Analysis of ‘Love Brujo’ and Other Works
Love Brujo
I. – Rhythm:
- a. – Type of rate: Binary
- b. – Compass: 2/4 (two black notes enter each bar)
- c. – Tempo: Moderately fast: “Allegro ma non troppo”
- d. – Other observations:
The rhythm is the most important element of this piece. Increase your force towards the end. Ritual dance has character. Stresses the rhythmic accents of the piano that suggests the beating on the anvil in the forge.
II. – Melody:
- a. – Type of melody: Melody built predominantly with primary grades
- b. – Other comments:
Main melody based on forging a gypsy song. The melody is popular in character, with magical evocation. Very decorated with trills and other ornaments of the string tremolos that suggest the fire. There are two main melodic themes.
III. – Texture:
- a. – Type of texture: Melody accompanied predominates.
- b. – Other observations: Nationalist Harmonies (influence of flamenco) and impressionistic.
IV. – Ring:
- a. – Type: Orchestra with piano.
- b. – Other comments: Three flutes, oboe, two clarinets, bassoon, two horns, timpani, percussion, piano, and strings. The orchestration has influences of Impressionism.
Where Do You Go With Shawl Manila
I. – Rate:
- a. – Type of rate: Binary
- b. – Compass: 2/4 (two black notes come in each measure)
- c. – Tempo: Slow. Habanera.
- d. – Other comments: Popular habanera rhythm. It stresses the hype. The orchestral accompaniment has a strong rhythmic character.
II. – Melody:
- a. – Type of melody: Melody built predominantly with notes hopping on the scale.
- b. – Other comments: Syllable of text placement. The melody is popular in character. Effective melodic embodiment of the ironic sense of text: zealous criticism.
This is the first song that appears in the prelude of the zarzuela.
III. – Texture:
- a. – Type of texture: Melody (two melodies concerted) together.
- b. – Other observations: It will gradually densify, in its simplicity, with the addition of bassoon, for example.
The work is in D major.
IV. – Ring:
- a. – Type: Voices (soprano and tenor) accompanied by orchestra.
- b. – Other observations: Highlights the dialogue between oboe and flute. The presence of the hype.
Today We Eat and Drink
I. – Rhythm:
- a. – Type of rate: Ternary
- b. – Compass: 3/4 (three quarter notes fall in each measure)
- c. – Tempo: Fast
- d. – Other comments: The rhythm is the most important element of this piece. Encina often uses the ternary rhythm in burlesque carols, festive or obscene. Has dance character. The transcript values reduce by half.
II. – Ringtone:
- a. – Type of melody: Melody built with notes ranging from joint degrees
- b. – Other observations: Popular character. The melody is cheerful, lively, and outgoing. The scope of the soprano melody is small: fifth (re-la). Placement syllable of the text. The performers in this release practice the art of the gloss.
III. – Texture:
- a. – Type of texture: Homophony.
- b. – Other comments: As is customary in secular vocal music of the Renaissance (see item 6), it is setting aside for imitative counterpoint of textures that puts the upper voice and bass. Communicates the festive atmosphere with simple chords repeated in groups. How to re.
IV. – Ring:
- a. – Type: Joint vocal and instrumental.
- b. – Other observations: Although the score shows only kept the lines of four voices, it was normal to bend or replace some with instruments. In the version heard through various wind instruments (oboes, for example), strings, and percussion.