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Tres Estudos Para Percussao: each Composer: Lacerda Osvaldo
Notes on the music
I. Introduction - Contains some rhythmic motives that can be found in Brazilian music. II. Cantilena - Its central part, Andante, suggests the musical atmosphere of an Afro-Brazilian ritual. The xylophone melody is construed on a mixture of a hexaphonic scale and the Dorian mode, such as is to be found in Northeastern Brazil. III. Rondo - Contains some of the rhythms in 6/8 that can be found in the music of some Afro- Brazilian rites. The xylophone melody is construed on a scale that is a mixture of the Mixolidian and the Lidian modes, such as is to be found in Northeastern Brazil. This is a rondo in five partes: A B Al C A2. In part C, the Author makes a sort of a joke on the twelve-tone system. From bar 87 on, the vibraphone plays a twelve-tone melody, against which the cuica and the rasp protest in a surly way. The vibraphone then plays the series in reverse. This time, the cuica, the rasp and the rattle protest in a more noisy way and succeed in driving away the "intruder". -O.L. Sao Paulo Instrumentation also includes: Agogo (3 bells)
