Performance Guide

Form:

I. La Señorita del Albanico (Señorite of the Fan)

   Instrumentation: piccolo

   Structure: Repetitive rhythmic cells found throughout each five sections of this movement.                            The piccolo functions as a rhythmic conversation with the voice. 

   Page turns: One page turn in this movement. There is adequate time between entrances to                             execute. 

II. La tarde (Afternoon)

    Instrumentation: C flute 

    Structure: The flute reacts imitatively to both the voice and harp throughout this movement.

    Page turns: One page turn in this movement. There is adequate time after the flute entrance                          to execute.   

III. Canción Cantada (A Song Sung)

     Instrumentation: Alto flute 

     Structure: The alto flute is very involved and soloistic throughout this movement. Each          

                       statement increases in length, musical and rhythmic activity, and intensity. 

    Page turns: There is one page turn in this movement. It is relatively quick (one measure        

                         between entrances), so make sure you practice this transition. Another option is                            to photocopy the first page of this movement to avoid any unwanted stress. 

IV. Caracola (Snail)

     Instrumentation: Bass flute

     Structure: The bass flute functions in two different ways throughout this movement: long,      

                       melodious passages in the forefront, and short interjections of harmonics in the                            background of this movement. 

     Page turns: No page turns in this movement

V. ¡El Largato está Llorando! (The Lizard is Crying!)

    Instrumentation: Alto flute

    Structure: This movement contains mostly isolated events between each performer. The

                      middle section, however, is thicker in texture. The alto flute functions as the

                      rhythmic pulse, which contrasts to rhythmically active interjections between the

                      flute and voice found in the outer sections. 

    Page turns: There is one page turn found in this movement. There is adequate time to

                          execute prior to the next flute entrance. 

VI. Cancioncilla Sevillana (A Little Song from Seville)

     Instrumentation: C flute 

     Structure: The most involved activity of all movements. There is less time between each

                        isolated event.

     Page turns: There is one page turn in this movement. There is ample time to execute the

                          turn.

VII. Canción Tonta (Silly Song) 

      Instrumentation: Piccolo

      Structure: This movement contains small interjections no the piccolo. Each entrance in this

                        movement is with the harp. It is important to align with the harpist throughout

                        this movement. 

      Page turns: There is one page turn in this movement. There is adequate time to execute

                           prior to the next flute entrance. 

Elements to think about throughout the piece:

I. I. La Señorita del Albanico (Señorita of the Fan)

This movement is marked Vivace, giocosamente. The word giocoso means lively and humorous. A playful attitude should be present in this movement. This movement is separated into three sections. The first section is in 5. The piccolo introduces the rhythmic pulse with the harp. While there are pauses before each voice entrance, it is important to maintain the clarity of the quintuple meter. 

Figure 1 shows the transition between parts in section 1.

Figure1

II. La Tarde (Afternoon)

This movement is marked Andantino quasi barcaola. In Italian, baracole is a Venetian boat song. Imitation is the prominent device in this movement. The flute mimics both the voice and the harp throughout, with few independent episodes. 

Figure 2 demonstrates the musical imitation throughout this movement.

Figure2

III. Canción Cantada (A Sung Song)

Marked Molto moderato, poco bizarramente, this movement showcases the alto flute. Highly rhythmic and intense, these alto flute episodes occur around the vacant statements by the voice and harp. It is important to be precise with all markings throughout this movement.

Figure 3 shows the intensity of the flute part surrounded by short interjections from the voice and harp.

Figure 3

IV. Caracola (Snail)

This movement is marked Lento, languidamente. The bass flute is featured in two ways: long, low-pitched, fluid melodic passages, and short, high harmonics. The flexibility of the flutist is key in this movement. The material itself isn't incredibly challenging, however, the accuracy and reliability of the player is the most important. 

Figure 4 shows the jextaposition of the two musical ideas found in this movement.

Figure 4

V. ¡El Lagarto está Llorando! (The Lizard is Crying!)

This movement contains the most activity and thicker texture than the previous movements. The voice has a couple of episodic moments with sparse accompaniment.  The second section of this movement is where most of the activity occurs. It is important to use the eighth note pulse provided by the harp as the foundation. It will help tremendously in aligning the alto flute harmonics with the spoken text in the voice. 

Figure 5 shows the thicker texture section of the movement. 

Figure 5

VI. Cancioncilla Sevillana (A Little Song from Seville)

Marked Tempo di Habanara; scherzando, un poco buffo. This movement contains imitation, humor, repetition, and an increase in motivic material.  Placement of entrances is clear. However, timbral elision is important here. Since there are many occurrences of imitation between instruments, the flutist should be aware and and blend in quality with the other players. 

Figure 6 shows the imitation found between the flute (speak flute) and voice.

Figure 6

VII. Canción Tonta (Silly Song)

This is the only movement in the piece without a unique expression marking. It is only marked prestissimo, however just as the title indicates, it should be feel humerous, light-hearted, and lively in nature. This movement is consistently changing meter and the harpist is the only constant voice in this movement. It is important for the piccolo and voice to truly understand the rhythms found in each line, since the exchange between them occurs so quickly. 

Figure 7 shows the exchange between the piccolo and voice. It demonstrates the rhythmic complexity between the two parts.

Figure 7

© 2016 by Kathryn Hendrickson