General Notes
* It is strongly recommended that singers use music stands.
Tango -Gestures Rhy t hmic Patterns
T he tango has three basic patterns: Marcato, Sincopa and Tres Tres Dos. From them, their possible variants and combinations, together with specific ways of ar ticulations and phrasings, we obtain in the textural interaction the tango - gesture. One of these basic patterns, which emerged from the Milonga Campera and is the undisputed hallmark of Piazzolla's style, the Tres Tres Dos (3, 3, 2), you will find written within a 4/4 time signature, in these ways:
Dynamics
- Unless indicated by a crescendo or diminuendo marking, all dynamic changes and contrasts should be interpreted subito.
- Body percussion should follow the same dynamic level as the voice at all times
Percussive & Resonance Phonemes
Capital letters = ar ticulate the pronunciation of the phoneme
/P/, / T/ and /K / = percussive.
/N/ = paranasal resonance, open /N/
/ V/ Voiced Labiodental Fricative = Standard /v/ sound as in “valve”, made with lip and teeth, with vocal vibration Ver y sharp
● Voiced: the vocal cords vibrate during ar ticulation
● Labiodental: the sound is produced by bringing the bottom lip into contact with the upper front teeth
● Fricative: the air flow is par tially obstructed, creating audible friction.
● In rhy t hmic contexts, singers can push air more strongly, making it semi-percussive
In ar ticulation, /v/ is the voiced counterpar t of /f/, and both belong to the same place and manner of ar ticulation.
/b/ Voiceless Bilabial Plosive (Devoiced “B”) = A sharp, percussive “B” sound without vocal cord vibration like saying “ p ” but with lips shaped for “ b”
/p/ → Voiceless bilabial plosive. Ar ticulate with a clear puff of air.
/ɾ/ → Alveolar tap, shor t and clean
Per formance Note
Percussive Phonemes ( Vocal Percussion)
T he syllables “ ba” and “va” are used rhythmically to imitate the breath and mechanics of the bandoneon
● “ ba” is to be per formed voiceless ([b]), with a sharp bilabial burst of air, no vocal tone
● “va” is per formed voiced ([v]), with a fricative air pressure through the lips and teeth
Addit ional T ips for Singers
● T hink consonant percussion, not speech
● Use air pressure and ar t iculation, not volume
● Keep it sharp, dr y, and rhy t hmically precise
Rioplatense Cast ilian (IPA)
mi piel es fuelle
/mi ˈpjel es ˈfwe.ʒe/
mi piel es tango
/mi ˈpjel es ˈtaŋ.go/
¿está mi piel?
/esˈta mi ˈpjel /
¿o fue?
/o ˈfwe/
Programme Note
Fasciafuelle is a piece for mixed choir a cappella where the body becomes instrument , resonator, and expressive terrain. T he title refers to the fascia the connective tissue that envelops muscles and to the bellows of the bandoneon, evoking a sonic corporeality that expands and contracts.
Largely devoid of conventional text , the piece unfolds through fragmented phonemes, body percussion, and gestures inspired by tango: its breaks, its latent sensuality, its fer vent passion T he form, like the body itself, is organic; austere materials emerge and merge into over whelming textures, weaving an ambiguous and fier y fabric
Fasciafuelle does not necessarily sing words: it murmurs tension, exhales fire, hints the friction, the sweat of collective pulse, the edge of vehement movement
Composer's Comment
"T he voice is body. And t he body, like t he bellows of a bandoneon, breathes, strains, vibrates.
In Fasciafuelle, I sought to approach choral writing from a physicality inspired by tango stripped down, where only the gestural remains, that which pulses from within T here is no proper text , no narrative, but rather the sonic dramaturgy of muscle, of breath, of impulse
Body percussion is not ornamental: it is par t of the discourse T he voices do not speak words: they graze phonemes as if brushing against sharp and incisive textures Only towards the end does this sentence emerge, as an affirmation, but with that uncer tainty that lacks time: “ my skin is a bellows; my skin is tango; is my skin there? or was it?”
I was drawn to formal ambiguity, to rhythm as fracture or displacement , and to a visceral expressiveness unafraid of silence or noise.
Fasciafuelle is an exploration of how the body sings, when the voice becomes its ver y embodiment . "
Edgard Moya Godoy
S o p r a n o
C l a p
T h i g h s
S t o m p
A l t o
C l a p
T h i g h s
S t o m p
T e n o r
C l a p
T h i g h s
S t o m p
B a s s C l a p T h i g h s
t o m p
¢
q = 9 0 9 0 a c c e l c e 1 2
ppp
mi piel piel es fuelle fuelle, mi piel es tango tango
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