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Cayabyab
Cayabyab
Cayabyab
Cayabyab
segmented into smaller rhythm patterns that grope briskly to pause on measure 9
na hinati sa mas maliit na mga pattern ng ritmo na mabilis na humawak upang ma-pause sa sukat 9
triple meter, thus minimizing the first beat to achieve propulsion. Thus, measures 1 to 8 can be
construed as one
triple meter, kung kaya minimizing ang unang beat upang makamit ang propulsyon. Sa gayon, ang mga
panukalang 1 hanggang 8 ay maaaring ipakahulugan bilang isa
the whole thing prepares for the entrance of the words. When one reaches the verse section, musical
cohesion is felt because the accented second beat of the introduction is still present. Across the
introduction and the verse, the structural down beats of the triple meter are maintained (though
downplayed), but when conjoined with the emphasized second beats (the antithesis), a pleasing,
alternating sound called a “hocket” is created. It is this flow of music that draws one to listen to the
music, not just hear it. The music continues to the other sections that are linked by the return of the
musical gestures in the introduction. As the music moves further, a break happens, indicated with a
change to slow tempo that heralds the grand, louder, homorhythmic section in major key and on the
words “Ang aking paga-asa...” Between the poles of “structure” (articulated by the down beat) and the
“rhetorical” dynamic second beat, one can imagine that, as in ritual, there is a play between fixity
(structure) and the larô-like varying elements in the music. The piece is clearly ternary in form. Cayabyab
respects this form, evidence of which is the emphasis of the melody over the doo-doo-doo
accompaniment. What makes the piece interesting is not his slavish treatment of the structure but the
play element that embraces it. The larô is in the constantly emphasized second beats, the quick
transitions of the contrapuntal figures, and in the changing textures. All these spell out the art of
rhetoric. Thus, his music projects more of a musical process than static form. Plainly speaking, it has a
dynamic quality.