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Familia Valera Miranda (Se quema la chumbamba (Melody (The main Riff is…
Familia Valera Miranda
Se quema la chumbamba
Structure
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4 bar cuatro intro, which presents a guajeo used throughout the song
A long cuatro solo is followed by a short coda, based on the coro refrain
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Harmony
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Frequent use of E♭ over the D7 chord. Implying either the dominant minor ninth chord, or, at times the diminished seventh chord.
In the cuatro solo, the cuatro uses a wider range of chords, sometimes as sliding parallel progressions, or the major subdominant chord of C major.
Melody
The main Riff is first heard in the cuatro and features two related phrases, both of which feature rising and falling thirds
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The vocal refrain (coro) is similar each time, beginning on either the third or fifth of the tonic chord in the first phrase, to land on an unprepared seventh (C) in the second bar
The second phrase begins on the supertonic, which leaps to the dominant before falling to the tonic
The cuatro solo is more varied with a wider range and use of all the notes of the harmonic G minor scale
C♯ is used quite frequently, as a chromatic inflection onto the dominant.
The ‘improvised’ pregón phrases begin on the upper dominant D, and sometimes also move to E♭ before falling again to the tonic.
Rhythm and Metre
2/4, but heavily syncopated, so position of first bar is sometimes 'disguised'
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Son claves 3:2 rhythm
Presented and implied throughout, and is vital in most Latin American styles and comes from African rhythm
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The cuatro solo varies the rhythmic divisions of the beat by including triplet crotches, quavers and syncopation
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Alla va candela
Harmony
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A wider range of chords is used in the bolero section, where E and B7 (I and V) chords are varied with the use of A (chord IV) and F♯ 7 ( V of V) and with an E7 (I7) at bar 28 .
The cuatro solo section expands the effective harmonic vocabulary by the use of chromatic inflections in the melodic line, and by use of some extensions
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Rhythm and metre
Transcribed in 4/4, the opening Bolero section is head in 2//2
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The cuatro solo has syncopations, triplets, hemiola figures (bars 103-104) and rapid quaver figurations
Melody
The cuatro melody (bars 4–12) and the vocal idea A )bars 15–23) share the same basic shape and structure.
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The vocal refrain idea is a simple repetition of notes of the E major triad (tonic) and the outer notes of the B major chord (dominant).
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The cuatro solo is very flexible melodically. It uses triadic shapes, stepwise motion, larger leaps (bars 85–86), chromatic inflections (bars 69, 72) and all notes of the chromatic scale are used (bars 82–83)