The music “Iyo Kailan Pa Man” by Angel Pena although seem texturally

complicated is composed of a relatively simple structures and major subdivision.

The music begins with a four-measure introduction followed by an A section from
ms 5-12, which was repeated with a very slight alteration forming the section A1
from ms 13-20. An number of measures comprise of ms 21-28 form the B section
that serve to provide the contrast for the return of the a slightly altered material
from the A section of ms 29-36.

Before it proceeded to section C, ms 45-48, an eight-measure transitional phrase

serves to establish the entry of the new section that forms the C, which is by far
the smallest of all the section in the music. Ms. 49-60 forms the D section which is
also forms the same melodic material that will be repeated after the brief four-
measure of instrumental interlude on ms 60-64. The recapitulation of the D section
signals the coming of the coda and the closing of the music on measure 77-71.

The larger structure of the music is fairly simple and straight forward as its
harmony. Mostly composed of diatonic chords taken from A minor, the tonality of
the music remains very clear despite its constant use of appoggiatura, delayed
harmonic resolution, chromatic passing tone and suspensions. Repetitions of
melodic gestures is also among the compositional technique of Pena that shows his
masterful use of classic and romantic elements of motivic developmental
techniques. In order to be very expressive, he often varies the melodic texture of
the piano and often times taking advantage of the rhythmic syncopation to change
the movement of the rhythm and harmony. Doing so heightens the drama of the
text.