El Reloj de Pastora

There are times when, as a musician, you can feel the potential in a song. It's a feeling of great promise as yet untapped, where every ounce of effort poured in will be rewarded in kind, now matter how much your own abilities grow. Such pieces are rare, gems to be treasured, nurtured even, and this classic composed by Arsenio Rodríguez is one. The example I selected for us to learn from is Sierra Maestra's fine interpretation; first for Conjunto Laloma, and lately for 4 de Diciembre.

'El Reloj de Pastora' is proving to be an inspired addition to our playlist. Its unusual key and lulling hypnotic quality of its harmonic progression; moving from B flat minor to A flat major, then transiting through F major on the return to the root, creates an interesting harmonic space for soloing - something the Decemberists have very much enjoyed. The challenge has been, and continues to be, the song's revealing simplicity and how we adapt it best to our instrumentation.

The lyrical theme is based on iteration and misdirection, and as such places heavy demand on a singer's ability to interpret and phrase. The high tessitura of the original key is a chance to develop the upper section of my vocal range, and thankfully 'El Reloj de Pastora' can accept a singing style slightly more laced with overt classical technique than most salsa numbers. The thematic subtexts; the metaphorical meanings that inform the phrasing, are taking a little more time to understand, because it's not literally about "The Shepherdess' Clock" - I read it as being about a something-someone's time.

As a personal journey, 'El Reloj de Pastora' is opening the way to a better understanding of the son and the son montuno. Yes, 4 de Diciembre are charanga-salsa in lineup, and I wanted to preserve that son montuno lilt despite the move to salsa instrumentation, but with a contemporary edge. Strangely enough, it was a stubborn desire both to play the slow rhythm on the güiro and to dance contratiempo while singing that provided a flavour of authenticity.

Nothing worth learning comes cheaply.

I found that the upper body güiro rhythm (one cycle per bar) and the lower body contratiempo rhythm (one cycle per two bars), provided the independent reference points necessary for rhythmic triangulation to solidify the vocal phrasing in the son montuno style. Managing the attacks of the vocals (early), güiro (middle) and dance (late) is awkward for now, but getting less so every day.

At least there's a clear course of development for this singing-güiroing-dancing escapade: moving to son montuno and then chachachá footwork.

©Copyright 2004 World Circuit. All Rights Acknowledged.

Manuel Güajiro Mirabal's version hasn't yet found its way into my lap, but it will once we've got a stronger handle on the groove - I've got a feeling that the trumpet ideas could well propel our playing of the song to new heights. After we've built up the basics that is. Until then, it'll have to twiddle its thumbs impatiently on my wishlist.

Santa... ¿porfi?

looyenyeo