Falla- Homenage

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Falla- Homenage

Post by Will » Tue Oct 20, 2015 4:52 pm

The following post pointed to a link featuring Allan Neave giving analysis on Falla's Homenage.


The presentation directed us to some points of interest.
It left out any rhythmic analysis.

The main section is a Habenera; which always features an iconic rhythm made popular in Cuba.
The same rhythm is used in a Tango.
Tango, Habenera, Ciaconna are three fine examples of music iconography that trace their source to the New World. I'm sure there are more.

The Habenera rhythm finds itself in surprising places. Tedesco even uses the rhythm in 'Ronsard', one of the pieces in the Platero Y Yo cycle.
The character 'Yo' presumably Jiminez himself, stops to rest under a tree and pulls a book from his sack. Meanwhile Platero hovers nearby. The Habenera seems unlikely there unless one thinks of it as a dream scene.

These are called 'types' in music. Music has canonic meanings and references it makes to outside itself. Signs as it were to other things.
Groups of types could fall into categories such as : military (march), the hunt (horn calls), the noble horse, dance rhythms, the pastoral (Siciliana 6/8 meter).

Always good when analyzing to be on the look out for such 'types' and to see how they signal to phenom outside the music. And how the composer has or has not uniquely employed them.
Even Mozart quotes a snippet from an older dance, the Sarabande, now and then. It's amazing what little gems you find when on the lookout: a minuet tucked into a Bach fugal episode, a drinking song in his Christmas Oratorio.

Rodrigo's Elogia de la Guitarra, the last movement has references to bugle calls and even a dusty cavalary dash (military), and a pasodoble (a street scene or dance hall procession). What does the pasadoble signify. It has great eloquence and pride and machismo implied and suggested. If ever the point was made that a man shall forever lead on the dance floor it was with the Pasodoble. Rodrigo sums up his Elogia with a return to his Pasadoble now in the main key of G concluding and resolving the DeFalla Three-Cornered Hat like storm that preceded. His Pasodoble's strong down beats provide variety and relief to the many inconclusive Lombard rhythms he used earlier in the movement.
It's rare you ever see Rodrigo begin a phrase with an upbeat, a pickup.
Be cool to see somebody analyze what that implies and means.

Back to the Habenera....
The following from a PBS site is a more complete rap on the Habenera.

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Re: Falla- Homenage

Post by mainterm » Wed Oct 21, 2015 5:37 am

I adore this piece - I think it is one of the indisputable masterpieces of the guitar.

That being said, what are you aiming at here? I like your elaboration on the habanera etc., but is there an analytical angle on Falla's piece that you want to talk about?

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Erik Zurcher
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Re: Falla- Homenage

Post by Erik Zurcher » Wed Oct 21, 2015 6:57 am

William is complementing this analysis of Homenaje by Prof. Allan Neave about rhythm :

Reedition Domingo Esteso by Conde Hermanos 2004; Kenny Hill, model Barcelona 2001
"While you try to master classical guitar, prepare for a slave's life: the guitar will forever be your master and you its slave".


Re: Falla- Homenage

Post by walfordr » Tue Dec 01, 2015 6:11 pm

Very interesting. I have been playing this piece (badly) for years and never appreciated the Cuban connection to the Spanish homage to the French composer.

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Re: Falla- Homenage

Post by Luis_Br » Mon Dec 07, 2015 3:33 pm

walfordr wrote:Very interesting. I have been playing this piece (badly) for years and never appreciated the Cuban connection to the Spanish homage to the French composer.
I haven't seen the video yet. Debussy Soiree dans Granade, which has a citation inside Falls's homage, is elaborated over the habanera too.

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