ibid., p. vi.
4
Teodoro Agoncillo, Philippine History. Manila: Inang Wika Publishing Co., 1969, p. 240.
5
Ramon Pagayon Santos, Tunugan: Four Essays on Filipino Music, (Diliman, Quezon City: University of the
Philippines Press, 2005), p. 3.

2
culture. To that end a group of faculty members from the University of the Philippines formed a

committee in 1934 to collect folksongs and dances from the various regions of the country.

Interestingly, Francisco Santiago made significant contributions to this project by setting them to

music notation and harmonizing many of the folksongs. The significance of these folksong

harmonizations became apparent as other Filipino composers began to follow the examples of

Santiago and Nicanor Abelardo by using segments from folksongs and converting them into art

songs.

It wasn’t until 1946 that the Filipino nation gained its independence from U.S.

sovereignty. Nonetheless, throughout these periods of turmoil and uncertainty, Kundiman folk

songs were the underlying thread that accompanied the Filipino struggles for independence.

A Cultural Melting Pot: Inspiration for the study of Kundiman art songs

Filipino culture itself is a melting pot of various indigenous peoples. They live in

separate regions or provinces each with their individual dialects and traditions. The dialects

spoken in the various regions are distinct enough to be considered individual languages. Indeed,

people from different regions typically cannot understand one another beyond common words

from the Spanish language. To further add to this multiculturalism, centuries ago the

neighboring countries of China and Malaysia established long lasting trade exchanges with the

Philippines even before the Spanish occupation in the mid-16th century. Yet, since the U.S.

annexation of the country in the early 20th century, Tagalog became the official language of the

Philippines. However, the Philippines has had a long history of cultural pluralism, and it is

appropriate for them to have a representative blend of these cultures in their art and music.

3
Need for study

Kundiman art songs are not well known among Western musicians, yet they are a

significant representation of the merging of Filipino folksong and Western Music

traditions. Because of the historical significance of Kundiman art songs in the Philippines, these

songs stand as an interesting repertoire of music that would appeal to singers who are interested

in songs from a different culture. By virtue of their multicultural form, the distinctiveness of

these songs will provide a refreshing change of pace for the adventurous art song recitalist. With

these songs I hope to educate musicians, specifically vocalists, and expose people

to Kundiman art songs and their reflections of the pluralism found within the Philippines.

Methodology

In order to understand and perform a Kundiman art song well, particularly given the relative

obscurity of Philipino language, history and culture to Westerners, I will provide brief

background information on the origins of Kundiman. The majority of Kundiman art songs texts

are in Tagalog, the principle dialect of the Filipino language. A brief discussion of Tagalog that

includes the origin of the dialect, some basic rules of grammar and word structure, and a

phonetic description of Tagalog pronunciation are necessary. A performance guide to 20

representative Kundiman art songs by various Filipino composers is included. The guide

includes literal and poetic translations, and I.P.A. transcriptions of each song text. For each

song, I will offer my own thoughts and interpretive ideas in order to shed light on some subtle

nuances in the songs, and thus make the performance of the songs more authentic. No such

performance guide to the Kundiman art song repertoire currently exists. And while the songs

discussed in this essay are but a small fraction of the repertoire, this guide can serve as the

beginning steps into this exciting new area of the art song genre.

4
Literature Review

Santos, Ramon Pagayon, Tunugan: Four Essays on Filipino Music, (Quezon City:
University of the Phlippines Press), 2005.

A current scholar on Filipino music, Ramon Pagayon Santos, wrote four essays about

Filipino music in “Tunugan: Four Essays on Filipino music.” Santos describes how

the Kundiman song genre became elevated into art song status, with the help of Francisco

Santiago and Nicanor Abelardo. The works of both of these composers were milestones in the

development of Kundiman art song. Both were also music directors at the Conservatory of

Music at the University of the Philippines when it was first established in 1916.

Santos continues to describe early accounts of Nicanor Abelardo’s (1893-1934)

biography. Abelardo was considered a young prodigy, composing and performing piano as early

as eight years old. He was able to experience performances by various Western artists who

visited and gave concerts in the Philippines. Abelardo began his formal music training at the

University of the Philippines in 1916 studying composition, receiving a teacher’s certificate in

1924. He later became Director of Composition at the University of Philippines’ Music

Conservatory. Abelardo was known for his Kundiman art songs, and like Santiago, he was able

to elevate the genre of Kundiman folk song into an art song with his output between 1920 and

1930. Abelardo also wrote overtures, piano sonatas, a cavatina for violin and piano, a nocturne,

and various short compositions.6

Abelardo’s first Kundiman art song and one of the song selections in this essay, “Kung

Hindî Man” (If It Were Not So) in 1920 is based on a melodic fragment from a folk song. The

piano accompaniment generally follows the contour of the melody. The inner voices of harmony

6
Ocampo, Ambeth, Ang Buhay At Musika Ni Maestro Nicanor Abelardo, (Manila: Cultural Center of the
Philippines, 1980), p.25.

5
run in contrary motion to the melody. Abelardo set the text to music, making the piano

accompaniment match the declamation of the text and creating text painting.7 His subsequent

song compositions showed a more mature technique of text painting with more interplay

between text and music. He also used various ranges in the piano to achieve tone colors that

match the text.8 The Conservatory of Music at the University of the Philippines became a venue

for introducing Western Music tradition under the colonization of the United States in the late

teens through the 1920s. 9

This essay describes the development of Kundiman art song from its early beginnings

as folk songs in the early 1800s to its transformation to art song genre in the 1920s and

1930s. Francisco Santiago and Nicanor Abelardo were instrumental in developing

Kundiman into a genre of art song, thanks to their formal music training at the University of the

Philippines as well as their studies abroad. They have succeeded in creating a unique

representation of Filipino culture through the incorporation of Western influence and traditional

Filipino folksongs.

Hila, Antonio C., Music in History: History in Music, Manila: University of Santo Tomas
Press, 2004, pp. 57-69.

Hila’s chapter on “Defining the Nationalist Tradition in Philippine Music” begins by

describing nationalism in the early 20th century that was essentially a protest against anything

that was foreign. In the 1930s, Francisco Santiago had already reached the peak of his

7
Ramon Pagayon Santos, Tunugan: Four Essays on Filipino Music, (Diliman, Quezon City: University of the
Philippines Press, 2005), p. 19.
8
Ibid., p. 34.
9
Ibid., p. 180.

6
productivity with his Kundiman art songs. Noted poets were being used for song texts as well as

using text painting to enhance the collaboration between music and text.

The two resources outlined above represent the current principle scholarship on

Kundiman song. They provide useful background information on the origins of Kundiman, as

well as its significance in Filipino history and culture. However, neither resource provides the

necessary information to perform these songs, particularly crucial guidance with the Tagalog

language, stylistic information and suggestions for interpretation for the singer unfamiliar with

the language or the style. Through my translations and some help from my mother, Josie

Anderson, a speaker of Tagalog, I have made music analyses as well as performance guides for

interpreting each of the song selections.

7
 Chapter Two: Background on the origin of Kundiman

Philippine Culture: Beginnings and Transformation

Anthropological studies have shown that a developed Filipino culture had existed prior to

the arrival of the Spaniards in 1521. Furthermore, archeological excavations have found

evidence of tools that date back to the Stone Age and the Bronze Age. The early period of the

Philippines consisted of the Negritos tribe migrating from Southeastern Asia. The Indonesians

and the Malays followed between 200 and 1500 C.E. In addition, Chinese merchants were

known to have traded goods with Filipino natives beginning in the 10th century, indicating a

thriving commerce as well as a variety of ethnicities in the Philippines.10

However, historical records of the Philippines have been greatly limited because of the

way their history was recorded. Cultural traditions had been handed down through generations

but were written down on perishable materials such as bamboo, leaves and tree bark.11 As a

result, ancient records were lost. Furthermore, when the Spaniards came in 1521 they saw little

value in Filipino culture and history, and did nothing to preserve what records existed.

With Spanish colonization came the spread of Catholicism among the

Filipinos. Franciscan and Jesuit missionary priests taught Filipinos about their religion and

Western culture.12 Christian celebrations such as Easter and Christmas depended upon the use

of singers and instrumentalists. Spanish clergy trained the Filipinos to read and play music, and

to make musical instruments such as violins, guitars, flutes, and an organ constructed from

bamboo. Hymns and chants composed by friars were written in Latin as well as in the native

10
Raymundo C. Bañas, Filipino Music and Theatre, (Quezon City: Manlapaz Publishing Co., 1969), p. 4.
11
Ibid., p. 34.
12
Antonio C. Hila, Music in History: History in Music, (Manila: University of Santo Tomas Publishing House,
2004), p. 4.

8
languages of the various regions. Such music training proved to be invaluable to the

advancement of Catholicism in the Philippines.

At the peak of Spanish occupation in the early 19th century, western secular music was

also taught to Filipinos, and was received with great enthusiasm. Perhaps more than religious

music training, it was through secular music education (typically Spanish dances such as

the habañera, danza, and marcha or paso doble) that Kundiman began as a Filipino folksong

tradition. 13 The introduction of Western music cultivated an environment for vibrant musical

creativity in the Philippines.

Earliest Existence of Kundiman Songs

The word Kundiman had its beginnings in the early 19th century. There are three theories

as to how the word Kundiman first began. The first theory claims that Kundiman was mentioned

in a song composition containing the word, “cundiman” (Kundiman lullaby). 14 A second theory

asserts that origin of Kundiman, simply first appeared in the title of the song, “Kundiman Ng

1800” (Kundiman of 1800). A third theory claims that Kundiman was a red piece of cloth worn

by males during rituals of dance performances. But the relationship of this cloth to Kundiman

folksong is not precisely known.

It is possible that it grew out of the Kumintang, a type of war song that was sung as part

of festivities that honored triumphant warriors. Kumintang later developed into a more plaintive

type of song that accompanied a dance performed by a man and a woman involving a fermented

drink. A sexual connotation is implied with this dance. This was performed usually before a

13
Ibid., p. 6.
14
Ibid., p. 11.

9
battle, hummed by the aborigines to strengthen the courage of the warriors.15 Eventually the

Kumintang was probably replaced by Kundiman folksongs because of their popularity,

representing a new Filipino folk song tradition.

Spanish Influence in Music and Culture

With the influx of Spanish music and culture, Filipinos began to realize how important it

was to transcribe their own folk music. They began to create their own music within the formal

education they received from the Spaniards. Filipinos created music that imitated many Spanish

song genres. These folksongs were a spontaneous kind of song that was created by people who

were not formally trained in music. In most cases writers typically remained anonymous. But

overall, the influence of Spanish culture was a vital ingredient of Kundiman folksongs.16

An example of this influence is found in the song, “May Isang Bulaklak Na Íbig Lumitao

(1800)” translated “There is one flower that wishes to float up”. Emilia S. Cavan arranged the

music excerp song from a harmonization realized by This harmonization by Francisco Santiago

in 1924. Notice the tempo marking adopts a habañera style (a dance that originates from Cuba)

(see Music Example 1).

15
Raymundo C. Bañas, Pilipino Music and Theater, (Quezon City: Manlapaz Publishing Co., 1975), 81.
16
Antonio C. Hila, Music in History: History in Music, (Manila: University of Santo Tomas Publishing House,
2004), p. 6.

10
 Music Example 1: “May Isang Bulaklak Na Ibig Lumitao” 17

Nationalism in Kundiman

There were two significant events in the late 19th century that would spur the Filipino

people to rise up against the four century-long oppressive rule by Spain. In 1872 three Filipino

17
Emilia Cavan. "Filipino Folk Songs / Collected and Arranged by Emilia S. Cavan ; Harmonized by Francisco
Santiago." Filipino Folk Songs / Collected and Arranged by Emilia S. Cavan. Accessed March 12, 2015.
http://quod.lib.umich.edu/p/philamer/AGN4492.0001.001/34?rgn=full text;view=image. p. 28-29.

11
priests were executed for their part in a small revolt by shipyard workers in Cavite. Then in

1896, the novelist Dr. Jose Rizal (1861-1896) was executed by firing squad for his published

criticism of the oppressive rule of the Spaniards. His fearless indictment of the treatment of

Filipinos appeared in his novels, an even in some of the Kundiman songs he wrote, such as

“Kundiman Ni Rizal” (Kundiman of Rizal).

“Truly, the tongue and heart are silenced,

for the country has been oppressed, conquered,
and made to yield.
Because of the neglect of the colonizers
freedom is lost, happiness has died.
Truly, happiness has died.” 18

Rizal’s execution eventually led to an uprising in 1896 that culminated in the end of

Spanish rule and the eventual annexation of the Philippines by the United States. All during these

tumultuous years, Kundiman folksongs were a potent vehicle for the emotional life of Filipinos

as they struggled against oppression from foreign rule.

From Folksong to Art Song: Francisco Santiago and Nicanor Abelardo

Francisco Santiago described Kundiman art song as “a song that expresses the lofty

sentiment of love, and even heroism, in a melancholy mood.” 19 Inspired by the work of

Santiago, composer Nicanor Abelardo published his first Kundiman art song in 1920. Like

Santiago, he was a music instructor at the Conservatory of Music at the University of the

Philippines. After his teaching career at the Conservatory, Abelardo studied composition at the

18
Raul M. Sunico, Mga Awit Ng Himagsikan = Songs of the Philippine Revolution of 1896-1898. (Quezon City,
Philippines: Tawid Publications, 1997), p. 15.
19
Hila, Antonio C., Music in history, history in music, (Manila: UST Publishing Press, 2004), p.7.

12
Chicago Musical College in the United States, where he refined his compositional skills, and

brought greater sophistication to this new genre of song.20

These two pioneers of the genre would inspire other Filipino composers after them to

write Kundiman art songs, nurturing a nationalistic music trend that lasted until the outbreak of

the 2nd World War.

20
Ramon Pagayon Santos, Tunugan: Four Essays on Filipino Music, (Quezon City: The University of the
Philippines Press, 2005), p. 7.

13
 Chapter Three: A Brief Description of the Tagalog language

The Philippine archipelago is made up of over seven thousand islands whose inhabitants

lived in relative isolation for centuries. Because of this there exist some one hundred seventy-

five varying dialects within the eight major cultural-linguistic groups – Bikol, Cebuano,

Hiligaynon, Ilocano, Kapampangan, Pangasinan, Tagalog, and Waray-waray.21 While some of

the dialects have common words, many are different enough to cause considerable language

barriers. These different dialects in the Philippines, therefore, are more accurately described as

languages.

In 1939 Tagalog was designated the national language, as it was spoken by the most

influential segments of Philippine society. It has been taught in the public schools since the late

1930s. Today more than half the Filipino population understand Tagalog, although not everyone

can speak it fluently.

The original Tagalog script was used by Tagalog speakers in the period before the

Spanish colonization. They used an Indic syllabary consisting of three vowels and fifteen

consonants. The Latin letters promptly replaced the original Tagalog script when the Spaniards

arrived in the mid-1500s. The three vowels used previously by the Indic syllabary were now

replaced by five vowels. The ancient vowel symbol was replaced by /e/ and /i/; vowel symbol

was replaced by /o/ and /u/; and vowel symbol was replaced by /a/.22 Modern Tagalog

uses 20 letters as illustrated in the alphabet below:

A B K D E G H I L M N NG O P R S T U W Y

21
William R. Pfeiffer, Indigenious, Folk, Modern Filipino Music, (Dumaguete City: Silliman Music Foundation,
Inc., 1976), p. 1.
22
Carl R. Galvez Rubino, Tagalog-English, English-Tagalog Dictionary (Revised and Expanded Version), (New
York, NY: Hipprocrene Books, Inc. 2002). p. 8.

14
 The letters C, F, J, Q, V, X and Z do not exist in Tagalog, and K really is the third letter

of the alphabet. In addition, the frequently occurring consonant sound [ŋ] exists as its own letter

“NG”.23 Further examples of vowel and consonant sounds with specific word examples are

found in Appendix B.

An important aspect of Tagalog pronunciation is the glottal stop, wherein the affected

vowel sound is abruptly cut short. There are many instances where this stop occurs. As it is

beyond the scope of this essay to list them all, I advise the reader to refer to a reliable dictionary

such as the Hippocrene Standard Dictionary, edited by Carl. R. Galvez Rubino. In this particular

resource the glottal stop is indicated by a circumflex accent above the stopped vowel. The IPA

transcriptions of the songs discussed in this essay also indicate where a glottal stop should occur

with the phonetic symbol [ʔ].

23
Ibid., p. 8.

15
Consonant sounds

A note about Tagalog consonants: spoken Tagalog uses consonants in a way that makes

the flow of speech sound somewhat percussive. It is not as liquid as Italian. This has to do with

the short duration of the vowels. The vowel /a/ for instance will often move quickly towards a

nasalized /n/, or a dental, labial, bi-labial or plosive consonant. In addition, many words will

also have a glottal sound within a word. Some will appear in words that end with a vowel that

must be pronounced with a glottal stop, such as “luha” [lu.haʔ] (tear) or “po” [poʔ] (sir). A

combination of all these factors creates an overall atmosphere of sound that is percussive in

nature. It is important to keep these linguistic nuances in mind when singing Kundiman art

songs.

Figure 1 is designed to help the reader understand the various consonant sounds and

glottal stops that are common in Tagalog language.24

Voicing Bilabial Dental/ Alveo-palatal Velar Glottal

Alveolar
Stops - p t (ts, t(i)y) [tʃ] k [ʔ]
+ b d (dy) [ʤ] g
Fricatives - s h
Nasals + m n (ny) [ɲ] ng [ŋ]
Laterals + l
Trill/Flap + (r)
Glides + w y

Figure 1: Consonant Sounds25

24
Carl R. Galvez Rubino, Tagalog-English, English-Tagalog Dictionary (Revised and Expanded Version), (New
York, NY: Hipprocrene Books, Inc. 2002), p. 8.
25
Ibid., p.13.

16
Vowel sounds

Tagalog has five vowels. These are pronounced the same as English:

a [a] e [e] i [i] o [o] u [u]

The vowels /a/ and /i/ occur more frequently than the vowels /e/, /o/ and /u/. According

to Professor Raymond Leslie Diaz, Senior Lecturer at the University of the Philippines, Diliman

and Voice Faculty member at St. Scholastica’s College in Manila, “there are just five vowels in

the Filipino language but one may hear several versions of any vowel depending on

regional/dialect, social and educational factors.”26 He describes the vowels as follows:

[a] – is the Filipino “ah” vowel. It is very similar to the Italian [a]

[ɛ] – open “eh” can sometimes be heard as closed [e]. Diaz believes that the open [ɛ] is

closer to a closed [e] and definitely not like the Italian open [ɛ] as in “bella”

[bɛl:la].

[i] – is the standard Filipino [i] vowel.

[o] – is more of a closed [o] rather than an open [ɔ]

[u] – is the same as the Italian [u]

Diphthongs (vowels with two sounds, as in “ride” and “dual”) occur less frequently,

except in words that contain glides such as “pamilya” [pa.ˈmil.ja] (family) and “bumbilya”

[bum.ˈbil.ja] (lightbulb). Neighboring vowels are separated by a glottal sound. The word

“babae” [ba.ˈba.ʔe] or “woman” illustrates this. Another example, “kaíbigan” [ka.ʔi.ˈbi.gan] or

26
Raymond Leslie Diaz. "International Phonetic Alphabet Transcription of Tagalog." E-mail interview by author.
May 19, 2015.

17
“friendship” has two vowels in the first syllable. The first vowel /a/ is followed by a glottal /i/.

It does not form a diphthong; for example, “boot” and “deer.”

Syllabic stress

The stress in a word generally falls on either the last or penultimate syllable. Stressing

the correct syllable is quite important in Tagalog because the meaning of a word can change

depending on which syllable is being stressed.

Reduplication

Reduplication is repetition of a word or word segment to augment or diminish its

meaning. For example, the word “mahiyahiya” (from “hiya” or “to be ashamed”) repeats the last

two syllables of the word. In this instance, reduplication diminishes the potency of the the word

and its meaning becomes “to be a little ashamed.”27

Affixes

To modify the meaning of a word, Tagalog uses a variety of prefixes, suffixes and infixes

(an affix placed in the middle of a word).28 The following examples illustrate the use of affixes

in the Tagalog language:

27
Ibid., p. 16.
28
Ibid., p. 9

18
Prefixes: Examples:

ka- ka-tuwaan (from tuwaan), ka-looban, ka-pangalan

ipag- ipag-tagumpay (from tagumpay), ipag-tawa, ipag-buwis

i- i-hadlang, i-galang, i-damit

di- (with hyphen) di-mataba, di-maari, di-malayo

Infixes:

-in- b-in-asa (past tense of read, from root word basa)

h-in-intay (past tense of wait, from hintay).

Suffixes:

- an ting-an (from tingin)

sulat-an (from sulat)

-ero, -era (Spanish) basur-ero (addition of suffix makes “basura” (garbage) into a

garbage man, the noun form.

-ado (Spanish) muskul-ado (changes muskul into an adjective, “muscular”)

kontrol-ado (changes “kontrola” into an adjective, kontrolado

(controlled))

Figure 2: Affixes

19
Tagalog Grammar

Unlike English, Tagalog sentences usually begin with the predicate phrase in front

followed by the subject. For example, “Kumakain sila” (They are eating) has a predicate verb

phrase “kumakain” in the beginning of the sentence and subject “sila” at the end. A literal

translation would read, “eating-are-they”. In some cases the subject begins the sentence but will

have a linking verb “ay” (am) after it: “Ako ay mayaman” (I am rich). However, this particular

example of a subject-predicate order would not apply to “Kumakain sila.” It would be

grammitcally improper to say, “Sila ay kumakain” (They are eating).

A prefix will determine the meaning of a sentence. When using negation, the word

“hindî” is simply added in front of the phrase or sentence: “Hindî kumakain ang mga bata” (The

children are not eating). When asking a question beginning with the word “What”, “ano” (what)

is placed in front of the sentence: “Ano ang kinakain ng mga bata?” (What are the children

eating?). When asking yes or no questions, the word “ba” (then) is inserted after the first word

of the sentence: 29 for example, “Kumakain ba ang mga bata?” (Are the children eating?)

Sometimes “ba” can be placed after the second word of a sentence; for example, “Kumakain ka

ba?” (Are you eating?)

To make a word plural, the article “mga” is added in front of the word: “mga” plus

noun. This is illustrated in the following example: “mga Pilipino” (the Filipinos).

When using articles and determiners, the words “ang” (singular form of “the”), “mga” and “ang

mga” (plural form of “the”), are placed in front of the noun that they modify. Personal forms

include the words “si” and “sina” or “ni”, “niná”, “kay”, and “kiná” as an indirect object article

29
Ibid., p. 17.

20
and/or determiner. Their equivalent words in English are “his”, “her” or “their.” The

determiners “si” and “sina” have no corresponding word in English.

Gender

Gender specific pronouns do not exist in native Tagalog, except for words that were

borrowed from Spanish with “–o” and “–a” endings. These denote masculine and feminine

forms. But generally masculine and feminine pronouns (he/she, him/her) are given the same

word. The following table shows the translation of pronouns and their cases in Tagalog:30

Pronoun Topic Genitive Oblique

I akó ko sa akin

You (fam.) ikaw ka , mo sa iyó

s/he siyá niyá sa kaniyá

we (excl.) kami naming sa amin

we (incl.) tayo natin sa atin

you (pl, pol.) kayó ninyó sa inyó

they silá nilá sa kanilá

Figure 3: Pronouns31

Like most languages, Tagalog has many idiosyncrasies. This overview should help in

understanding some basic structures of the language. There now remains the challenge of

30
Ibid., p. 21.
31
Ibid.

21
authentic pronunciation. The IPA transcriptions in Chapter Four will serve as a guide to

achieving an authentic declamation of the Tagalog text.

22
 Chapter Four: A Performance Guide to 20 Representative Kundiman Art
Songs

Notes on analyses and interpretation

As a performance guide, I have included my own translations and pronunciation guides

using the International Phonetic Alphabet (IPA) system. These are especially helpful for non-

Tagalog speakers in pronouncing each word and expressing them with some authenticity. The

IPA is a very useful tool in helping to understand the linguistic nuances of the Tagalog language.

The genre of Kundiman includes Tagalog language, Visayan language and other regional dialects

that are spoken in various islands of the Philippines. However, I have excluded these other

dialects of Kundiman from my essay in order to focus specifically on Tagalog Kundiman. I

decided to choose works mainly by Francisco Santiago (4) and Nicanor Abelardo (6) because of

their significance in this genre. Seven other composers were included to show a range in

compositional styles.

Most of the songs in the following selections are in public domain. However, those

songs requiring permissions are noted in the music examples. Please refer to Appendix A for

Permission Letters. The songs discussed can be obtained via WordCat, which is an online

reference source.

23
Song Selections
1. “Kundiman” by Francisco Santiago / text by Deogracias A. Rosario
Ako’y anak ng dalita
At tigib ng luha
Ang naritong humihibik
Na bigyan ang awa
Buksán mo ang langit
At kusa mong pakinggan
Ang áking ligalig
Saka pagdaramdam.
Ay kung hindî ka mahahabag
Sa lungkót kong di naranas
Puso’t diwang nabibihag
Sa libing masasadlak
Magtanong ka kung di tunay
Sa kislap ng mga tala
Magtanong ka rin sa ulap
Ng taglay kong dalita
Sa dilim ng gabing
aking nilalamay
Tánging larawan mo
Ang nagiging ilaw.
Kung ikaw ay mahimbing
Sa gitna ng dilim
Ang iyong ihulog
Puso mo sa akin.
Ang iyong ihulog
Buhay pag-asa.
Ako’y anak
[ʔa.'koɪ ʔa.'nak
I am child
At tigib
[ʔat ti.'gib
And filled
I am a child of poverty
And overflowing with tears
I am here crying out
for your mercy
Open the heavens
And listen with purpose
My obsession
And what I am feeling.
If you will not have pity
On my sadness that is unrealized
Heart and spirit are captivated
To fall into the grave.
Ask if it’s not real
To the twinkling stars
Also ask the sky
Of this poverty I carry.
In the dark of night
I stay up thinking,
Only your image
Will be my light
If you are sleepy
In the middle of the night
What you will bring
To me is your heart.
What you will bring
Is a life of hope.
ng dalita
naŋ 'da.li.ta]
of poverty
ng luha
naŋ 'lu.ha]
with tears
24
Ang naritong humihibik
[ʔaŋ 'na.ri.toŋ hu.'mi.hi.'bik]
The here pleading

Na bigyan ang awa

[na big.'jan ʔaŋ 'ʔa.waʔ]
To give the compassion

Buksán mo ang langit

[buk.'san mo ʔaŋ 'la.ŋit]
Open you the heaven

At kusa mong pakinggan

[ʔat 'ku.sa moŋ pa.kiŋ.'gan]
And voluntarily you listen

Ang aking ligalig

[ʔaŋ 'ʔa.kiŋ li.'ga.lig
The my trouble

sa kapagdaramdam.
sa ka.pag.'da.ram.'dam]
of-the feelings

Ay kung hindî
[ʔaɪ kuŋ hin.'di]
Is if not

ka mahahabag
[ka ma.'ha.ha.'bag]
you feel-pity

Sa lungkót kong di naranas

[sa luŋ.'kot koŋ di na.'ra.nas]
Of loneliness my not experience

Puso’t diwang nabibihag

['pu.sot 'di.waŋ na.bi.'bi.hag]
Heart-and spirit captured

Sa libing masasadlak
[sa li.'biŋ ma.sa.sad.'lak]
To grave to keep

25
Magtanong ka kung di tunay
[mag.ta.'noŋ ka kuŋ di 'tu.naɪ]
Ask you if not real

Sa kislap ng mga tala

[sa kis.'lap naŋ ma.ŋa 'ta.la]
To sparkle of the stars

Magtanong ka rin sa ulap

[mag.ta.'noŋ ka rin sa 'u.lap]
Ask you also to clouds

Ng taglay kong dalita

[naŋ tag.'laɪ koŋ 'da.li.ta]
Of endured my anguish

Sa dilim ng gabing
[sa di.'lim naŋ ga.'biŋ]
To darkness of night-that

aking nilalamay
['ʔa.kiŋ ni.la.'la.maɪ]
My keep-vigil

Tánging larawan mo
['ta.ŋiŋ la.'ra.wan mo]
Only image your

Ang nagiging ilaw.

[ʔaŋ na.'gi.giŋ 'ʔi.laʊ]
The becomes light

Kung ikaw ay mahimbing

[kuŋ ʔi.'kaʊ ʔaɪ ma.him.'biŋ]
If you are weary

Sa gitna ng dilim
[sa git.'na naŋ di.'lim]
In middle of darkness

Ang iyong ihulog

[ʔaŋ ʔi.'joŋ ʔi.'hu.log]
The your deposit

26
Puso mo sa akin.
['pu.so mo sa 'ʔa.kin]
Heart your to me

Ang iyong ihulog

[ʔaŋ ʔi.'joŋ ʔi.'hu.log]
The your deposit

Buhay pag-asa.
[bu.haɪ pag.'ʔasa]
Life hope

One of the most frequently performed Kundiman songs is “Kundiman: Cancion

Filipina.” Written in ternary form with an added violin part, this was Francisco Santiago’s very

first Kundiman art song. The poetic text written by Deogracias A. Rosario depicts a lover who

hopes that the girl he is serenading would open her window and give her heart to him.

The violin seems to flow along harmoniously and sometimes contrapuntally with the

singer’s vocal line. Sometimes it enhances the melody of the vocal line by playing eighth-note

figures to accompany the long notes in the vocal line. But overall, the violin part functions as a

supportive imitation and harmony to the voice part. Santiago has successfully created a trio

ensemble that flourishes and complements each other in a contrapuntal manner. In mm. 53-57

the violin answers the vocal phrase “ang iyong ihulog” (what you will bring) and imitates the

vocal line from the previous measures at the beginning of the C section. The chords in the piano

accompaniment become more full in texture. To contrast the forte and pianissimo dynamics in

the vocal line (measure 50), it is answered by a short four-measure instrumental interlude in

measure 54 with a fortississimo dynamic marking. In measure 58 the vocal line re-enters with a

softer dynamic marking. The piano accompaniment becomes more subdued and allows the vocal

line to be sung in piano marking. Hence, the text “tanging larawan mo ang nagiging ilaw” (only

27
your image will be my light) is supported by a chordal accompaniment that imitates the quarter

note rhythm of the vocal line (see Music Example 2).

Music Example 2: “Kundiman: Cancion Filipina”32

Overall, the vocal melody is lyrical, moving smoothly and fluidly as the waltz-like

rhythm matches the declamation of the text. At the beginning the piano accompaniment is

simple and sparse so as not to get in the way of the vocal line and the violin. It functions as

chordal harmony in ascending block chords. But as soon as the violin solo begins, the piano

texture becomes fuller. In the C section (mm. 66-77) the dynamics of the vocal line builds and

32
Ibid., p. 74.

28
the vocal range rises to a higher tessitura, requiring more breath support using a full voice on the

higher notes (see Music Example 3).

Music Example 3: “Kundiman: Cancion Filipina”33

33
Ibid.

29
 2. “Pakiúsap” by Francisco Santiago / text by Jose Corazon De Jesus

Natutulog ka man You are asleep

Irog kong matimtiman My modest darling
Tungháyan mo man lámang Only look out
Ang nagpapa-álam. To one who bids farewell.
Dáhan-dáhan mutyâ Slowly my jewel
Buksán mo ang bintána Open your window
Tanáwin mo’t kahabágan View with pity
Ang sa iyó’y nagmamahál The one who loves you.

Kung sakali ma’t salát If you are in need

Sa yama’t pangárap Of wealth and dreams
May isang sumpáng wagas There is one oath pure:
Ang áking paglíngap It is my thought.
Pakiúsap ko sa iyó My plea to you
Kaawaan mo akó Is to have pity on me
Kahit mamatáy Even to death
Pag-íbig ko’y minsan lámang My love only happens once.

Natutulog ka man
[na.tu.'tu.log ka man]
Sleeping you are

Irog kong matimti’man

['ʔi.rog koŋ ma.tim.'ti.man]
Darling my modest

Tungháyan mo man
[tuŋ.'ha.jan mo man]
Look at you even-if

Ang nag-papa-álam.
[ʔaŋ nag.pa.pa.'ʔa.lam]
The-one who-says-goodbye.

Dáhan-dáhan mutyâ
[da.han.'da.han mut.'jaʔ]
Slowly jewel

Buksán mo ang bintana

[buk.'san mo ʔaŋ bin.'ta.na]
Open you the window

30
Tanawin mo’t kahabagan
[ta.'na.win mot ka.ha.'ba.gan]
Look-at you-and compassion

Ang sa yo’y nagmamahál

[ʔaŋ sa joɪ nag.ma.ma.'hal]
The to you-are who-loves

Kung sakali ma’t salat

[kuŋ sa.'ka.li mat sa.'lat]
If perhaps even if in-need

Sa yama’t pangárap
[sa 'ja.mat pa.'ŋa.rap]
Of wealth-and dreams

May isang sumpang

[maɪ ʔi.'saŋ sum.'paŋ
There-is one oath

Ang aking paglingap

[ʔaŋ 'ʔa.kiŋ pag.'li.ŋap]
The my thought

Pakiúsap ko sa ‘yo
[pa.ki.'ʔu.sap ko sa jo]
Plea my to you

Kaawaan mo ako
[ka.ʔa.'wa.ʔan mo ʔa.'ko]
Have-pity you me

Kahit mamatáy
['ka.hit ma.ma.'taɪ]
Even-if to-die

Pag-íbig ko’y minsan lámang

[pag.'ʔi.big koɪ min.'san 'la.maŋ]
Love my-is once only

31
 This text by Jose Corazon de Jesus describes how the purity of one’s love is the only

thing that matters. The protagonist has no wealth to give but only the pureness of his oath of

love. He remains constant until death. Therefore his final plea is for her to have pity on him and

consider his undying love. “Pakiúsap” or “plea,” written in 1921, draws upon this sentiment of

purity of love. The poet makes a plea to declare his love to his beloved.

Francisco Santiago has effectively set to music the proper flow of the Tagalog language.

He frequently sets to music a syllabic stress on the second syllable of each line of text. This

demonstrates the typical style of Kundiman. A stress is usually found in the second beat of the

beginning of each musical phrase, and sometimes it is on the first beat of the measure. This

method of text setting also follows the natural flow of declamation in the poetry. An example is

shown in the opening line “Natutulog ka man, irog kong matimtiman” (You are asleep, my dear

who is modest.) Letters in bold signify the proper syllabic stress for these two words.

A singer should pay close attention to the syllabic stress of each line of text in order to

accurately express the meaning of the text and the flow of the language. The second sentence

contains syllables that have glottal stops. For example, the fourth syllable of the word “nagpapa-

álam” or “bidding farewell” is pronounced with a glottal /a/.

It is up to the singer to observe the glottal stops at the ends of phrases. But sometimes,

for the sake of maintaining a legato, it will be necessary to make a compromise. As a result, not

all glottal strokes will be observed. For example, the final /a/ of the word “mutyâ” will have a

glottal stop during regular conversations in the Tagalog language. However, when sung, the

word “mutyâ” should not have a glottal stop after the final syllable.

Overall, these linguistic idiosyncrasies play an important part in expressing the nuances

of the Tagalog language. Certain words that end a phrase or sentence like “mutyâ” (jewel),

32
“adhikâ” (desire) or “dalitâ” (pauper) are pronounced with a glottal stop at the end of the /a/

vowel. This is unusual for non-Tagalog speakers because it abruptly breaks the flow of the

legato line in classical singing. It is usually designated by the circumflex accent â. This only

happens in some words with ending /a/ vowels that contain a cieumflex accent. There is no

general rule that requires a Tagalog word that ends with /a/ to be given a glottal stop. It only

happens to specific words. To be sure of this, I would suggest consulting an unabridged

Tagalog-English dictionary or the Hippocrene Standard Dictionary.34

A lyrical melodic structure is depicted throughout the song. The smooth flowing contour

of the melodic line is similar in character to the smooth flowing melodies inherent in the Western

Romantic musical style. The lower and upper neighbor notes in the opening line functions as a

leading tone to the dominant note of G in the key of c minor. This effectively accentuates the

sadness portrayed about unrequited love (see Music Example 4).

Music Example 4:“Pakiúsap”35

After some analysis, I have surmised that this song imitates the smooth waltz style

of Viennese operettas similar to the style of Franz Lehar after the turn of the 20th century. In

34
, Carl R. Galvez Rubino, and Maria Gracia Tan Llenado. Tagalog-English, English-Tagalog Dictionary. Rev. &
Expanded ed. Conshohocken, PA: Hippocrene Books, 2002.
35
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 122.

33
general, these songs render a swaying effect. A Romantic style of performance is essential to the

accurate stylistic portrayal of this song.

This is more apparent in the B section of this song on the text, “Kung sakali ma’t salat sa

yama’t pangárap.” A slight rubato should be played on the second beat of the first and following

measures to be consistent with Kundiman style of Francisco Santiago. There should also be a

slight cresecendo and decrescendo from the first beat going into second beat of measure 25 and

tapering off after the second beat on the words, “Kung sakáli” (If perhaps) and repeating the

crescendo into the words, “ma’t salát” (even if in need) at the remainder of the two measure

phrase (see Music Example 5).

Music Example 5:“Pakiusap”36 B section

Overall, the top line of the right hand piano accompaniment doubles the vocal melody.

In general the chordal texture is thick, and there are some slight chromaticisms found in the inner

voices, giving it an interesting characteristic similar to the style of the Romantic period.

36
Ibid.

34
 The phrase, “ang nag-papaalam” (one who bids farewell) begins with a neighboring tone of

A-sharp that leads to B-natural which is the third tone of the G major chord in “ang nag-

papaalam” in mm. 15-16 (see Music Example 6).

Music Example 6: “Pakiusap”37 A section

The melody then leaps to a high note G4. Underneath this note is a first inversion c minor

chord with chromatic passing tone in the second beat of the measure leading to a second

inversion dominant G major chord in the third beat. The mixture of chromatic passing tones in

the inner voices of the piano gives this song a mood of anguish that enhances the poet’s intention

of bidding farewell to his beloved. This Romantic style of piano accompaniment by Francisco

Santiago successfully merges with the melancholic mood of the text.

37
Ibid.

35
 3. “Madaling Araw” by Francisco Santiago / text by Jose Corazon De Jesus

Irog ko’y dinggin Listen my darling

Ang tibók ng puso To the beating of my heart
Sana’y damdamín Wishing you could feel
Hirap ng sumuyo The sufferings of one who woos
Manong itunghay Elder brother look
Ang matang mapungay At the tender eyes;
Na siyang tánging ilaw That she is the only light
Ng buhay kong papanaw To my fading life.

Sa gitna ng kadimlan In the heart of darkness

Magmadaling araw ka Let your dawn come
At akó ay lawítan And I am suspended
Ng habag at pagsintá In mercy and passion.
Kung akó’y mamamatáy If I am to die
Sa lungkót niaring buhay Of sorrow in this life
Lumápit ka lang Only come near to me
At mabubuhay. And I will live.

At kung magkagayon mutyâ And if we are together beloved

Mapalad na ang buhay ko My life would be blessed
Magdaranas akó ng t’wa I will feel delight
Ng dáhil sa iyó Because of you.
Madaling araw ka sintá You are the dawn, my love;
Liwanag ko’t tanglaw My light and my torch
Halina irog ko, Come now, my beloved,
At mahálin mo akó. And love me.

Mutyâ’y mapalad na ang buhay ko My life is now blessed

Ng dáhilan sa ganda mo Because of your beauty.
Liwayway ng puso ko’t tanglaw Dawn of my heart and my torch;
Halina Irog ko Come now, my beloved,
At mahalín mo akó. And love me.
Manungaw ka liyag Look my darling,
Ilaw ko’t pangárap My light and my dream.
At madaling araw na! And here is the dawn!

Irog ko’y dinggin

['ʔi.rog koɪ diŋ.'gin]
Dear my listen

36
Ang tibók ng puso
[ʔaŋ ti.'bok naŋ 'pu.so]
The pulse of heart

Sana’y damdamín
['sa.naɪ dam.da.'min]
Hoping-that you feel

Hirap ng sumuyo
['hi.rap naŋ su.'mu.yo]
Suffering of beloved

Manong itunghay
[ma.'noŋ ʔi.tuŋ.'haɪ]
Older brother raise-up

Ang matang mapungay

[ʔaŋ ma.'taŋ ma.'pu ŋaɪ]
The eyes-that languid

Na siyang tánging ilaw

[na si.'jaŋ 'ta.ŋiŋ ʔi.laʊ]
That she-is the-only light

Ng buhay kong papanaw

[naŋ 'bu.haɪ koŋ pa.'pa.naʊ]
Of life my that-is-fading

Sa gitna ng kadimlan
[sa git.'na naŋ ka.dim.'lan]
In middle of darkness

Magmadaling araw ka
[mag.ma.da.'liŋ ʔa.raʊ ka]
Become dawn you

At ako ay lawítan
[ʔat ʔa.'ko ʔaɪ la.'wi.tan]
And I am suspended

Ng habag at pagsintá
[naŋ 'ha.bag ʔat pag.sin.'ta]
Of compassion and love

37
Kung ako’y mamamatáy
[kuŋ ʔa.'koɪ ma.'ma.ma.'taɪ]
If I-am going-to-die

Sa lungkót niaring buhay

[sa luŋ.'kot 'ɲa.riŋ 'bu.haɪ]
Of loneliness in-this life

Lumapit ka lang
[lu.'ma.pit ka lʔaŋ]
Be near you only

At mabubuhay.
[ʔat ma.bu.'bu.haɪ]
And will-live

At kung magkagayon mutyâ

[ʔat kuŋ mag.ka.ga.'yon mut.'jaʔ]
And if we-are-united beloved

Mapalad na ang buhay ko

[ma.'pa.lad na ʔaŋ 'bu.haɪ ko]
Fortunate now the life mine

Magdaranas ako ng t’wa

[mag.da.'ra.nas ʔa.'ko naŋ twa]
Feel I of joy

Ng dáhil sa iyó
[naŋ 'da.hil sa ʔi.'jo]
Of because to you

Madaling araw ka sintá

[ma.da.'liŋ 'ʔa.raʊ ka sin.'ta]
Become dawn you beloved

Liwanag ko’t tanglaw

[li.'wa.nag kot taŋ.'laʊ]
Light my-and lamp

Halina irog ko,

[ha.'li.na 'ʔi.rog ko]
Come dear my

38
At mahálin mo ako.
[ʔat ma.ha.'lin mo ʔa.'ko]
And love you me

Mutyâ’y mapalad na
[mut.'jaɪ ma.'pa.lad na]
Treasure-is fortunate now

ang buhay ko
[ʔaŋ 'bu.haɪ ko]
the life my

Ng dáhilan sa ganda mo
[naŋ da.hi.'lan sa gan.da 'mo]
Of because to beauty your

Liwayway ng puso ko’t tanglaw

[li.waɪ.'waɪ naŋ 'pu.so kot taŋ.'laʊ]
Ray of heart my-and light

Halina irog ko
[ha.'li.na ‘ʔi.rog ko]
Come dear my

At mahalin mo ako.
[ʔat ma.ha.'lin mo ʔa.'ko]
And love you me

Manungaw ka liyag
[ma.'nu.ŋaʊ ka li.'jag]
Gaze you beloved

Ilaw ko’t pangárap

['ʔi.laʊ kot pa.'ŋa.rap]
Light my-and dream

At madaling araw na!

[ʔat ma.da.'liŋ 'ʔa.raʊ na]
And become dawn now

39
 In the opening line of “Madaling Araw” (Break of Dawn) (1929), the melody begins with

an anacrusis on the phrase, “Irog ko’y” or “My dear” that arrives at the word “dinggin” or “to

hear”. Similarly the word “puso” or “heart” in measure 13 is emphasized by an appoggiatura

that imitates a sigh (see Music Example 7). This motivic line repeats throughout the whole

song. Francisco Santiago skillfully sets the flow of the text through his use of melodic phrases

that fit the rhyming scheme of the poetry. Certain nuances in the Tagalog language such as

glottal stops in the word “ang” or “the” need to be observed, especially in the opening line, in

order to achieve a level of authenticity and specificity in linguistic expression.

Santiago is able to demonstrate the declamation of Tagalog by giving emphasis to

specific words and syllables. In essence the composer carefully chooses the word “hirap” in

measure 16 as a word that represents the overall mood of the piece. This common use of minor

keys and melodic devices that create a general mood of a sigh is typical of the Kundiman art

song style (see Music Example 7)

40
 Music Example 7: “Madaling Araw”38

In the same example above, one can see that piano accompaniment imitates the vocal

line. In this case it is accompanied by parallel thirds that harmonize with the vocal melody.

Overall, Santiago uses this harmonic style to support the singer’s line. However, in the last page

of the song, in the C section, the piano accompaniment takes on a more prominent role (see

Music Example 8).

38
Ibid., p. 92.

41
 Music Example 8: “Madaling Araw”39

The vocal part then becomes more like an instrument that supports the piano line. The

interaction between the piano and the voice are seen in the switching of roles (see mm. 63-65).

The C section takes on a completely different character where the both the piano and the voice

take part in an ensemble sharing the spot light.

39
Ibid., p. 94.

42
 4. “Ano Kayâ Ang Kapalaran” Music and text by Francisco Santiago

Dito sa mundó’y Here in this world

Walâng kasing tamís Nothing is more pleasant
Gaya ng umáwit Than to sing
Ng sariling himig One’s own melody.
Bawa’t tagintíng. With every sound
Ang wika’y pag-íbig The language is love.
Siyang humahabi She weaves
Ng pusong nagiliw. A heart that is charmed.

Mahirap nga palang umirog, How hard it is to love,

Sintá’y dalhin-dalhing may lunos.
Araw gabi ang puso
Ang tibók ay siphayò
Ano kaya ang kapalaran
Ng abat imbing lagáy.
Asahan mo’t di palad,
Kakamtan mo’y sakláp.
My dear quickly bring compassion.
Day and night
The beating heart is oppressed.
What fate lies ahead
Of a humble state.
Expect not fortune,
You will receive bitterness.

Ah! Araw gabi’y ang puso, Ah! Day and night

Ang tibók ay siphayò, Ah! The beating heart is oppressed
Ng abat imbing lagáy Of humble state
Asahan mo’t di palad Expect not fortune
Kakamtan mo’y sakláp, Ah! You will receive bitterness, Ah!

Dito sa mundo’y
['di.to sa mun.'doɪ]
Here on earth is

Walâng kasing tamis

[wa.'laŋ ka.'siŋ ta.'mis]
None as sweet

Gaya ng umáwit
['ga.ja naŋ ʔu.'ma.wit]
Like as to-sing

Ng sariling himig
[naŋ sa.'ri.liŋ 'hi.mig]
Of own melody

43
Bawa’t tagintíng.
['ba.wat ta.gin.'tiŋ]
Every sound

Ang wika’y pag-íbig

[ʔaŋ 'wi.kaɪ pag.'i.big]
The language-is love

Siyang humahabi
[sjaŋ hu.ma.ha.'bi]
She weaves

Ng pusong nagiliw.
[naŋ 'pu.soŋ na.'gi.liʊ]
Of heart charmed

Mahirap nga palang

[ma.'hi.rap ŋa pa.'laŋ
Difficult indeed then

Sintá’y dalhin-dalhing may lunos.

[sin.'taɪ dal.'hin.dal.'hiŋ maɪ 'lu.nos]
Dear is bringing some compassion

Araw gabi ang puso

['ʔa.raʊ ga.'bi ʔaŋ 'pu.so]
Day night the heart

Ang tibók ay siphayò

[ʔaŋ ti.'bok ʔaɪ sip.'ha.jo]
The heartbeat is sadness

Ano kaya ang kapalaran

[ʔa 'no ka 'ja ʔaŋ ka pa 'la ran]
What then the fate

Ng aba’t imbing lagáy.

[naŋ ʔa.'bat im.'biŋ la.'gaɪ]
Of mistreated humble state.

Asahan mo’t di palad,

[ʔa.'sa.han mot di 'pa.lad]
Hope you-and not fortune

44
Kakamtan mo’y sakláp.
[ka.kam.'tan moɪ sak.'lap]
Receive you-is bitterness

Written in 1938, the seemingly cheerful melody of the song starkly contrasts with the sad

mood of the text. The dance-like rhythm depicts a matter-of-fact treatment of the gloomy

disposition in the text. A jovial mood is found in this Kundiman waltz but it is a mere façade

when compared to the mournfulness of the text. In the end, bitterness is the outcome when

pursuing love and happiness. It is a state of helplessness that tends to be a recurrent theme in

Kundiman art songs. Happiness is not necessarily about finding one’s beloved but being free to

sing his or her own melody as an expression of one’s self. The B section modulates from the

previous d minor key of the A section to the parallel key of D major (see Music Example 9).

45
 Music Example 9: “Ano Kaya Ang Kapalaran”40

Overall, the song is arranged in ABB’ binary form, where the B’ section is a modified

embellishment of the B section. The melismatic section of this song makes it suitable for a

coloratura soprano. Ascending staccato eight notes on “ah” require a light vocal mechanism that

engages breath control. An example of this is found in measure 91 (see Music Example 10).

Music Example 10: “Ano Kaya Ang Kapalaran?”41

40
Ibid., p. 36-37.
41
Ibid., p. 39.

46
 This skipping pattern of eighth notes represents freedom and an inherent ability to

express one’s self without consequence of oppression. Moreover, the vocal freedom of the

coloratura portion in this song could prove a challenge for a young aspiring soprano because of

the vocal agility that is required.

It is also interesting that Santiago directly quotes the opening phrase of a popular folk

song, “Leron-Leron Sintá” (Sea Shells, Sea Shells, Darling) (See Music Example 11).

Music Example 11: “Leron-Leron Sinta” 42

He then combines these note segments to form a unique composition that is similar to the

previously mentioned popular folksong (See Music Example 12).

42
Cavan, Emilia S., Filipino Folk Songs: Collected and Arranged by Mrs. Emilia S. Cavan (harmonized by
Francisco Santiago), 1924, p. 2.

47
 Music Example 12: “Ano Kaya Ang Kapalaran”43

In the text “araw gabi” (day and night) the piano accompaniment is chordal and climaxes

with an octave leap of the f-sharp minor chord in second inversion. The octave leap in measure

65 functions as an interjection or a music exclamation point that answers the text of the vocal

line (see Music Example 13).

Music Example 13: “Ano Kaya Ang Kapalaran”44

43
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p.36.
44
Ibid., p. 37.

48
 Similarly, this occurs in the text “ang tibok ay siphayo” (beating is oppressed). In this

occurrence the octave displacement of the G chord is strategically place between “ay” (is) and

“siphayo” (oppressed). The seemingly comic nature of this octave leaping chord is used as a

device for irony to the one who searches for love. Out of the four songs by Santiago selected in

this essay, this song seems to be the most light-hearted. This serves as a nice change of pace for

the usual melancholic music theme.

49
 5. “Kung Hindî Man” Music and text by Nicanor Abelardo

Irog sandaling dinggin Beloved, for a moment listen

Ang áking pagtángis To my weeping.
Irog sandaling tunghan Beloved, for a moment look
Ang humihibik At the one who pleads,
Kung di man nararapat And see if he is not deserving
Sa iyong dikit Of your loveliness.
Isang sulyap mo lámang Only one glance from you
Aliw na ng dibdib. And my heart will be comforted.

Kung sa’ki’y walâ nang If I have already lost

Inilaang paglingap A compassionate care,
At ang pagdurusa ko And my suffering
Ang siya mong pangárap Is your dream,
Sa isang ngiti mong If I but receive
Sa aki’y igawad One glance from you,
Libo mang kamatayan Even a thousand deaths
Aking tinatanggap. I would accept.

Irog sandaling dinggin

['ʔi.rog san.da.'liŋ diŋ.'gin]
Beloved for-a-moment hear

Ang aking pagtángis

[ʔaŋ 'ʔa.kiŋ pag.'ta.ŋis]
The my weeping

Irog sandaling tunghan

['ʔi.rog san.da.'liŋ tuŋ.'han]
Beloved for-a-moment look-at

Ang humihibik
[ʔaŋ hu.mi.hi.'bik]
The one-who-pleads

Kung di man nararápat

[kuŋ di man na.ra.'ra.pat]
If not too worthy

Sa iyong dikít
[sa ʔi.'joŋ di.'kit]
Of your loveliness
50
Isáng sulyáp mo lámang
[ʔi.'saŋ sul.'jap mo 'la.maŋ]
One glance your only

Aliw na ng dibdib.
['ʔa.liʊ na naŋ dib.'dib]
Comfort now of heart

Kung sa ’ki’y walâ

[kuŋ sa ki wa.'la]
If to my lost

I-ni-laang paglingap
[ʔi.ni.'la.ʔaŋ pag.'li.ŋap]
Provided care

At ang pagdurusa ko
[ʔat ʔaŋ pag.du.'ru.sa ko]
And the suffering my

Ang siya mong pangárap

[ʔaŋ si.'ja moŋ pa.'ŋa.rap]
The she your dream

Sa isang ngitî mong

[sa ʔi.'saŋ ŋi.'tiʔ moŋ]
To one smile your

Sa aki’y igawad
[sa 'ʔa.ki ʔi.'ga.wad]
To me grant

Libo mang kamatáyan

['li.bo maŋ ka.ma.'ta.jan]
A-thousand ever deaths

Aking tinatanggáp.
['ʔa.kiŋ ti.'na.taŋ.'gap]
I-will accept

51
 “Kung Hindi Man” (If It Were Not So) (1920) by Nicanor Abelardo is set in binary form.

More specifically, it is in AABB form. Abelardo uses this binary form to make a contrast

between the melancholic A section in the key of g minor and the hopefulness of the B section in

the parallel key of G major. It begins in the key of g minor because it represents a main

character who longs for his beloved.

Additionally, Abelardo In the opening four measures, mm. 6-9, the vocal line loosely

resembles a Kundiman folksong, “Kundiman in 1800” (see Music Example 14).

Music Example 14: Santiago’s “Kundiman in 1800”45

Notice the similarity in the opening vocal line in Abelardo’s “Kung Hindi Man.” Both

songs have opening eighth-note patterns followed by a dotted eighth/sixteenth note combination

and a half note in mm. 6-7 (see Music Example 15).

45
Cavan, Emilia S., "Filipino Folk Songs / Collected and Arranged by Emilia S. Cavan; Harmonized by Francisco
Santiago, 1924. Accessed March 26, 2015.

52
 Music Example 15: “Kung Hindi Man”46

The opening melody directly quotes the folksong and transforms this thematic material

into the g minor instead of the original major key from which the popular Kundiman folk song

“Kundiman in 1800” was inspired.

In “Kung Hindi Man”, the piano accompaniment mirrors the melodic line in the treble

line. The vocal line outlines a g minor chord. This in turn is supported by some upper and lower

neighbor tones in the right hand of the piano line which moves in unison with the vocal line. The

vocal line gives the music statement and the piano line anwers with its own harmonic

commentary on the given melodic line. Some important words in the first stanza are: “dinggin”

(listen); “pagtángis” (weeping); “humihibik” (pleading) from the root word “hibik” (pleading)

with added prefix, “humi-“ that transforms a root word to a verb phrase that means “the act of

[doing something]”; “dikit” (loveliness); and “dibdib” (breast or heart).

46
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p.80.

53
 The word “dinggin” (listen), which is represented in IPA as [diŋ.gin], consists of two

inner consonants /ng/ and /g/ that are pronounced simultaneously. Incidentally, the consonant

sound [ŋ] seems to be prevalent in this song.

By contrast, the B section has a more positive musical outlook despite the seemingly

hopeless situation (see Music Example 16).

Music Example 16: "Kung Hindi Man"47 - B section

The right hand of the piano accompaniment doubles the vocal line, a common feature of

these early Kundiman art songs. However, here the left hand of the accompaniment finishes

each short phrase with an eighth-note figure, which maintains the flow of the song.

47
Ibid., p. 81.

54
 According to the poem, the character needs but one little smile from his beloved and he

will have enough courage to face a thousand deaths. The sudden optimism is manifested in the

major key quality and is a contrast to the minor key quality of the previous A section. This song

follows a strict binary form rather than the ternary form that was introduced in Santiago’s new

Kundiman genre. It would seem that Abelardo has achieved the same end result of having new

material in the final section but with a major key, representing hopefulness and confidence. It

symbolizes a renewed love for country and nationalism.

55
 6. “Nasaán Ka Irog?” by Nicanor Abelardo / text by Jose Corazon de Jesus

Nasaán ka Irog? Where are you, beloved?

At dagling naparam Suddenly your affection
Ang iyong pag-giliw Has faded
Di baga sumpa mong Did you not promise
Ako’y mamahálin? You will love me?
Iyong itatángi You would set me apart
Magpahanggáng libíng Until death.
Subalit nasaán But where
Ang iyong pagtingín? Is your gaze?

Nasaán ka Irog Where are you, beloved,

At natiti-ìs mong How can you endure
Ako’y mangulila My being orphaned
At hanap-hanapin ikaw While I search for you
Sa ala-ála? In my memory?
Nasaán ang sabi mong Where now is your assertion
Ako’y iyong ligaya’t That I am your happiness?
Ngayong nalulungkót, So sad it is for me
Ay di ka makitá. To not see you.
Irog ko’y tandaan Beloved remember!

Kung akó man ay iyong Even if you

Ngayo’y sinipháyo Now reproach me,
Mangá sumpa’t lambing Your promises and tenderness
Pinaram mong bo-o You take away
Ang lahat sa buhay ko Everything in my life,
Ay hindî maglalaho’t They will not fade away
Magsisilbing bakas But will serve as a memory
Ng nagdaan tang pagsuyo Of our past affection.

Tandaan mo Irog, Remember beloved,

Irog ko’y tandaan, My beloved remember,
Ang lahat sa buhay ko Everything in my life
Ay hindî maglalaho’t Will not fade away
Magsisilbing bakas But will serve as a memory
Ng nagdaan tang pagsuyo. Of our past affection.
Nasaán ka Irog! Where are you beloved!
Nasaán ka Irog? Where are you beloved?

Nasaán ka Irog?
[na.sa.'ʔan ka 'ʔi.rog]
Where-are you beloved

56
At dagling naparam
[ʔat dag.'liŋ na.'pa.ram]
And suddenly faded

Ang iyong pag-giliw

[ʔaŋ ʔi.'yoŋ pag:'gi.liʊ]
The your affection

Di (hindi) ba gasumpa mong

[di ba ga.sum.'pa moŋ]
Did-not was promised your

Ako’y mamahalín?
[ʔa.'koɪ 'ma.ma.ha.'lin]
Me-you-will love?

Iyong itatángi
[ʔi.'yoŋ ʔi.ta.'ta.ŋi]
You-will determine

Magpahanggáng libíng
[mag.pa.haŋ.'gaŋ li.'biŋ]
Until death

Subalit nasaán
[su.'ba.lit na.sa.'ʔan]
But where

Ang iyong pagtingín?

[ʔaŋ ʔi.'yoŋ pag.ti.'ŋin]
The your gaze?

Nasaán ka Irog,
[na.sa.'ʔan ka 'ʔi.rog]
Where-are you beloved

At natiti-ìs mong
[ʔat na.ti.ti.'ʔis moŋ]
And suffering your

Ako’y mangulila
[ʔa.'koɪ maŋ.u.'li.laʔ]
I-am make-orphan

57
At hanap-hanapin ikaw
[ʔat ha.nap.ha.'na.pin ʔi 'kaʊ]
And searching you

Sa ala-ála?
[sa ʔa.la.'ʔa.la]
Of memories

Nasaán ang sabi mong

[na.sa.'ʔan ʔaŋ 'sa.bi moŋ]
Where the said your

Ako’y iyong ligaya’t

[ʔa.'koɪ ʔi.'joŋ li.'ga.jat]
I-am your happiness

Ngayong nalulungkót,
[ŋa.'joŋ na.lu.luŋ.'kot]
Now saddened

Ay di ka makitâ.
[ʔaɪ di ka ma.'ki.ta]
Is not you see

Irog ko’y tandaan

[‘ʔi.rog koɪ tan.da.'ʔan]
Dear my remember

Kung ako man ay iyong

[kuŋ ʔa.'ko man ʔaɪ ʔi.'joŋ]
If I too am your

Ngayo’y sinipháyo
[ŋa.'joɪ si.nip.'ha.jo]
Now to-mistreat

Mangá sumpa’t lambing

[ma.'ŋa sum.'pat lam.'biŋ]
Some promise-and caressing

Pinaram mong bo-o

[pi.'na.ram moŋ bo.'ʔo]
Vanish you whole

58
Ang lahat sa buhay ko
[ʔaŋ la.'hat sa 'bu.haɪ ko]
The all of life my

Ay hindî maglalaho’t
[ʔaɪ hin.'di mag.la.'la.hot]
Is not vanish-and

Magsisilbing bakas
[mag.si.sil.'biŋ ba.'kas]
To-serve-as footprint

Ng nagdaan tang pagsuyo

[naŋ nag.da.'ʔan taŋ pag.'su. jo]
Of past our affection

Tandaan mo Irog,
[tan.da.'ʔan mo 'ʔi.rog]
Remember you beloved

Irog ko’y tandaan,

['ʔi.rog koɪ tan.da.'ʔan]
Beloved my remember

Ang lahat sa buhay ko

[ʔaŋ la.'hat sa 'bu.haɪ ko]
The all of life my

Ay hindî maglalaho’t
[ʔaɪ hin.'di mag.la.'la.hot]
Is not vanish-and

Magsisilbing bakas
[mag.'si.sil.'biŋ ba.'kas]
To-serve-as footprint

Ng nagdaan tang pagsuyo.

[naŋ nag.da.'ʔan taŋ pag.'su.jo]
Of past our affection

Nasaán ka Irog!
[na.sa.'ʔan ka 'ʔi.rog]
Where-are you beloved!

59
 Nicanor Abelardo inadvertently created a music term, “tempo di Kundiman,” similar to

andante cantabile. A singer should pay special attention to how the word “irog” (beloved) is

given emphasis on the first syllable with a pure /i/ sound and less emphasis on the final syllable.

Similarly, the two g’s in the word “pag-giliw” [pag:'gi.liʊ] (regard) should be treated as a double

consonant. Emphasis should be given on the syllable “gi” of “giliw”. Additionally, the syllable

“liw” is produced by combining an [i] and [ʊ]vowel to form a dipthong.

The sudden leap of an octave from an eighth-note F3 to half-note F4 in “subali’t nasaán”

in measure 20 fits the text declamation well (see Music Example 17).

Music Example 17: “Nasaan Ka Irog?”48

The word “nasaán” (where) has an emphasis on the final syllable that is separated by a glottal

stop on the vowel /a/. It categorically has three syllables; namely, “na”, “sa” and “an”. Tagalog

has three syllables for “where,” which provides for more emotional expression, especially with

the glottal “an” from the word “nasaan” (where) that is produced viscerally from the diaphragm.

48
Ibid., p. 110.

60
 In general, the piano accompaniment parallels the vocal line, sometimes in intervals of

parallel thirds and sometimes in parallel sixths. In the opening prelude, the piano summarizes

the melody of the vocal line. Afterwards, the vocal line enters with a recitative-like motif, which

is answered by a short piano motif with a dotted eight and sixteenth note followed by a quarter

note chord in the dominant chord of C from the f minor tonic chord in measure 6 (see Music

Example 18).

Music Example 18: “Nasaan Ka Irog”49

49
Ibid.

61
 7. “Pahimakas” by Nicanor Abelardo / text by Jose Corazon De Jesus

Umága na nag-aawítan Morning comes

Ang ibon sa parang And the birds sing in the meadow
Ang kasawí-an ko’y My misfortune that
Pinag-uusápan They chat about
Ay! Walâ na It is gone.
Hangáng mag-umága’y Even in the morning
Ayaw ka-pang manungaw You do not bother to wake up.
Pa-âlam na Irog Farewell then, my love
Kung di man ini-ìbig If you do not love me
Ng nabúhay pa While I am alive.
Ang bangkáy ko man lámang At least have pity
Ka-awáan mo na On my corpse.

Ako’y pa-álam na I bid you farewell.

Hindî ko malaman I know not
Ang patutunguhan Where my journey lies.
Kung akó ay dáratal If I arrive
Sa luksáng libíngan At my mournful grave,
kung di na magbalík If I do not return,
Iyong ipalagáy Assume that
Na akó’y walâ na I am gone.
Pa-álam, pa-álam. Farewell, farewell!

Kung sa tapat ninyo If in your path

Magdaán ang bangkay You come across my corpse,
Makipaglibing ka Please bury me.
Ikaw ay umílaw Light up a candle
Ako’y ipagdasal And pray for me
Ay! Pa-álam! Ah! Farewell!

Umága na nag-aawítan
[ʔu.ma.ga na nag.ʔa.ʔa.wi.tan]
Morning now they-are-singing

Ang íbon sa parang

[ʔaŋ ʔi.bon sa pa.raŋ]
The birds in the meadow

Ang kasawí-an ko’y pinag-úusápan

[ʔaŋ ka.sa.'wi.ʔan koɪ] pi.nag.'ʔu.ʔu.'sa.pan]
The misfortune my-is talked-about

62
Ay! Walâ na
[ʔaɪ wa.la na]
Ah! Gone now

Hangang mag-umága’y
[haŋ.gaŋ mag.ʔu.ma.gaɪ]
Until morning-is

Ayaw kapáng manungáw

[ʔa.jaʊ ka.paŋ ma.nu.ŋaʊ]
Reject you-still to-look

Pa-álam na Irog
[pa.ʔa.lam na ʔi.rog]
Farewell now beloved

Kung di man ini-ìbig

[kuŋ di man ʔi.ni.'ʔi.big]
If not ever loved

Ng nabúhay pa
[naŋ na.bu.haɪ pa]
While living still

Ang bángkay ko man lámang

[ʔaŋ baŋ.kaɪ ko man la.maŋ]
The corpse my ever alone

Ka-awáan mo na
[ka.ʔa.wa.ʔan mo na]
Have-pity you now

Ako’y pa-álam na
[ʔa.koɪ pa.ʔa.lam na]
I-am bid-farewell now

Hindî ko maláman
[hin.di ko ma.'la.man]
Not I know

Ang patutungúhan
[ʔaŋ pa.'tu.tu.'ŋu.han]
The path

63
Kung ako ay dáratal
[kuŋ ʔa.'ko ʔaɪ 'da.ra.tal]
If I am going-to-reach

Sa luksáng libíngan
[sa luk.'saŋ li.'bi.ŋan]
To mourning burial

kung di na magbalík
[kuŋ di na mag.ba.'lik]
If not now return

Iyong ipalagáy
[ʔi.'yoŋ ʔi.pa.la.'gaɪ]
You assume

Na ako’y walâ na
[na ʔa.'koɪ wa.'la na]
That I-am gone now

Pa-álam, pa-álam.
[pa.'ʔa.lam pa.'ʔa.lam]
Farewell farewell

Kung sa tapat ninyo

[kuŋ sa ta.'pat nin.'jo]
If in front-of you

Magdaán ang bangkay

[mag.da.'ʔan ʔaŋ baŋ.'kaɪ]
Pass-by the dead-body

Makipaglibing ka
[ma.ki.pag.li.'biŋ ka]
Bury-me you

Ikaw ay umílaw
[ʔi.'kaʊ ʔaɪ ʔu.'mi.laʊ]
You are lit-up

Ako’y ipagdasal
[ʔa.'koɪ ʔi.pag.da.'sal]
I-am prayed-for

64
Ay! Pa-álam!
[ʔaɪ pa.'ʔa.lam]
Ah farewell!

Written in 1925, “Pahimakas” (Farewell) was composed in a binary form, AABB’. In the

A section the verse is repeated twice without any variation in the text. The B section consists of

new material that corresponds with new text that enters into a deeper level of despair and

disorientation. Then it repeats in B’ section but only as an incomplete version. The B’ section is

shorter and begins with the phrase “Hindi ko malaman ang patutunguhan” (I know not where my

journey lies).

In the opening vocal line the main character, being disheartened, departs from his

beloved thinking that he will never be with her again. Because she does not share a mutual love,

he finds it necessary to bid her farewell. The word “pa-álam” translates to “farewell” and seems

to represent the singular mood of this poem. This word is repeated twelve times in the entire

song and hence it is important to be able to pronounce this word properly. The word “pa-álam”

[pa-ʔalam] must be pronounced with a glottal stop on the second /a/ vowel that follows the prefix

“pa-“. Equally important is how the [a] vowel must be pronounced as a pure vowel, being

careful to keep the vowel bright. Likewise, the author’s method of repeating this key word, “pa-

álam,” also brings to light the use of the glottal stop.

The poem evolves drastically as a farewell to life in the second stanza as the main

character wallows in his despair. If he can’t obtain the love of his life then he prefers not to live

at all. But he wishes at least for her to have mercy on his corpse if she happens to pass by it.

It is interesting to note that Abelardo departs from his usual doubling of the vocal line in

the right hand piano accompaniment. Instead, the piano introduction presents some playful

65
motifs that sound like a gypsy violin melody. In the beginning, the piano intro presents some

short playful motifs with an overall descending pattern (see Music Example 19).

Music Example 19: “Pahimakas”50

Notice the basic chordal accompaniment and the flourishes in the right hand. While this

may look like supportive material for the voice, in effect this text painting gives prominence to

the piano accompaniment (see Music Example 20).

50
Ibid., p. 116.

66
 Music Example 20: “Pahimakas”51

51
Ibid.

67
 8. “Bituing Marikit” by Nicanor Abelardo / text by S. Angeles

Bituíng marikit Beautiful star

Sa gabi ng buhay Of the night of life
Ang bawat kislap mo’y With every little twinkle
Ligaya ang taglay Happiness is possessed.
Yaring áking palad My destiny
Iyong patnubayan You will guide,
At kahit nasinag Though you spread your rays
Ako’y bahaginan. You share it with me.

Natanim sa puso ko In my heart

Yaong isang pag-íbig A certain love is planted
Na pinaka-sasamba That is most worshipped.
Sa lo-ob ng dibdib In your heart
Sa iyong luning-ning In your sparkle
Laging na-sasabik Always I’m eager.
Ikaw ang pangárap You are my dream,
Bituíng marikit. Beautiful star.

Lapitan mo akó Approach me

Halina bitu-in Come to me, star.
Ating pag-isahin Let us make one
Ang mangá damdamin The feelings,
Ang sabik kong diway. My eagerness for beauty.
Huwag mong uhawin Do not deprive me
Sa batis ng iyong wagas Of the brook of your pureness,
Na pag-giliw. Of your affection.

Bituíng marikit
[bi.tu.'wiŋ ma.ri.'kit]
Star lovely

Sa gabi ng buhay
[sa ga.'bi naŋ 'bu.haɪ]
To night of life

Ang bawat kislap mo’y

[ʔaŋ 'ba.wat kis.'lap moɪ]
The each shine of-yours-is

Ligaya ang taglay

[li.'ga.ja ʔaŋ tag.'laɪ]
Happiness the possess

68
Yaring aking palad
['ja.riŋ 'ʔa.kiŋ 'pa.lad]
This my destiny

Iyong patnubayan
[ʔi.'yoŋ pat.nu.'ba.jan]
You guide

At kahit nasinag
[ʔat 'ka.hit na.'si.nag]
And even-if beaming

Ako’y bahaginan.
[ʔa.'koɪ ba.ha.'gi.nan]
I-am dispensed

Natanim sa puso ko
[na.ta.'nim sa 'pu.so ko]
Planted in heart my

Yaong isang pag-íbig

[ja.ʔoŋ ʔi.'saŋ pag.'ʔi big]
That one love

Na pinaka-sasamba
[na pi.na.ka.'sa.sam.ba]
Of most-worshipped

Sa lo-ob ng dibdib
[sa lo.'ʔob naŋ dib.'dib]
From inside of chest

Sa iyong luning-ning
[sa ʔi.'yoŋ lu.niŋ.'niŋ]
To your sparkle

Laging nasasabik
['la.giŋ na.'sa.sa.bik]
Always eager

Ikaw ang pangárap

[ʔi.'kaʊ ʔaŋ pa.'ŋa.rap]
You the dream

69
Bituing marikit.
[bi.tu.'wiŋ ma.ri.'kit]
Star lovely

Lapitan mo akó
[la.'pi.tan mo ʔa.'ko]
Come-near you me

Halina bituín
[ha.'li.na bi.tu.'win]
Come-now star

Ating pag-isahin
['ʔa.tiŋ pag.ʔi.'sa hin]
We join-together

Ang mangá damdámin

[ʔaŋ ma.'ŋa dam.'da.min]
The those feelings

Ang sabik kong diway

[ʔaŋ sa.'bik koŋ 'di.waɪ]
The eager my spirit

Huwag mong uhawin

[hwag moŋ u.'ha.win]
Do not you thirst

Sa batis ng iyong wagas

[sa ba.'tis naŋ ʔi.'yoŋ wa.'gas]
To spring of your pureness

Na pag-giliw.
[na pag:'gi.liʊ]
Of affection.

At the opening section of the piano prelude in mm. 1-6, Abelardo uses a repeating pattern

of short sighing motifs that occurs in a descending sequence. This sighing motif is a nice

contrast to the regularity of the habañera rhythm in the accompaniment that repeats throughout

70
the entire song. Although this motif does not develop itself compositionally in the melody, it

does relate to the melancholic disposition of the song.

Harmonically, the opening A section (mm. 9-12) with the text “bituing marikit sa gabi ng

buhay” (beautiful star in the night of life) in the tonic chord of f minor is followed by a

subdominant chord that also has a minor quality in b-flat minor with the words “sa gabi ng

buhay” (in the night of life) (see Music Example 21).

Music Example 21: “Bituing Marikit”52

This points out an interesting pattern because the prepositional phrase “sa gabi ng buhay”

is an elaboration on the sadness of the beginning noun phrase “bituing marikit” (beautiful star).

Two important words here are “gabi” (night) and “buhay” (life) and are two likely places where

word emphasis is appropriate.

In contrast, the transitional chord to E-flat major in “yaring áking palad” (of this is my

destiny) in mm. 17-18 is a dominant chord that modulates for a brief moment to A-flat major in

52
Ibid., p. 48.

71
“iyong patnubabyan” (you will guide) (see Music Example 22). Measure 18 begins a sequence

of modulations:

Music Example 22: “Bituing Marikit”53

It modulates further to its final key of C major in measure 24 of this transitional section.

This sudden change to a major chord quality foreshadows what it would be like to achieve

happiness. Here is a representation of the concept of “Kundiman.” It describes what the

situation would be like if love had no obstacles. After the A section is repeated it is followed by

a transitional B section that develops into it goal key of F major, which is found in the C section.

At this point the mood changes to one of flirtation and optimism, having fulfilled the dream of

love. This song is not very long – only two pages, but the numerous key changes represent the

anguish and unrequited love that the character in the poem is experiencing.

53
Ibid.

72
 9. “Himutok” Music and text by Nicanor Abelardo

Dibdib ko’y tumanggáp My heart accepts

Ng matindíng sakit, The extreme agony
Sanhi sa pagsintá’t Caused by the passion
Wagas na pag-íbig And purenes of love.
Puso ko’y lúnod na My heart drowns
Sa dagsá ng hapis In the torrent of anguish.
Saán kukúha pa How much more
Ng pagtiti-ìs? Can I endure it?

Gayon iyong alám For you know

Nawalâ ng lúnas There is no remedy
Sa hírap kong itó To my suffering
Kung di ang iyong habag Without your compassion.
Ano’t natutuwáng How delightful that
Iyó pang ma-málas You can perceive
Mangá mapapa-it The bitter
Na lúhang nana ah! Tears of pus, ah!

O giliw ko’t áking mutyâ Oh, my beloved and my jewel,

Nasaán ang iyong awa, Where is your mercy?
Dina makaya pang bathin I can no longer endure
Ang dulot mong hilahil; Your offering of distress;
Bigyán mo ng pag-ása Give hope
Yaring pusong sumisintá! To my heart that loves!

Dibdib ko’y tumanggáp

[dib.dib koɪ tu.maŋ.'gap]
Heart my accepts

Ng matindíng sakit,
[naŋ ma.tin.'diŋ sa.'kit]
Of deep pain

Sanhi sa pagsintá’t
[san.'hi sa pag.sin.'tat]
Caused by love

Wagas na pag-íbig
[wa.'gas na pag.'ʔí big]
Pure of love

73
Puso ko’y lunod na
['pu.so koɪ 'lu.nod na]
Heart my sinking now

Sa dagsá ng hapis
[sa dag.'sa naŋ ha.'pis]
Of crowd of gloom

Saán kukuha pa
[sa.'ʔan ku.'ku.ha pa]
Where to-take still

Ng pagtiti-ìs?
[naŋ pag.'ti.ti.'ʔis]
Of suffering

Gayon iyong alam

[ga.'jon ʔi.'yoŋ ʔa.'lam]
Like you know

Nawalâ ng lunas
[na.wa.'la naŋ 'lu.nas]
Lost of remedy

Sa hirap kong ito

[sa 'hi.rap koŋ ʔi.'to]
To hardship my this

Kung di ang iyong habag

[kuŋ di ʔaŋ ʔi.'yoŋ ha.'bag]
If not the your charity

Ano’t natutuwang
[ʔa.'not na.'tu.tu.waŋ]
Why-and is-pleased

Iyó pang ma-malas

[ʔi.'yo paŋ ma.'ma.las]
You still be-unlucky

Mangá mapapa-it
[Ma.'ŋa ma.'pa.pa.'ʔit]
Some bitter

74
Na luhang nana ah!
[Na 'lu.haŋ 'na.naʔ ʔa]
Of tears-of pus ah!

O giliw ko’t aking mutyâ

[o 'gi.liʊ kot 'ʔa.kiŋ mut.'jaʔ]
O beloved my-and my jewel

Nasaán ang iyong awa,

[na.sa.'ʔan ʔaŋ ʔi.'yoŋ 'ʔa.waʔ]
Where the your compassion

Dina makaya pang bathin

['di.na ma.'ka ja paŋ bat.'hin]
I-cannot able yet endure

Ang dulot mong hilahil;

[ʔaŋ 'du.lot moŋ hi.'la.hil]
The offering your hardship

Bigyán mo ng pag-ása
[big.'jan mo naŋ pag.'ʔa.sa]
Give-me you of hope

Yaring pusong sumisintá!

['ja.riŋ 'pu.soŋ su.mi.sin.'ta]
This heart-that loves!

In the opening line, the poet seems to accept his fate of unrequited love. It is important to

give emphasis to the phrase “matinding sakit” (extreme agony), making sure that on the word

“matinding,” the letter “t” is pronounced deliberately and that both “i’s” are pure /i/ to give the

word a more heartfelt significance. The word that follows should also have a stress on the first

syllable of “sakit” (agony) in order not to be confused with the word “sakit” or “illness,” which

has an unstressed first syllable and a stressed second syllable.

75
 Consequently, this text is set to music with a perspective that detaches itself from the

emotion of the poetry. The apparent mood of detachment comes with the composer’s use of a

chord progression that momentarily shifts to an A-flat chord on the words “pagsintá’t wagas”

(passion and pureness) in mm 10-11 (see Music Example 23).

Music Example 23: “Himutok”54

For a moment this cadence alters the intended authentic proper cadence. This third-

person view emphasizes a quality of nonchalance that occurs with the disruption of the A-flat

chord in measure 10. Additionally, the “s” on the word “wagas” (pureness) should be given a

slight bit more duration and the setting of two eighth notes should be more like a sixteenth note

followed by a dotted eighth note, for interpretive purposes.

As a rule, hyphenated words will have a glottal stop on the vowel sound that follows the

hyphen. The word “pag-íbig” (love) must have a glottal sound after the prefix on the first vowel

54
Ibid., p. 56.

76
on the root word “íbig”, and the word “sa-an” [sa.'ʔan] (where) will have a glottal sound at the

beginning of the second syllable.

The subsequent lines of text are set to a sequence of phrases taken from the introductory

motif with an anacrusis of five eight-notes that leads to half note and quarter note combinations.

These phrases are presented in a statement and answer form, which resolve to a half cadence on a

dominant chord in measure 20 (see Music Example 24).

Music Example 24: “Himutok”55

However, the B section contains a key change that modulates from the original key of g

minor to its dominant key relationship in D major. Not only does it depart the previous key but it

also progresses to new music material that seems to be unrelated to the A section of the song. In

this section, the new music material is accompanied by a mood of hopefulness. In slow waltz

55
Ibid.

77
rhythm, the B section proceeds with a simpler scheme of pulsing quarter notes combined with

half notes. Beginning in measure 30, the text “Oh, giliw ko’t aking mutya, nasaan and iyong

awa” (Oh my beloved and my jewel, where is your mercy) is set to music with quarter notes (see

Music Example 25).

Music Example 25: “Himutok”56 - B section

In the above example, the poet no longer dwells on the sorrows of unrequited love but

picks himself up to have hope once again. Now he is able to gather enough courage to ask for

her love in the B section. In a similar fashion, the piano accompaniment imitates the melody by

having the top line of the right hand chord follow the notes of the vocal line.

56
Ibid., p. 57.

78
 10. “Ikaw Rin…!” Music and text by Nicanor Abelardo

Irog! Masdan mo ang pagtangis Beloved! Look at the mourning

Ng abang pusong api Of a humble heart that is deprived
Sa pag-ibig Of love.
Tanging lunas na ngâ lamang The sole remedy then is that
Dilag moy masilip I see your magnificence
At itataghoy-taghoy And that I bemoan
Ang manga pasakit The suffering
Na tini-tiis. That I endure.

Yaring pag-ibig ko man My love then

Ay iyong dustain You will mistreat;
Madlang pasakit Any suffering
Ibunton sa akin You will pile up on me;
Asahan mo, Irog! Be assured, beloved!
Magpahangang libing Until the grave
Ikaw rin ang siyang gigiliw-giliwin. I will still be fond of you.

Irog! Masdan mo ang pagtangis

[ˈʔi.rog mas.ˈdan mo ʔaŋ pag.ˈta.ŋis]
Beloved gaze-upon from-you the mourning

Ng abang pusong api

[naŋ ˈʔa.baŋ ˈpu.soŋ ʔa.ˈpi]
Of humble heart-that-is Maltreated
(deprived)

Sa pag-ibig
[sa pag.ˈi.big]
Of love

Tanging lunas na ngâ lamang

[ˈta.ŋiŋ ˈlu.nas na ŋa ˈla.maŋ]
Sole remedy now then only

Di.lag mo’y masilip

['di.lag moɪ ma.ˈsi.lip]
Magnificence your be-seen

79
At itataghoy-taghoy
[ʔat ʔi.ta.tag.ˈhoɪ.tag.ˈhoɪ]
And bemoan

Ang manga pasakit na tini-tiis

[ʔaŋ ma.ˈŋa pa.ˈsa.kit na ti-ˈni-ti-ʔis]
The some suffering that-is endured

Yaring pag-ibig ko man

[ˈja.riŋ pag.ˈʔibig ko man]
This love my although

Ay iyong dustain
[ʔaɪ ʔi.ˈjoŋ ˈdus.ta.ˈʔin]
Is your to-mistreat

Madlang pasakit ibunton sa akin

[mad.ˈlaŋ pa.ˈsa.kit ˈi.bun.ˈton sa ˈʔa.kin]
Any suffering pile-up on mine

Asahan mo, Irog!

[ʔa.ˈsa.han mo ˈʔi.rog]
Be-assured you Beloved

Magpahangang libing
[mag.pa.haŋ.ˈgaŋ li.ˈbiŋ]
Until-the grave

Ikaw rin ang siyang gigiliw-giliwin.

[ʔi.ˈkaʊ rin ʔaŋ sjaŋ gi.ˈgi.liʊ.gi.ˈli.win]
You also the one to-be-fond-of

“Ikaw Rin” (You Also) was written in 1929. Set to a pervasive, sensual habañera rhythm,

the poem first speaks of the mistreatment that a lover endures from his beloved. This thought is

set in the key of A minor. The song then modulates to A major when the poet assures her that he

will be fond of her until his death.

Abelardo uses pitch and rhythm to bring out certain important words. For example, in the

first line of text in mm. 14-16, the word “api” (maltreated) has a tonic stress on the second

80
syllable “pi”. The composer emphasizes the word by putting this syllable at the top note of the

phrase within a dotted rhythm, thus effectively enhancing the meaning of the word. Likewise,

the word “pag-ibig” (love) which immediately follows “api” is set to even 8th notes with the high

note on the second syllable “i”. These simple means effectively emphasize the conflict of the

two words. (see Music Example 26).

Music Example 26: “Ikaw Rin…!”57

Until his death, the poet assures his lover that he will always be fond of her. This thought

is the underlying theme throughout the song.

57
Ibid., p. 68.

81
 11. “Kundiman” by Bonifacio Abdon / text by Pat Mariano

Sa tapát ng laging In the presence of

Palangiting araw The ever-shining sun
Na lumalagánap That spreads its rays
Sa dágat silángan To the eastern sea.
May mutyâng masúyo’t There is a pearl that is gentle
Libid kayamánan And surrounded by treasures.
Nagíliw ang handóg The offering becomes affection
Sa pusong may damdám. To the heart that feels.

Oh! Báyang maligáya Oh, jubilant nation

Ng áking pag-gíliw Of my affection,
Pusông lakambini Heart of modesty you are,
Ka lang salamisim My remembrance.
Ang iyong pagluha’y Hold back your cries
Sandaling pigilin For a moment,
Ang Kundimang ito, Mutyâ! This Kundiman, Oh jewel!

Iyong dinggin Listen

Bulaklak ng áking Oh flower
Laging pinithaya Of my fervent desire,
Ang ikaw makitáng To see you
May sariling laya’t With your own freedom,
Sa dagat Silanga’y And in the eastern sea
Butihing diwata, Is a gentle nymph,
Mayama’t puri, Rich and praised,
Bihis sa dalita Clothed with poverty,
Magandang diwata! Beautiful nymph!

Sa tapát ng laging
[sa ta.'pat naŋ 'la.giŋ]
In front of always

Palangiting araw
[pa.la.'ngi.tiŋ 'a.raʊ]
Shining sun

Na lumalagánap
[na lu.'ma.la.'ga.nap]
That spreads

82
Sa dágat silángan
[sa 'da.gat si.'la.ngan]
To sea eastern

May mutyâng masúyo’t

[maɪ mut.'jaŋ ma.'su.jot]
There-is pearl gentle

Libid kayamánan
['li.bid ka.ja.'ma.nan]
Surrounded treasures

Nagíliw ang handóg

[na.'gi.liʊ ʔaŋ han.'dog]
Becomes- the offering
affection

Sa pusong may damdám.

[sa 'pu.soŋ maɪ dam.'dam]
To heart-that has feelings

Oh! Báyang maligáya

[o 'ba.jaŋ ma.li.'ga.ja]
O Nation joyful

Ng áking pag-gíliw
[naŋ 'ʔa.kiŋ pag:'gi.liʊ]
Of my affection

Pusông lakambini
['pu.soŋ la.kam.'bi.ni]
Heart-of muse

Ka lang salamisim
[ka laŋ sa.la.'mi.sim]
You just remembrance

Ang iyong pagluha’y

[ʔaŋ ʔi.'joŋ pag.'lu.haɪ]
The your crying-is

Sandaling pigilin
[san.da.'liŋ pi.'gi.lin]
Momentarily held-back

83
Ang Kundimang ito, Mutyâ!
[ʔaŋ kun.'di.maŋ ʔi.'to mut.'jaʔ]
The Kundiman this, Jewel

Iyong dinggin
[i.'joŋ diŋ.'gin]
You hear

bulaklak ng áking
[bu.lak.'lak naŋ 'ʔa.kiŋ]
Flower of my

Laging pinithaya
['la.giŋ pi.nit.'ha.jaʔ]
Always desiring

Ang ikaw makitáng

[ʔaŋ ʔi.'kaʊ ma.'ki.taŋ]
That you be seen

May sariling laya’t

[maɪ sa.'ri.liŋ 'la.jat]
Having own freedom-and

Sa dagat Silanga’y
[sa 'da.gat si.'la.ŋaɪ]
To sea eastern-is

Butihing diwata,
[bu.'ti.hiŋ di.'wa.taʔ]
Gentle nymph

Mayama’t puri,
[ma.'ya.mat 'pu.ri]
Rich-and praised

Bihis sa dalita
[bi.'his sa da.li.'taʔ]
Clothed with poverty

Magandang diwata!
[ma.gan.'daŋ di.'wa.taʔ]
Beautiful nymph!

84
 Bonifacio Abdon was born in 1876 in Santa Cruz, Manila. He was a violinist, conductor,

composer and music teacher. At an early age he sang in the choir at the Ateneo Municipal

School in Pandacan, Manila. At 13 years of age, Abdon studied violin and later composition

under Ladislaw Bonus. He also worked as a valet for visiting Italian opera companies and was

exposed to this venue of performing arts at age 18. Abdon was known for his Tagalog sarswela

(Tagalog spelling of the Spanish zarzuela) compositions in the early 1900s. These include: Ang

Sampaguita, Deni, Ang Tulisan, Luha’t Dugo, and Ang Anak Ng Dagat. He also wrote music for

plays by Aurelio Tolentino in 1908-09, was a conductor at Carmelo’s Rizal Orchestra in 1902,

founded the Orchestra Oriental in 1910, and was Music Director at the Ateneo Seminary Musical

Group and the Asociacion Musical de Filipinas in 1912. Abdon carried on as a successful

teacher of violin in his residence in Quiapo, Manila, later known as Escuela de Violin. In 1920

he was appointed as a violin instructor at the Conservatory of Music at the University of the

Philippines. One of his students was renowned Filipino violinist, Ernesto Vallejo. Bonifacio

Abdon’s career as a violinist, music teacher, and conductor lasted until he died of chronic

nephritis in Manila on April 23, 1944.58

Abdon wrote “Kundiman” in 1920. The essence of this song lies in the use of flowery

imagery in the text. The imagery depicts a longing for happiness in a country that is figuratively

poor with freedom but richly blessed by her beauty. Symbolically, the beautiful nymph

embodies the beauty of this country. But the melancholy minor key represents the unattainable

love that this nymph so richly deserves.

58
E. Arsenio Manuel, Dictionary of the Philippine Biography, vol 1. (Quezon City: Filipiniana Publications,
University of the Philippines), 1955.

85
 The piano introduction contains the motivic phrase that depicts the mournful nature of the

song. The melody in the first measure begins with an arpeggiated c minor chord that is colored

by a lower and upper neighboring tone. The opening line of the text, “Sa tapat ng laging” (In the

heart of always) (mm. 4-5), repeats this melody, but at “palangiting araw” (shining sun) (mm. 6-

7), the tune contains an E natural and d-flat, outlining the harmonic minor scale. This sets up the

melancholic mood that pervades the song (see Music Example 27).

Music Example 27: “Kundiman”59

59
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 70.

86
 A simple harmonic progression coupled with a beautiful and lyric melody makes this an

easy to sing Kundiman art song. The rhythm and harmony flow continuously throughout the

entire song.

87
 12. “Bayan Ko” (My Country) Music and text by Constancio De Guzman

Ang bayan kong Pilipinas, My country, the Philipines,

Lupain ng ginto’t bulaklak.
Pag-íbig ang sa kanyang palad
Nag-alay ng ganda’t dilag.
At sa kanyang yumi at ganda,
Dayuhan ang nahalina
Bayan ko binihag ka,
Nasadlak sa dusa
Land of gold and flowers.
Love is in her fortune
Offering beauty and splendor.
And with her tenderness and beauty,
Strangers are attracted.
My country, you were imprisoned,
Trapped in suffering.

Ibon mang may layang lumipad,
Kulungin mo at umi-iyak,
Bayan pa kayang sakdal dilag
Ang di magnasang maka-alpás
Pilipinas kong minumutyâ,
Pugad ng lúha ko’t dalitâ,
Aking adhikâ,
Makitá kang sakdal laya!
A bird that has freedom to fly,
When caged it cries,
How much more for a majestic country,
To not desire to be set free?
Philippines, my beloved,
Nest of my tears and poverty,
My desire
Is to see you completely free!

Ang bayan kong Pilipinas,

[ʔaŋ 'ba.jan koŋ pi.li.'pi.nas]
The country my Philippines

Lupain ng ginto’t bulaklak.

['lu.pa.ʔin naŋ gin.'tot bu.lak.'lak]
Land of gold-and flowers

Pag-íbig ang sa kanyang palad

[pag.'ʔib.ig ʔaŋ sa kan.'jaŋ 'pa.lad]
Love the to her destiny

Nag-alay ng ganda’t dilag.

[nag.'a.laɪ naŋ gan.'dat di.'lag]
Offering of beauty-and splendor

At sa kanyang yumi
[ʔat sa kan.'jaŋ 'ju.mi]
And to her tenderness

at ganda,
[ʔat gan.'da]
and beauty
88
Dayuhan ang nahalina
[da.'ju.han ʔaŋ na.ha.'li.na]
Foreigners the are-attracted

Bayan ko binihag ka,

['ba.jan ko bi.'ni.hag ka]
Country my taken you

Nasadlak sa dusa
[na.sad.'lak sa 'du.sa]
Fallen into suffering

Ibon mang may layang lumipad,

['ʔi.bon maŋ maɪ 'la.jaŋ lu.mi.'pad]
Bird that has freedom to fly

Kulungin mo at umi-iyak,
[ku.lu.'ŋin mo ʔat u.mi.ʔi.'jak]
Encage you and cries

Bayan pa kayang sakdal dilag

['ba.jan pa ka.'jaŋ sak.'dal di.'lag]
Country even therefore absolute beauty

Ang di magnasang maka-alpás

[ʔaŋ di mag.'na.saŋ ma.ka.ʔal.'pas]
The not desire to-escape

Pilipinas kong minumutyâ,

[pi.li.'pi.nas koŋ mi.nu.mut.'jaʔ]
Philippines my beloved

Pugad ng luha ko’t dalita

['pu.gad naŋ 'lu.ha kot 'da.li.taʔ]
Nest of tears my-and poverty

Aking adhikâ,
['ʔa.kiŋ ad.'hi.kaʔ]
My wish

Makitá kang sakdal laya!

[ma.'ki.ta kaŋ sak.'dal 'la.jaʔ]
To see you completely free

89
 Constancio Canseco De Guzman was born November 11, 1903 in Guiguinto, Bulacan

and died in August 16, 1982. Having grown up in Manila, De Guzman studied piano and

composition under Nicanor Abelardo. In 1928 he studied at Jose Rizal College and finished his

degree in BS Commerce. Interestingly, he became a certified public accountant, having passed

his board exam in 1932. But De Guzman was better known for his talents as music director for

movie productions with some local companies in Manila.60

The nationalistic appeal of “Bayan Ko” (My Country), written in 1929, is more evident

than most Kundiman songs since the word “Pilipinas”, the Tagalog word for “Philippines” is

actually mentioned in the first line. This song is perceived more as a patriotic song rather than a

love song. Symbolically, it is a celebration of freedom and a remembrance of a country that has

been colonized by Spain for almost four centuries. The meter is set in ¾ time signature with a

melancholic mood - typical of a Kundiman art song genre. The mention of a bird desiring

freedom poignantly symbolizes the desire of Filipinos to gain their own freedom.

Word stress is important in performing this song. Having the proper stress provides an

authentic declamation of the Tagalog text. For example, in the first phrase, “Ang

bayan kong Pilipinas” (My country the Philippines), the important stress is placed on the third

syllable of the word “Pilipinas” (see Music Example 28).

60
Himig: The Filipino Collection of FHL. Accessed May 21, 2015. http://www.himig.com.ph/

90
 Music Example 28: “Bayan Ko”61
(Used with permission from Mrs. Armida Siguion Reyna, see Appendix A)

Additionally notable is the text painting in the beginning of the contrasting B section that

modulates from d minor to the parallel key of D major. A slight stepwise descent of eighth

notes paints a picture of a bird gliding freely in the air. This melody is repeated two lines later

with text describing the longing for freedom (see Music Example 29).

61
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 46.

91
 Music Example 29: “Bayan ko”62
(Used with permission from Mrs. Armida Siguion Reyna, see Appendix A)

Likewise, the piano accompaniment mirrors the voice in stepwise descent in parallel

thirds in measure 22, thus setting the text, “Ibon mang may layang lumipad” (A bird that has

freedom to fly). The composer sometimes uses parallel intervals in the piano accompaniment to

emphasize the word stress.

62
Ibid., p. 47.

92
 13. “Babalik Ka Rin” Music and text by Constancio De Guzman

Bakit kaya naulila Why is one orphaned

Puso’y laging may dusa The heart is always suffering
Nagtatampo ang ligaya Happiness becomes brooding
At laging may lúha ang mata? And eyes that always flow with tears?
Ibon and áking katulad I’m like a bird
Na di na makalipad That can no longer fly
Dáhil sa hirap at pagod Because of the hardship and tiredness
Sa paghanap ng kanyang pugad. Of finding its nest.

Kung batid mo lang If you only knew

Ang tunay kong dinaramdam Of my true feelings
Buhat ng akó ay iwan mo, Since you left me
Aking sintá My love.
Babalik ka rin Someday you will return
Upang akó ay aliwin So that you can comfort me
Sa mangá tinitiís kong kalungkutan. From the loneliness I am suffering.

Bakit kaya naulila

['ba.kit ka.'ja na.ʔu.'li.laʔ]
Why I-wonder orphaned

Puso’y laging may dusa

['pu.soɪ 'la.giŋ maɪ 'du.sa]
Heart always have suffering

Nagtatampo ang ligaya

[nag.'ta.tam.po ʔaŋ li.'ga.ya]
Sulking the happiness

At laging may luha ang mata?

[ʔat 'la.giŋ maɪ 'lu.ha ʔaŋ ma.'ta]
And always have tears the eyes?

Ibon ang aking katulad

['ʔi.bon ʔaŋ 'ʔa.kiŋ ka.'tu.lad]
Bird the my likeness

Na di na makalipad
[na di na ma.ka.li.'pad]
That not now can-fly

93
Dáhil sa hirap at pagod
['da.hil sa 'hi.rap ʔat 'pa.god]
Because of hardship and weariness

Sa paghanap ng kanyang pugad.

[sa pag.'ha.nap naŋ kan.'jaŋ 'pu.gad]
To finding of its nest

Kung batid mo lang

[kuŋ ba.'tid mo laŋ]
If aware you only

Ang tunay kong dinaramdam

[ʔaŋ 'tu.naɪ koŋ di.na.ram.'dam]
The real my feelings

Buhat ng ako ay iwan mo

['bu.hat naŋ ʔa.'ko ʔaɪ 'i.wan mo]
Since of I am left you

Aking sintá
['ʔa.kiŋ sin.'ta]
My love

Babalik ka rin
['ba.ba.lik ka rin]
Returning you also

Upang ako ay aliwin

['ʔu.paŋ ʔa.'ko ʔaɪ ʔa.li.'win]
So that I am comforted

Sa mangá tinitiís kong kalungkutan.

[sa ma.'ŋa ti.'ni.ti.'ʔis koŋ ka.luŋ.'ku.tan]
To those suffering my loneliness.

The title “Babalik Ka Rin” (You will return again), written in 1955, shows an ambiguity

of meaning and may be interpreted as an example of an underlying theme of nationalism in

94
Kundiman art song. On the outside, a melancholic mood reflects the loss of a lover and the

longing for his or her return. Looking beyond the literal meaning of the text, it is possible to

interpret this as a yearning for freedom in a country that was denied this benefit. Images of

being an orphan and a bird that is tired and can no longer fly suggest symbolisms of nationalism

and a country’s longing for unity and freedom. Set in a habañera rhythm, this song has a distinct

downbeat that coincides with the syllabic stress of the second syllable in the word “ulila”

(orphan), intensifying the meaning of this word. (see Music Example 30).

Music Example 30: “Babalik Ka Rin”63

(Used with permission from Ronaldo Villar, FILSCAP member, Manila, Philippines)

Set in a modified binary or AB form, “Babalik Ka Rin” could be seen as a more

simplistic type of Kundiman art song. In the beginning of the vocal line in mm. 5-6, “Bakit kaya

naulila” (Why is one orphaned), the descending and ascending eighth notes are mirrored by an

ascending then descending line in the bass part of the piano. This functions as harmonic support.

63
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 42.

95
The gentle swaying rhythm of the vocal line supported by the doubling in the right hand of the

piano part effectively brings out the melancholic mood of the song (see Music Example 31).

Music Example 31: “Babalik Ka Rin”64 - B section

(Used with permission from Ronaldo Villar, FILSCAP member, Philippines)

64
Ibid., p. 48-49

96
 14. “Ang Tangì Kong Pag-íbig” Music and text by Constancio C. De Guzman

Ang tangì kong pag-íbig My only love

Ay minsan lámang Happens just once.
Ngunit ang ‘yóng akalà But what you are thinking
Ay hindî tunay Is not true.
Hindî ka lilimutin I will not forget you
Magpakylan pa man Forever more
Habang akó ay narito While I am here
At may buhay. And alive.

Malasin mo’t nagtitiís Curse me and I suffer

Nang kalungkutan With loneliness.
Ang buhay kong unti-unti My life that slowly
Nang pumapánaw. Is fading.
Wari ko ba sintá It seems that
Ako’y mamámatáy I will die
Kung di ikaw ang kapíling If you are not by my side
Habang buhay. While I am alive.

Ang tangi kong pag-íbig

[ʔaŋ 'ta.ŋi koŋ pag.'ʔíbig]
The only my love

Ay minsan lamang.
[ʔaɪ min.san 'la.maŋ]
Is once only.

Ngunit ang ‘yong akalà

[ŋu.nit ʔaŋ joŋ ʔa.'ka.la]
But the your belief

Ay hindî tunay
[ʔaɪ hin.'di 'tu.naɪ]
Is not real.

Hindî ka lilimútin
[hin.'di ka li.li.'mu.tin]
Not you will-forget

Magpakaylan pa man
[mag.pa.kaɪ.'lan pa man]
Forever still indeed

97
Habang ako ay narito
['ha.baŋ ʔa.'ko ʔaɪ na.ri.'to]
While I am here

At may buhay.
[ʔat maɪ 'bu.haɪ]
And have life

Malasin mo’t nagtitiís

[ma.'la sin mot nag.'ti.ti.ʔis]
Look-at your-and suffering

Nang kalungkutan
[naŋ ka.luŋ.'ku.tan]
Of loneliness

Ang buhay kong unti-unti

[ʔaŋ 'bu.haɪ koŋ ʔun.ti.ʔun.'ti]
The life my small

Nang puma-panaw.
[naŋ pu.ma.'pa.naʊ]
That fades-away.

Wari ko ba sintá
[wa.ri ko ba sin.'ta]
It-seems my so beloved.

Ako’y mamamatay
[ʔa.'koɪ ma.'ma.ma.taɪ]
I will die.

Kung di ikaw ang kapiling

[kuŋ di ʔi.'kaʊ ʔaŋ ka.'pi.liŋ]
If not you the near

Habang buhay.
['ha.baŋ bu.haɪ]
While alive.

“Ang Tangi Kong Pag-ibig,” written in 1955, is an example of a simple love song.

According to the poem, the main character cannot live without his or her loved one. The key

98
signature begins and ends in g minor, suggesting a melancholy mood. De Guzman does not

follow the typical ¾ time signature of a Kundiman art song. Instead, he uses a 2/4 time signature

in habañera form.

The melody line complements the rhythmic accompaniment with smooth flowing quarter

notes and eighth notes. This pleasant swaying effect in the melody resembles the waves of a

calm sea.

The overall pulse of the quarter notes and eighth notes is juxtaposed with lilting sixteenth

notes. Interestingly, these sixteenth notes function as an anacrusis to the strong downbeat of the

measure, supporting the inflection of the word “pag-íbig” or “love”, with the stress falling on the

second syllable (see Music Example 32).

Music Example 32: “Ang Tángi Kong Pag-íbig”65

(Used with permission from Ronaldo Villar, FILSCAP member, Philippines)

65
Ibid., p. 34

99
 In all cases, a combination of the prefix “pag” (to do [something]) with a hyphen

connected to a root word produces the effect of a glottal sound on the first vowel in “íbig”, which

in itself means, “desire”. Syllabic accent in the melody is achieved by enhancing the inflection

of the phrase “ang tángi kong pag-íbig”, with the main syllabic stress on the second syllable of

the word “pag-íbig”. This is followed by the text “ay minsan lámang” (is only a fleeting

moment). In this phrase, the word “lámang” (only) is emphasized and a syllabic stress is placed

on the syllable “la”. The composer made careful attempts to set the text properly by placing the

proper accents on the right syllables.

In mm. 28-30, the text “nang pumapanaw” (that fades away) is set in a pattern of

descending notes (see Music Example 33).

Music Example 33: “Ang Tángi Kong Pag-íbig”66

(Used with permission from Suarez Music Publishing Co., Quezon City, Philippines)

The meaning of the text “pumapanaw” (fades away) is enhanced when it is set by this

descending pattern of notes. Specifically, in measure 29 the third syllable “pa” of “pumapanaw”

is emphasized by a quarter note downbeat in the piano, followed by a stepwise downward

66
Ibid., p. 35

100
descent of another quarter note chord. A downward descending note pattern signifies a text

painting that elaborates the sorrowful character of the word “pumapanaw” (fades away).

The frequent use of the /a/ vowel and nasalized /ng/ consonant in the Tagalog language

helps to maintain a smooth legato line in terms of diction for singing. When pronouncing the

word “pag-íbig” one should not aspirate the ending /g/ consonant. Be careful to pronounce a

glottal /i/ after the prefix.

101
 15. “Dáhil Sa Iyó” by Miguel Velarde, Jr. / text by Dominador Santiago

Sa buhay ko’y labis In my life that exceeds in

Ang hirap at pasakit, Hardship and pain,
Ng pusong umi-íbig From a heart that loves,
Mandi’y walâ ng langit That knows no heaven
At ng lumigaya. And joy.
Hinango mo sa dusa, You save me from suffering
Tánging ikaw, Sintá, Only you, my love,
Ang áking pag-asa. Are my hope.

Dáhil sa ‘yo, Because of you,

Na-is kong mabuhay. I wish to live.
Dáhil sa ‘yo, Because of you,
Hanggang mamatáy. Until I die.
Dapat mong tantuin, You should realize,
Walâ ng ibang giliw, There is no other love but you,
Puso ko’y tanungin, Ask my heart,
Ikaw at ikaw rin. It is you and only you.

Dáhil sa ‘yo, Because of you,

Ako’y lumigaya, I will be joyful,
Pagmamahál ay alayan ka, Love is offered to you,
Kung tunay man If it is true
Ako ay alipinin mo Then enslave me
Ang lahat sa buhay ko’y Everything in my life
Dáhil sa ‘yo! Is because of you!

Sa buhay ko’y labis

[sa 'bu.haɪ koɪ 'la.bis]
To life my-is excess

Ang hirap at pasakit,

[ʔaŋ 'hi.rap ʔat pa.'sa.kit]
The hardship and pain

Ng pusong umi-íbig
[naŋ 'pu.soŋ ʔu.mi.'ʔibig]
Of heart-that loves

Mandi’y walâ ng langit.

[man.'di wa.'la naŋ 'la.ŋit]
Realizes nothing of heaven

102
At ng lumigaya
[ʔat naŋ lu.mi.'ga.ja]
And of to be happy

Hinango mo sa dusa,
[hi.'na.ŋo mo sa 'du.sa]
Extract you of suffering

Tánging ikaw, Sintá,

['ta.ŋiŋ ʔi.'kaʊ sin.'ta]
Only you beloved

Ang aking pag-asa.

[ʔaŋ 'ʔa.kiŋ pag.'ʔa.sa]
The my hope

Dáhil sa ‘yo,
['da.hil sa jo]
Because of you

Na-is kong mabuhay.

['na.ʔis koŋ ma.'bu.haɪ]
I-wish me-to live

Dáhil sa ‘yo,
['da.hil sa jo]
Because of you

Hanggang mamatáy.
[haŋ.'gaŋ ma.ma.'taɪ]
Until death

Dapat mong tantuin,

['da.pat moŋ tan.tu.'win]
Should you realize

Walâ ng ibang giliw,

[wa.'la naŋ ʔi.'baŋ 'gi.liʊ]
None of other love

Puso ko’y tanungin,

['pu.so koɪ ta.nu.'ŋin]
Heart my ask

103
Ikaw at ikaw rin.
[ʔi.'kaʊ ʔat ʔi.'kaʊ rin]
You and you too

Dáhil sa ‘yo,
['da.hil sa jo]
Because of you

Ako’y lumigaya,
[ʔa.'koɪ lu.mi.'ga.ja]
I will be happy

Pagmamahál ay alayan ka,

[pag.'ma.ma.'hal ʔaɪ ʔa.'la.jan ka]
Love is offered you

Kung tunay man

[kuŋ 'tu naɪ man]
If true indeed

Ako ay alipinin mo
[ʔa.'ko ʔaɪ ʔa.li.'pi.nin mo]
I am enslave you

Ang lahat sa buhay ko’y

[ʔaŋ la.'hat sa 'bu.haɪ koɪ]
The all of life my-is

Dáhil sa ‘yo!
['da.hil sa jo]
Because of you

At an early age, Miguel Velarde, Jr. (1913-1986) learned to play piano and violin from

his mother. At the Zamboanga Normal School he was a member of the school orchestra.

Although he began to study Medicine at the University of the Philippines, Velarde soon realized

that his real passion was music and soon began to study harmony and composition from Antonio

Molina and Ariston Avelino. As a jazz arranger and composer, he performed in a weekly show,

Stardust Program. Velarde found a new career composing film scores with Sampaguita Films, a

104
company in which he became the advertising manager. During the Japanese Occupation,

Velarde became the music director for Avenue Theater. His concert arrangement of a folk song

“Planting Rice” was well-received by the audience. Velarde’s talents also extended to story

writing and screenplay, winning an award from the Filipino Movie Arts and Sciences (FAMAS)

for Luksang Tagumpay (1960). As a song composer, Verlarde’s early influences were Irving

Berlin and Cole Porter.67

“Dahil Sa ‘Yo” (Because of You), written in 1938, has long been a favorite among

Filipinos not only because of its beautiful melody but also because of its ability to reach out to

the nationalistic sentiment of the people in the Philippines. It speaks of unrequited love for one’s

beloved and yet she is the symbol of hope for his life. If taken in the context of nationalism,

“Dáhil sa ‘yo” or “Because of you” can be interpreted as the love for one’s own motherland and

how she is the reason for living. Unrequited love is the subject matter of the first stanza.

This plaintive song in ABB’ form begins in the key of f minor in the A section and

proceeds in the B section to the parallel key of F major, signifying a shift from sorrow to

hopefulness. The A section is made up of a two-measure melody with a poignant appoggiatura,

sequenced in descending motion. This melodic sequencing strengthens the expression of despair

moving to hope in the verse (see Music Example 34).

67
Helen F.Samson, Contemporary Filipino Composers: Biographical Interviews, (Quezon City: Manlapaz
Publishing Company, 1976).

105
 Music Example 34: “Dahil Sa ‘Yo”68

The beginning words of the B section, “dáhil sa ‘yo” (because of you) are very important

since they are the crux of the song. Perhaps a singer should evoke a feeling of gratefulness or

love to accurately capture the mood of the song (see Music Example 35).

68
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 50

106
 Music Example 35: “Dahil Sa 'Yo”69

69
Ibid.

107
 16. “Lahat Ng Araw” by Miguel Velarde, Jr. / text by Dominador Santiago

Verse:
Sa bawat sandali Every moment
Tayo ay magkapíling We are together
Ang bawat lunggáti Every aspiration
Pakinggán ang hiling, Listen to my plea,
Ang puso ko’t budhi My heart and conscience
Ay hindî sinungáling Does not lie.
Sana ay ulinígin, Wishing you would hearken
Damdamin ko giliw. To what I am feeling, beloved.

Chorus (duet):
Asáhan pangárap nitong buhay Be assured, my life’s dream
Lahat ng araw Is to love you
Kitá’y mamahálin. All of my days.
Iwasan ang iyong alinlangan Avoid your doubts
Lahat ng araw All of my days,
Kitá’y mamahálin. I will love you.

Verse:
Sa labis ng imbing kamatayan
Itángi yaring pagmamahál
Chorus (duet):
Tulutang magtapat sa iyó hirang
Lahat ng araw kitá’y mamahálin.
From the certainty of death
Set my love free.
Allow me to confess to you, my beloved,
I will love you all of my days.

Sa báwa’t sandalì
[sa 'ba.wat san.da.'liʔ]
With every moment

Táyo ay magkapíling
['ta.jo ʔaɪ mag.ka.'pi.liŋ]
We are near each other

Ang báwa’t lunggáti

[ʔaŋ ba.wat luŋ.'ga.tiʔ]
The every fervent wish

Pakinggán ang hiling,

[pa.kiŋ.'gan ʔaŋ 'hi.liŋ]
Hear the request

108
Ang puso ko’t budhi
[ʔaŋ 'pu.so kot bud.'hiʔ]
The heart my-and conscience

Ay hindî sinungáling
[ʔaɪ hin.'di si.nu.'ŋa.liŋ]
Is not a-lie

Sana ay ulinigin,
['sa.na ʔaɪ ʔu.li.'ni.gin]
Hope-that is to-hear

Damdamin ko giliw.
[dam.da.'min ko 'gi.liʊ]
Feel I beloved

Asahan pangárap nitong buhay

[ʔa.'sa.han pa.'ŋa.rap ni.'toŋ 'bu.haɪ]
Expect dream of-this life

Lahat ng araw
['la.hat naŋ 'ʔa.raʊ]
All of days

Kitá’y mamahálin.
[ki.'taɪ 'ma.ma.ha.'lin]
You I will love

Iwasan ang iyong alinlangan

[ʔi.'wa.san ʔaŋ ʔi.'joŋ ʔa.lin.'la.ŋan]
Avoid the your worry

Lahat ng araw
[la.'hat naŋ 'ʔa.raʊ]
All of days

Kitá’y mamahálin.
[ki.'taɪ 'ma.ma.ha.'lin]
You-I will-love

Sa labis ng imbing kamatayan

[sa 'la.bis naŋ ʔim.'biŋ ka.ma.'ta.jan]
To excess of iminent death

109
Itángi yaring pagmamahál
[ʔi.'ta.ŋi 'ja.ring pag.'ma.ma.'hal]
Distinguish this love

Tulutang magtapat sa ‘yo hirang

[tu.'lu.taŋ mag.'ta.pat sa jo 'hi.raŋ]
Allow to-be-honest to you chosen

Lahat ng araw
[la.'hat naŋ 'ʔa.raʊ]
All of days

Kitá’y mamahálin.
[ki.'taɪ 'ma.ma.ha.'lin]
You-I-will love

This text by Dominador Santiago is another example of his expressive poetry. The

author uses a form of rhyming scheme as a poetic device. The poetry flows with regularity. In

addition, the strong and weak syllables that frequently appear in most words enhance the beauty

of the text and the simplicity of the melody. For example, in the B section, the phrase, “Asahan

pangárap nitong buhay” or “Hope for the dream of this life” contains syllables that follow a weak

to strong syllabic pattern, which is slightly similar to the iambic pentameter. I have underlined

the stressed syllables and these should be pronounced with such syllabic stresses in mind.

The word “sandali” or “moment” in the beginning stanza requires a glottal stop in the last

syllable [san.da.liʔ]. Another glottal stop is found in “budhi” or “conscience” within the last

syllable “hi” of “budhi” [bud.hiʔ] (see Music Example 36).

110
 Music Example 36: “Lahat Ng Araw”70

However, a combination of glottal stops and weak and strong syllabic stresses create a linguistic

mixture that can be pleasing to listener.

Note that the melodic pattern of this song is simple and repetitive. But this does not

diminish the beauty of this song. In fact this simplicity is what the composer seems to be

striving for. Therefore, the beauty of the poetry is enhanced without the addition of a difficult

melodic theme. The duet in the B section is also noteworthy. Although this is mainly a solo

piece, a second line of harmony that runs in parallel and contrary motion is the main feature of

this song and complements the melody line (See Music Example 37).

70
Ibid., p. 84.

111
 Music Example 37: “Lahat Ng Araw”71

The piano accompaniment is simple and chordal; the top line mimics the contour of the

melody line. In measure 28, the d minor chord is suspended in the second scale degree to achieve

the slight elusiveness of the dream of life, which is love. The texture of the chords is not very

dense and therefore complements the simplicity of the melody line. This does not require much

vocal agility but rather a simple and smooth legato line. The performer might consider using a

lighter sound.

71
Ibid., p. 85.

112
 17. “Ugoy Ng Duyan” by Lucio San Pedro / text by Levi Celerio

Sanay di nagmáliw I wish my former days

Ang dati kong araw, Did not disappear,
Nang munti pang bata When just a child
Sa piling ni Nanay; In the arms of my Mother;
Nais ko’y ma-úlit I wish to repeat
Ang áwit ni Inang mahál, The song of my beloved mother,
Áwit ng pag-íbig The song of love
Habang akó’y na sa duyan. While I was in the cradle.

Sa áking pagtulog In my sleep,

Na labis ang himbing, My gentle deep sleep,
Ang bantay ko’y tala My guardians are the planets;
Ang tanod ko’y bit’win; My keepers are the stars;
Sa piling ni Nanay In the presence of my mother
Langit ang buhay! Life is heavenly!
Puso kong may dusa’y My heart with suffering
Sabik sa ugoy ng duyan Yearns for the swing of the cradle.
Íbig kong matulog I wish to sleep
Sa dating duyan ko Inang. In my old cradle, mother.

Sanay di nagmáliw
['sa.naɪ di nag.'ma.liʊ]
Wishing not disappear

Ang dati kong araw,

[ʔaŋ 'da.ti koŋ 'ʔa.raʊ]
The former my days

Nang munti pang bata

[naŋ mun.'ti paŋ 'ba.ta]
When tiny still child

Sa piling ni Nanay;
[sa 'pi.liŋ ni 'na.naɪ]
In-the side of Mother
Nais ko’y ma-ulit
['na.ʔis koɪ ma.'ʔu.lit]
Wishing I-am to repeat

Ang áwit ni Inang mahál,

[ʔaŋ 'ʔa.wit ni ʔi.'naŋ ma.'hal]
The song of Mother beloved
113
Áwit ng pag-íbig
['ʔa.wit naŋ pag.'ʔi.big]
Song of love

Habang ako’y na sa duyan.

['ha.baŋ ʔa.'koɪ na sa 'du.jan]
While I still in cradle

Sa aking pagtulog
[sa 'ʔa.kiŋ pag.'tu.log]
In my sleep

Na labis ang himbing,

[na 'la.bis ʔaŋ him.'biŋ]
That excess the slumber

Ang bantay ko’y tala

[ʔaŋ ban.'taɪ koɪ 'ta.la]
The guardian my-is stars

Ang tanod ko’y bit’win;

[ʔaŋ 'ta.nod koɪ bit.'win]
The custodian my-is stars

Sa piling ni Nanay
[sa 'pi.liŋ ni 'na.naɪ]
In-the side of mother

Langit ang buhay!

['la.ŋit ʔaŋ 'bu.haɪ]
Heaven the life

Puso kong may dusa’y

['pu.so koŋ maɪ 'du.saɪ]
Heart my have suffering

Sabik sa ugoy ng duyan

[sa.'bik sa 'ʔu.goɪ naŋ 'du.jan]
Yearning to swing of cradle

Íbig kong matulog

['i.big koŋ ma.'tu.log]
I wish my to-sleep

114
Sa dating duyan ko, Inang.
[sa 'da.tiŋ 'du.jan ko i.'naŋ]
To former cradle my mother

Lucio San Pedro was born in 1913 in Angono, Rizal in the Philippines. He died in 2002

in Quezon City, Philippines at the age of 89. As a teen, he began his music career as an organist

for a local church. Later, he studied composition with Bernard Wagenaar as well as harmony

and orchestration with Vittorio Giannini. Spending the rest of his career teaching at Ateneo de

Manila University and at the College of Music at the University of the Philippines, he later

retired in 1978 as a full professor. In 1991 he received the National Artist for Music award.72

“Ugoy Ng Duyan” (Swinging of the Cradle) was written in 1947. This text by Levi

Celerio depicts the speaker reminiscing of the old days when he was a child in the arms of his

mother and wishing they would come back again. Images of a rocking cradle with the

tenderness of a mother’s love seem to fill his memories. The stars accompany him at night and

being with his mother is a heavenly delight to him. She provides for him a general feeling of

safety and security. But those days are gone.

The beauty of this poetry seems to lie in the subject matter that most listeners can relate

to: being safe in the arms of one’s own mother. It is set in a prose style with no rhyming

schemes but is beautifully enhanced by the choice of descriptive words and imageries.

The melody itself is not wildly flourishing in character since the vocal line is contained in

a limited range, about a third above and below C5. The tessitura of the song settles around C5

and can be easily sung by a high or medium voice, either male or female. Flowing eighth notes

72
Himig: The Filipino Collection of FHL. Accessed May 21, 2015.

115
in a ¾ time signature embodies the gentle character of this song. The melodic simplicity of the

vocal line symbolically depicts a humble child.

This modest range in vocal contours creates a somewhat contemplative mood. This

lyrical vocal line is not very difficult to sing. Therefore it leaves room for a performer to be

expressive, as the performer becomes mesmerized by the tangential hints of major and minor key

qualities on a single vocal line. However, it would be the performer’s job to break the

monotone-like quality of the melody by expressing the meaning of the text. It is not unlike a

monologue in which the meaning of the text has to be apparent through skillful acting and

declamation of the text.

The role of the piano in the beginning creates a certain mood. In particular, the

accompaniment portrays a gentle lullaby through the repeated quarter notes that move back and

forth in stepwise motion (see Music Example 38).

116
 Music Example 38: “Ugoy Ng Duyan”73

The pedal tone in the left hand, with its eighth notes on the afterbeats, contrasts with the

alternating fourths and fifths in the right hand. By juxtaposing the vocal line with the somewhat

dissonant but linear motion of the piano accompaniment, the similarly lyric but slightly linear

melody line further creates a dissonance with the accompaniment that expresses a feeling of

longing for the days that have long been gone as an infant.

Lucio San Pedro’s use of a thinly textured accompaniment is a contrast to the flourishing

chordal accompaniments of his predecessors, Abelardo and Santiago. San Pedro’s use of

dissonance enables the listener to perceive a more pensive view of the text and melody. The lack

of a third enables the listener to perceive a more pensive view.

73
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 140.

117
 18. “Hindî Kitá Malímot” Music and text by Josefino Cenizal

Sa pangárap ko lámang Only in my dreams

Lagi kang nakikíta Do I see you always,
Dáhil sa nawawalâ’y Because you are separated
Ka sa akin sintá From me, beloved.
Ako’y duma-dalángin I am praying
Lalo na kay Bathála To God even more,
Upang huag kang lumímot So that you will not forget,
Pagkât mahál kitá. Because I love you.

Hindî kitá malímot I cannot forget you,

Ala-ála kitá You are in my mind.
Hindî kitá malímot I cannot forget you,
Minámahál kitá Because I love you.
Isinúsumpâ ko I swear
Sa ‘yong kagandáhan To your beauty,
Na ikaw lámang That only you
Ang tángi kong paralúman. Are my sole inspiration.
Hindî kitá malímot I cannot forget you.
Huag kang madimdíman Do not worry,
Hindî kitá malímot I cannot forget you.
Manálig ka sintá Trust me darling,
At kung ikaw man And if you
ang lumímot Forget,
Iyong ala-lahánin Remember
Mahál pa rin kitá. I still love you.

Sa pangárap ko lámang
[sa pa.'ŋa.rap ko 'la.maŋ]
In dreams my only

Lagi kang nakikíta

['la.gi kaŋ na.ki.'ki.ta]
Always you I-see

Dáhil sa nawawalâ’y
['da.hil sa na.'wa.wa.'laɪ]
Because of separating

118
Ka sa akin sintá
[ka sa 'ʔa.kin sin.'ta]
You from me beloved

Ako’y duma-dalángin
[ʔa.'koɪ du.'ma.da.'la.ŋin]
I-am praying

Lalo na kay Bathala

[la.lo na kaɪ bat.'ha.laʔ]
Even-more now to God

Upang huag kang lumimot

['ʔu.paŋ hwag kaŋ lu.'mi.mot]
So-that not you forget

Pagkat mahál kitá.

[pag.'kat ma.'hal ki.'ta]
Because I-love you

Hindî kitá malímot

[hin.'di ki.'ta ma.'li.mot]
Not you-I forget

Ala-ála kitá
[ʔa.la.'ʔa.la ki.'ta]
Remembrance you

Hindî kitá malímot

[hin.'di ki.'ta ma.'li.mot]
Not you-I forget

Minámahál kitá
[mi.'na.ma.'hal ki.'ta]
I-love you

Isinúsumpâ ko
[i.si.'nu.sum.'pa ko]
Promise my

Sa ‘yong kagandáhan
[sa joŋ ka.gan.'da.han]
To your beauty

119
Na ikaw lámang
[na ʔi.'kaʊ 'la.maŋ]
That you only

Ang tángi kong paralúman.

[ʔaŋ 'ta.ŋi koŋ pa.ra.'lu.man]
The favorite my muse

Hindî kitá malímot

[hin.'di ki.'ta ma.'li.mot]
Not you-I forget

Huag kang madimdíman

[hwag kaŋ ma.dim.'dím.an]
Don’t you worry

Hindî kitá malímot

[hin.'di ki.'ta ma.'li.mot]
Not you-I forget

Manálig ka sintá
[ma.'na.lig ka sin.'ta]
Trust me beloved

At kung ikaw man

[ʔat kuŋ ʔi.'kaʊ man]
And if you indeed

ang lumímot
[ʔaŋ lu.'mi.mot]
The-one who-forgets

Iyong ala-lahánin
[ʔi.'joŋ ʔa.'la.la.'ha.nin]
You remember

Mahál pa rin kitá.

[ma.'hal pa rin ki.'ta]
I-love now still you

Josefino Cenizal was born on September 14, 1919 in Tanza, Cavite, a province located

south of Manila. At the age of eight, his mother enrolled Cenizal to take piano lessons from

120
Francisco Santiago at the University of the Philippines. Santiago reluctantly accepted him since

Cenizal did not read music. Santiago would teach him only if he performed all the assigned

lessons. Cenizal also took voice lessons from Reysio-Cruz and Mossesgeld Santiago. In 1948

he received a law degree from the Manila Law College. Later on he received a Foreign Service

degree from Lyceum in 1954. Cenizal is known for his love song compositions.74

Although his song “Hindî kitá malímot” has been performed by popular artists, the

original composition in 1940 with piano accompaniment is written in a classical Kundiman style.

The lyrical style of the melody allows the singer to sing with legato phrasing.

In the opening line, the word “pangárap” or “dream” should have a stress on the second

syllable even if it is set with a fermata. There should be a momentary hold after the first fermata

on the second syllable of “pangárap” in order to make sense of this word. Similarly, one should

not give too much emphasis on the fermata sign of the word “sa” in “sa akin sintá” or ‘from me,

my beloved” because the main stress is on the first syllable of “akin.” There should also be a

slight emphasis on this word and a glottal /a/ sound will help to give this needed emphasis.

These syllabic emphases should be on other important words as well. The word “dumadalángin”

should have a stress on the penultimate syllable. But in this case the composer had already set

this to music by using a half note on this syllable.

Throughout the song the composer uses a fermata at the second beat of the beginning

measures of the main thematic material, which is seen in the opening phrase of the refrain “Hindî

kitá malímot, ala-ála kitá” or “I cannot forget you, you are in my mind.” Most of these fermatas

occur during the anacrusis to the downbeat of the main theme (see Music Example 39).

74
Himig: The Filipino Collection of FHL. Accessed May 21, 2015.

121
 Music Example 39: “Hindi Kita Malimot”75

In the opening line of the refrain, the fermata occurs on the word “hindî” (cannot) with a

stress on the second syllable. Rubato should be used on the important words, such as

“minámahál” or “I love” giving a stress on the last syllable “hal” from the word. The phrase that

follows, “ala-ála kitá” should be performed with a glottal stop on each of the word units (ala-ála)

in order to sound authentic. These syllabic stresses were not necessarily specified by the

composer but the decision is left to the singer to slightly modify the note values to allow for the

proper declamation of the text.

75
The Women’s Board of the Manila Symphony Society, Pag-ibig Song Book, no publisher listed, no published
date, p. 45.

122
 19. “Ang Una Kong Pag-íbig” Music and text by Francisco Buencamino

Sa tapát ng áking In the middle of my

Masuyúing puso Tender heart,
May isáng laráwang There is one image
Nagbigáy siphayò That has given me despair.
Tahímik kong búhay My peaceful life
Daglíng iguinúho Is suddenly troubled.
Sa ubod ng balisang wari’y At the source, worry seems
Di maitatágo. It cannot be hidden.

May sakláp at may tamís I can taste the bittersweetness

Kung akin ngang nam-námin When I savor
Ang búnga ng púnong The fruit of the tree,
Sa puso ko’y nataním That is planted in my heart.
Di mai-isásan I cannot detach it
Ng akin ngang panimdím From my feelings.
Diliguín ng lúhang Sprinkle it with tears
Bumalóng sa aliw. That flow with comfort.

Langit na ligáya Heavenly joy,

Anóng sakláp nga ng umíbig How bitter it is to love
Lalo’t kung ang dáhil Especially if the reason for love
Ay hindî nababatíd Is misunderstood.
Kauláyaw kang lagui We are always a pair,
Nga ng pangánib While in distress
Sa báwa’t tibók ng puso With every beat of the heart
Ay pagtiti-ís. Is enduring.
Kauláyaw kang lagui We are always a pair
Ng ala-ála sa pangánib That remembers the suffering
Sa báwa’t tibók ng puso Every beat of the heart
Ay pagtiti-ìs. Is enduring.

Sa tapát ng áking
[sa ta.'pat naŋ 'ʔa.kiŋ]
From sincerity of my

Masuyúing puso
[ma.su.'ju.ʔiŋ 'pu.so]
Tender heart

May isáng laráwang

[maɪ ʔi.'saŋ la.'ra.waŋ]
There-is one image-that

123
Nagbigáy siphayò
[nag.bi.'gaɪ sip.'ha.jo]
Gave mistreatment

Tahímik kong búhay

[ta.'hí.mik koŋ 'bu.haɪ]
Peaceful my life

Daglíng iguinúho
[dag.'liŋ i.gi.'nu.ho]
Suddenly troubled

Sa ubod ng balisang wari’y

[sa 'ʔu.bod naŋ ba.li.'saŋ 'wa.ri]
At core of worry seems

Di maitatágo
[di ma.ʔi.ta.'ta.go]
Not be-hidden

May sakláp at may tamis

[maɪ sak.'lap ʔat maɪ ta.'mis]
There-is bitterness and there-is sweetness

Kung akin ngang nam-námin

[Kuŋ 'ʔa.kin ŋaŋ nam.'na.min]
If I indeed taste

Ang búnga ng púnong

[ʔaŋ 'bu.ŋa naŋ 'pu.noŋ]
The fruit of tree-that

Sa puso ko’y nataním

[sa 'pu.so koɪ na.ta.nim]
Of heart mine planted

Di mai-isásan
[di ma.ʔi.ʔi.'sa.san]
Not separable

Ng akin ngang panimdím

[naŋ ʔa.kin ŋaŋ pa.nim.dim]
Of my indeed feelings

124
Diliguín ng lúhang
[di.li.'gin naŋ 'lu.haŋ]
Water-it with tears-that

Bumalóng sa aliw.
[bu.ma.'loŋ sa 'ʔa.liʊ]
Flow with comfort

Langit na ligáya
['la.ŋit na li.'ga.ja]
Heaven that-is happiness

Anóng sakláp nga ng umibig

[ʔa.'noŋ sak.'lap ŋa naŋ ʔu.'mi.big]
How bitter indeed that loves

Lalo’t kung ang dáhil

['la.lot kuŋ ʔaŋ 'da.hil]
More-and if the reason

Ay hindî nababatíd
[ʔaɪ hin.'di na.'ba.ba.'tid]
Is not understood

Kauláyaw kang lagi

[ka.ʔu.'la.jaʊ kaŋ la.gi]
Companion you always

Nga ng pangánib
[ŋa naŋ pa.'ŋa.nib]
That of danger

Sa báwa’t tibók ng puso

[sa 'ba.wat ti.'bok naŋ ‘pu.so ]
To every beat of heart

Ay pagtiti-ís.
[ʔaɪ pag.ti.ti.ʔis]
Is suffering

Kauláyaw kang lagi

[ka.ʔu.'la. jaʊ kaŋ 'la.gi]
Companion you always

125
Ng ala-ála sa pangánib
[naŋ ʔa.la.'ʔa.la sa pa.'ŋa.nib]
Of memory of peril

Sa báwa’t tibók ng puso

[sa 'ba.wat ti.'bok naŋ ‘pu.so ]
To every beat of heart

Ay pagtiti-ìs.
[ʔaɪ pag.ti.ti.ʔis]
Is suffering

Francisco Buencamino, Sr. (1883-1952) was born in San Miguel de Mayumo, Bulacan.

At an early age he was taught music by his father, Fortunato Buencamino who was a church

organist and band master. Later in his teens he studied composition and harmony under Marcelo

Adonay at the Liceo de Manila. Buencamino composed a number of Tagalog operettas, or

Tagalog sarswelas, such as Marcelo (1904), Si Tio Selo (1904, Yayang (1905) and Pangakong

Hindi Natupad (1905). At the turn of the century, Buencamino began to teach at the Ateneo de

Manila University. He was also head of the music department for 30 years at the Centro de

Señoritas University. In 1930 he founded the Buencamino Music Academy where Nicanor

Abelardo was one of his students.76

This song composition by Buencamino is in ternary form ABBC. The melody begins

with a melancholic mood in g minor that reminds the poet of the bittersweet memories that he

felt with his beloved. Words like “larawan” (image) and “siphayò” (despair) are central to the

mood of the first stanza. The text describes a despairing heart that has been neglected. This

76
C. Quirino, Who’s who in Philippine history, (Manila: Tahanan Books, 1995).

126
exposition in the key of g minor pertains to the physical image of a loved one that has suddenly

reminded him of the hurt that he had felt before (see Music Example 40).

Music Example 40: “Ang Una Kong Pag-ibig”77 - A section

A modulation to its relative major key of B-flat signifies a new section that has a glimmer

of hope despite the bittersweet attitude of the central character. Words such as “tamis”

(sweetness) and “bunga” (fruit) create a hint of optimism. The rhythmic and melodic motifs

have suddenly developed into a more forward moving flow of new music material. This is

77
The Women’s Board of the Manila Symphony Society, Pag-ibig Song Book, no publisher listed, no published
date.

127
evident in the dotted eighth and sixteenth note combination that is preceded by an anacrusis in

the beginning of the B section (see Music Example 41).

Music Example 41: “Ang Una Kong Pag-ibig”78 - B section

Finally, the song concludes in the third stanza in measure 43 with confidence in the C

section. It does not return to its relative minor key of g minor but modulates to a parallel key of

G major in measure 44 (see Music Example 42).

78
Ibid., p. 23.

128
 Music Example 42: “Ang Una Kong Pag-ibig”79 - C section

This symbolizes a victorious arrival of happiness. Furthermore, this confidence is

manifested in the expansion of the vocal range that peaks to a B5 with a fermata at the “poco

animato” section. The piano accompaniment also develops into a fuller texture and builds to a

climax of tremolos at the very end. It is the lover’s perseverance and determination that gives

him this hope and joy - the idea that everything will be better in the end.

79
Ibid., p. 24.

129
 The vocal range and tessitura of this song is suitable for a tenor or a soprano. It lies in

the voice’s middle and upper range, up to a high note of B5. The fact that it has a very high note

in the end makes it a more advanced level in terms of vocal range.

130
 20. “Ulila Sa Pag-íbig” by J.S. de Hernandez / text by Deogracias A. Rosario

Sa oras ng paglubog At the hour of sunset,

Ng araw na may hapis, At sun that is covered,
Lumuluha ang buong daigdig The whole world cries
Naulila sa pag-íbig For the one orphaned from love.
Ang buntong hininga A sighing breath
Sa tubig naririnig, From the water is heard,
Ng dibdib ng kanlurang In the heart of the west
May daluyong ng hinagpis. There is a surge of lament.

Sandaling malungkót Easily saddened

Sa pusong sumisintá, Is the heart that loves,
Lalo’t nalilining It becomes more so
Na ang sukli’y pangamba; And is strickened with anxiety;
At kung takip silim, And at twilight,
Ay anong ligaya What joy it is
Ng mamatáy dáhil To die because
Sa pagkaulila. Of being orphaned.

Sa oras ng paglubog
[sa 'ʔo.ras naŋ pag.lu.'bog]
At hour of setting

Ng araw na may hapis

[naŋ 'ʔa.raʊ na maɪ ha.'pis]
Of sun that has cover

Lumuluha ang buong daigdig

[lu.mu.'lu.haʔ ʔaŋ bu.'ʔong da.ʔig.'dig]
Crying the whole world

Naulila sa pag-íbig
[na.ʔu.'li.laʔ sa pag.'ʔí.big]
Orphaned of love

Ang buntong hininga

[ʔaŋ bun.'toŋ hi.ni.'ŋaʔ]
The sighing breath

Sa tubig naririnig,
[sa 'tu.big na.ri.ri.'nig]
From water heard
131
Ng dibdib ng kanlurang
[naŋ dib.'dib naŋ kan.'lu.raŋ]
Of heart of west

May daluyong ng hinagpis.

[maɪ da.'lu.yoŋ naŋ hi.nag.'pis]
There-is surge of lament

Sandaling malungkót
[san.da.'liŋ ma.luŋ.'kot]
Quickly sad

Sa pusong sumisintá,
[sa 'pu.soŋ su.mi.sin.'ta]
To heart that-loves

Lalo’t nalilining
['la.lot na.li.'li.niŋ]
Becomes gloomy

Na ang sukli’y pangamba;

[na ʔaŋ suk.'li pa.ŋam.'ba]
That the result-is suspicion

At kung takip silim,

[ʔat kuŋ ta.'kip 'si.lim]
And when covering dusk

Ay anong ligaya
[ʔaɪ a.'noŋ li.'ga.ja]
Oh what joy

Ng mamatáy dáhil
[naŋ ma.ma.'taɪ 'da.hil]
Of to-die because

Sa pagkaulila.
[sa pag.ka.ʔu.'li.laʔ]
Of being-orphaned.

Sa oras ng paglubog
[sa 'ʔo.ras naŋ pag.lu.'bog]
At hour of setting

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Ng araw na may hapis
[naŋ 'a.raʊ na maɪ ha.'pis]
Of sun that has anguish

Lumuluha ang buong daigdig

[lu.mu.'lu.haʔ ʔaŋ bu.'ʔong da.ʔig.'dig]
Crying the whole world

Naulila sa pag-íbig
[na.u.'li.laʔ sa pag.'ʔi.big]
Orphaned of love

Ang buntong hininga

[ʔaŋ bun.'toŋ hi.ni.'ŋa]
The sighing breath

Sa tubig naririnig,
[sa 'tu.big na.ri.ri.'nig]
From water heard

Ng dibdib ng kanlurang
[naŋ dib.'dib naŋ kan.'lu.raŋ]
Of heart of west

Juan de Sahagun Concepcion Hernandez was born on June 12, 1881 in Sampaloc,

Manila. In 1901 he graduated with a law degree from the Escuela de Derechos which was later

integrated into the University of Santo Tomas. However, Hernandez decided not to take the bar

exam. Instead, he pursued a career in music. At the age of eighteen he wrote his first waltz. He

later composed a total of fifteen waltzes and was referred to as the “Johann Strauss of the

Philippines.” He earned his bachelor’s degree in music from the Conservatory of Music at the

University of the Philippines. In addition to his fifteen waltzes, Hernandez wrote eight orchestral

arrangements, fourteen songs, six religious manuscripts, three marches, a number of operettas, a

concerto, several piano arrangements, three chamber music, three sarswelas and composed

133
fifteen Kundiman art songs. In 1945, Hernandez died during a bomb blast when the Japanese

had occupied the Philippines in World War II.80

“Ulila Sa Pag-ibig” (Orphan of Love) was composed in 1929. The time signature of this

song is 2/4, not the typical 3/4 of a Kundiman art song. There is a sense of irony in the music that

contrasts with the gloomy, self-pitying words, which are summed up in the song’s title.

Hernandez sets up this irony by setting the piano introduction in C major. There is an abrupt

shift to the parallel minor into the A section, which accurately sets the melancholic mood of

unrequited love. Then, without warning, the B section modulates back to C major (“Sandaling

malungkot, sa pusong sumisinta”, Easily saddened is the heart that loves), revealing a bit of

irony. The lyrics are gloomy and self-pitying, and contrast strongly with the hopefulness

reflected in the melody and harmony (see Music Example 43).

Music Example 43: “Ulila Sa Pag-ibig”81

80
Nicanor Tiongson, CCP Encyclopedia of Philippine Art, Vol. 6: Philippine Music. (Manila: Cultural Center of the
Philippines), 1994.

134
 In essence, the piano introduction shows what joy the poet would feel if only he was not

orphaned. Hernandez sets up this joyful mood but immediately he changes to sadness as if the

joyful life was abruptly cut off. Thus the meaning of the word “Kundiman” (if it were not so) is

exemplified in this juxtaposition of sadness and joy.

81
Bureau of Physical Education and School Sports Department of Education, Culture and Sports. Kundiman At Iba
Pa. (Manila: Likhawit Enterprises, 1994), p. 146.

135
 Conclusion

During the process of my research I have found that these 20 Kundiman art songs

exemplify a certain rhythmic and melodic fluidity that reflect a distinctly Filipino style. These

Kundiman art songs are a reflection of Filipino creativity during a time of adversity. Not many

people outside of the Philippines know about Kundiman art songs. Even among my Filipino-

American friends and acquaintances, most do not know about Kundiman. This leads me to

believe that these songs have not been given enough attention. A search through course listings

in major universities, outside of the Philippines, such as the Juilliard School of Music or Mahidol

University in Thailand shows modest to no attention given to indigenous songs. In depth study

of this kind of song is unique to the Philippines. Kundiman art songs appear in student recitals in

Philippine universities, but outside the country they are rarely programmed. Only

ethnomusicologists may be familiar with these songs. I want people to know about Kundiman

art songs, and that the selections of songs I have presented are only a fraction of what is available

in print. Most of these songs can be found in the collection, “Kundiman At Iba Pa,” which is

listed in my bibliography. I have come to appreciate the value of these Kundiman art songs, and

in the future I intend to transcribe more IPA and translate more of these songs to make them

more accessible to the world. I also intend to record pronunciations of the texts to provide a

guide for the singer who is not familiar with the Tagalog language.

136
 Appendix A

Copyright Permissions Documentation

Copyright Permission documentation from Suarez Music Publishing and Ronaldo Villar,
members of the Filipino Society of Composers, Authors, and Publishers, Inc. (FILSCAP)

137
138
 Appendix B

Vowel and Consonant Sounds in Tagalog

According to Dr. Raymond Leslie Diaz82, Filipinos are not consciously aware of the idea

of diphthongs, although there certainly are some dipththong-like sounds; for example, “buhay”

(life) is transcribed as [ˈbu.haɪ].

Vowel sounds Tagalog examples English sound equivalent

a [a] ang (the) father

e [e] baba[e] (woman) elephant

i [i] iyong (your) see

o [o] oras (hour) north

u [u] umi-iyak (crying) boot

glottal [ʔ] -beginning of or ang (the) earth (beginning of a word)

starting with a vowel

glottal [ʔ] –between two umi-iyak (crying) Hawaii

vowels in the middle of a
word

glottal [ʔ] –occurs hindî (not) No English equivalent for words

occasionally in words ending ending with a glottal sound -produced
with a vowel by making a vowel sound and
abruptly closing the glottis.

82
Raymond Leslie Diaz. "International Phonetic Alphabet Transcription of Tagalog." E-mail interview by author.
May 19, 2015.

139
Consonant sounds Tagalog examples English sound equivalent

b [b] babae (woman) barn

k [k] kanta (song) car

d [d] dahil (because) dear

g [g] gumising ( wake up) give

h [h] hulog (deposit) high

l [l] langit (heaven) live

m[m] mahal (beloved) me

n [n] narito (here) near

ng [ŋ] pangalan (name) making

p [p] pag-ibig (love) pen

r [r] resibo (receipt) rain

s [s] sandalî (moment) sign

t [t] tanungin (ask) turn

w [w] walâ (none) wait

y [j] yumi (tender) yes

140
Email Interview with Dr. Raymond Leslie Diaz:

141
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