“Need for Broader Analytic Frameworks for Real Diversity Development -

An analysis of Ardila-Pineda’s Un Mar de Fueguitos”

Diego Barbosa-Vásquez
Opera, Orchestra, and Ballet Conductor
www.barbosavasquez.com

Doctor in Music, 4th Year Student

Major in Opera, Ballet and Orchestra Conducting
Minors in Music Theory and Arts Administration

Jacobs School of Music – Indiana University

MUS – T556: Analysis of Music Since 1900

Dr. Eric Isaacson,
Dec 3rd 2022
 Barbosa-Vásquez 1

“Broader Analytic Frameworks for Real Diversity development-

An analysis of Ardila-Pineda’s Un Mar de Fueguitos”

Music Theory as an artistic/science has been allowing the understanding of music and

its development in multiple areas. The role of Music Theory is fundamental for the

development of the Music field (art and industry). However, Music Theory developments

have been influencing the development of only certain kinds of styles. Its historically limited

frameworks focused on pitch and structure analysis (in European concepts and values) has

been influenced the field to appreciate pieces only when they have complexities or

developments in those areas. That puts multiple very valuable pieces, traditions, and styles

under “no valuable categories” creating a very underdiversified field. With a more in depth

analysis of Ardila-Pineda’s Un Mar de Fueguitos that include analysis outside standard pitch

and structure centered frameworks, the present paper shows how a deep Music Theory

analysis with more varied frameworks could create a more holistic understanding of a piece.

An understanding that is translated into real broadcasting of the values of a piece. A way of

thinking, theorizing, and performing music that could create and encourage more diversity

in the music field, by becoming more aware of much more complexities than only pitch and

structures.
 Barbosa-Vásquez 2

“Music Theory as a guide for performance decisions-

An analysis of Ardila-Pineda’s Un Mar de Fueguitos”

Music Theory Influences in Music Creation and Performance

Music Theory as an artistic/science has been allowing the understanding of music and

influencing its development in multiple areas. It has allowed professional musicians to

understand music trends and compare them for analytical, performance, or even creation

purposes. Some examples could be the music analysis of Greek or Egyptian music that now

arrives to us as part of a complex encyclopedia of ancient music or the original theory

treatises from different eras after the renaissance that became the core of all the nowadays

training of professional musicians: Music Theory has influenced the way music is perceived

and understood. produced, and even performed.

In addition, the enormous influence that Music Theory has on music development is

enormous. On one side, there are multiple analyses of how one composer’s music has been

influenced by a previous one, or music construction techniques found in previous eras are

examples of it.

On the other, there is possible to see how certain composition styles or compositional

schools have been directly influenced by the frameworks that a Music Theory analysis

creates. The full 2nd Viennese school is precisely the clearest example of that, where the

composers started to write based on the “theoretical frameworks” that a music theory analysis

or development created. Similarly, this kind of strong direct influence could also be seen in

almost all European standard repertoire composers where the music developments of one
 Barbosa-Vásquez 3

composer could be traced or explained as a result/development of previous composer

influences by the analysis of his/her/their techniques 1.

However, there is an even more powerful influence of Music Theory in music

production and development that is not usually discussed in great detail. It is the one that is

created by the set of hierarchies values that a Music Theory analysis creates in the artistic

field (people, organizations, and full ecosystem) as a result of the creation or development of

analytic frameworks. In other words, the field validation of the artistry on a piece has been

directly based on how it follows, develops, or breaks under certain parameters a previously

analyzed framework while keeping most of the standards framework.

As examples, we can find the whole range of possible premiere responses from

audiences and the artistic field to a new piece in all compositional eras. From the pieces that

follow all the “rules” of the previously established ways of doing music (done by Music

Theory Analysis), to the most controversial ones that claim to challenge multiple Music

Theory Analysis frameworks. However, in a general view, all pieces of the standard

repertoire always keep some basic artistic field Framework to be taken seriously enough to

be worthy of being analyzed.

Of course, there are very remarkable examples as 4’33’’ which totally challenge

previously established parameters. However, despite the concepts of this piece were present

in humanity for a long time, the piece became “European Standard Repertoire Worthy” only

after multiple “new music developments” of the 20th century. Or in other words, only when

the concepts and values in which the piece was written were validated and accepted by the

1
Sadly a more historical percentage correct pronoun will be “his” as the one that could reflect how only
men were the ones usually analyzed and therefore influencing the music development too.
 Barbosa-Vásquez 4

traditional frameworks, the piece was considered worthy. That means that multiple styles and

music values were invisible or inexistent under the lens of these very narrow frameworks.

Another example of that could be Stravisky ballets. Despite their first possible

shocking audience responses (specifically talking about the Rite of Spring), the piece started

to get taken as an important part of the music development and also in part of the polytonality,

rhythmical, and sonorities analytical frameworks that could be derived from it. However,

these kinds of “developments” could be found in other cultures in their traditional musics.

Sadly a quick search of analytic developments around polytonality, rhythmical, and

sonorities are not found before Stravinsky's ballets 2. Therefore the question that arrives here

is, why only when a full orchestra and ballet organization produces music that broadcasts

these kinds of developments is when analysis around it start to appear?

One of the possible solutions is that much of this music was not written, and the

mental framework of Eurocentric scholars prioritizes or even only takes into account written

music. Is not a surprise that Bartok's analysis of Hungarian traditional music was done only

after it was transcribed to a paper. It does not imply the music did not exist. However, it

implies that the music and all the values surrounding it were not part of the scholarly

discussion until they were written. And more importantly, in their narrow minds, these kinds

of music were not influencing other music as the ones that were part of the already established

Music Theoric created frameworks. Something that is clearly a mistake as a close analysis

of the pieces could show.

This kind of society, scholars, or field validity and influence also creates a very

important element for music production that is the possibility to access “artistic resources”

2
ITHAKA, JSTOR®. "Search:." JSTOR. December 2, 2022. https://doi.org/https://www-jstor-
org.proxyiub.uits.iu.edu/action/doBasicSearch?Query=polytonality+in+traditional+music.
 Barbosa-Vásquez 5

(orchestras, recordings, tours, etc) increases based on the hierarchy that each piece of music

has received from the society, scholars, or field validity. The higher the hierarchy, the higher

it's chance to access these “artistic resources”. That means that a piece that is created under

already pre-established Frameworks has more possibilities to be performed. That system

encourages composers to write or favor certain parameters over other values.

There are multiple examples of this phenomenon, but probably Fuga con Pajarillo

from Aldemaro Romero or the Danzon No.2 from Arturo Marquez could explain that

situation. In the case of the Fuga con Pajarillo, a piece written in 1990, we can see how,

despite the fact of its amazing musical and social values of the “Pajarillo” (traditional

Venezuelan rhythm in which is based), was only when the fugue pitch and motives,

organization led the work, the piece was worthy of being played by a professional group and

become part of the international scene. The “Pajarillo” traditional Venezuelan dance with a

very interesting rhythm organization with the accent on two in a ¾ structure, and its

remarkable social component of a very virtuosity performance tradition that creates multiple

settings and human relations around the genre, was usually overlooked because of a pitch

framework perspective, it only uses a Tonic and Dominant movements. How interest could

be a piece with only Tonic and Dominant in the eyes of pitch-centered complexity validators.

It was only when the composer used the fugue as a Pitch centered development framework

when the piece started to be seen seriously enough for professional performance and a string

orchestra was called. Could the piece be able to be performed by a professional ensemble if

it used the traditional way of basic Tonic and Dominant bass movements with virtuosic

melodic improvisations above? Therefore, there is a clear indirect but powerful influence of

pre-established Music Frameworks in the way music is composed to be able to get the

necessary broadcasting.
 Barbosa-Vásquez 6

A similar analysis could be done with Danzon No. 2 and how the orchestration, the

use of Sonata form, and the melodic and phrases developments were influenced by previous

European analytic developed frameworks. Criterias that created a society taste or set of

values required to be fulfilled in order to be played by a symphony orchestra, even when the

piece was also based on a very important traditional Mexican Danzon, a dance by itself with

enormous musical and social values.

Therefore, is clear that Music Theory has been playing a crucial role in the way music

has been and is being created and performed. The question here, also based on the decolonial

mindset where the values of worldwide cultures are being analyzed and broadcasted with the

lens and frameworks from their own values, avoiding the previous eras of Eurocentric

unnecessary and highly problematic validation, is how Music Theory could embrace

worldwide diversity? How Music Theory could help compositional performance decisions

that prioritize the unique values of each piece and their specific culture and set of values

associated with that instead of perpetuating the Eurocentric pitch and structure approach? 3

The Americas Chamber Orchestra Call for Scores 2020 and how I arrived to

conduct Un Mar de Fueguitos

In Spring 2020, in the middle of the first months of the total confinement of the

pandemic, the world started to realize the hugely important role that art and culture play in

daily life. People that were 24/7 thinking about their jobs and crazy money producing focus

live, were now trying to understand their purpose in life. Even the concept of a possible

tomorrow was not even clear. These kinds of reflections encouraged people to use art as a

3
Pitch approach that only takes into account the European division of pitch of 12 notes per scale, not taking
into account other ways of approach pitch with more “micro-tonalism” or others divisions approach as could
be seen in other cultures: Indian, Japanese, first nations, etc.
 Barbosa-Vásquez 7

way to understand themselves and of course their cultures. Was a great way to realize that

actually feeling, sharing, and existing are bigger issues than producing money and paying

bills. People realized that they could have a voice. Also, this situation allowed people to

know that there are multiple important voices too.

Because of this unique humanity moment, and following the artistic commitment to

supporting new creative voices, The Americas Chamber Orchestra launched its first Call for

Scores in late spring 2020. The goal was clear: in a moment of uncertainty where human

existence was in fact part of the discussion, be able to broadcast the new music voices of our

continent outside the previously biased Frameworks that previous eras were creating.

The call for scores was sent to multiple institutions primarily across America (From

Argentina to Canada) based on TheACO leadership connections. In addition, JSoM

composition faculty connections allowed the call for scores to be sent to different USA

education institutions and other organizations on other continents helped to spread the word

about the first call for scores of a newly formed orchestra with less than a year of creation.

The call for scores received around 100 scores from more than 29 different countries.

Now the goal was how to “judge” a piece without giving preferences to the pieces with

already established Frameworks (described earlier in this paper) and rather focus on the

specific piece's characteristics and its own values. The solution was to assign 4 different

judges. Each one with a different career path and career state, and each one with a set of

tables that allowed to interchange values to assign scores based on the specific characteristics

of each piece. In my case, as Music Director of the Orchestra and therefore one judge of the
 Barbosa-Vásquez 8

call for scores, the vectorial analysis framework was to me the most flexible and time-

effective solution to analyze this enormous set of scores 4.

After 3 sets of qualifying rounds, with deeper analysis of the pieces each time, the

winner of the first The Americas Chamber Orchestra Call for Scores 2020 was Un Mar de

Fueguitos by Raul Ardila Pineda. Which by the way is Colombian, information that was

visible only after the winner was decided 5. The biography of Raul Ardila Pineda could be

found on his website. The following is the English translation of it:

Colombian composer, arranger, and trumpeter. He began his musical studies at

the La Estrella music school in Antioquia, learning the guitar and later joining the
Municipal Symphonic Band as a trumpeter. He graduated from the Débora
Arango Higher Technological School of Arts in 2015, with an emphasis on
trumpet, and in 2021 he graduated with honors from the University of Antioquia
as a Master of Composition. Since 2017 he has been a pedagogical facilitator in
the musical training processes of the Ministry of Education and Culture of the
municipality of La Estrella, where he began his studies. He is a performer in
various groups in the city of Medellín related to Latin American and traditional
Colombian music, an aspect that can be seen reflected in his creative processes
as a composer, being a strong influence.

In training him as a composer he has obtained some recognition. He was the

winner of the VI edition of the National Composition Contest of the Caldas
Symphony Orchestra, in 2018, with the work Morlen. And also, winner of the
2020 Call for Scores composition contest organized by The Americas Chamber
Orchestra (ACO), with the work Un Mar de Fueguitos. As an arranger, the prize
for the best tribute arrangement of El amor de Claudia, performed by the La
Estrella Symphonic Band in the national band contest of Paipa (Boyacá), in 2020,
stands out. He was also the winner of the 2nd composition contest for plucked
string orchestra format of the Risaralda Pulsed String Orchestra (2021), with the
work Creole Deconstructions. And recently winner of first place in the 2021-
2022 Symphonic Composition Contest of the Musica con Passione Foundation,
with the work Biohó, three palenque scenes. Since 2020 he is a composer

4
Of course, every piece could be analyzed in extreme detail as Un Mar de Fueguitos is going to be done later
in this paper. However, for a Call for Scores with this amount of participants, a more general view was
required for practical purposes.
5
Probably a good area of research about why this happened probably focusing on the shared musical and
cultural values of two judges (the Music Director and Concertino of the orchestra) who are also Colombians?
Why without knowing the composer was Colombian because names were left outside the consideration of
the winner, it result to be a Colombian…? Interesting questions for future developments.
 Barbosa-Vásquez 9

associated with the publishing house Cayambis Music Press, in whose catalog
several of his works are published 6.

Usual study and Preparation of Un Mar de Fueguitos for Recording Session

Once the piece was selected as the winner of the competition, now the task of

translating the cold set of musical instructions to live music was in charge of The Americas

Chamber Orchestra. Of course, multiple administrative, business, and community challenges

were found during the process, always premiering a piece comes with multiple difficulties.

However, for the purpose of this paper, those challenges will not be described and analyzed

because of each one of those required enough time and separate and correlated analysis to be

understood. Other sets of papers will be required for that 7.

The other complex difficult task, associated more with the musical, artistic, and even

pedagogical dimensions, is how the performance, recording, and rehearsals are going to be

handled to be sure the unique values of the piece are being broadcasted and not only. This is

perhaps, from a musical standpoint the most difficult task because is putting all your training,

knowledge, and skills to serve a piece and trying to add your unique vision of the piece,

because at the end is an interpretation, without making your biases talk to you.

However, despite the fact is an interpretation and therefore is only one vision of the

score, doing a premiere is a complex task because it carries a sense of “this is the way should

be played”. Therefore, always premieres require a very unique preparation being sure that

more than a conductor or an orchestra type of playing is leading the performance decisions;

the values of the piece are being broadcasted as the leading factors for interpretation

6
Ardila Pineda, Raul Esteban. "Search:." Raul Composer. January 1, 2022.
https://doi.org/https://www.raulcomposer.com/bio.
7
However, if someone is interested in knowing more about this process, this is a useful bibliography (
https://www.barbosavasquez.com/single-post/call-for-scores-2020-theaco
https://www.facebook.com/ACO.Chamber.Orchestra/videos/396536401364724
https://www.facebook.com/ACO.Chamber.Orchestra/videos/1629931483835813 ).
 Barbosa-Vásquez 10

decisions. A good interpretation should aim for that every single time even for standard

repertoire. However, if for instance, you are doing a Beethoven symphony with a very skilled

orchestra and a very experienced conductor, experience and research shows that there is a

high chance the interpretation will carry certain “traditions” from the orchestra and conductor

that could or could not be directly influenced by the piece and instead by the way orchestra

and conductor approach music.

As with many artistic goals, that share multiple characteristics of a utopic way of see

the world, the goal of creating a perfect interpretation that broadcast only the values of the

piece is of course much easier to say than actually be able to do. And in my case looking in

retrospect, actually, my biases and unique training could also affect the first recording of that

work.

My training in Colombia as a conductor was a very complete one focused on Choral,

Opera, and Orchestra conducting as a whole. In addition to all the required conducting skills

and knowledge, my alma mater for my two bachelor degrees (Conducting and Viola) was a

very demanding school. In addition, my Music Theoretical training included advanced aural

skills, multiple musicology approaches to different eras and cultures, advanced orchestration

techniques of different ensembles and aesthetics, and very strong theoretical training where

even as not composers, we were required to write symphonies, fugues, sonata forms in the

styles of different composers, and even twelve-tone suites. This strong training allowed me

to be able to understand the reasons for every single note in a score almost by inertia or

without actually needing to think. And therefore I was able to understand the values being

broadcast by this music almost automatically with the usual score study.

However, arriving in the USA in 2017 to do my Master's degree I found a hole in my

training. In Colombia, the music written after 1920 is (or was) not usually available,
 Barbosa-Vásquez 11

performed, and of course, analyzed in such detail as we do with the previously composed

music. Arriving as the unique conductor in the School for my Master's degree and as a

cover/assistant conductor of the university symphony and opera, I was immediately put in

the position to be required to conduct pieces with multiple “new” aesthetics. Pieces that, in

many cases by this days, my knowledge, fluency, and relation with the styles did not allow

me to understand every single note reasons as I did with earlier periods. Of course the extreme

amount of scores week by week that my university responsibilities and my Music

Directorship of the World Music Symphony Orchestra make very difficult the task of sitting

down and figuring out step by step what each piece was doing. However, was not the same

with Mozart, Mendelsohn, or even a Strauss scores. There was a clear lack of day-to-day

relation with those pieces and languages, that even though the theoretical content was in my

head, it did not emerge as easier as with other more standard repertoire pieces. I feel very

blessed now in 2022 writing this paper, that after this Master's degree in APU, and my full

Doctoral Degree at IU, where these challenges and music relationships experiences were

constantly part of my daily life, now I can see with more fluency these patterns with music

after the 1920s.

However, back in 2020, in this new piece I encountered a great challenge. A new

piece with multiple new values, that I knew were there because the subcontinent told you but

your brain cannot figure it out in an automatic way.

As other professional conductors and performers (in the professional field and Grad

IU professionals can corroborate), the amount of scores and pieces we encounter day by day

is enormous. And sadly I must admit that with this practical issue of limited time; many times

some scores cannot be analyzed as deeply as they could be. In the end, each performer takes

a very executive decision and uses their time to focus on analysis or develop the areas in
 Barbosa-Vásquez 12

which his/her/their job is required. In the case of a conductor, being sure the concert broadcast

the piece in the best possible way under the personal and orchestra timing possibilities.

The goal of the preparation for the premiere 8 was clear: because of the two rehearsals

of one hour and a half that we are going to have, we are going to focus in broadcast three

main elements of the piece: First, the incredible color approaches of the strings (with

pizzicatos, overtones, changes of bows techniques and extended techniques), the inner

rhythmic developments based on a traditional Colombo/African rhythm called Jota

Chocoana, and third the fugato structure at the end of the piece. The full set of rehearsal

planning was done in order to broadcast those characteristics. Rehearsal planning that of

course included the normal technical elements of orchestra playing of balances, notes,

rhythms, colors, and intonation corrections. Elements that in a premiere where the piece is

new for all is a very difficult task by itself and with a limited amount of rehearsal.

I was clear that pitch and structure were not the unique special characteristics that the

piece was broadcasting. My subcontinent was showing me other connections and despite the

fact, my brain was more ready to see the usual pitch and structure connections because of my

training and previous biases and experiences. I knew that I had to overcome a practical

element of the preparation: the time available for it, could not allow me to see (as is done

automatically with other styles) all of the other patterns. But I decided as I do with all scores

I receive in my hands, to spend as long time as required until I can understand note by note

how each sound was broadcasting the values that the piece wanted to portray.

This decision cost me much more time and effort than the time I use to study other

pieces. I needed to develop my own frameworks that could correct all the training and

8
A premiere that sadly was cancelled by IU Bloomington Campus and Jacobs School of Music Covid policies,
only 1 day before the premiere and interrupted the rehearsal and recording plans.
 Barbosa-Vásquez 13

experience holes that Eurocentric Pitches and structure training and experience created. But

this is something that I was able to do because we were in a pandemic, and the artistic world

stopped in many ways. I was still conducting Opera and Orchestra every week. However, I

was not in the same normal fully blocked time agenda with 12 to 15 scores per month as is a

normal conductor and musicians live. Probably, in a normal circumstance, I could only see

the values of the piece but not able to pull all of the information because I did not have the

preexisting experiences and diverse frameworks to see it automatically as a normal

professional life requires.

And this is precisely my point about the enormous importance of a more diverse set

of Music Theory frameworks that could take into account far more than the usual Eurocentric

values. While there are tons and tons of analyses of Beethoven or Mozart music, and multiple

“critical editions” looking for ghosts in a type of articulations placed by composers about one

single note in a very messy score, there is not even a clear edition of multiple traditional

Latinamerican, African, Indian, or first nations pieces. And of course even more difficult to

find serious research or analysis trying to understand the music, using the unique set of values

of the culture where the music was done. The music world in many ways is very well versed

in a very small percentage of music, of what we call the “standard repertoire” while is totally

ignorant on the majority of the world's musics.

That could explain the crazy moment we are facing where a look for diversity is

usually transformed into tokenism. Currently, instead of understanding the values of each

piece by itself and work to produce knowledge that help to broadcast their own values, we

use the already established patterns or filters of Eurocentric Frameworks, even when they

only prioritize certain kind of values. As a famous saying says “we are judging all animals

for their capacity to climb trees (or build music around sound and sometimes even only
 Barbosa-Vásquez 14

Eurocentric approach pitches). However, with that unique filter for all, a fish will never be

valued as a good animal no matter how complex and outstanding it is. Neither music with

other values priorities (such as community building, communication, praying, etc, are left

behind) will be valuable under unified Frameworks that prioritize certain music features.

This lack of already diverse mindsets in the scholarly world also permeates the

academia and classroom experiences of multiple players. And as this case shows, it also

influences the way music is being performed, and perceived by the audiences. It influences

the access to “artistic resources” and once again, it creates a complex circle were music is

produced only following the already established frameworks of what is considered good

music.

And as a performer and scholar, I want to change and break that pattern because the

world is too big and there are too many amazing cultures and music that as humanity we

deserve to experience and nurture. And that is precisely why, this paper is very interesting

for me because it gives me the time to search into the inner values of a piece I love, and take

the time to prepare a much more robust analysis of its values for an upcoming possible

performance or recording.

Analyzing the piece

As described before, the piece has multiple elements to be analyzed. Following a

comprehensive analysis that makes justice to all its characteristics, is going to be a very

difficult task for a single paper. Not even sure if a full dissertation would be the proper length

of analysis because it could show only one set of thinking, the author's approach. That is the

reason why there are multiple doctoral dissertations around one single piece of the standard

repertoire.
 Barbosa-Vásquez 15

However, the present paper does not aim to show all the details of the piece. Instead,

it wants to demonstrate that a more holistic analytic framework approach could give a better

understanding of a piece with its own and unique specific value. Therefore for the sake of

the present paper, we are going to focus on four main elements that could give a performer a

sense of what is happening in the piece, the values it represents, and how to handle and

broadcast them.

The analysis is going to be developed in 4 main areas: The structure, the pitch content,

the color approaches, and the rhythmic developments around traditional dances. The first two

Frameworks of analysis are very common in the Eurocentric Music Theory. However, as is

going to be shown during the following scrutiny, those are insufficient and in many ways

secondary to understanding the real values of the piece. Therefore this kind of new mindset

aims to prove that the usual structure of thinking is obsolete for real diversity understanding

because multiple values around a piece are being left behind. Only in the development of

stronger new Frameworks that contemplate new ways of understanding different values, is

where real diversity going to be found.

The Structure Organization of the piece:

The present analysis is going to start with a usual normal analysis of a piece that

shows certain kinds of sections. Of course, this very big view is basic, but at the same time

very important to understand how the piece was structured. Very important information for

multiple reasons. First, is going to give us clues about which sections are going to have their

own logics and therefore concentrate our research efforts with some kind of boundaries.

Second, which sections could have other logics maintain or be a mixture of logics. Same wise

it allows us to do a more structured or organized analysis. And third, it gives basic clues to
 Barbosa-Vásquez 16

the performers about how the performance energy trip is going to be developed in a general

sense.

Therefore in that case, the piece could be divided into 3 main areas: Beginning to

letter D where the main thematic materials are presented. From letter D to letter G that is a

contrasting mid-section that presents new musical materials. And letter G to the end which

is a recapitulation of the first section but with the use of fugato techniques making the

recapitulation way much more interesting than the simple repetition of materials with some

unified tonal center.

This kind of division can go deeper. In terms of the first area from the beginning to

letter D, we can find different sections. First is a short introduction from the beginning to bar

14 which is the place where the composer presents the set collection that will be used in the

piece (see figure 1). More information about that collection is later on in the Pitch analysis

portion.

Figure 1. 9

9
Ardila Pineda, Raul Esteban . 2020. Un Mar de Fueguitos - Para Orquesta de Cuerdas. 1st ed. Itagüí,
Antioquia, Colombia: Raul Esteban Ardila Pineda. https://www.raulcomposer.com/ensambles-de-
camara/un-mar-de-fueguitos. Page 1
 Barbosa-Vásquez 17

Second, the first thematic area goes from Bar 14 to letter A. In it, the composer shows

not only the melodic materials that he is going to use and some of the first instrument relations

(more in-depth analysis on the colors approach), but also and most importantly the extreme

rhythmic complexity of the piece (more in-depth analysis on the rhythmic analysis).

A third subsection goes from A to D where a new distribution of melodic materials

between different voices is achieved as a way of thematic development. We can see here how

the piece’s main melodic material found in bar 26 (Figure 2) goes from a basic element to a

way much more complex element in bars 53 and 94 (Figure 3 and Figure 4).

Figure 2. 10

10
Ibid, Page 3
 Barbosa-Vásquez 18

Figure 3. The developed theme in different presentations. 11

Figure 4. The developed theme in different presentations. 12

11
Ibid, Page 7
12
Ibid, Page 11
 Barbosa-Vásquez 19

As we can see in these parts of the score, the composer is not only using counterpoint

and melodic/phrase expansion techniques to develop the theme. But also is adding unique

kind of colors and rhythmic complexities. With instruments using new ways of approaching

their techniques for the color, and for the rhythm development in the basic bar structure as

well in the multi-rhythmic organizations of different instruments on themselves and with

their relations with other instruments. (Both developments are analyzed in more depth later).

The second big section starts on D and it presents a totally different landscape creating

a very interesting contrast in the musical flow. This section could be also be divided on two

sections.

Figure 5. 13

The first one with more ethereal sounds from the violins and in which the rhythm

complexity is avoided by now a simple 4/4, but also with the cellos creating a loss of rhythm

(Figure 5.).

And a second one (Figure 6) is a mid-connection between the mysterious sound of

the previous part, and the third big section that will retake the complexity of rhymes and

thematic development structures.

13
Ibid, Page 12
 Barbosa-Vásquez 20

Figure 6. 14

The third big part of the piece that goes from letter G to the end could be divided in

3 sections. The first one goes from G to H and is built under a fugato structure that presents

the theme (now as a 4 bars theme) in all the instruments one by one. Viola (letter g), Vc (bar

169). Cb (bar 173), Violin 2 (bar 177), Violin 1 (bar 181); plus a closing section from the

original theme organization on the first big section.

The second section Goes from H to I. It follows a similar fugato structure, presenting

this time the theme 4 times. However, this time, as Figure 7 shows, the themes come with

the inclusion of inverted contours creating interesting variations to this main third section of

recapitulation. Same wise, this subsection ends with the use of part of the original material

presented in the introduction (however not the same as the previous version)

14
Ibid, Page 15
 Barbosa-Vásquez 21

Figure 7. 15

And finally, the piece closes with the last subsection that goes from letter I to the end

which is a summary of the thematical elements used in the piece ending with the same

materials it started but now with a stronger energy to close the movement and the clarification

of the winning centricity on F as Figure 8 shows. A topic that could be understood better with

the description of pitch collections.

Figure 8. 16

15
Ibid, Page 21
16
Ibid, Page 26
 Barbosa-Vásquez 22

The pitch content

The piece in terms of pitches is based on two main collections. An Octatonic 1,2

(OCT1,2) for the first and third part, and for the second and contrasting part the piece is built

under two Diatonic Structures (DIA 5# or C# Dorian, and DIA 3# or C# Phryian). In addition,

the piece has a holistic centricity on E and F during the full piece with the collection of pitches

working around these notes.

The Octatonic 1,2 Collection

The piece starts showing very clearly which are going to be the pitches used for the

first and last part (See Figure 9). In the first 4 measures the pitches are distributed in two

main chords: F C# G B E and E D G# B G.

Figure 9. 17

17
Ibid, Page 1
 Barbosa-Vásquez 23

If those collections of pitches are organized as a unique collection we have: “C# D E

F G G# B” That is an Octatonic Collection OCT1,2, with a missing A# that is going to appear

only until bar 25 in the second violin second divisi (Figure 10).

Figure 10. 18

One question that appears is how the harmonic glissandos of bar 16 are going to be

approached. They start with an A but A represents a problem. On one side A is not part of

the OCT1,2 collection, however, the glissando actually does not stays only in this note.

Therefore we already have very important performing information saying to us that the

glissandos are only a color effect and our performance should cover any kind of possible

association with A as the root note of them.

A more in-depth analysis shows that indeed, the OCT1,2 is present in all subparts of

the first and third parts. For instance, in bar 14 (Figure 11) we can see that the Vla, Vc, and

CB still have the two clear chord organization: bars 14 and 15: F C# G B E and then 16 and

17: E D G# B G.

18
Ibid, Page 3
 Barbosa-Vásquez 24

Figure 11. 19

Similarly, in bar 22 (Figure 12) we can still see the same organization with chords

with F C# G B E and then E D G# B G. But in addition the composer presents the first

melodic motive using the notes of the OCT1,2. F E F G C# B found in Cello 1 in bar 22, and

Violin 1(2) in bar 26. And B A# B C# G F present in Violin 2(2) in bar 25 and Violin 1(1) in

bar 27.

19
Ibid, Page 2
 Barbosa-Vásquez 25

Figure 12. 20

The relation of both subsets used for the melodic motives is also interesting. Both

have 5 notes and because are related by the tritone or T6, them could be seen also as a T6

chain. Also, it means that, because of the OCT1,2 context, from their 5 notes a T6

transformation will produce 4 similar notes (C# F G and B ) and 1 changing from E to A#

(the tritone).

Motives Original: Motive at T6:

F E F G C# B B A# B C# G F

Subsets C# E F G B C# F G A# B

Common tones C# E F G B

Changing E to A#

20
Ibid, Page 3
 Barbosa-Vásquez 26

Similar developments could be seen in different parts of the piece as:

The thematic development of letter A with viola, Violin 2, and Viola in bars “A”, 48, and 53

respectively (Figure 13)

Figure 13. 21

The sequence of cello (bar 82) Violin 2 (letter c) and Viola bar 94 (Figure 14).

Figure 14. 22

The start of the third part (the seudo recapitulation but in fugato section), also uses

this structure in its first three instances with Viola in Letter G, Cello in bar 169, and Bass in

bar 173 (Figure 15)

Figure 15. 23

And also in the final theme repetitions with viola in letter I and 219 that is the same, Violin

2 in 224, and viola in bar 229 (Figure 16)

21
Ibid, Pages 5, 6, and 7.
22
Ibid, Page 10 and 11.
23
Ibid, Page 18 and 19.
 Barbosa-Vásquez 27

Figure 16. 24

In addition to those sequences if T6 transformations, we can find on the piece other

T transformations. In the Fugatto, recapitulation, or third part of the piece, after the first 3

stances previously described with Viola, Cello and Bass, the next two other entrances (Violin

2 in bar 177, and Violin 1 in bar 181) are built under other T transformations (Figure 17).

Taking the original motive starting on F, the Violin 2 is built with a Transformation of T9,

and Violin 1 with a T3 Transformation.

Figure 17 25.

In addition, this T transformation is also used to created a more (pitch-focused)

development on bar 224 (Figure 18), where the composer use the full motive under two

different transformations. With Violin 2 on T6 and Violin 1 in T9. Similar approaches of the

theme are also found on the bar 29.

24
Ibid, Page 24 and 25.
25
Ibid, Page 19 and 20.
 Barbosa-Vásquez 28

Figure 18 26.

In the case of bar 29 (Figure 20), this bar could be analyzed by different lens. First,

it has the double T relation between the instruments by the way Violin 1 and Violin 2 are

related by T6:

Inverted Row Ab G F B C# 8 7 5 11 1

T6 Relation D C# B F G 2 1 11 5 7
*Important to clarify that the first note of each instrument at bar 29 is not part of the

relation described on this chart.

And second, there is the relation between the original motive and its inversion under

0 ir I0 that creates this secondary related motive “Inverted Row”.

Original Motive Row F E F G C# B 5 4 5 7 1 11

Inverted Row G Ab G F B C# 7 8 7 5 11 1

This inverted version of the theme is also present on the first entrance of the theme

chain on bar 80 on the cello (Figure 19).

26
Ibid, Page 25 and 4.
 Barbosa-Vásquez 29

Figure 19 27.

Continuing with bar 29 (Figure 20), it is also very interesting in terms of complexity

because in addition, it contains all the materials in one single bar.

Figure 20 28.

27
Ibid, Page 10
28
Ibid, Page 4
 Barbosa-Vásquez 30

On one side we can see all the melodic materials. The inverted motive in Violin 1(1),

the inverted motive with another additional T transformation in Violin 1(2), the original

motive in Viola and Cello. And on the other the basic chords of the beginning are part of the

texture placed on Violin 2, Viola, and Cb that now also add a new melodic passage in the

bass with the E D C# F F (analyzed with more calm in the rhythmic analysis).

Similar organizations could be seen in all the similar subsections as letter B (with

only the melodic motives), and bar 66 (with the melodic and chord motives), and in the third

recapitulation section where the subsections of this material is repeated in bars 185 and 205

with a development analyzed with more calm in the rhythmic analysis.

The Diatonic Collections on Second contrasting Section:

As explained before, the second section is focused on creating contrast between the

full piece. In addition to the rhythm and colors developments analyzed later on this paper, in

terms of pitches the composer creates contrast by changing to Diatonic Collections.

The first part of this section starts with C# Phryian: C# D E F# G# A# B (Figure 21.)

Here is also important to note that the Doble bass melody also contains an A natural that is

outside of the collection (Figure 22). Because of the context, and because later the A will not

also appear in the next collection, we can argue that it could be considered a leading tone to

the G# becoming a lower 6th tone in the C# Phryian scale.

Figure 21 29.

29
Ibid, Page 13
 Barbosa-Vásquez 31

Figure 22 30.

This section continues its development immediately with the next subsection of the

bass phrase, with a collection that now is transformed into a C# Dorian with the pitch

collection: C# D# E F# G# A B (Figure 23) Similarly to the previous part, we still have a

note outside the collection: D as the leading tones to C#.

Figure 23 31.

30
Ibid, Page 13
31
Ibid, Page 13
 Barbosa-Vásquez 32

Because of the main goal of creating contrast by simplicity in this section, the

composer repeats the same kind of pitch collections under different textures more focused in

melodies and accompaniments. However, for the sake of focusing on other aspects beyond

the pitch analysis, the present paper will leave this more in-depth analysis of the second part

to other researchers and performers interested in this amazing piece.

The color approaches

One of the most remarkable elements of the piece, as explained before, is the amazing

amount and variety of colors that the composer is able to develop. A very good explanation

of the reason for this enormous diversity of colors could be found in the original notes to the

program that the composer adds to the performers in his score (Figure 24).

Figure 24 32.

In it, the composer describes that the piece was inspired by El Mundo, a short tale

from the Uruguayan writer Eduardo Galeano that talks about the Mar de Fueguitos or the

“Sea of Little Fires”. It is a literary simile that the writer uses to say that from the sky, is

possible to see how each person shines with their own light around others. It shows that even

32
Ibid, Page i
 Barbosa-Vásquez 33

in the mass (the sea) we are unique and our unique diversities glow and make the world a

vivid world (each little fire).

Because of the lack of strict Frameworks that can lead a Color Approaches

development, the present analysis will become a more descriptive narrative focused on four

types of colors. Cello Motive (Center Glissando, Trino, Aleatoric), Harmonics, Tremolo

(Pitches and bow), and extended techniques. The analysis will try to find some connections

hoping that later analysis of the piece could understand them with stronger Frameworks for

Color Approaches that could be developed.

The piece starts with a dialectic response between strict sonorities in chords: Our

famous first 4 bars that also contain the full pitch information of 1st and 3rd sections (Figure

9). And the next 3 bars start using very interesting Color approaches (Figure 25).

Figure 25 33.

These three bars (Figure 25) have enormous color information. First, in the cello (Figure 26),

they have a color produced by the combination of trinos performed within a semitone

distance and the addition of a movement in glissando from F to E and then to E. Also with

the addition of the sul ponticello sound with very little pressure on the bow.

33
Ibid, Page 1
 Barbosa-Vásquez 34

Figure 26 34.

That is a very unique kind of sonority used only at the beginning of 1st section and

then in the second section with the cellos too. Despite their relatively low percentage use,

this motive actually highlights a very important part of the piece that is the centricity

relations. The first time in the first section this color shows the E and F relation. If we come

back a little bit to the Pitch structure of 1st and 3rd sections, we can see that the subsections

have a strong E-F relations. The first chord (Figure 9) is built under F and the Second is built

under E (Figure 9). A constant relation that, because the melodic motives are built under

these two basic chords, is going to permeate the full piece.

And then in the second part (Figure 27), this color focused motive changes its pitches

to a more Mode focused with the E and F# in addition to the C# and B showing know more

diatonic moments between the notes.

34
Ibid, Page 1
 Barbosa-Vásquez 35

Figure 27 35.

Also, a subpart of this color, the Sul Ponticello, is actually a very important part of

development of the full piece. It is part of the phrase that creates contrast in addition to the

rhythmic development of ⅝. Found in bar 35 helping, letter B, bar 211 (Figure 28)

Figure 28 36.

It also is part of the melody on Violin 2 in letter C and at bar 224 (Figure 29)

35
Ibid, Page 12
36
Ibid, Pages 5, 8, and 23.
 Barbosa-Vásquez 36

Figure 29 37.

The Second color that is presented in bar 5 is the harmonic in Viola (Figure 30). In

this case, asking for a natural harmonic of the D string. Color that is also used later in Violin

1 in bar 78 now with a tremolo (Figure 31)

Figure 30 38.

Figure 31 39.

37
Ibid, Page 11 and 25
38
Ibid, Page 1
39
Ibid, Page 9
 Barbosa-Vásquez 37

This harmonics-based color becomes also very important in the piece present in

multiple places. A long passage of them starts on bar 12 and goes up to 25 first with a stable

tempo of quarters, and then as a free rhythmic color (Figure 32), color that later is used only

in is free rhythm version in letter E in violin 1 (Figure 33).

Figure 32 40.

Figure 33 41.

And another type of harmonic color organization is the one that is seen in the second

part in bar 109 (Figure 34). Then used also from the second bar of F (Figure 35). A type of

color that then is developed with an addition of tremolos in bar 121 (Figure 36).

40
Ibid, Pages 1 and 2.
41
Ibid, Page 14.
 Barbosa-Vásquez 38

Figure 34 42.

Figure 35 43.

Figure 36 44.

42
Ibid, Page 12
43
Ibid, Page 15
44
Ibid, Page 13
 Barbosa-Vásquez 39

The third type of motive based on color introduced in the 5th bar is the tremolo of

two notes sul ponticello on Violin 2 (Figure 37).

Figure 37 45.

This motive is found in different parts of the piece. Is present in Violin 2 in bar 18

with development of divisi and each voice doing its crescendo a diminuendo but displaced

by a bar (Figure 38). Is present on the bar 142 in violin 1 (Figure 39), and in bar 151 on violin

2 (Figure 40), in this case used for multiple bars until G, becoming the unified motive

connecting the two sections that will lead to the third part or recapitulation.

Figure 38 46.

Figure 39 47.

45
Ibid, Page 1
46
Ibid, Page 2
47
Ibid, Page 15
 Barbosa-Vásquez 40

Figure 40 48.

This motive is also developed with a fifth, the going to a fourth, and returning to the

fifth with the tremolo now placed on the bow and keeping the crescendos diminuendo

structures. This is found in bar 43 in Violin 2 as well as bar 44 in Violin 1 only in its first

part of the motive, as well as bar 94 and 95, 2019 and 2020, and 229 and 230. (Figure 41)

Figure 41 49.

And the development of these color variations goes a step further on letter H (Figure

42) with the Viola playing only the 4th in tremolo and with the dynamic also associated with

48
Ibid, Page 16
49
Ibid, Pages 6, 11, 24, and 25.
 Barbosa-Vásquez 41

the color of the string going from pp to mp and returning to pp, while going from ordinary

playing to sul ponticello and returning to ordinary.

Figure 42 50.

A four element of color that is present in the piece is the use of not usual string

techniques that could be considered extended techniques. The first one is the playing behind

the bridge producing a very nasty sound 51. The first time it appears is in bar 48 in Violin 1

working towards highlying the complex rhythm structure of the bar (more info later on

Rhythm development) and then a repetition in letter C. (Figure 43)

Figure 43 52.

The next extended technique is the col legno battuto that is taking the wooden part of

the bow and use it to hit the strings creating a percussive note with pitch 53. This technique is

found first time on bar 50 in viola and cello (Figure 45), and on the third bar of C, creating

an interesting combination with the previous extended technique (Figure 46).

50
Ibid, Page 21
51
The description of this sound requires multiple explanations no pertinent for the purpose of this paper,
but in case interested, this is the sound: https://www.youtube.com/watch?v=SytjKpNJ1P0 /
https://youtu.be/MBm679FVuPE?t=172
52
Ardila Pineda, Raul Esteban . 2020. Un Mar de Fueguitos - Para Orquesta de Cuerdas. 1st ed. Itagüí,
Antioquia, Colombia: Raul Esteban Ardila Pineda. https://www.raulcomposer.com/ensambles-de-
camara/un-mar-de-fueguitos. Pages 6 and 11.
53
Example of the sound here: https://www.youtube.com/watch?v=Ijdb3U1CRdo
 Barbosa-Vásquez 42

Figure 45 54.

Figure 46 55.

Here is precisely where the Colors Approaches and their development analysis

become a very important element to highly value the pieces. These values were not visible

under the previous structural and pitches analysis frameworks. These two approaches only

showed a piece with similar characteristics to other multiple pieces. And in that sense, if a

performer is Music Theory trained only under the usual structure and pitches analysis, in the

professional world reduced time, he/she/they probably will never be able to see the enormous

values that the piece has in these areas.

54
Ardila Pineda, Raul Esteban . 2020. Un Mar de Fueguitos - Para Orquesta de Cuerdas. 1st ed. Itagüí,
Antioquia, Colombia: Raul Esteban Ardila Pineda. https://www.raulcomposer.com/ensambles-de-
camara/un-mar-de-fueguitos. Page 6
55
Ibid, Page 11
 Barbosa-Vásquez 43

However, until this point, a very analytical mind and a serious and accurate musician

will be able to see the previous relations. In the end it is only about looking carefully and

PROFESSIONALLY at the score and being sure all the information that is there is being

broadcasted properly and coherently into a performance decision. But sadly it is only in the

following analytical part that the piece really becomes an amazing piece of art. Is not only

because of the enormous complexity that has been described previously, but also because the

composer is able to craft all of this complexity into an even more difficult one which is the

traditional rhythms of Jota Chocoana and Tamborito.

The Rhythmic developments

The contrasting portion

As is very easy to see from a rhythmic perspective is the contrast that is created in the

second section by the selection of an stable 4/4 for the section that creates enormous contrast

to the full piece. Not many rhythmic developments could be seen in this area because, for

definition, the simpler the better to create great contrast. However, despite its simplicity, we

still found some interesting elements. First, the inclusion of a ⅞ in bar 133 (Figure 47)

Figure 47 56.

56
Ibid, Page15
 Barbosa-Vásquez 44

Second, a “Clave” or 3+3+2 organization on a 4/4 bar starting on bar 139 (Figure 48).

Figure 48 57.

And a complex series of accent displacements and developments on bars 151 to letter G that

are based on these “claves” with changes of eights, and quarters triples, that create interesting

rhythm combinations instead of a boring 4/4. This passage is also used as a rhythmic bridge

between the simplicity of the 4/4 of the 2nd section and the enormous complexity of the 3rd

section based on the 1st section complexities.

A full piece built around traditional dances

The more amazing element of the piece is that all the complexities previously

explained are magisterially built under two traditional dances of Colombia: the Jota

Chocoana 58. The Jota Chocoana is from a region of Colombia called Choco, and in the case

of Tamborito is originally from Panama but is also present in the north Pacific region of

Colombia. To understand its presence in Colombia, is important to remember that Panama

was part of Colombia until 1903 when it was gifted to the USA, and by the time this music

was developed the knowledge of countries actually was not part of the thinking.

57
Ibid, Page 15
58
You can see some examples of these dances here: Jota Chocoana:
https://www.youtube.com/watch?v=jVQwVDoQYeA and the Tamborito :
https://www.youtube.com/watch?v=HsjJksQ10Jo
 Barbosa-Vásquez 45

The full pacific regions from where these dances and music are from have an

enormous African influence being one of the regions with more African American people in

Colombia. This huge African influence also comes with their very rich and extremely

complex rhythmic structures. Their knowledge of the rhythm, which even became a highly

developed cryptography way of communication under slavery, creates an enormous

complexity in their traditional dances.

In the case of these both dances, their rhythm and aesthetics are developed to such

great detail of complexity that there are no frameworks that could explain their complexity

in total, or at least not known by the researcher. The fact that, after more than 18 years of

high-level professional worldwide training and being Colombian with extreme focus on

worldwide music understanding under multiple values (as is the case of the researcher), also

demonstrates again how ignorant we are in other areas outside structure and pitch

Eurocentered centered frameworks. Trying to understand the complexities of this

dance/rhythm/culture (for a lack of better words) within the present paper could not be

enough to cover all of their rhythm complexities. Therefore we are going to focus only on

certain generalities that are very visible on the piece.

The first element that is very clear is that the piece has multiple time signature

changes. Both, the Jota Chocoana and the Tamborito are very rich in rhythms and have, what

later multiple people called, polyrhythmic organizations. Just by seen the dances (add video

here) is very impressive to see not only how the dance is difficult from the single person

perspective, but also is difficult from the couple, subgroup, and group perspective. With very

complex movements and choreographies that are easier to see than actually explained by a

non-dancer professional as the author of this text.

 Barbosa-Vásquez 46

In addition, the instruments both, the Jota Chocoana and the Tamborito, as well as

their melodies, their percussive motives, and their relations by themselves and to others have

a constant 6/8 and ¾ relations. If doing a simile with pitches structures, we could say that is

like the Major Minor mode, where there is a point where is not about one or another, is both

at the same time and only one depending of what you are looking at. Or is it like Hexachordal

combinatoriality, were the 4 subsets of a 12-tone row are in constant interaction between

themselves and the others. That is why Un Mar de Fueguitos is very rich in bar changes. not

because of a very “academic” or planned change to create complexity, is just the result of

rich melodic and percussion complexities that permeate the horizontal organizations.

This complexity goes to a very serious point where even the organization of the bars

are very subjective even to the composer and performers. For instance Bar 22 to 24 (Figure

49) could be easily done either in ¾ or in 6/8. All are correct, both emphasize what the music

needs. And is not only about one instrument needing one marking or the other. Because as

we see in the cello 1, it mutates from a 6/8 to ¾ and then again to a 6/8 structure. While the

Viola, cello 2 and bass start on ¾ then viola and cello 2 mutate to a 6/8 patter and the bass

keeps its ¾. However, if we analyze other parts of the score, as for instance the bar 8 (Figure

50), we see that the rhythm the bass is doing could be also associated with a 3/4 organization.

However, very common on the Tamborito, a 6/8 approach is more correct where the accented

notes are always the first one and the fifth one in a pattern of 6/8.
 Barbosa-Vásquez 47

Figure 49 59.

Figure 50 60.

This rhythmic structure of accents in 1 and 5 parts of the bow are also present in bars

40 in viola (Figure 51); cello in bars 45, 96, 216, 221, and 231 (Figure 52, all 5 instances are

59
Ardila Pineda, Raul Esteban . 2020. Un Mar de Fueguitos - Para Orquesta de Cuerdas. 1st ed. Itagüí,
Antioquia, Colombia: Raul Esteban Ardila Pineda. https://www.raulcomposer.com/ensambles-de-
camara/un-mar-de-fueguitos. Page 3
60
Ibid, Page 1
 Barbosa-Vásquez 48

the same motive); violin 2 in bar 80 and 84 (Figure 53); and in viola and Vc in bar 226 (Figure

54).

Figure 51 61.

Figure 52 62.

Figure 53 63.

Figure 54 64.

61
Ibid, Page 5
62
Ibid, Page 10
63
Ibid, Page 6
64
Ibid, Page 25
 Barbosa-Vásquez 49

This very intricate matrix of multiple relations of rhythms at once means two things.

First, that the change of bars has to be as fluent as possible in order for every single line to

keep its own flow without interfering with the others. And second, each line has to understand

very clearly their part and their unique kind of accentuations at each bar in order to get the

correct melodic phrasing that this rhythm is asking. Or as the Jota Chocoana and Tamborito

dances show, every single person has to know very well when and how to move within their

own dance as a person, as a couple, as a sub-group, and as a full group.

And second, an element also connected to rhythm development, is that the tempo

changes come from a more analytic perspective of development that tries to emphasize the

dances’ complexities. These are the bars of ⅞, 8/8 organized in 3+3+2, the ⅝, and the 9/8.

Each one of them has its own reasons for being organized that way.

The first one that appears is the ⅞ bar in the 2nd bar (Figure 55). It shows from the

beginning that this relation between 3 and 2 is going to be continuous and present throughout

the piece. This motive is organized in 3+2+2 and appears again in bar 17 (Figure 56). In

addition, it appears one more time in bar 21 but is now organized in 2+2+3 (Figure 57), and

once again in bar 25 with its original 3+2+2 (Figure 58).

Figure 55 65.

65
Ibid, Page 1
 Barbosa-Vásquez 50

Figure 56 66.

Figure 57 67.

Figure 58 68.

66
Ibid, Page 2
67
Ibid, Page 2
68
Ibid, Page 3
 Barbosa-Vásquez 51

In terms of the 8/8 in 3+3+2 9/8 and ⅝, they are the result of thematic augmentations

and diminutions that were adding or eliminating eights on the bar structure. This is seen on

bar 29 to letter A (Figure 59). Starting with an 8/8 in 3+3+2, then adding an extra eight to the

last part creating a 9/8, then eliminating these last 3 notes transforming the motive to a 6/8,

and then eliminating the first note of the second part of the 6/8 creating then a ⅝.

Figure 59 69.

Figure 60 70.

69
Ibid, Page 4.
70
Ibid, Page 5.
 Barbosa-Vásquez 52

Conclusion

More Frameworks are needed to really understand the values of a piece

As the previous analysis shows, only when the color and rhythmic developments were

analyzed, the full meaning of the piece was understood and it becomes unique. The fact of

discovering that the piece is based on dance is what actually amalgamates the full piece. It

allows that from a performing perspective, the piece actually makes sense as a masterpiece

and also becomes a very virtuosic masterpiece. All the complex structure, all the complexities

of pitch relations, all the amazing colors, all of that has to be perfectly played in a very easy

dance feeling that keeps a steady fluent rhythm that resembles the complex but fluent dances

of Jota Chocoana and Tamborito.

As you can see, structure and pitches are secondary elements to what really makes

this piece of music important and relevant for humanity. And the fact that we do not have

actual strong Frameworks and terminology to explain with the same complexity the colors

and rhythm elements that make this piece really important, is the perfect example of how

solving a diversity problem is not about giving voice to others only if they speak your

language or if they fit under your frameworks. This piece could be seen only as another piece

if the structure and pitches are analyzed, but when the colors and rhythm analysis is added,

only when the values of the piece itself become the frameworks in which it is going to be

judged, it becomes a wonderful masterpiece with remarkable complexities and simplicities

at the same time that makes it a great piece to play and listen.

Furthermore, in addition to the crucial role Music Theory has in diversity through

broader frameworks. More diverse frameworks are required to prevent performers to become

weak in terms of how they handle pieces from different backgrounds. Because if only those
 Barbosa-Vásquez 53

were criterias, instead of creating a holistic view of music where they can see the special

characteristics of the piece; scholars and performers will continue only seeing and analyzing

pieces outside the cannon as less. Not because they are less but rather because the people

playing, seeing, or analyzing them are just using their usual tools: pitch and structure

analysis. Their responses are already biased because there will be many pieces in which pitch

and structure are only secondary to the values that the composer or communities want to look

into their music. Therefore, this is a call to performers and scholars, to go beyond their

comfort zone and innovate, learn, and be able to change their minds to new ways of doing

music and help from your unique expertise to create more ways to see and value multiple

kinds of music under their unique values.

Bibliography

Ardila Pineda, Raul Esteban. 2020. Un Mar de Fueguitos - Para Orquesta de Cuerdas. 1st

ed. Itagüí, Antioquia, Colombia: Raul Esteban Ardila Pineda.

https://www.raulcomposer.com/ensambles-de-camara/un-mar-de-fueguitos.

________. "Search:." Raul Composer. January 1, 2022.

https://doi.org/https://www.raulcomposer.com/bio.

ITHAKA, JSTOR®. "Search:." JSTOR. December 2, 2022. https://doi.org/https://www-

jstor-

org.proxyiub.uits.iu.edu/action/doBasicSearch?Query=polytonality+in+traditi

onal+music.
Barbosa-Vásquez 54