eISSN 2317-6377

Body percussion in the band repertoire:

the case study of the work Palindromia Flamenca, by Antonio Ruda Peco

Percussão corporal no repertório de banda:

o estudo de caso da obra Palindromia Flamenca, de Antonio Ruda Peco

Salvatore Di Russo

salvatore.dirusso1@gmail.com

Vicenta Gisbert Caudeli

Francisco Javier Romero Naranjo

Antonio Domenico Pelizza

Universidad de Alicante, Grupo de Investigacin en Neuromotricidad y Alfabetizacin Motora (NEUROMOTRICITY), Alicante, Spain

Universidad Autnoma de Madrid, Dep. Interfacultativo de Msica de la Facultad de Formacin Profesorado y Educacin, Madrid, Spain

Universidad de Alicante, Dep. de Innovacin y Formacin didactica, Alicante, Spain

Conservatorio di Musica Statale “S. Cecilia”, Rome, Italy

SCIENTIFIC ARTICLE

Section Editor: Fernando Chaib

Layout Editor: Fernando Chaib

License: "CC by 4.0"

Submitted date: 21 may 2024

Final approval date: 20 jun 2024

Publication date: 01 jul 2024

DOI: https://doi.org/10.35699/2317-6377.2024.52694

ABSTRACT: Body percussion constitutes a decisive expressive-musical element in many works of the band repertoire. The

compositional possibilities that it offers from a rhythmic, timbral and choreographic point of view are often linked to traditional

musical elements as in the case of Palindromia Flamenca by Antonio Ruda Peco. In this work for solo soprano saxophone and

band the Spanish musician, through the almost constant presence of clapping, creates a musical climax very close to flamenco

as the performance, entrusted to a specific group of musicians, brings to mind the role of palmeros. In this article, through a

musicological investigation we intend to pay particular attention to the musical characteristics and functions that body

percussion performs within the composition. This will represent the basis for developing a teaching proposal based on the BAPNE

Method for the development of executive functions.

KEYWORDS: Bodypercussion; Band repertoire; BAPNE Method; Antonio Ruda Peco; Musical pedagogy.

RESUMO: A percussão corporal constitui um elemento expressivo-musical decisivo em muitas obras do repertório de banda. As

possibilidades composicionais que ela oferece do ponto de vista rítmico, tímbrico e coreográfico estão muitas vezes ligadas a

elementos musicais tradicionais, como é o caso de Palindromia Flamenca de Antonio Ruda Peco. Nesta obra para saxofone

soprano solo e banda, o músico espanhol, através da presença quase constante de palmas, cria um clímax musical muito próximo

do flamenco, pois a performance, confiada a um grupo específico de músicos, traz à mente o papel de los palmeros. Neste capítulo,

através de uma investigação musicológica pretendemos dar especial atenção às características e funções musicais que a percussão

corporal desempenha na composição. Isto representará a base para o desenvolvimento de uma proposta de ensino baseada no

Método BAPNE para o desenvolvimento de funções executivas.

PALAVRAS-CHAVE: Percussão Corporal; Repertório de banda; Método BAPNE; Antonio Ruda Peco; Pedagogia musical.

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Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

1. Introduction

Due to the rhythmic-melodic characteristics and the harmonic solutions it presents, the organology it

employs and the performative aspects through which it expresses itself, flamenco constitutes a source of

great inspiration for the artistic production of various authors of wind band music (Di Russo and Romero-

Naranjo 2021a, 2021b; Di Russo et al. 2023; Di Russo et al. 2024). Its ability to represent the Andalusian

(Dirkx 2021), Spanish (Winrow Hart 2013) and Mediterranean (Berlanga-Fernández 2012) identity and the

“true musical repertoire of rhythmic-timbral melodies (MERTS)”

(De la Torre-Jiménez 2019, 15) that offers

through body percussion, represent the primary reason for its use in order to recreate a musical surrondings

close to Iberian folklore. Las palmas (claps), in particular, an idiomatic element of the flamenco genre,

appears in the opera Duende by Luis Serrano Alarcón (Goodwin 2016; Iyescas 2017), in the II Concerto by

Oscar Navarro (Harbaugh 2019), La corrida de toros by Mario Bürki (Di Russo et al. 2024) and Palindromia

Flamenca by Antonio Ruda Peco (2006). In this latest musical composition, the Spanish musician, using a

palindromic compositional technique, like many other authors throughout the history of music (Eunha 2022),

creates a piece in which two groups of musicians, indicated in the score as palmeros (hands-claps players),

perform a sort of rhythmic counterpoint close to a palo de soleà, una particolare musical form of the

flamenco tradition. Starting therefore from a brief reflection on palindrome in music and on the

characteristics of las palmas in flamenco, the main objective of this chapter is not to develop hypotheses or

theses around this dance-musical genre, but rather to analyze Ruda Peco's work to be able to answer the

following questions:

A. What are the new elements that this work brings?

B. What are its main rhythmic-timbral-expressive characteristics?

C. Is there an evolution in the use of body percussion in band literature?

Q. Can the artistic-musical proposal of Palindromia Flamenca constitute an educational resource?

2. Palindromy in music

A palindrome in the classical sense is a word or phrase which, normally written from right to left, can then

be reread, unchanged, from left to right. This linguistic device, which clearly also includes a logical-

mathematical dimension (Isola 2016), has used as a compositional technique by various musicians since the

Middle Ages including Guillaume de Machaut, Bach, Haydn, Monteverdi, Mozart, Schubert, Bartok

(Chrissochoidis 2011; Dagdug et al. 2007; Eunha 2022). If until the dawn of the 20th century palindromy was

used proceeding horizontally, the introduction of twelve-tone and the slow liberation from tonality allowed

composers to apply it also experimenting with further possibilities as demonstrated by Schönberg's works

(Mailman 2015), Berg (De Rosa 2023), Webern (Venturini and Porceddu Cilione 2023), Ligeti (Iverson 2014),

Messiaen (Fabbi, 1989). The metaphorical example also used by Webern himself (Webern and Reich 1975)

to explain the theoretical and applicative concept of this compositional technique is Sator's magic square. It

consists of an inscription made up of five words: SATOR, AREPO, TENET, OPERA, ROTAS which, arranged on

“verdadero musical repertoire de melodías rítmico-tímbricas (MERTS)” (De la Torre-Jiménez 2019, 15).

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Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

a square matrix, in such a way that in the center the word TENET appears according to a palindromic cross

(Figure 1).

Figure 1 - Sator's square (by authors)

The words can thus be read in the same way following four directions: left-right, top-bottom, right-left,

bottom-top. Found in various archaeological sites that were once the seat of the Templars, its use would

have spread in the esoteric field and its meaning therefore remains unknown. Sator, the band piece by

Angelo Sormani (2004), was inspired by it, composed on commission by the International Festival of Military

Bands of Modena and premiered in 2005 by the Banda della Marina Militare Italiana and Sator for melodic

instrument and accompaniment by Daniele Trucco (n.d.). We can also find palindromic compositions in the

avant-garde jazz of Ducret (Mansilla 2020), in the pop of Nitin Sawhney (1999) and in the progressive rock

of Laghetto (2005).

3. The use of the hand in flamenco

Las palmas, states Sandra De la Torre-Jiménez in her doctoral thesis, is “the main manifestation of the

flamenco compás, and indisputable and pertinent criterion of classification for artists”

(De la Torre-Jiménez

2019, 22).

Its execution is entrusted to the palmero who, as a musician, bailaora (flamenco dancer) or singer,

professional or not, exercises an "labor de dirección orquestal” (work of orchestral direction) as mentioned

by De la Torre-Jiménez (2019, 118) fundamentally aimed at a rhythmic function linked to the execution of

the compás, the specific rhythmic sequence of flamenco. This does not exclude the involvement of other

musical characteristics of high aesthetic value such as timbric, using the sounds produced by the las palmas

sorda, with a sound “muffled and partial bass”

(De la Torre-Jiménez 2019, 122) and sonoras o claras, with a

“timbre full of treble and strong intensity”

(De la Torre-Jiménez 2019, 122) dynamic, with the alternation of

strong and weak accents, and executive, implementing improvisational processes. In flamenco, however,

the use of the hand is not limited to las palmas but expresses a broader form of body percussion that includes

sounds produced with the snapping of the fingers, pitos (whistles), blows on the chest, abdomen, quadriceps,

twins of the legs, feet and head (Figure 2).

“la principal manifestacin del comps flamenco, y criterio indiscutible y pertinente de clasificacin para los

artistas” (De la Torre-Jiménez, 22).

“apagado y de parciale graves” (De la Torre-Jiménez 2019, 122).

“timbre replete de agudos y de fuerte intesidad” (De la Torre-Jiménez 2019, 122).

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Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Figure 2 - Actions of the hand on the body in flamenco as De la Torre-Jimnez (2019, 134)

4. Palindromia flamenca: a musicological analysis

Palindromia Flamenca is based in all the main components (melody, harmony and rhythm) on a refined work

of palindromopoiesis (Buratti 2011) as declared by Ruda himself who defines it as "a toy in the shape of a

soleá (or Soleares)"

(Ruda Peco 2006, 5) highlighting the ludic-intellectual operation, the underlying theme

of the project. This palindromic game is inserted in a precise ethnomusical context, that of flamenco music,

evoked through the organological palette, the stylistic features, the harmonic ambiguities but above all

thanks to the rhythm based on compàs characteristic of the genre and performed by identifying instruments

and by the manual percussion of a group of palmeros. In fact, as the composer himself declares in the score,

the listener is projected into an atmosphere "como tablao flamenco" (Ruda Peco 2006, 5), place where

flamenco is performed. A further element that favors an ontological framework of Palindromia Flamenca is

that linked to the dedication of the work "To Pedro Iturralde, who taught me the meaning of this word"

(Ruda Peco 2006, 4), a Spanish jazz saxophonist who, with two albums published in the years 1966 and 1968

by the Hispavox record company, entitled Jazz Flamenco (Iturralde 1967a, 1967b) opened the way to the

hybridization process (García Canclini 2000) between jazz and flamenco linked to a development of an

approach aimed at making “jazz attractive to Spanish consumers through the projection of “national”

symbols of identity in a more universal language”

(Iglesias 2005, 826-827). These instances are found in the

ontological profile of Ruda Peco's piece; the elements characterizing flamenco which are the Phrygian mode,

otherwise called Andalusian scale, the cante jondo, the improvisational introduction of the solo guitar (not

marked in the score but often present in performance practice), the characterizing metric and rhythm, create

a form hybrid musical by combination (Steingress 2022) with jazz-style pseudo-improvisational forms.

"un juguete en forma de soleá (o Soleares) (Ruda Peco 2006, 05).

“A Pedro Iturralde, que me enseñó el significado de esta palabra” (Ruda Peco 2006, 04).

“il jazz attraente per i consumatori attraverso la proiezione dei simboli dell’identità “nazionale” in un

linguaggio più universale” (Iglesias 2005, 826-827).

Hand action

Between them

Fingers

Over other parts

of the body

Sordas

Hands-clap

Sonoras

Whistels

Trunk

Feet

Head

Abdomen

Chest

Shoe

Twins

Quadriceps

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Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

4.1 Scoring

Palindromia Flamenca presents a wind band with the addition, essential for the specificity of the work, of

typical flamenco instruments: cajon, marked on the staff as “Percusion 1”, castañuelas (castanets) and

palmeros (hands-claps players) present on the “Percusion 2” line and guitar Spanish on the last staff of the

score (Figure 3).

Figure 3 - Scoring and specific instrumentation list in Palindromia Flamenca (Ruda Peco 2006, 02)

4.2 Structure

The piece is structured into 17 sections according to the compositional architecture illustrated in the

following table (Table 1).

In order to have a clearer understanding of this scheme and the subsequent analysis, it may be useful to

watch the video at the following link: https://youtu.be/F3hUoPWysg0

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Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Table 1 - Structure of Palindromia Flamenca (by the authors)

4.3 Structural and harmonic-compositional note

LENTO (Intro). Bars. 1 – 4: this section serves as an introduction and creates flamenco musical environment

of the piece through a trumpet solo which, evoking an epic atmosphere from the bullring, supported by a

pedal of the medium-low instruments and by a tremolo of the guitar on the main harmony, in palindromic

form will constitute the leitmotif of the composition and the motivic archetype (the original and fundamental

theme) of the subsequent melodic material. The apparent main key of the piece is D minor but the actual

tonal zone is that of D (A Major)

, a device that projects the piece into the dominant Phrygian A, characteristic

of flamenco music. At the bar 4 a fragment of Andalusian cadence (Thompson 1985) built on the sequence t

– dP – sP which takes you back to the area of D in bar. 5. Not marked in the score, but widespread in

performance practice, this initial slow, for a more effective reference to the ambient of the flamenco tablao

and for an ideal connection to the work of Pedro Iturralde and Paco De Lucia (Garcìa-Peinazo 2023) and

preceded from a cadential episode, in free form, of the solo guitar.

ALLEGRO. Bars 5 – 6: two measures that launch the next episode through a fully organic crescendo D chord

underlined by a suspended cymbal roll, a consolidated stylistic feature aimed at creating a climate of

suspension and waiting, a teeming brain (E.T. 1921). Note the particularity of the instrumentation where the

trilled note is entrusted to the saxophone section excluding the most suitable woodwinds (flutes and

clarinets): in this non-canonical coloristic assignment one could read the Author's intention to underline this

timbre by creating an anticipation of the solo part of the Soprano Saxophone, protagonist of Palindromia

Flamenca (Figure 4).

The analysis is based on functional harmony and uses symbolism from Diether De La Motte (De La Motte

and Azzaroni 1988).

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Figure 4 - First page of the score (Ruda Peco 2006, 7)

Bars 7 – 14: exposition of the first thematic cell by oboe and trumpet and start of the rhythmic scheme that

will mark the composition: a compàs made up of 12 accents codified through the grouping of 4 measures in

time. The palindromic rhythmic scheme of the section. A is composed of two compàs with variations in

accentuation on the first beat of each (Figure 5).

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Figure 5 - Principal Palo (by authors)

In Ruda Peco's intention this accentuation would create a rhythm of soleá but it does not fall within the usual

typologies of palo neither from the accentuative nor from the executive point of view, since the repeated

design of the palmeros is neutral, devoid of accentuation and a task that is completely carried out by the

instrumental, contrary to what happens in traditional practice (Figure 6).

Figure 6 - Traditionals Palos soleá (by authors)

The entire section is supported by an ostinato bass built on a D (T)

pedal on which an insistent harmonic

rhythmic design develops on the D (T) – dP – D5/7 zones in palindromic mode. The melodic line, very

schematic, is made up of a triplet of bisquavers which exploits a fragment of the melodic material exposed

by the trumpet in the introductory adagio and which is cadenced on a DD.

At bar 7 enter the flamenco cajon and two groups of palmeros who, with the clapping of their hands, mark

two distinct rhythmic designs together with the guitar. All these elements combine to create an environment

like a flamenco tablao (Figure 7).

Figure 7 - Rythmic line of the palmeros (by authors)

A. Bars 15 – 22: the same rhythmic structure as A, at bars 15 – 18, holds a palindromic melodic line derived

from an aggravated fragment of the leitmotif of the introductory Lento (the sequence C# - D – E which opens

In the compositional practice of flamenco the majorized Phrygian scale is the stereotype, but in reality the

harmonic minor scale of a hypothetical key is used, in this case D minor, but on its dominant A, which takes

on the value of tonic.

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

the trumpet solo). In the following four measures the palindromic game is carried forward by the rhythm,

while the melodic part is made up of new material (Figure 8).

B. Bars 22 – 30: new rhythmic-melodic material with horizontal and vertical palindromy is exposed. The

palindromic game is entrusted to the first clarinets and the alto saxophones. The trombones exhibit a

melodic phrase derived, with aggravation, from the starting quatrain of the initial leit motiv. This melody is

supported homorhythmically by a series of guitar chords with the succession D – sP – D7 – sP – D. The rhythm

no longer presents the decisive accentuation of A and A1, conforming to the more relaxed climate of the

episode, in formal contrast with previous. The dynamics are also attenuated (Figure 9).

Figure 8 - High woodwind melody line beat. 15-22 (by authors)

Figure 9 - Leitmotif citation of trombones (by authors)

B1. Bars 31 – 38: first solo entry of the soprano saxophone which exposes the melodic material of the

Introduction with a varied design inserting itself into the palindromic game. The rhythmic-contrapuntal basis

does not change, except for the new element represented by a marked repetition of notes on the D12 chord

performed by trumpets, trombones and guitar.

The line of the palmas contains the indication sordas which is achieved by creating a small bowl between

the hands which produces a lighter sound. The palmas sordas are used for an accompaniment that gives

rhythm but at the same time does not overpower the cante, the baile or the guitar (Figure 10).

C. Bars 39 – 46: second entry of the soprano saxophone with a new melodic design with a palindromic

character derived from bar 2 of the initial Lento theme. The vertical-horizontal palindromy is supported not

only by the soprano saxophone, but also by the 1st flute and the 1st oboe with a counterpoint in unison and

by the bass clarinet, alto and tenor saxophones, bombardino and guitar through a counterpoint always in

unison. Note at bar 39 the entrance of the xylophone which enriches the contrapuntal palette with an eighth

note design (Figure 11).

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Figura 10 - Soloist’s esordio (by authors)

Figure 11 - Second soprano saxophone entry (Ruda Peco 2006, 12)

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

A1. Bars 47 – 54: full coverage of the section.

D. Bars 55 – 70: the palindromic game of the soprano saxophone continues with a melody, once again,

derived from the melodic palette of the introductory Lento. A second melodic design in order to create a

timbral contrast is set in the score entrusted to the 2nd clarinets, bass clarinet, alto saxophones, tenors and

baritones; everything is supported by D – dD7 chords played by the guitar and by an arpeggiated

accompaniment of bombardino and tuba (Figure 12).

Figure 12 - Palindromic drawing of the soloist (by authors)

E. Bars 71 – 80: From bars 71 to bars 78 there is a palindromic game developed on multiple levels. The flute

develops a mirrored eighth-note pattern in groups of two beats; the soloist sings a melodic line of four

measures which is re-exposed in the following four for retrograde motion form. The mirroring of the flute

part is reproduced by the 2nd and 3rd clarinets, alto and tenor saxophones in a contrapuntal design. The

guitar plays harmonic support with sD5 chors. The last two bars of the section, through a crescendo

chromatic scale of flutes and first clarinets, act as the impetus for the following episode. From an

organological point of view, the indication given to the cajon "dobles pero sordas" (double but dampened)

referring to the percussive modality of the instrument is interesting which must be performed with both

hands but with an attenuated sound (Figure 13).

Figura 13 - Multilevel palindromic game (by the authors)

A2. Bars 81 – 88: further variant where the elements of A and A1 are combined (Figure 14).

F. Bars 89 – 112: constitutes the freest episode of the composition as the soprano saxophone, through a

pseudo-improvisation (the character is improvisational but the entire melodic line is notated), based on the

previous melodic material, frees itself from the palindromy present only in the specular contrapuntal lines

of the first clarinets and of the bassoon. From a harmonic point of view, there is a succession t (bars 89 –

96), Dp (bars 97 – 104), tG (bars 105 – 112) – see Figure 15.

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Figure 14 - Thematic variants of A and A1 (by the authors)

Figure 15 - Pseudo-improvisational episode of the soprano saxophone (Ruda Peco, 2006)

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

G. Bars 113 – 121: dissolutive episode where the oboe restates the melodic cue played by the trumpet in

section A as a reminiscence of what was previously explained. A chromatic scale of the soprano saxophone

which ends with a trill on the fundamental pseudo tonic D (T), leads to a crown of the instrumental full on a

DD 5-7-9 (always referring to A major) which, creating a tension suspensive, prepares for the soloist's

cadence (Figure 16).

Figure 16 - Dissolutive episode (by the authors)

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Cadenza: dialogue between the solo instrument and the guitar which provides the harmonic carpet for a

long cadential episode with an ostinato character characterized by the reiteration of rhythmic figurations at

different pitches that move by joined heights

. In the performance practice the Author's note has a mere

function of outline, since the two soloists, as noted in various performances (Figure 17).

Figure 17 - Cadence (Ruda Peco 2006, 26)

A3. Bars 129 – 136: last reprise of A with the novelty of a melodic line inspired by that of the original

exposition but with the addition of original material which is exposed by the repetition of the refrain on

trumpets and soprano saxophone (Figure 18).

H (finale). Bars 123 – 145: rhythmic and percussive ending, markedly dancing which resumes at the bar 132-

139 the marked quatrains performed by trumpets, trombones and guitar at B1. The composition ends with

A significant example is the one followed by the Banda Municipal de A Coruña conducted by Andrés Valero-

Castells with the saxophonist José Ángel Presa, registered at the Centro Cultural Ágora

https://youtu.be/vnrks6OPFZo.

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

a chromatic design repeated in crescendo, a compositional device that gives impetus to the conclusion of

the piece which is achieved on a marked and strained note on the A Major chord (Figure 19).

Figure 18 - Section A3 of Palindromia Flamenca (by the authors)

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

Figure 19 - Final (Ruda Peco 2016, 28)

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"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

5. A teaching proposal on Palindromia Flamenca

In recent years, the scientific literature on body percussion has grown greatly (Arnau-Mollá and Romero-

Naranjo 2022a) thanks, in particular, to the work carried out by the BAPNE Method research group in Spain

which counts more than of 50 publications in Web of Science (Figure 20). In particular, the high number of

scientific publications based on neuromotricity published in the journal is highlighted Retos. Nuevas

tendencias en Educación Física, Deporte y Recreación positioned in the second quartile of SCOPUS (Simbolon

2024).

Figure 20 – BAPNE Method in Web of Science

Among the purposes for which it is used (Romero-Naranjo, 2013) the pedagogical one constitutes the

privileged purpose (Arnau-Mollá and Romero-Naranjo 2022b) for the development of interdisciplinary

teaching (Romero-Naranjo et al. 2024a) based on neuromotricity (Andreu-Cabrera and Romero-Naranjo

2021; Romero-Naranjo and Andreu-Cabrera 2023a, 2023b; Andreu-Cabrera et al. 2024) in order to stimulate

executive functions (Arnau-Mollá and Romero-Naranjo 2024: Khanjankhani et al. 2024). Among the dance

expressions in which it is used (Di Russo and Romero-Naranjo 2021a; Di Russo and Romero-Naranjo 2023),

flamenco is the most investigated (Penalva Martínez et al. 2023) also for its high pedagogical value

(Chavarría-Ortíz et al. 2024), which can be transmitted and used in educational contexts both to stimulate

motor skills and emotional abilities (Padial Ruz et al. 2019), for musical learning as well as to stimulate

interdisciplinary teaching (Perales Molada and Moreno Fuentes 2017) with different learning strategies

teaching (De Las Heras-Fernández et al. 2022). We therefore propose to illustrate an educational proposal

designed for the first cycle of Primary Education (6 and 7 years of age) based on neuromotricity according to

the BAPNE Method which includes a double task, one motor (Rosa et al. 2021) and one cognitive, in order

to stimulate cognitive functions.

The rhythmic sequence repeated throughout the work is therefore resumed (Figure 21):

Figure 21 - Rhythmic line of the palmeros (by the authors)

Per Musi | Belo Horizonte | v.25 | General Topics | e242517 | 2024

Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

The sequencing of the proposal is detailed below:

1. perform the meter in which case you articulate the compass moving according to a geometric shape, in

this case the triangle, counting from 1 to 3 its each vertex;

2. the teacher proposes an activity in which on each pulsation (number or vertex of the figure) performs

respectively a blow on the thighs, and two snaps of the fingers, one with the right hand and the other left;

3. add to the previous proposal a verbal text that is always diverse, meaning the words drawn from the

flamenco nomenclature that the members must repeat continuing to move in triangle and striking the body

itself, for example:

palmeros-palmeros-palmeros; bailaora-bailaora-bailaora

cantar-cantar-cantar; tocar-tocar-tocar

compás- compás-compás; palo-palo-palo

soleá-soleá-soleá; fandango-fandango-fandango

4. with the objective of stimulating and developing the memory of work the teacher proposes the lexical

sequence but now the students have to repeat it on the contrary, for example:

Teacher: palmeros-palmeros-bailaora; bailaora-palmeros-palmeros

Student: bailaora-palmeros-palmeros; palmeros-palmeros-bailaora

Of course, it is up to the teacher to make the proposals more flexible to adapt them to the characteristics of

the students. Adapting dynamics to students' differential and particular characteristics facilitates collective

achievement, enhancing the individual development of participants (Bernabé-Villodre et al. 2015).

6. Conclusion

At the conclusion of this paper, by virtue of the elements that emerged during the study of Antonio Ruda

Peco's Palindromia Flamenca, we can put forward some answers to the questions posed in the introductory

part. In particular:

I. published in 2006, can be considered an absolute novelty in the field of band music and a model for future

compositions which introduced body percussion into the score;

II. the use of las palmas, which from a superficial reading might seem to be a simple device of folkloristic

evocation, in addition to creating a dense rhythmic texture, characterizes the expressive development of the

entire composition. Palindromia Flamenca stands as a stylistic precedent which will be the characteristic seal

and identifier of important compositions for concert bands such as Libertadores by Oscar Navarro and La

corrida de toros by Mario Burki. In these works, this percussive typology will achieve equal organological

The words reported in Spanish have already been previously defined. Therefore also by virtue of the

objective that the educational proposal that is illustrated are not translated into English.

Per Musi | Belo Horizonte | v.25 | General Topics | e242517 | 2024

Russo, Salvatore di; Caudeli, Vicenta Gisbert; Naranjo, Francisco Javier Romero; Pelizza, Antonio Domenico.

"Body percussion in the band repertoire: the case study of the work Palindromia Flamenca, by Antonio Ruda”

dignity compared to the other instruments of the score as it is not a simple rhythmic event but an expressive,

evocative and emotional one;

III. it is possible to hypothesize a development of the use of body percussion in band literature starting from

Palindromia Flamenca, where las palmas takes on a symbiotic value with flamenco, passing through La

corrida de toros by Mario Burki, in which it acquires a semiotic value to recreate a Spanish musical context,

arrives in Princesas descanocidas, a composition by Jose Luis González-Sanchis (2018), inspired by the book

by Philippe Lechermeir and Rebecca Dautremer translated into Spanish by Isabel Rozarena (2013) in which,

freeing itself from musical parameters, it responds only to narrative and didactic needs;

IV. this highlights the possibility of being able to rethink the band repertoire that uses body percussion with

pedagogical purposes for the development of motor skills, bodily expression but, above all, cognitive and

executive functions.

As this work demonstrates, the study of the musical repertoire composed for band that uses the body and

movement can still be considered in a rather embryonic phase. The importance of this typology of

investigation is directly proportional to the widespread diffusion that band organizations have, each with

their own specificities, in different societies. Therefore, as demonstrated by the analysis of Palindromia

Flamenca, further research possibilities open up which, starting from musicological elements, can project

themselves into an anthropological and sociological dimension. The use of palm trees in Ruda Peco's work

highlights some questions that are not yet answered in this article, including:

• The possible discrepancies between what the composition prescribes and what the

performers achieve in relation to the use of the body and the rhythmic-timbric-expressive

possibilities that it can formulate;

• The value of tradition in performance practice;

• The process of learning a kinesthetic/rhythmic sequence;

• Gender relations in the composition of los palmeros traditionally represented, as in the case

of several traditional instruments in flamenco, to men.

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