June 2008 - volume 9 - issue 4
By Dr. Abel Saldivar Ramirez
"The Art of Performing the Spanish Paso Doble"
Monday, July 28 4:00-5:00 p.m.
Convention Center Room: 217
Clinician: Dr. Abel Saldivar Ramirez
Accompanied by the John Paul Stevens High School Wind Ensemble
Throughout my entire professional career, the Paso Doble, or pasodoble, has truly been a mystery to me. Over the past 20 years, our profession has experienced a steady decline in the performance of Paso Dobles. I can, however, appreciate why music educators often resist adding Paso Dobles to their list of traditional concert program selections. Based upon recent and completely unscientific polls that I have taken, it has become increasingly evident to me that the absence of significant resources (historical and performance practice treatises) is part of the reason why fewer performances of these musical treasures are heard. Although tracing the origins of the Paso Doble (as they are perceived in the modern concert band setting) is nearly impossible, this exercise is an attempt to at the very least provide the music educator with definitive points of reference from which informed decisions can be reached.
The presentation that will be given during the TBA Clinic/ Convention is entitled: The Art of Performing Spanish Paso Dobles. In the interest of preserving time, let us assume that we are all in agreement in terms of how one defines "artistic." With the much appreciated assistance of the Stevens High School Wind Ensemble, Robert Rubio, Director of Bands and John Dominguez, Assistant Director of Bands, the following performance practice items will be addressed.
I. Historical References:
(In our quest to identify specific points of reference from which informed musical decisions can be reached, the following items should be considered by the conductor. Although the origins of the popular dance-style of Paso Dobles can be traced to motets of the twelfth and thirteenth centuries, as well as Zarzuelas, more practical references will be addressed) Paso Doble (literal Spanish translation: double-step) is a typical "march-like" musical and dance style performed by a couple. The Paso Doble is one of many Spanish folk dances that are associated with various aspects of Spanish culture. It is this style of music that has become a signature item during bullfights. As the audience enters the arena and locates their seats, the band will often play a spirited Paso Doble at a faster tempo than the one's to follow. The event then begins with a single trumpeter blowing a fanfare while the large gate at one end of the arena is opened. One or two bailiffs (alguaciles) ride across the ring to the president and tip their hats. The official thereby returns the gesture and waives a white handkerchief granting permission for the "corrida" to officially begin. This gesture is acknowledged by a loud trumpet call. After the "alguaciles" return to the gate, the "corrida" band performs a dramatic Paso Doble, which is played at a tempo that reflects and controls the grand nature of the opening "paseo." In most Spanish bullfights, there are three matadors and six bulls-two for each matador. The "paseo" is led by three matadors with all of their teams following closely behind. (More details regarding the nature of the Spanish bullfight and the music performed during these events will be included in the clinic handout)
II. Style:
Because not all Paso Dobles were written for bullfights (or in honor of famous bullfighter's), there are diverse stylistic issues that should be considered. Some ideas that will be addressed throughout the presentation include:
- Definitive attacks that are not too abrupt and "eloquent" releases.
- Hierarchy of musical lines.
- Length of notes (especially in bass lines), as well as notes followed by RESTS.
- Ensemble Color: Low Reeds (especially during the trio)
- VIBRATO!!
III. Articulation:
With the assistance of the Stevens High School Wind Ensemble, issues regarding articulation (especially brass articulation) will be examined. The Stevens High School Wind Ensemble will perform excerpts taken from well-known Paso Dobles to help make more clear the importance of teaching appropriate articulation.
IV. Tempo:
Throughout the history of music, the issue of tempo (and all that it implies) has been one of the most pressing interpretive concerns for the performer. While discrepancies in performance are often the result of misconceptions, several issues will be addressed in attempt to identify specific points of reference from which the conductor can draw while making decisions about appropriate tempi. For example, some items that a conductor should consider include:
- Composer: Who wrote the music? What was the composer's INTENT!!? Birth place? When was the music written? Who published the music? When was it published?
- How does choice of tempi affect phrasing? Expressivity? Style?
- Tempo rubato
Dr. Abel Ramirez
Dr. Abel Ramirez
Associate Professor, Co-founder and Conductor - in - Residence of the International Honor's Wind Symphony, Dr. Abel Ramirez was recently appointed Acting Director of Bands for the University of Illinois, Urbana - Champaign, School of Music beginning in the fall of 2008. Ramirez holds the Doctor of Musical Arts Degree in Wind Conducting from UCLA where he studied with Professor Thomas Lee. Dr. Ramirez also earned an MME from Texas A&M University-Kingsville and a BME from the University of Texas at San Antonio.
Prior to accepting an invitation to begin graduate study at UCLA, Ramirez enjoyed a successful career as a Texas 5A high school band director. Each of the wind bands that he conducted were consistent U.I.L. Sweepstakes Award recipients and were frequently named "Best in Class" at numerous music festivals. His marching bands also qualified for the Texas 5A State Marching Band Competition every year that he served as the Director of Bands. As director of the Jazz Bands, his top ensemble was named Grand Champion at the St. Mary's University Jazz Band Festival where Ramirez also received the "Outstanding Jazz Band Director" award.
During his tenure as the Director of Wind Bands at California State University, Los Angeles, Ramirez served as the Head of the Conducting Division and Chair of the Instrumental Area. Ramirez also served on 6 departmental and university committee's each year. His academic responsibilities include teaching courses in Beginning to Advanced Conducting, History and Literature of the Wind Band, Orchestral Percussion Techniques, Instrumental Techniques, Music Education and Score Analysis. Dr Ramirez established one of the largest graduate conducting studios in the country averaging 5 to 6 graduate students yearly. During the fall and winter quarters of 2008, Ramirez added to his responsibilities by serving as the Interim-Director of Bands at the University of California, Irvine.
Throughout his appointment as a Teaching Assistant at UCLA from 2000-2004, Ramirez served as the principle graduate conductor for the UCLA Wind Ensemble and Symphonic Band, both of which he rehearsed and conducted during numerous concert performances. In 2003, Ramirez was appointed Interim-Director of Bands at California State University, Los Angeles. Since his arrival at CSULA, Dr. Ramirez raised the wind ensemble to a level of national prominence, receiving numerous invitations to perform at state and national conferences. Beginning in 2004, Dr. Ramirez conducted performances of the CSULA Wind Ensemble and Symphonic Band at the annual Fresno State University Collegiate Wind Band Conference where his ensembles won the praise from many of our professions most reputable and respected senior conductors all of whom served as performance evaluators. In 2007, the CSULA Wind Ensemble was invited to perform as the featured wind ensemble during the FSU Wind Band Conference, as well as the California Music Educators Association/MENC Conference, which was held at the Ontario, California Convention Center. Most recently, the CSULA Wind Ensemble accepted an invitation to perform at the 2008 CBDNA (College Band Directors National Association) Western/Northwestern Division Conference hosted by the University of Nevada, Reno.
Dr. Ramirez' musical expertise and conducting experience is diverse. He has served as a music-industry consultant, part-time teaching associate and instrumental music program advisor in Santa Monica and several other Los Angeles area school districts. He has also served on the advisory board for American Classic Music and Music America. Most recently, he was asked to serve on the board of advisors for the Institute for Latin American Music Study at Sam Houston State University which was created by Fred Velez III/Director of Bands. Ramirez is also a highly sought guest conductor and guest lecturer. Throughout his career, he has conducted numerous symphony orchestras, countless wind ensembles, chamber ensembles, 2 opera's and several musicals. Ramirez maintains an active schedule as a clinician and adjudicator for wind band, orchestra, marching, and jazz band festivals throughout the country. He recently made his Carnegie Hall conducting debut during a shared spot-light evening concert with the National Wind Symphony, H. Robert Reynolds, conductor. Shortly afterwards, Ramirez was appointed resident-guest-conductor for the International Honor's Wind Symphony, which he founded in a collaborative effort with Distinguished Concerts International New York. Dr. Ramirez will conduct the premiere performance of the International Honor's Wind Symphony at the Lincoln Center's Avery Fisher Hall in May 2009.
