TEACHING THE RONDALLA I.
PRELIMINARIES
A.
HISTORY 1. Origin - Although in some distant past the Chinese and Japanese traders introduced their music and musical instruments to the Filipinos, it is unquestionable that the rondalla is of Spanish origin. Some theorize that it started as street street musicians called to entertain or to to ask for alms. Other accounts hold that it murga who played to started as estudiantina, an ensemble typical in Spain especially on school campuses; or as comparza, a better organized group of performers composed of more proficient players. players. The early comparzas. comparzas. It is believed that numerous numerous comparzas existed even before the last years of Spanish Spanish rule in the Philippines. However, it was the first decade of the twentieth century that witnessed the emergence of notable comparzas. The Comparza Joaquin (1905-1913) was versatile¹. versatile¹. It played all kinds kinds of music from folk songs, dance music, selections from great opera, to classical overtures that require require more than ordinary skills and performance technique. Also on record is the Comparza Santa Cecilia organized in 1908 by Victorino Carreon, an opera singer and voice-culture instructor².
The Rondalla ideal (1909) and the
Rondalla Filharmonica Juvenal (1913) were founded by Antonio J. Molina, a noted
composer and rondalla exponent. Several other groups include Rondalla Appolo directed by Jose Silos, the Manila Yellow Taxicab Rondalla also under the direction of Antonio J. Molina, assisted by Felipe P. de Leon and Honorato Ho norato Asuncion. 2. Timeline of important events in Philippine rondalla
1960’s -
television variety Hamon sa Kampeon. An award-winning radio and television
show that prominently prominently featured rondalla competitions. Incidentally, it was was really this program, through the voices of Dely Magpayo and Pepe Pemintel , the two popular hosts of the show, that the term rondalla was
popularized to the masses. Dominic Salustiano, the music director of the show, composed all the pieces pieces for the annual grand final final events. Now his legacy to rondalla groups, the pieces include:
Overture no.1, Serenata, Serenata,
Pizzicato no.1, Maligaya medley and the Paso doble nos. 2, 3, 4, and others.
The Division Of City Schools Of Manila Organize Rondalla Contests. The
Division of City Schools of Manila has always been supportive of rondalla organization.
Among the rondalla rondalla pieces that were were popularized were:
Fiesta Filipina subtitled Mila Estela, and Okaka, Okaka, by Cayetano L. Rodriguez ; Yaman ng Diwa, Munting Alaala, and Kalinangan ng Bansa, by Manuel Bautista; Taguan, and Bakas ng Kahapon, by Salvador Imperio;
Sampaguita March arranged by Angelita C. Pasamba ; Ang Masayang Kawal (The Gay Soldier) by Lucino Sacramento and Manang Biday arranged by Alfredo S. Buenaventura.
1967 - National Symphonic Rondalla Composition Contest Launched. This
contest was sponsored by the Manila Times, the leading newspaper during that time. The first first prize was won by Jerry Dadap, a graduate of the UP College of Music. His winning winning entry was entitled Philippine Symphonic Medley for Rondalla.
1970 - The Taliba Newspaper Sponsors A National Rondalla Contest. This
contest was participated in by eleven adult and ten youth groups from Metro Manila and its neighboring provinces. The Pio del Pilar High School Rondalla of Makati, conducted by a 15-year old girl, Rosario Tobias was
declared the Champion. Champion. Other winners were: the Round Table Table Rondalla, Bulacan; Ramon Magsaysay High School Rondalla, Manila; and Auraullo High School Rondalla, Manila.
The contest piece, Halina sa Pilipinas , was
arranged by Fulgencio M. Gragera . The contest was was ably organized by by Felipe Padilla de Leon , a national artist for music.
1973 - The National Music Competition for Young Artists (NAMCYA). This
annual competition is rigid.
The competitors competitors must win in the district,
provincial, then regional competitions to be able to compete on the national level.
They are required required to perform perform a cluster of works - classical classical and
contemporary pieces, as well as works of leading Filipino composers. NAMCYA has discovered outstanding banduria soloists. First prize winners winners include: Edna Aurora Culig of La Union, 1977; Cecilia Sunido of Cavite, 1978; Helen Canaleta of Camarines Sur, 1979; Maria Leonor S. Llorin of Camarines
Sur, 1980; and Elaine Juliet Espejo of Las Piñas City, 1981. In the family rondalla category the first prize winners were the Retome Family, 1974; Aycardo Family, 1975; Relativo – Chavez Chavez Family, 1976.
1975 - Training Center For Rondalla Teachers Instituted. With the support
of the International Institute of Rural Reconstruction (IIRR) a private institution and an international center for research and leadership training, the Paaralang Anak Pawis was instituted in Silang, Silang, Cavite. This project aimed to train leaders to acquire adequate knowledge, confidence and ability to teach rondalla in the rural areas. This undertaking was was headed by Benjamin T. Lucas, a music specialist and rondalla teacher.
1976. The Don Manolo Elizalde Sr. National Rondalla Contest. A project of
the first lady Ms. Imelda R. Marcos, the contest was held in Pandacan, Manila and managed by the Pandacan Civic Circle, Kabataang Barangay and the Public Recreation Bureau. Restie Umali, Simplicio Suarez and Alfredo S. Buenaventura compose the panel of judges. The winners were: Parañaque District III Rondalla , first place; Ramon Magsaysay High School Rondalla
(Manila), second place; and the Super B-5 Rondalla (Quezon City), third place.
1980 – 1981. Rondalla Workshops at Nayong Pilipino. Under the auspices
of the Folk Arts Theater Administration the ‘Kasaysayan ng Lahi’ workshops were held at the Nayong Pilipino from April 7 to May 9, 1980 and from April 22 to May 21, 1981. Rodolfo de Leon .
The lecturer and facilitator for for the rondalla was
Inspired by the remarkable success of the rondalla
workshop, Rodolfo de Leon organized the outstanding participant as an ensemble which he named ‘Pangkat Pilipino’.
Soon they performed
regularly at the ‘Maynila’ restaurant of the Manila Hotel.
1982 - 1983. Barangayan Competitions. Barangayan was a one whole year
television program that highlighted rondalla and solo instrument competitions. The contestants had to hurdle a series of qualifying rounds – weekly, monthly and quarterly. Those who qualified qualified were featured featured in the grand final event. Declared champion was Parañaque District III Rondalla for rondalla and Elaine Juliet Espejo for banduria solo. solo. Sponsored by by the Ministry Human Settlement, the show was hosted by the popular radio and television host Helen Vela and singer Bobby Gonzales.
1985. The Pambansang Samahan ng Rondalya (PASARON) organized.
There was a marked decline in rondalla activity between 1983 and 1985. Realizing the need to revitalize the remaining rondalla groups and in line with the thrust to preserve and develop the rondalla as a distinct music medium, the Pambansang Samahan ng Rondalya (PASARON) was organized on June 1, 1985. 1985. The principal principal organizers were Teoderico C. Cosejo of Southern Luzon Polytechnic College (SLPC), Benjamin T. Lucas and maestro PASARON aimed to propagate rondalla groups, to raise Celso O. Espejo . The PASARON the standards of rondalla music and performance, and to help preserve and promote Filipino music heritage. From March 31, 1986 1986 to March 19, 1995, 1995, the PASARON put up annual festivals and competitions at the Rizal Park Open Air Auditorium in Manila and at the various regions of the Nayong Pilipino in Pasay City. City. With the average average of 20 20 groups participating, each occasion involved the participation of more or less 1000 individual young players.
1988. Musikahan sa Tagum - is an annual music festival under the
leadership of the Mayor Mayor Rey T. Uy. It is the only annual annual festival in the south that uses music as its theme, gaining the reputation as the Music Capital of the South. The rondalla and solo voice were integrated as one competition (Rondall-Awit) in two categories. along with other contest in composition, performance and production.
1995. The National Music Competition For Young Artists (NAMCYA) Includes Full Rondalla Ensemble.
The winners in the full rondalla
competitions are Category A: 1995 - Parañaque District III Elementary Rondalla, 2001 - Las Piñas Elementary School Rondalla, 1999 1999 - Kabataan
Silay Rondalla Ensemble, 2003 - Naga Central School Rondalla, 2011 - Lucban Elementary School Rondalla; Category B: 1996 - Parañaque District III Community Rondalla, 1998 - Marcelo del Pilar High School, 2005 - Nabua National High School Rondalla, 2007 - Sisters of Mary Boystown Rondalla, Category C: 2009 - Andres Bonifacio Elementary School Alumni Rondalla.
1996. Paligsahan sa Sining - One of the categories in this competition was
rondalla contest. The membership of each group was limited to 30 players who were 16 years old or below. below. The final competitions competitions were held held on February 17, 1996 at the Aurelio Tolentino Hall of the Cultural Center of the Philippines. The Department Department of Interior and Local Government (DILG) in cooperation with the Department of Education and Sports put up the contest. The Parañaque Community Rondalla won the top prize worth 100,000 pesos in cash and in kind.
1997. NAMCYA highlights rondalla in its silver jubilee celebration - With
the theme: Diwang Pilipino, Muling Alab, the NAMCYA celebrated its 25 th year anniversary on November 24 – 30, 1997. 1997. Part of the highlights of the celebration was a number of rondalla concerts at the Abelardo Hall in the University of the Philippines, Diliman, Quezon City. City. The performers were: Osamis City National High School Rondalla (Region X); Nabua National High School Rondalla (Region V); Quezon National High School Rondalla (Region
IV); and Paranaque District III Community Rondalla (NCR).
Rondalla organized abroad . In 1927 Jose Estacion, head of the Amoy
conservatory of music in China organized and conducted Philippine Rondalla4. About the 1960’s a number of rondalla groups proliferated beyond the Philippine shores. Sometime in the late 1970’s the National
University of Singapore Rondalla directed by Joe Peters, an alumnus of the University of the Philippines where he obtained his Master of Music Education degree, performed before an appreciative audience in the Concert at the Park presentation at Rizal Park open air auditorium. Hosted by Tina Monson Palma, the group played well-arranged Philippine traditional music, Singaporean tunes and Latin-American song hits.
On August 10, 1998 in its second tour of the Philippines, the Eskwelahang Pilipino Rondalla Ensemble surprised its audience in a superb concert at the
Cultural Center of the Philippines. Christi Ann Castro - a musicologist - the music director and concert mistress led her group to an evening of delightful sights and sounds. Adeptly diverging from the traditional line of rhythm, tempo and harmony, some Philippine traditional tunes and love songs in their repertoire were given novel treatment that made them sound fresh and touching. Added to the gorgeous scene and vibrant sounds were the vigor and artistry of performance that kept the audience in the grip of delight and amazement. Organized in 1986 and originally under the tutelage
of the noted classical guitarist Michael Dadap, the ensemble is a project of the Eskwelahang Pilipino Inc. based in i n Boston, Massachusetts.
2002 An All-Japanese Rondalla had a concert at the Rizal Park open
auditorium as part of the Concert at the Park serial presentation. This group was organized in Japan by Carmen Herrin, a native of Lopez, Quezon. She was a former student at the Centro Escolar University (CEU) conservatory of music. Married to a Japanese newsman, newsman, she now settles in Japan and continues to promote Philippine rondalla as one of her social activities in her immediate community.
2004. The First International Rondalla Festival . A milestone in the history
of the rondalla, the first international rondalla festival was held on February 8 - 14, 2004 in the cities of Naga and Legaspi, Bicol Region. Under the auspices of the National Commission for Culture and the Arts (NCCA) in cooperation with the local governments g overnments and the Developmental Institute for Bicolano Artists Foundation, Inc. (DIBA) the festival turned out to be a huge success. Credits for it go to the adroit and vigorous leadership of Dr. Ramon P. Santos, and the support of NCCA chairwoman Evelyn B. Pantig, Ms. Amelita P. Zaens of DIBA Foundations, Mayor Jesse M. Robredo of Naga and Mayor Noel Rosal of Legaspi.
2007. The Second International Rondalla Festival . At the height of the festival’s activities which was participated by 12 local and 9 international
groups in Dumaguete City, Dr. Ramon P. Santos together with international and local leaders of the group delegates led the creation of the World Rondalla Organization.
2011. The Third International Rondalla Festival . The ‘Musikahan sa Tagum’
festival highlights the 3rd International Rondalla Festival’s seven-day event. The ‘Rondall-Awit’ competition was featured as an event on the sixth day of
the 3rd IRF. The PASARON was officially affiliated to the IRF organizing body and World Rondalla Organization for the preparation of the 4 th and 5th Festivals in which they are planning to hold it in a foreign land. B. THE RONDALLA ENSEMBLE 1. Definition - A rondalla ensemble is a group of musicians who play a variety of plectrum string instruments such as the banduria, octavina, laud, piccolo, mandola, drums and other guitar and bass. To these basic instruments, cymbals, triangle, drums percussion instruments are added, often used for special effects and usually on optional basis. 2. Forms of rondalla a. Standard – banduria, octavina & the accompaniment section. (almost all of the rondalla arrangements are written in standard form)
b. Minimal – a solo banduria, octavina or mandola; A duet using 2 similar of any rondalla instruments; or a sonata of two different rondalla instruments; all accompanied by a guitar. c.
Full symphony – a symphonic orchestration which includes all the instruments of the rondalla. (Best for classical and symphonic cross-over scoring for the rondalla.)
C. KNOWING THE RONDALLA INSTRUMENTS 1. Rondalla Instruments a. Banduria & Piccolo upper-range sound b. Octavina & Laud – mid-range sound c.
Mandola, Guitar and Bass lower-range sound
2. Choosing good quality instruments a. Wood
Soundboards: Spruce & Cedar/Redwood
Rib & backboards: Rosewood, Lanka, Mahogany Narra & Calantas (wood grains)
Fret board, neck and bridge: Ebony, Mahogany
b. Quality control & defects
c.
Fret distances.
Bridge and its height.
Size of the instruments.
Distances of strings.
Sound test
Resonance - The fullness and richness of sound, prolonged by vibration.
Tuning precision. precision.
Good instruments instruments don’t lose its resonance and “soft
touch” even if tune to standards.
3. Strings a. Problem with local strings. (Inconsistent gauge) b. Brand. La Mariposa, Fuerza, Fuerza, Eagle, Señorita, etc. etc. c.
Proper gauge or size for each instruments.
For banduria 0, 1, 3, 4wound, 5w, 6w.
For octavina 1, 2, 3w, 4w, 5w, 6w.
For guitar: Acoustic - 1, 2, 3w, 4w, 5w, 6w; Classic – Nylon strings
4. Tuning and concert pitch a. Importance - Good tuning should be observed at all times. It is part of good training for the children. b. Tuning device
c.
Pitch pipe (blown): Chromatic pipe, guitar pipe and single note pitch pipe.
Tuning fork (very reliable): “C” and “A”
Electronic tuner
Concert pitch
Instruments ranges
Modifications
D. ORGANIZING A RONDALLA RONDALLA GROUP - Start right. To achieve better results the organizer should plan well his course of actions. 1. Organizer’s goals a. Competition b. Cultural dance troupe c.
School entertainment
d. Recordings 2. Information campaign - It is encouraging to note that in spite of the ceaseless emergence of fads after fads in the world of o f musical entertainment, the rondalla has stood its place in the cultural life of our people in at least some appreciable number of places. Thanks to our schools, schools, churches, rondalla enthusiasts, enthusiasts, and to the one institution that has strongly influenced the present development and renewed interest in the rondalla, the National Music Competition for Young Artist (NAMCYA). However, However, in some schools and communities communities the rondalla isn’t exactly exactly popular. popular. If
any, the children have vague idea or little understanding understanding about the ensemble. Thus the lack of interest in the project by both children and parents. To address this problem, on-campus information campaign should be conducted. Send letters to parents. Emphasize the following objectives: a. To develop the musical talent of the children. b. To help develop their personality. c.
To train them in discipline, teamwork and cooperation.
d. To help keep children away from vices and undesirable companies by spending their leisure time in wholesome and beneficial activity like joining the rondalla. 3. Recruitment a. Requirements for membership b. Audition (Aptitude test for students who have taken previous training) c.
II.
Assigning of instruments
Fitness of instrument to the child
Interest of the child
Balance of the group
Number of members
TEACHING THE BASICS
A. ORIENTATION 1. Maintenance and care a. Don’t allow children to leave their instruments on their seat. b. Keep instrument in bag or case when not in use. Wipe strings after use. c.
Don’t leave instruments under direct sunlight or in a room of high temperature.
d. In case of cracks, loosen the strings immediately to prevent worsening the damage. e. Instrument should be stored one side down (tagilid) or hanging. f.
Regularly inspect the machine heads for possible loosening or lose of parts.
B. ACTUAL TEACHING 1. Discipline - Set the standard of discipline during the very first meeting of the class. 2. Parts of instruments: the finger board, sound board, sound hole, bridge, frets, machine heads and pegs, nut, tail piece, etc. 3. Resting and playing positions (demonstrate) a. Sitting b. Left and Right hand position c.
Position of the instrument
4. Holding the pick. Hold the pick firmly between the tips of the thumb and the first finger. (Demonstrate) 5. Picking strokes
Tremolo - The downward and upward movement of the pick executed evenly and rapidly to prolong the sound.
Downward stroke - The The natural stroke is downward. downward. But there are a few few whose tendency is is to use upward stroke natural to them. This should be discouraged.
Downward and upward picking - This is required only in playing running passages as tempo demands.
6. Basic fingering patterns - (Create a tablature)
Numbering of fingers.
Ordinal number of strings. strings. Reading from right to left: left: first, second, third, fourth, fifth, and sixth. These numbers are encircled.
Numbering of frets. Frets are numbers numbers using roman numerals.
7. Basic drills and exercises - The earliest exercises for beginners should be short, simple and interesting. interesting. One way to do this is to use harmonized exercise. exercise. (See attachments) It is much easier to play the first string of the basic instrument – banduria and octavina, we deem it better the start with the four notes above the staff: sol, la, si, do
