Abstract
Playing music from other countries is an effective way to teach students about other cultures and to help them to appreciate the diversity present in different musical languages. Furthermore, world music pieces develop musical skills and introduce new techniques, harmonies, and rhythms through engaging music.
Viajando pelo Brasil I is an interesting piece. It was written by Ernst Mahle, a German-born composer who moved to Brazil at a young age and devoted his life to teaching young musicians and composing music inspired by Brazilian folklore. In six short movements, the strings “travel” around Brazil. Nursery rhymes inspire some movements and others use the folk music style of traditional feasts from different states in the southeast and northeast regions.
This article shows an overview of the Suite, exploring some of the technical and pedagogical skills used throughout the piece. The primary Brazilian elements to be noted in this work are rhythms, including syncopated and offbeat patterns, and modal harmonies. As Behagen says, “The peculiar rhythmic characteristic of Brazilian music, however, is syncopation, either by irregular accentuation or anticipation.” 1 According to Feres-lloyd, “One important characteristic of Brazilian music in Mahle’s works is the use of modes.” 2 Casarotti completes this idea: “In the folk music of Northeastern Brazil, scholars most frequently found the following modes: Mixolydian, Lydian, Lydian-Mixolydian (the so-called Northeastern mode).” 3
As a music teacher, Mahle composed this piece for one of the intermediate string orchestras in the school he founded in Brazil. Considering the American String Teachers Association (ASTA) String Syllabus parameters, referencing the ensemble and individual instruments’ listed skills, I classify the Suite Viajando pelo Brasil I as a Grade 3 piece
Viajando Pelo Brasil I, Suite para Cordas (1989) “Traveling Around Brazil I, Suite for Strings”
Eu Não Vim para Ficar (Maranhão) “I Didn’t Come to Stay”
The first movement of the Suite is written in G major key signature, with the frequent use of C sharps. This hint of Lydian mode references the folk music from the states in the northeastern region of Brazil, where Maranhão is located. It is written in homophonic texture, with the violas and cellos doing some countermelodies in between the phrases. Hooked bows, accents, and syncopated rhythms are constantly featured throughout the movement (Figure 1).
Eu não vim para ficar: Mm. 1–4.
This movement extends the range of all instruments outside of first position, providing an excellent opportunity to develop shifting. The homophonic texture allows for important ensemble work on even bow distribution, tone, and rhythm accuracy.
São João Dararão (Piauí) “St. John’s Song”
The second movement is based on a traditional nursery rhyme sung on St. John’s feast day, extensively celebrated in Brazil in June. According to Miranda, São João Dararão “is a round-game song that was collected in Piaui.” 4 In the key of G minor, it has a fast and very rhythmic 3/4 Vivo introduction, followed by a 2/4 slightly fast section. The basses, cellos, and violas present the rhythmic pattern of the Vivo section, followed by the two violins playing the melody, mostly in thirds (Figure 2).
São João Dararão: Mm. 1–4.
In the faster section, the first violins play the melody most of the time. In contrast, the second violins and violas execute a challenging offbeat pattern that will go to the first violins when the violas have the melody (Figure 3).
São João Dararão: Mm. 10–14.
It is a great way to work on offbeat patterns, hooked bows, staccato strokes, and chromatic scale passages.
Menino Vá Dormir (Sergipe) “Boy Go to Sleep”
In the key of G major, this movement starts with an Acalanto (Berceuse) section, with the theme played by a violin solo accompanied by long notes in pianissimo (Figure 4). The theme is repeated and developed by the first violins’ tutti, a great opportunity to work on the solo/tutti concept. The second section, Mais Vivo, will be in the G Mixolydian mode, characterized by the F naturals in the melody, allowing students to get familiar with the mode and upper strings, using low firsts and low seconds, and cellos and basses using second finger (Figure 5).
Menino vá dormir: Mm. 1–6.
Menino vá dormir: Mm. 19–23.
Violins are encouraged to play in third position throughout the movement to keep a uniform tone in the berceuse melody. All voices can be encouraged to shift to avoid open strings and execute some portamenti indicated in the score.
The Acalanto section is a great way to work on legato bowings, with smooth and coordinated changes, plus finding a pianissimo tone, using slow bows, and even maybe exploring sotto voce closer to the fingerboard. It is also useful to work on expressive shifts and to introduce portamenti.
Meu Guriabá (Alagoas)
According to the composer, the fourth movement of the Suite is named after an elusive bird. The bird-like sounds can be heard in this motive played by the first violins on the Vivo part (Figure 6). Whereas the key signature is in C major, the first and the last sections are in Mixolydian modes.
Meu Guriabá: Mm. 12–15.
The Meu Guriabá is a great movement to reinforce the Mixolydian mode, getting the feeling of playing as a major scale, but with the seventh degree a half step down. The syncopated rhythms in homophonic texture (Figure 7) encourage the students to work on their rhythm and articulation skills as an ensemble. The motives range in dynamics from piano to fortissimo, which is useful for working on playing the same material in different colors and dynamics, using bow length and placement, speed, and weight to achieve them.
Meu Guriabá: Mm. 1–4.
Eh! Morena (Minas Gerais) “Hey! Girl”
This movement, in G major, alternates between short slow and fast sections. The first section is a calm and peaceful melody (Figure 8). The second section is faster and has the melody on the second violins in forte, whereas the other voices answer it in piano, almost like a canon (Figure 9).
Eh! morena: Mm. 1–8.
Eh! morena: Mm. 17–24.
This movement is very pleasant, and it is a wonderful way to work on legato, using full bows in the slow themes and some sparkly staccatos when the Um Poco Mais Vivo comes. The canonic passages are useful to work on independent entrances and the “question and answer” concept.
“ Playing the Suite Viajando pelo Brasil I is a great opportunity to work on syncopated rhythms, matching the bow strokes, articulations, and modal harmonies while introducing some shifting. ”.
Jacaré (São Paulo) “Alligator”
The last movement starts with a Moderado section in G minor (Figure 10), followed by the Vivo section (Figure 11). All the strings play in homophonic texture, a great exercise for even articulation and ensemble playing. A new theme comes in the form of a fugato and modulating to G major. The fast sixteenth notes come back, including some chromatic scales, and lead to a very energetic G major chord in all the strings to conclude the piece. As the finale for this Suite, the Jacaré is a very exciting and upbeat movement.
Jacaré: Mm. 1–5.
Jacaré: Mm. 17–20.
Conclusion
Overall, playing the Suite Viajando pelo Brasil I is a great opportunity to work on syncopated rhythms, matching the bow strokes, articulations, and modal harmonies while introducing some shifting. Another feature is the variety of dynamics, tone colors, and styles found in the contrasting character movements representing the different regions of Brazil. It is an excellent piece for a balanced intermediate orchestra as all the instruments are featured and need to have the individual skills to make it work as an ensemble.
Although the composer was not born in Brazil, he is one of the most significant researchers in Brazilian folk music. He did a thorough job transforming folk themes into relevant pieces in terms of musical interest and is a great pedagogical source for string students and teachers. According to Feres-lloyd, “he (Mahle) is one of the most important composers of his generation. Besides his work as a composer, he has been developing a very important pedagogical work in Piracicaba.” 5
I believe teaching Viajando pelo Brasil I 6 to students in the United States is an opportunity that will challenge them to open their ears to a different musical language while developing their rhythmic skills, technique, and ensemble playing.
Footnotes
Notes
Bianca d’Avila do Prado (