{"id":390,"date":"2013-03-18T11:41:21","date_gmt":"2013-03-18T10:41:21","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=390"},"modified":"2019-03-29T12:34:34","modified_gmt":"2019-03-29T11:34:34","slug":"jazzforschung-45-2013","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/jazz-research\/jazzforschung-45-2013\/","title":{"rendered":"Jazzforschung \/ Jazz Research 45 (2013)"},"content":{"rendered":"

Christa Bruckner-Haring<\/strong>
\nGonzalo Rubalcaba und die kubanische Musik<\/strong><\/p>\n

Gonzalo Rubalcaba\u2019s musical style is marked by a balanced combination of musical elements adapted from the Cuban tradition, classical music and jazz. Born into a musical family of danz\u00f3n composers, Rubalcaba\u2019s strong sense of tradition is particularly evident in his recordings of the songs \u201eEl cadete constitucional\u201c, \u201eMi gran passion\u201c and \u201eSupernova 1\u201c:<\/p>\n

The characteristic rondo form of the danz\u00f3n (ABACAD plus montuno) is found both in Rubalcaba’s interpretation of \u201eEl cadete constitucional\u201c and his own composition \u201eMi gran passion\u201c. The conventional number of bars in each section and the distribution of composed and improvised bars in the repeated introducciones (A sections) are also important interpretative hallmarks. Formally, Rubalcaba\u2019s \u201eSupernova 1\u201c is reminiscent of a danz\u00f3n: a characteristic, easily recognizable section is used as an introducci\u00f3n; the other formal sections differ, exhibiting unique, concise features.<\/p>\n

The montuno in both \u201eEl cadete constitucional\u201c and \u201eMi gran pasi\u00f3n\u201c is based on a traditional, repetitive figure over a simple harmonic scheme. The bass plays a typical tumbao in both pieces. The piano part is also largely traditional, with rhythmic accompanying chords in two octaves and displaced accents.<\/p>\n

Rubalcaba replaces the traditional danz\u00f3n instrumentation known as charanga francesa (flute, violin, double bass, piano and percussion), typical since the early 20th century, with more jazz-oriented variations. \u201eEl cadete constitucional\u201c and \u201eMi gran pasi\u00f3n\u201c feature additional percussion instruments, such as timbales, g\u00fciro and conga. \u201eMi gran pasi\u00f3n\u201c also includes a flute, the playing style of which strengthens the danz\u00f3n impression, particularly in the lyrical B sections (parte de flauta).<\/p>\n

Rubalcaba integrates well-known pieces in the C sections of both recordings: \u201eEl cadete constitucional\u201c is augmented by John Philip Sousa\u2019s \u201eThe Stars and Stripes Forever\u201c; \u201eMi gran pasi\u00f3n\u201c includes strains of Jerome Kern’s \u201eSmoke Gets in Your Eyes\u201c.<\/p>\n

In both pieces, the cinquillo cubano \u2013 a rhythmic pattern typical to danzones \u2013 serves as the rhythmic basis. As a rule, Rubalcaba uses Cuban rhythmic formulas as the basis for multifarious rhythmic modifications, including heightening complexity \u2013 occasionally leading to rhythmic ambiguity.<\/p>\n

The improvised A sections of both \u201eEl cadete constitucional\u201c and \u201eMi gran pasi\u00f3n\u201c make distinct use of the jazz idiom; Rubalcaba implements resources such as virtuosic, often chromatic lines and chord substitutions, patterned sequences, abrupt modulations, use of the b3 scale degree, jazz reharmonization, constant structure and fourth voicings. The same materials also appear, in a more condensed form, during the montuno in the piano solo on \u201eMi gran pasi\u00f3n\u201c.<\/p>\n

\u201eSupernova 1\u201c, a modal jazz composition, contains less traditional elements than the other pieces. The most significant characteristic of this piece is its complex rhythmic structures \u2013 bimetric effects, leading to rhythmic ambiguity in the A sections. In contrast, two repetitive rhythmic formulas in the D section ameliorate the effect and provide orientation. Harmonically, \u201eSupernova 1\u201c is based on a central harmony with frequent sudden modulations.<\/p>\n

The primary characteristics of a traditional Cuban bolero are created by the emotional musical interpretation of the passionate, \u201elovesick\u201c lyrical content. Rubalcaba, however, tends to downplay the melancholic, sentimental character of this song style in the bolero interpretations analyzed here (\u201eB\u00e9same mucho\u201c, \u201eSilencio\u201c and \u201ePerfidia\u201c). He circumvents the frequent portamenti and sighing motives of the melodies, generally in two voices in thirds and sixths.<\/p>\n

Rubalcaba retains and occasionally augments the musical forms of the original compositions in all cases discussed here.<\/p>\n

The accompanying function of the guitar in the bolero (and in its successor, the feeling) is marked by rubato-like arpeggios and occasional melodic interpolations. Rubalcaba references this playing style with subtle, harmonized accompaniment in his solo versions of \u201eB\u00e9same Mucho\u201c and \u201eSilencio\u201c.<\/p>\n

Rhythmic patterns play a less prominent role, both in the bolero tradition and in Rubalcaba\u2019s music. When they do appear, it is in the melodic rhythm.<\/p>\n

In his trio recording of \u201eB\u00e9same mucho\u201c, Rubalcaba\u2019s slow tempo and elaborate, varied interpretation of the melody \u2013 featuring rhythmic and chromatic melodic variations and subtle second voicings in the accompaniment \u2013 contribute to an unusually calm, withdrawn atmosphere. On his solo version of the song this atmosphere is still more prevalent, strengthened by his rubato, ballad-style playing. The dense jazz harmonies are coupled with techniques from the European piano tradition, including suggestions of counterpoint and Baroque melodic embellishments as well as arpeggios in the style of the First Viennese School.<\/p>\n

Rubalcaba\u2019s version of \u201eSilencio\u201c also diverges, in a similar manner, from the original: here, he creates a transparent, floating mood marked by a strikingly slow tempo, ballad-style playing with a stately melodic sense, and jazz harmony including frequent use of suspended chords and added ninths. \u201eSilencio\u201c is also a showcase for Rubalcaba\u2019s classical background: he unobtrusively works individual clich\u00e9s from the Western piano tradition into the performance, including Baroque voice leading, classical or folk-style chord phrases and Romantic harmonic progressions.<\/p>\n

Rubalcaba\u2019s recordings of \u201ePerfidia\u201c, in contrast to the passionate nature of the original, exhibit a more dancerly character. Both versions include a montuno in addition to the original form. His improvised choruses make use of microrhythmic displacements, unexpected accents, differentiated dynamics and articulations, melodic circumventions, clich\u00e9-like secondary movement and virtuosic, chromatic lines as melodic material. His reharmonizations are based on a small but effective arsenal of effects, primarily the use of the #5, chromatic alteration of chords, sudden modulations, constant structure, oscillating harmony and modal interchange.<\/p>\n

The montuno in both versions, true to the son\/danz\u00f3n tradition, is based on a repetitive two-bar figure. During this section, various and partially contrasting jazz techniques are implemented \u2013 particularly chromaticism, patterned sequencing and strongly ambiguous, bimetric passages.<\/p>\n

The influence of the son, Cuba’s most common musical style, is strongly evident in Rubalcaba\u2019s recordings of \u201eEl manisero\u201c and \u201eWoody \u2018n\u2018 You\u201c:<\/strong><\/p>\n

Rubalcaba\u2019s \u201eEl manisero\u201c is based on the clave del son, adding rhythmic interest with occasional contractions of the clave. Here, the traditional array of percussion instruments \u2013 primarily maracas, g\u00fciro, timbales and conga \u2013 is used. The piano accompanies in octaves, using patterns derived from the characteristic playing style of the tres.<\/p>\n

The accenting of the \u201eweak\u201c fourth beat of the bar and attendant anticipation of chord changes is a particular characteristic of the son. It appears, in varying forms, in Rubalcaba\u2019s version of \u201eEl manisero\u201c, as well as in the montuno sections of both \u201eEl manisero\u201c and \u201eWoody \u2018n\u2018 You\u201c.<\/p>\n

Rubalcaba retains the original formal sections of \u201eEl manisero\u201c, with some alterations, augmenting them with a puente and a final montuno.<\/p>\n

The montuno is the central section of the son song form; it takes the form of a call-and-response pattern of short phrases, usually supported by a simple two- or four-bar harmonic scheme, in varying configurations. This kind of repetitive pattern, with a tumbao, appears in both \u201eEl manisero\u201c and \u201eWoody \u2018n\u2018 You\u201c, coupled with various jazz-derived materials.<\/p>\n

The montuno from \u201eEl manisero”, based on a I\u2013V harmonic movement, includes exceptional, contrasting passages during the improvisation, using rhythmic superimposition and accent displacement to create marked ambiguity.<\/p>\n

Both examined versions of \u201eWoody \u2018n\u2018 You\u201c begin with a son-style introduction based on a repetitive pattern. The piano solo over the montuno features increased use of jazz techniques, including abrupt modulations, chromatic coloristic effects, virtuosic melody lines, repeated notes in seconds, fourth voicings and clusters.<\/p>\n

Gonzalo Rubalcaba is a modern musician and composer, the creator of an easily recognizable musical language. This language is informed by his strong sense of tradition, a fact that is particularly evident in his performances of traditional Cuban material. While his earlier albums are noteworthy largely for their virtuosity and harmonic density, his interpretative focus has shifted over time toward increased lyricism, a diversified sound palette and multifaceted playing styles. He has also turned increasingly toward Latin American music and shows a heightened interest in his Cuban roots; this tendency, however, is enriched by musical resources including rhythmically complex arrangements, a ballad-like style, diverse tone colors and an abundance of techniques borrowed from jazz. This combination of materials, against the backdrop of his extensive classical training, constitutes Gonzalo Rubalcaba’s unique musical style.<\/p>\n","protected":false},"excerpt":{"rendered":"

Christa Bruckner-Haring Gonzalo Rubalcaba und die kubanische Musik Gonzalo Rubalcaba\u2019s musical style is marked by a balanced combination of musical elements adapted from the Cuban tradition, classical music and jazz. Born into a musical family of danz\u00f3n composers, Rubalcaba\u2019s strong sense of tradition is particularly evident in his recordings of the songs \u201eEl cadete constitucional\u201c, […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-390","post","type-post","status-publish","format-standard","hentry","category-jazz-research"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/390","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/comments?post=390"}],"version-history":[{"count":4,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/390\/revisions"}],"predecessor-version":[{"id":858,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/390\/revisions\/858"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}