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Cana Quema
The study of fusional music
| Question | Answer |
|---|---|
| What is the context of "Cana Quema"? (Who-What-Where-How-Why-When) | WHO: La Familia Valera Miranda WHAT: Cuban album about family history WHERE: Cuba HOW: Lead and chorus vocals, guitar, cuatro, bongos, claves and maracas WHY: Entertainment purposes WHEN: 1995 |
| Describe the melody of "Se Quema La Chumbambà" [3] | Main intro riff features two serially related phrases with rising and falling thirds Balanced two and four bar phrases in the vocals (bar 13 to bar 20) Vocal refrain begins on third or fifth of tonic chord (bar 13 to bar 14) |
| Describe the harmony of "Se Quema La Chumbambà" [3] | Limited chords throughout using tonic and dominant seventh chords in G minor Sliding parallel progressions in cuatro solo (bar 77 to bar 161) Frequent use of Eb in D7 chord makes harmony sound richer |
| Describe the tonality of "Se Quema La Chumbambà" [2] | Diatonic G minor throughout No modulations to relative keys throughout |
| Describe the rhythm of "Se Quema La Chumbambà" [5] | First quaver beat is disguised (bar 1) Strong feeling of two in a bar throughout Claves rhythm in 3:2 pattern (bar 9 to bar 10) Triplet crotchets in cuatro solo (bar 95) Each vocal phrase begins on second quaver beat (bar 13 to bar 76) |
| Describe the texture of "Se Quema La Chumbambà" [2] | Guitar has a blocked chordal accompaniment role throughout Coro is sung in two parts and remain fixed (bar 21 to bar 28) |
| Describe the instrumentation of "Se Quema La Chumbambà" [3] | Vocal setting is syllabic Pizzicato used on the double bass (bar 5 to bar 186) Ringing cuatro (bar 151 to bar 153) |
| Describe the melody of "Alla Vá Candela" [4] | Vocal idea has the same shape and structure as cuatro melody (bar 15 to bar 23) Large steps in low tessitura (bar 25 to bar 31) Ascending phrase in octaves (bar 32 to bar 38) Simple repetition of notes in refrain idea (bar 39 to bar 163) |
| Describe the harmony of "Alla Vá Candela" [3] | Wider variety of chords in bolero section where E and B7 chords are manipulated (bar 28) Son section reverts to alternations between tonic and dominant chords (bar 39) Use of chromatic inflections in the melodic line with high C sharps |
| Describe the tonality of "Alla Vá Candela" [2] | Diatonic E major throughout No modulations to relative keys throughout |
| Describe the rhythm of "Alla Vá Candela" [5] | Simple quadruple time to cut duple time (bar 38 to 39) Square rhythm in bass (bar 3 to bar 38) Syncopated rhythm in bass (bar 39 to bar 163) Vocal lines sometimes create complex cross rhythms Hemiola figures in cuatro solo (bar 103 to bar 104) |
| Describe the texture of "Alla Vá Candela" [3] | Guitar has a blocked chordal accompaniment role throughout Coro is sung in two parts and remain fixed (bar 40 to bar 41) Generally sung in a low thick tessitura (bar 15 to bar 23) |
| Describe the instrumentation of "Alla Vá Candela" [3] | Vocal setting is syllabic Pizzicato used on the double bass (bar 3 to bar 163) Ringing cuatro (bar 66, bar 98 to bar 99) |
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