MAPEH 7 MUSIC

1. FOLKSONGS OF THE LUZON (Lowlands)
 Folk songs are songs written by the folk and are sung to accompany daily activities such as
farming, fishing, and putting the baby to sleep
 Traditionally passed on orally.
 Most Philippine folk songs have Spanish and other Western influences.
The people created melodic chants and indigenous instrument based on the materials available
where they lived.
The folk songs of Luzon lowlands are performed in their native language such as Ilocano,
Pangasinense, Kampampangan, Tagalog, Bicolano, and others.
Characteristics of folk songs are as follows:
 Originally passed down orally to the family, and to other members of the community
 Learned through rote
 Sung in their own dialect
 Begins in one key and ends in the same key
 Composers and lyricists are usually unknown
 Mood can be sentimental, playful, and humorous
 Concepts are based on nature or people’s work, tradition, culture
 Short and simple
 Either in duple meter 2, triple meter 3, or quadruple meter 4
4 4 4
Some examples of Philippine folk songs from the lowlands of Luzon are:
ILOCANO
• Pamulinawen
• Naraniag a Bulan
• Manang Biday
• Dungdungwen Kanto
• Bannatiran
• Ti Ayat ti Maysa nga Ubing
• Igid Diay Baybay
• Diro ni Ayat
Kapampangan
• Atin Cu Pung Singsing
• Doredo
• Caca, O Caca
• Ing Bulung Lara Y Rizal
• Tinanam Kung Kamantigui
• Misan a Cayaldawan
• Patag a Bundoc
• Nung Acuing Cucutnan
• Y Mariang Malagu
TAGALOG
• Magtanim ay ‘Di Biro
• Bahay Kubo
• Leron Leron Sinta
• Sitsiritsit
• Paru-parung Bukid
BICOLANO
• Sarung Banggi – means “one evening,” a folk song from Sto. Domingo, Albay.
– for Bicolanos,this is notonly a songbut also a festival thatshowcasea variety of
cultural and religious activities that is held every 18th to 25th day of May and
performed at night.
– A tribute to its composer, Potenciano V. Gregorio Sr,
LITURGY AND DEVOTIONAL MUSIC
• Religious music of the lowlands of Luzon reveals the impact of Spanish colonization to the
Philippines
• Introduction of Christianity camethe different Western forms of music that areused for religious
rites
• Some of these were adapted by Filipino musicians to suit Philippine culture and traditions
– (i.e. Music used for Salubong, Senakulo, Santacruzan, Flores de Mayo)
• Some indigenous Philippine musical forms were incorporated to Christian practices
- (i.e. Obando Fertility Rites and Pasyon chant)
PASYON
 Pasyón is a Philippine narrative of the Passion, Death, and Resurrection of Jesus Christ.
 In a form of song with a dramatic theme.
 A book with stanzas of five lines of eight syllables.
 The whole text is chanted
 Also known as “Pabasa” and is recited during Holy Week (Semana Santa)
SALUBONG
 A religious ritual that re-enacts the meeting of the Risen Christ with His mother on the dawn of
Easter Sunday.
 Performed under a prepared arch where the veiled image of the Virgin Mary has been placed.
 A child dressed as an angel is lowered by ropes from a high platform to lift the mourning veil of
the grieving mother while other children dressed in an angel costumes sing the “Rigena Coeli
Laetare,” meaning “Queen of Heaven.”
 Church bells are rung to signify the end of Virgin Mary’s mourning for Jesus Christ’s resurrection
from the dead.
FLORES DE MAYO
• Flowers of May” is a Catholic festival held on the month of May.
• Performed as a devotion to the Blessed Virgin Mary or “Alay” (offering)
• Held in the church or chapel wherein children offer flowers to image of the Virgin Mary while
singing “Alay”.
SANTA CRUZAN
• A religious-historical event that dramatizes of finding the Holy Cross by the Queen Helena and
her son, Constantine the Great.
• Held throughout the Philippines during the month of May.
• Sagalas and escorts parade the streets of the community; the musiko (brass band) accompanies
the procession with music “Dios Te Salve Maria”.

2. SECULAR MUSIC
1. HARANA
 a serenade traditionally sung by a man to express affection to a woman.
 sang with emotion and usually accompanied by a guitar.
 some popular Filipinoharana songs are “Ang Tangi Kong Pag-Ibig,” “O Ilaw,” “Dungawin Mo Hirang”.
 in duple or quadruple meter in danza menor or habaneratempo.
2. KUMINTANG
 originated from Balayan, Batangas
 in triple meter with themes of love and courtship
 in 1926, when Pasig became the venue of carnival performances, Nicanor Abelardo was inspired to
compose the “Mutya ng Pasig” in kumintang tempo
 the mutya expresses her feelings under the light of the moon, she is mourningthe loss of her love, which
symbolizes the country’s loss of freedom
3. PANDANGGO
 a dance formthat canbe found inthe different islands of Luzonsuchas Batanes, Ilocos, and Tarlac, and
parts of the Visayas.
 a variation of the spanish word fandango.
 became popular in the 19th century among the elite of Manila.
 a form of entertainment in the Tagalog regioncalled Pandangguhan is performed during social celebrations.
 a courtship dance but it can also refer to a type of song to entertain the farmers in the ricefield.
 the singers of the folk song called pandanggeros and pandanggeras.
4. POLKA
 originatedfrom a Bohemiandance that became popular inEurope and America in the early 19th Century.
 it was performed in elegant evening gatherings at the heights ofits popularityduring the Spanish colonial
period.
 the tempois inquick duple meter while the melody is supported by the chords/harmonies of tonic (I),
dominant (V) and sub-dominant (IV).
 some Philippine folksongs that are in polka rhythmlike Pamulinawen(Stone-hearted), MagtanimAy‘Di Biro
(Planting Rice Is Never Fun) and Leron-leron Sinta (Leron the Beloved).
5. BALITAW
 a dialogue or courtshipsong in triple meter, mostly in 2 and 3 parts forms and arranged with counter
melodies.
 Example are: “Sa Libis ngNayon,” “Bakya Mo Neneng,” composed bySantiago Suarez and “ Arimunding-
munding,” composed by Severino Reyes.
6. KUNDIMAN (Art Song)
 came from the word “kung hindi man”
 it melody, lyrics, and expressive singing, the kundimanconveys a selfless andspiritualattitude, intense love,
longing, caring, devotion, andonenessnot only witha romantic partner, but also with a parent, child, a
spiritual figure, or the motherland.
 in musical context, kundimanusuallystarts ina minor keythen goes to the major key and in triple meter.
 some famous Filipinokundiman composers are FranciscoSantiago, Nicanor Abelardo, Bonifacio Abdon,
Francisco Buencamino, and Angel Peña.
 among the famous kundiman performers in the early 1900’s are:
• Atang de la Rama
• Jovita Fuentes
• Conching Rosal
• Ruben Tagalog
 some examples of the kundiman are:
• “Pilipinas Kong Mahal” by Francisco Santiago
• “Nasaan Ka Irog” and “ Huling Awit” by Nicanor Abelardo
• “Jocelyn an Baliwag” byanunknown composer inspired revolutionaries in Bulacan during the
1896 revolution
• “Sa Sariling Bayan” by V. Tolentino
• “Iyo Kailan Pa Man” by Angel Peña
INSTRUMENTAL MUSIC
1. BRASS BAND
 brass bandis anensemble of woodwind, brass, and percussioninstruments in the Philippines.
 usually played in fiestas, religious, and civic celebrations
 repertoire may include folk songs, popular music, dance music.
 bands were so remarkable that everytown used to have two or more bands. They sometimes
participate and even compete in many town band competitions.
 most fiestas are celebrated invarious provincesof the Philippines to honor their patron saints.
 town fiestas i made more lively by band music.
 a parading brass band is called a marching band.
 provinces like Rizal andLaguna, and schools in the Philippine Military Academy are home to
prominent brass bands in the Philippines.
Brass Band Instrument
Woodwinds
Piccolo
 shorter than the flute
 the sounds it
produces is thinner thanthe
flute
Clarinet
 has a single-reed
mouthpiece
 a straight cylindrical
tube withcylindrical bore, anda flaredbell
Alto Saxophone
 commonlyusedin
classicalmusic concert bands,
chamber music, andsolorepertoire,
militarybands, marching bands and
jazz bands
Tenor Saxophone
 a medium-sized
member of the saxophone
family
 uses large
mouthpiece, reed andligature
than the alto and soprano
saxophones
 easilydistinguished
bythe bendinits neck, or its
crook near the mouthpiece
Flute
 an earophone (wind instrument) that produces its sound from the
flow of air across an opening
 sound it produces is thin in timbre

3. BRASSWINDS
TROMBONE
 sound is
produced when the
player’s vibrating lips
(embouchure) cause the air column inside
the instrument to vibrate
 the name means “ large trumpet”
 pitch is produced by sliding the valve
TRUMPET
 has the
highest register in the
brass family
 played by blowing air through almost-
closedlips, producing a “buzzing” sound
that starts a standing wave vibration in
the air column inside the instrument
EUPHONIUM
 a valve
instrument
 current models
are piston-valved
 it is a non-
transposing instrument
 known for its
distinctive tone color, wide range, variety
of character and agility
SOUSAPHONE
 known as the
bass, is a type of tuba
designedto be easier than
the concert tuba to play
while standing or marching
 widelyemployed
in marching bands and
various other musical genres
 the bell is above the tubist’s head and
projecting forward
FRENCH HORN
 commonly known as the horn
 a brass instrument made of tubing wrappedintoa coilwiths flared bell
 qualityof the sound mayalsobe controlledthroughthe adjustment of
lip tensionin the mouthpiece and the operation of valves by the left hand
PERCUSSION
CYMBALS
 consist of thin, normallyround plates
of various alloys
 used in many ensembles ranging
from the orchestra, percussion
ensembles, jazz bands, heavy metal
bands, and marching groups
 the heavier the cymbals the louder
the volume
 thin cymbals have a fuller sound,
higher pitch, and faster response
SNARE DRUM
 known as a side drum is an ever-present
percussion instrument known for its cylindrical
shape and powerful, staccato sound
 often used in orchestras, concert bands,
marching bands, parades, drum lines, drum
corps
 played with drum sticks or brush
BASS DRUM
 produces a note of low definite and indefinite pitch
 known as percussion instrument and vary in sizes
“Lupang Hinirang,” was
 originally entitled “Marcha Nacional Filipina.”
 composed byJulianFelipe inmarch time tempoandinitiallyperformed by the San Francisco de
Malabonbandat the Proclamationof Philippine Independence onJune 12, 1898 in Kawit, Cavite
 consideredas an“incidental music” which means a background music set into a particular
event/occasion in a dramatic mood
 year after, Jose Palma wrote the lyrics adapted from the Spanishpoem“Filipinas” and entitled it
“Hiimno Nacional Filipino”.
LAS PIÑAS BAMBOO ORGAN
 as the Philippine National Treasure, the BambooOrgan canbe foundin St. Joseph’s Church, Las
Piñas City.
 It is made of902 bamboo pipes completed in 1824 under the supervision of Fr. Diego Cera.
 Every February, the city celebrates the International Bamboo Organ Festival. A number of
established foreignandlocal artist participate inthe cultural event. It aims to pursue anddevelop
the rich cultural tradition of Las Piñas City.
MUSIKONG BUMBONG
 Musikong Bumbong is Filipino marching bands that use bamboo woodwind instruments
 The shapes and the sizes are similar to brass band instruments but have different sou nds
 D’OriginalMalabon Musikong Bumbong started as a plain Banda de Boca (meaning bibig or
mouth) in Barrio Tonsuya, Malabon in 1896.
 Felix Ramos was boththe founder andinventor of the bambooinstruments. The first members of
the band were all Katipuneros.
 The band was renamed several times but is currently known as Musikawayan under the
leadership of P/Lt. Col. Gilbert M. Ramos.
 Pangkat Kawayan, popularlyknown as the “SingingBamboos ofthe Philippines,” is an orchestra
that plays music using non-traditional bamboo instruments, founded in 1966.
 The group’s musical instruments, numbering more than a hundredare made of six kinds of the
versatile bamboo in various sizes, shapes and designs.
 One of the best features of this bamboobandis promoting and playing our native Philippine
folksongs to other countries. The group’s repertoire also includes folk melodies from other
countries, modern and popular music and some light classics.
THE PANGKAT KAWAYAN INSTRUMENTALS
INSTUMENTS DESCRIPTION
Angklung
 Is a bamboo-rattle tubes attached to a bamboo frame.
 tubes are carvedto have s resonant pitchwhenstruck, each
angklung represents a note and are tuned to octaves.
 plays the counterpoints to the melody
 is played byshaking the lower part with one handwhile the
upper end holding it with the other hand steady.
Bumbong (bamboo tube)
 is made ofhollow pieces of bamboo that has been put
together and serve as the orchestra’s wind section.
 is divided into bass.
(lower) and horn (higher) sections
 each bumbong represents one note;to produce the sound
it has to be blown through a mouthpiece.

4. Kalatok
 is a percussioninstrument made of pieces ofbamboos that
are strung together with pieces of bamboo with varying
tones when struck by a rubber mallet.
Talunggating (bamboo marimba)
 is made frombamboo. it follows the musical scale and style
of the typical xylophone.
 plays the melody.
 mallets made out of rattan and rubber are usedto play the
instrument.
Kalagong
 is a wind instrument that produces a hollow gong-like
sound.
 plays bytappingthe top wholes of the bamboos bytwo flat
and flexible surface tapper.
 serves as bass of the group.
Pan pipes
 is a small pieces ofbamboo ingraduatedsmall tubes that
has been put together by a string.
 the soundandstyling of the wind instruments found in
northern philippines
 each pipe represents a note and is blown to produce the
sound.
Tulali (bamboo flute)
 is made ofbaga (one ofthe smallest bamboo varieties).
 a bamboo opening encircled by a banana leafing to a
pentatonic scale playedonfour holes, one foundbelow and
three on top of the bamboo tube.
Kiskis
 is a bamboopiece withridges and serves as a percussion
instrument.
 kiskis is a filipino word which means “to scratch” or “to rub
against something”.
 is played by rubbing a rattan stick on its ridges.
ANGKLUNG ENSEMBLE
 a small group of musicians who plays angklung bamboo instruments
 made of bamboo-rattle tubes attached to a bamboo frame
 manner of playing the angklungis byrapidlyshaking the bottompart of the frame while the other
hand steadily holds the upper part of the instrument
 angklung shakers plays only one or two pitches
 commonly accompanied by double bass, guitars and percussion instruments
 angklung has more than two and a half octaves, or around 30 pitches
 can also be a part of the other ensemble like the pangkat kawayan.
HORNBÖSTEL-SACHS CLASSIFICATION OF MUSICAL INSTRUMENTS
Idiophones produces soundbythe vibrationof its body
causedbythe waytheyare playedsuchas beingstruck,
scraped, rubbed, shaken, or plucked.
Aerophones produce sound primarilybycausing a body
of air to vibrate because of the air blown inside.
Chordophones produce sound through its vibrating
string or strings that is plucked, strummed, or usedwith
a bow.
Membranophones produce soundprimarilybywayof a
vibrating stretched membrane tapped by hands or
sticks.
Electrophones produce soundwhichare generated by
electricity.
*7 ELEMENTS OF MUSIC*
1. Rhythm
- The duration ofsound (how long or short the notes are)
- Rhythm has three parts:
 Beat -The Pulse. Arhythmic unit oftime.
 Tempo - The speed ofthe beat. How fast or slow the music is.
 Metre -The organization ofstrong and weak beats. Indicated by measures and time signature.
2. Melody
- The tune; an organized sequence ofpitches
3. Harmony
- The combination oftwo or more pitches
4. Timbre
- Tone colour/ tone quality
5. Form
- The structure ofmusic
6. Texture
- Overall quality ofsound ofa piece, mostoftenindicated by the number ofvoices in the music and by the relationship between
these voices.
- There are three types oftexture
• Monophonic
• Homophonic
• Polyphonic
7. Dynamics
- The volume ofthe sound (how loud or soft the music is)