CHAPTER FOUR

EXAMINATION OF ANTONIO LAURO'S VENEZUELAN WALTZES

In an interview with guitarist Frederic Zigante, Antonio Lauro stated that he

employed the language of Venezuelan popular music in his pieces, but refrained from

actual quotation. If Lauro's waltzes are truly Venezuelan in their character, then they

should display all or most of the typical musical traits of the Venezuelan waltz, which
were discussed in Chapter Three. In order to determine those traits which make Lauro's

waltzes specifically Venezuelan, they shall now be examined from the standpoints of

style, rhythm, harmony, melody, texture, and form.

Style

Lauro's waltzes derive their inspiration from both the romantic and popular styles

of the Venezuelan waltz. As might be expected, a number of these waltzes fall in the

middle, intertwining elements of both styles in such fashion that it is impossible to make

a classification. Thus, it might be more appropriate to describe many of Lauro's waltzes

as a synthesis of both elements.

Those waltzes which are most romantic in character are the most harmonically

and texturally intricate, possess melodies which are predominantly lyrical in character,

and are usually somewhat more moderate in their tempi and level of rhythmic activity. In

Lauro's output, those waltzes which fall most easily into this category are "El Niño" and

"María Carolina." As will be seen, these waltzes employ the same rhythmic devices as

the rest of Lauro's waltzes.

87
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In Lauro's output, the waltzes which fall most neatly into the category of

popularly inspired are "El Marabino," "Angostura," "Carora," and the first two of the

Quatro Valses Venezolanos. The tempi of these waltzes are generally faster, with

metronome markings of up to two hundred beats per minute. Their melodies may be

considered to be more instrumental in character, since they possess wide ranges, have a

larger number of disjunct intervals, and have a high level of rhythmic density. These

waltzes also make more

frequent use of the rhythmic devices discussed in the last chapter, possess simpler formal

structures, and employ a harmonic vocabulary which is predominantly diatonic in

character.

"Natalia", the third waltz from Quatros Valses Venezolanos, is an example of a

waltz which derives elements from both popular and romantic styles. Its first two

sections contain some of Lauro's most rhythmically vital and propulsive writing, while its

third section is as lyrical and romantic as anything in his waltzes. "María Luisa" is

another example of a waltz in which both elements are intertwined very closely. From

the standpoint of harmony, it includes some of Lauro's most romantic writing, but it also

depends on the popular style for its melodic traits. These include a very rapid tempo,

frequent use of hemiola, and instrumentally derived effects which are idiomatic to the

cuatro.

Form

As in the majority of the Venezuelan waltzes examined in the previous chapter,

Lauro's waltzes fall primarily into two categories of formal structure, A B, and A B A.

Nine of them are composed in A B A form. Four of his waltzes "Petronila," "Tatiana,"
 3

the first waltz of the set of Quatros Valses Venezolanos, "Andreina," number two from

the same set, "La Gatica," and the "Vals" from the Suite Venezolana, are written in A B

form with repeats. "Andreina" approaches rounded binary form (without modulation to

the dominant), as its B section concludes with a reprise of the thematic material of the

last eight measures of section A.

Three of Lauro's waltzes are composed in a trisectional format, with only one of

them, "Natalia," strictly following the three part A B C design described by Salvador

Llamozas. Two waltzes, "María Carolina" and "Yacambú," are rondos. Composed in the

formal pattern of A B A C A, "Maria Carolína" is a straightforward rondo. "Yacambú" is

written in a more complex rondo form which includes extra repetitions and a coda.

Most of Lauro's waltzes are laid out along the same unpretentious formal lines

which are the property of the vals intimo. Most commonly, sections consist of sixteen

measures. The shortest of all of Lauro's waltzes is "Petronila," a study in the form of a

waltz. Its first half is only eight measures and its second sixteen. With repeats, its total

length is only forty-eight measures. "Tatiana" and "Andreina," numbers one and two of

the Quatros Valses Venezolanos, each consist of two sections of sixteen measures. With

repeats, their total length is sixty-four measures. In this respect, the shortest waltzes are

all closest to the popular tradition. The more romantic ones are longer and, within the

limits of the form, more complex.

On rare occasions, Lauro's waltzes deviate from the standard structural lengths

which are based on multiples of four or eight measures. In "Natalia," the third section of

the waltz is twenty-two measures long. Lauro deliberately wrote it this way in order to

settle an argument with a friend. This friend maintained that Venezuelan waltzes could

not deviate from the stuctural norm of four bar phrase structures. To prove him wrong,
 4

Lauro extended the last phrase from four to ten measures, thus extending the section to

twenty-two measures instead of sixteen.1

The "Vals" from the Suite Venezolana possesses rather unique formal dimensions

of fifty-five measures per section. This is the only waltz to contain an odd numbered

quantity of measures in any of its structural units. Counting the repeat of the first section,

this waltz has a total length of 165 measures. One of the reasons for the ambitious

dimensions of this piece might be the fact that Lauro wrote this piece as the concluding

movement of a suite. In order to unify the whole suite, he included thematic material

from the three previous movements. "Yacambú," the other of Lauro's "polytonal"

waltzes is also extremely long, with a total length of 162 measures.

If Lauro was intentionally copying Salvador Llamozas' description of the

expressive character of the different sections of the Venezuelan waltz, cited on page 77 of

Chapter Three, the author is not aware of it. However, it is quite possible that this is the

case. The one waltz of Lauro's which fits Llamozas description most perfectly is

"Natalia." The presence of sesquiáltero in this piece will be discussed in more detail

shortly. For now, it suffices to state that the time signature, seen in Example 50, is as it

appears in Quatro Valses Venezolanos (ed. Alirio Díaz), and that it reflects the

continuous metric shifts between 6/8 meter and 3/4 meter. From the standpoints of

rhythm, harmony, and expression, the second section represents an intensification of

activity in comparison to the first. This occurs as the result of greater harmonic density,

large number of accented chords, and use of forte dynamic markings.

Example 50. Lauro, "Natalia," mm.16-19.

1
Zea, "Antonio Lauro, His Guitar Works: No. 14," Guitar International: (April 1986), 33-34.
 5

The third section conveys a definite impression of relaxation or repose in comparison to

the rest of the piece. The rhythmic density of the melody is much lower, with more

frequent occurrence of long notes, dotted half notes and dotted quarter notes, in the

melody. The melody is also much more lyrical in character. In Example 51, half steps

and whole steps predominate in the melody, and when skips occur, they are easily

singable intervals, spanning no more than a fifth.

Example 51. Lauro, "Natalia," mm. 33-36.

Only those traits which belong solely to the melody will be dealt with in the portion of

this Rhythm

Lauro's waltzes contain all of the rhythmic devices which are typical to the

Venezuelan waltz. These include sesquiáltero, the hemiola of 3/2 meter imposed on two

measures of 3/4 meter, and syncopated accompaniments and melodies of the types

encountered in Chapter Three. In many cases, the melody displays these traits more
 6

prominently than does the accompaniment. This is in keeping with the most recent

developments of the Venezuelan waltz. Earlier examples displayed their Venezuelan

rhythmic characteristics, particularly hemiola and syncopations, primarily in the

accompaniment. The typical dotted quarter note, eight note, quarter note accompaniment

figure of the Venezuelan waltz permeates most of these pieces in both melody and

accompaniment. However, it is almost absent or completely absent in several pieces.

Because these characteristics are seen as much in Lauro's melodies as his

accompaniments, they shall be examined simultaneously with respect to both melody and

accompaniment, unlike in Chapter Three which deals with melody.

A large number of Lauro's waltzes emphasize the dotted quarter, eighth note,

quarter note accompanimental figuration, seen so frequently in the Venezuelan waltz.

Figure 10 depicts this traditional accompanimental figure of the Venezuelan waltz in the

two forms in which it was most frequently encountered in Chapter Three.

Figure 10. Typical accompanimental rhythm of the Venezuelan waltz (originally Figure 4
in Chapter Three, page 59).

In "Natalia," Lauro's most well known waltz, this figure appears throughout the

piece, both obviously and in disguise within a more complex rhythmic design. Its first

appearance in Example 52 is somewhat disguised by the sustained dotted quarter note,

which first appears on the second half of the second beat, but in Example 53, the implied

Venezuelan waltz rhythm may be inferred from this more complex structure.
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Example 52. Lauro, "Natalia" (arr. Díaz), mm. 7-8.

The choice of 3/4 meter in this example reflects the implied meter of the rhythmic figure

as opposed to the original time signature which appears above.

Example 53. Simplification of Example 52 which shows the implied Venezuelan waltz
rhythm.

In the second section of Natalia, this accompanimental rhythm is shown more

clearly. Beginning in measure seventeen as seen in Example 54, the bass has melodic

significance as well. This passage also contains instrumental effects which are evocative

of the cuatro. How these effects are employed will be dealt with shortly.

Example 54. "Natalia" (arr. Díaz), mm. 17-19.

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This rhythm appears in its most typical form in the third section of the piece.

Here, it serves as accompaniment to the melody in the style of Venezuelan waltzes of the

last century. As is the case in many of Lauro's waltzes, the dotted half note in the bass

also serves as the first quarter note of the accompanimental figure. When considered in

this light, the accompanimental rhythm is that of Figure 10b.

Example 55. Lauro, "Natalia" (arr. Díaz), mm. 33-36. Typical nineteenth-century usage
of the accompanimental rhythm of the Venezuelan waltz.

The melody in this section is not particularly Venezuelan in its rhythmic

character. If it were accompanied by the typical three beat Viennese waltz

accompaniment, as shown in Example 56, this part of the waltz could easily be thought of

as a Viennese waltz. The choice of 3/4 meter for the time signature reflects the meter as

it would be perceived had the piece been written in Viennese style instead of as a

Venezuelan waltz.
 9

Example 56. "Natalia," mm. 33-36. Accompaniment rewritten in Viennese waltz rhythm.

The majority of Lauro's other waltzes make frequent use of this typical

accopanimental figure. In "Yacambú," this figure occurs in the accompaniment for six of

the first eight measures. In the coda, this figure appears sixteen times in succession. In

"María Luisa," Lauro also uses this pattern in twenty of thirty-two measures in section B,

but not at all in section A. As stated previously, a number of pieces make little or no use

of it at all. "Andreina" and "Petronila" are the most notable examples in this regard. Of

Lauro's fifteen waltzes, they are the only two in which this figure does not appear at all.

The majority of Lauro's waltzes, eleven out of fifteen, make use of the 3/2

hemiola which was described in Chapter Three beginning on page 56. Oddly enough,

one of those waltzes which doesn't employ it is "Natalia," perhaps the most typically

Venezuelan waltz in terms of its other rhythmic characteristics. In many cases, this

hemiola appears only in the melody, but in a large number of Lauro's waltzes, it also

appears with support in the accompaniment. Figure 11 contains two of the most typical

rhythmic patterns which are associated with this hemiola. These two patterns occur

frequently, often with slight variations, in Lauro's waltzes. The tied eighth note on the

first beat of the second measure of Figure 11a is often replaced by an eighth-note rest.
 10

Figure 11. Typical rhythmic patterns of the 3/2 hemiola in Lauro's waltzes.

In Figure 12, the rhythms are written as they would appear in 3/2 meter. These two

figures are the two most commonly encountered accompanimental rhythms when this

hemiola occurs.

Figure 12. Figure 11 rewritten in order to more clearly demonstrate 3/2 hemiola.

One of the most clear cut examples of this type of hemiola appears in the "Vals"

from the Suite Venezolana. In each of the two measure hemiolas, the bass line supports

and implies the regrouping of the six beats into three pairs of half notes. The rhythm of

the bass in the first two measures is almost identical to Figure 2b. The one difference is

that the third half note of the two-measure pattern is replaced by two quarter notes. In the

last two measures of Example 57, the two-measure pattern is identical to Figure 2a. The

threefold repetition of the dotted quarter, eighth note rhythm in the accompaniment is

reminiscent of a similar passage in the "Vals Venezolano" by Raúl Borges, seen on page

59 in Chapter Three.
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Example 57. Lauro, "Vals" from the Suite Venezolana, mm.42-45.

Figure 13 contains the two rhythmic patterns which most frequently are seen

when this form of hemiola occurs in the melody. Figure 13a is felt as three pulsations of

four eighth notes due to the placement of the accents. Figure 13b was seen previously in

Figure 11b where it was used in connection with the accompaniment. In this case, the

eighth-note rest substitutes for the tied eighth note seen in Figure 11b.

Figure 13b may also be considered to be a two-measure rhythmic motive which

is created by combining two rhythmic patterns, each frequently encountered in the

Venezuelan waltz. The two patterns are the dotted quarter note, eighth note, quarter note

of the first measure of Figure 13b and the eighth-note rest, eighth note, dotted quarter

note, and eighth note of the second. Figure 13b seems to be associated particularly with

those of Lauro's

waltzes in which this form of hemiola is applied only in one voice, usually the melody,

while the other voices remain in 3/4 meter.

Figure 13. Typical melodic rhythms in the 3/2 hemiola.

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When this hemiola is present in both melody and accompaniment, elements of

Figures 11 and 13 may be present at the same time. Example 58 is taken from "María

Luisa." This is one instance in which this form of hemiola appears simultaneously in

both melody and bass. Beginning in the first complete measure of the piece, the hemiola

manifests itself in the accompaniment as Figure 11b, while in the melody, the hemiola

appears in the form of Figure 13a. Each of the first notes of the four-note groups is

harmonically dissonant as well. The harmonically active nature of these notes reinforces

the effect of the written accents, and creates a harmonic rhythm of half notes which

supports the hemiola. Since the hemiola occurs at the beginning of the piece, the listener

doesn't get a clear impression of 3/4 meter until the third full measure.

Example 58. Lauro, "María Luisa," mm. 1-3.

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"Angostura" contains another example of this form of hemiola which occurs at

the very beginning of the piece. In this waltz, the hemiola is introduced so skillfully that

ten full measures pass before one encounters a measure which is unequivocally grounded

in 3/4 meter. In measures one through three and nine though eleven, notice that the

hemiola may be perceived most clearly in the treble part. In measures six through eight,

it is seen in the bass. In both cases, the hemiola is outlined by successive dotted quarter

note, eighth note figures which belong both to the melody and accompaniment as seen in

Figures 11b and 13b. The rhythmic ambiguity of this passage is a perfect illustration of

Calcaño's description of how this form of hemiola produces a "disconcerting sensation

for the listener."2 As seen in figure 14, the dotted quarter note, eighth note figure is

repeated four times in a row with the fourth recurrence fitting into the 3/4 measure after

the first three repetitions which create the measure of 3/2 meter.

Figure 14. 3/2 hemiola as it appears in "Angostura."

From measure two to measure three, it is even possible to see an occurrence of this

hemiola in the accompaniment. It begins in the bass and passes into the middle voice.

While this one measure overlap of hemiolas is visually apparent, as seen in Example 59,

2
Calcaño, 384.
 14

it is not heard in performance. One could almost term this example a form of hemiola in

canon. A similar example exists in the "Vals" from the Suite Venezolana.

Example 59. Lauro, "Angostura," mm. 1-12.

3/2 meter

Another form of this hemiola, melody in 3/2 meter with accompaniment

remaining in 3/4 meter, occurs in a large number of Lauro's waltzes. Particularly

 15

prominent examples occur in "María Luisa," "María Carolina," and "El Niño." A total of

nine of his fifteen waltzes employ this form of the hemiola.

In the second section of "María Luisa," this form of the hemiola occurs in the

melody in the form of the two-measure motive seen in Figure 13b. In addition to "María

Luisa, this two-measure motive occurs in the melody of a large number of Lauro's

waltzes including "El Marabino," "Yacambú," "El Niño," and "Maria Carolina." The

hemiola seen in Example 60 extends over four measures of 3/4 meter. This would

constitute two measures of 3/2 meter.

Example 60. Lauro, "María Luisa," mm. 33-36.

Although "María Carolina" and "El Niño" are two of Lauro's more romantically

inspired pieces, they also display most of the rhythmic traits associated with the

Venezuelan waltz. Both pieces contain frequent occurrences of this form of hemiola. A

four-measure passage occurs in "Maria Carolina" in which the hemiola occurs in exactly

the same manner as that seen in "María Luisa" in Example 60. Rhythmic content of both

melody and accompaniment are virtually identical.

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In "El Niño" Lauro manages to extend the hemiola for twelve consecutive

measures for a total of six recurrences of the hemiola. As may be seen in Figure 15, the

first two measures are the stock figure seen several times thus far in Figure 13b. The

third measure appears to return to 3/4 meter, but when combined with the fourth measure

successive half-note pulsations again become visible. Lauro continues in this fashion for

eight more measures before the final four measures of the section conclude in 3/4 meter.

Figure 15. Rhythmic reduction of hemiola in El Niño.

Figure 16 is changed to 3/2 meter in order to demonstrate the effect of the hemiola in a

clearer fashion. The half note on the first beat of the second measure takes the place of

the first dotted quarter note and eighth note of the first measure.

Figure 16. Figure 15 written out in 3/2 meter.

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Example 61 consists of the first eight full measures of the piece and extends the rhythmic

scheme seen in figure 15 for the next four measures as well. The second half of the piece

is constructed in a similar fashion.

Example 61. Lauro, "El Niño," mm. 2-4.

Since Lauro composed his waltzes after nineteenth-century Venezuelan models,

many of them make frequent use of sesquiáltero, the most frequently encountered

rhythmic trait of the Venezuelan waltz. This device appears most frequently in five

waltzes, "Natalia," "Carora," "Angostura," the "Vals" from the Suite Venezolana, and

"Yacambu." Sesquiáltero appears less frequently in "Maria Carolina," "Andreina," "La

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Negra," "El Marabino," "El Niño, "Maria Luisa," and "Tatiana." In three pieces, "El

Negrito," "La Gatica," and "Petronila," it does not occur at all .

When it appears in Lauro's waltzes, sesquiáltero occurs in one of three forms; a.

melody in 6/8 meter and accompaniment in 3/4 meter; b. accompaniment in 6/8 meter

and melody in 3/4 meter; c. both melody and accompaniment in 6/8 meter. When the last

of the three forms is seen, measures of 3/4 meter alternate strictly with measures of 6/8

meter.

A typical example of form c occurs in the "Vals" from the Suite Venezolana. In

this passage, seen in Example No. 62, alternation between 6/8 meter and 3/4 meter occurs

every two measures. Lauro's original time signature for this waltz is 3/4 meter. The 6/8

signatures are added for the sake of clarity.

Example 62. Lauro, "Vals" from the Suite Venezolana, mm. 34-41.

Of Lauro's waltzes, the one which makes the most frequent use of sesquiáltero is

"Carora." Because of the frequent occurrences of 6/8 meter, Lauro included both 3/4 and
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6/8 meters in the time signature, a practice which was seen earlier in "Natalia." Fifteen of

its forty measures (not including repeats and da capos) employ 6/8 meter in at least one

voice, and in the B section of the piece, ten of sixteen measures are in 6/8 meter. In

"Carora," Lauro makes use of both the a and b types of sesquiáltero. The important

points to be made in regard to this form of hemiola may all be observed in Example 63.

The most important rhythmic figure in those measures of 6/8 meter is that of the quarter

note followed by eighth note, cited on page 54 in Chapter Three as an important rhythmic

element of the joropo. In the first two measures of Example 63, the type a form is seen,

with melody in 6/8 meter and bass in 3/4. In the last two measures, type b is seen as all

parts are most clearly perceived in 6/8 meter.

Example 63. Lauro, "Carora," mm. 19-22.

The type a form of sesquiáltero also occurs in a number of works which don't

generally stress sesquiáltero, but reserve its appearance for important structural points

such as cadences. This point may be observed in a number of Lauro's waltzes including

"María Luisa," "El Niño," "El Marabino," and "Angostura."

The most elaborate of these cadential structures occurs in "Angostura," which was

already cited in connection with the 3/2 hemiola. In Example 64, the bass line may be
 20

perceived in 3/4 meter for the duration of the example, while the top voices are felt in 6/8

meter.

Example 64. Lauro, "Angostura," mm. 12-15.

The type c form of sesquiáltero is less frequently encountered but does occur on a

number of occasions. One example occurs in "La Negra." Another occurs in the "Vals"

from the Suite Venezolana. The basic rhythm of the accompaniment is one of the

rhythmic patterns associated with sesquiáltero. In Example 65, Lauro uses the rhythm of

Figure 17b for the accompanimental pattern.

Figure [Link] rhythmic permutations of sesquiáltero in the Venezuelan waltz

(Originally Figure 2 in Chapter Three).

An ingenious touch occurs in the last two measures, when Lauro inverts the meter of the
 21

melody from 3/4 to 6/8 and returns the accompaniment to 3/4. The accompaniment uses

this rhythm in ostinato fashion with perhaps a touch of African influence.

Example 65. Lauro, "Vals" from the Suite Venezolana, mm.56-63.

If one were forced to choose one waltz from among all of Lauro's waltzes which

most nearly exemplified the Venezuelan waltz in terms of its rhythmic attributes, the

choice would undoubtedly be "Natalia," justifiably the most popular and well-known of

Lauro's waltzes. Typical rhythmic traits which appear in this piece include sesquiáltero,

which permeates the entire piece, the dotted quarter, eighth note, quarter note

accompanimental pattern of the Venezuelan waltz, and passages which imitate the

rasgueado pattern of the cuatro, as described by Ramón y Rivera on page 64 of Chapter

Three. The only important rhythmic feature of Venezuelan waltzes which does not

appear in this piece is the 3/2 hemiola. Sesquiáltero occurs in such frequency that the
 22

inclusion of 6/8 meter in the time signature is easily justified. In Example 66 the type b

form, 6/8 meter in melody and accompaniment is encountered.

Example 66. Lauro, "Natalia" (arr. Díaz), mm. 1-8.

American guitarist Tom Patterson was a student of Maestro Lauro for a brief time.

In an interview he stated that Lauro often performed Venezuelan waltzes on the guitar to

the accompaniment of the cuatro. Natalia Lauro, his daughter and dedicatee of this waltz,

was his usual accompanist. The rasgueados of the cuatro in contratiempo to the usual 3/4

meter were a part of his musical thinking in the Venezuelan waltz.3 In an interview with

Henry Adams, Lauro stated that "The presence of the cuatro with its rasgueado

accompaniment, which we call charrasgueado here, is suggested in my works for piano,

guitar, and even in my works for orchestra."4

An evocation of this contratiempo occurs in one of the most characteristic pas-

sages of this piece. In measures seventeen through twenty-four the rasgueado pattern of

the cuatro is evoked by proper attention on the part of the performer to the marked

accents. In those measures where the accents appear, the upper voice is written in 6/8

meter. The accents occur in counterpoint with the bass line's Venezuelan waltz rhythm,

which is firmly in 3/4 meter. This passage is the most perfect evocation in the literature
3
Thomas Patterson, interview by author, 12 September 1993.
4
Antonio Lauro, "Interview : Antonio Lauro," interview by Henry Adams, Guitar and Lute:
12 (Jamuary 1980), 10.
 23

of this pattern which accompanies both the joropo and the Venezuelan waltz. The pattern

is more clearly perceived in the rhythmic reduction which follows in Figure 18. Notice

also how the accentuations conform with those of the rasgueado pattern of the cuatro in

Example 65.

Figure 18. Reduction of basic rhythmic pattern of mm. 18-20 and 22-24 in "Natalia."

While this reference to instrumental effects might be placed in another portion of this

chapter, these particular effects are intimately connected with sesquiáltero. As stated on

page 64, one recalls that this pattern is derived from, in Ramón y Rivera's words, "most

ancient Spanish rasgueados" in 6/8 meter. Combined with the normal 3/4 meter of the

waltz this effect produces the type a form of sesquiáltero. seen in Example 67.

Example 67. "Natalia," (arr. Díaz), mm. 18-20.

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Although its character is more graceful and lyrical, sesquiáltero makes an

appearance in the third section of this piece. Its first appearance is in measure thirty-

eight. In this section, Lauro's practice mirrors that of romantic composers like Azpúrua.

In "El Suspiro," the melody began in a lyrical, unsyncopated manner which would have

easily fit into the mold of the Viennese waltz. However, as the first cadence was

approached, 6/8 meter began to appear and occurred throughout the rest of the piece. In

this section the first occurrence of 6/8 meter is in Measure 38. Later, however,

sesquialtero assumes a more important role in this piece. A rhythmic figure occurs which

is seen in "Natalia" and "Yacambú" as well as waltzes of other Venezuelan composers.

As seen in Figure 19, it is an example of sesquiáltero by both alternation and

superimposition.

Figure 19. Rhythmic reduction of passages from "Natalia," mm. 46-47 and "Yacambú,"
mm. 31-32.

In Example 68, this rhythmic figure forms the basis for a sequence which continues for a

total of six measures.

Example 68. Lauro, "Natalia," mm. 46-49.

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Melody

In Chapter Three, a number of rhythmic traits were described as being typical to

melodies of the Venezuelan waltz. These include the forms of hemiola which also appear

in the accompaniment, syncopations, and figures which belong to the melody alone. A

number of typical rhythmic figures, syncopated or not, appear in Lauro's waltzes with

great frequency. Many of these were cited in the previous chapter, and they constitute an

important element in his waltzes.

Five of the melodies in Lauro's waltzes begin on an eighth-note rest in the fashion

described in the Chapter Three on Page 69. Four of them, "Natalia," "El Negrito,"

"Andreina," and "Carora" follow the rest with the five eighth notes of Figure 20a, while

in "Maria Carolina," the rest is followed by Figure 20b. Once this figure has been

established, most of the phrases which follow begin on the second eighth note of the first

beat of the measure. In "Natalia," the first eighth note of Figure 20a is replaced by two

sixteenth notes.

Figure 20. Typically occurring rhythms of Venezuelan waltz when beginning with an
eighth-note rest. (originally seen as Figure 10 in Chapter Three)
 26

As seen in Example 69, after the first recurrence of figure 20a, it recurs in measure 3, and

appears in a total of nine of the first twenty-four measures.

Example 69. Lauro, "Carora" (arr. Diaz), mm. 1-3.

Figure 22b occurs in the first measure of Example 70. The rhythmic effect is one of

temporary instability which is only dispelled by the arrival of the first down beat in the

first full measure.

Example 70. Lauro, "María Carolina," mm. 1-3.

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Figure 20b also serves as the basis for a rhythmic ostinato which occurs in "María

Luisa." This passage occurs in the second half of the piece for a total of fourteen out of

thirty two measures and is reminiscent of a similar passage in the "Vals Venezolano"

composed by Lauro's teacher, Raúl Borges. As seen in Example 71, the rhythmic figure

of the melody is accompanied by the typical dotted quarter note, eighth note, quarter note

accompaniment figure of the Venezuelan waltz.

Example [Link], "María Luisa," mm. 56-59.

Lauro often constructs his rhythmic motives by combining one measure units

which employ characteristic rhythms of the Venezuelan waltz. A motive which appears

in several of his waltzes is seen in Figure 21. The first measure of this figure has already

been encountered in a number of contexts, including the ostinato in Example 71. The

rhythm of the second and third measures, quarter note followed by dotted quarter note

and eighth note, is not striking in terms of syncopation or otherwise typically Venezuelan

manner, but it does occur in a number of Lauro's waltzes. The pieces which make the

most consistent use of Figure 21 are "La Gatica," seen in Example 72, and "María

Carolina."

Figure 21. Typical rhythmic motive in several of Lauro's waltzes.

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Example 72. Lauro, "La Gatica," mm. 16-19.

A number of Lauro's waltzes begin with a pickup figure of three eighth notes.

These include "El Marabino," "Maria Luisa," and "El Negrito." Example 73 is taken

from "María Luisa." Again, the effect which this produces is one of momentary

instability which dissolves when the downbeat is reached. When combined with the 3/2

hemiola which occurs in the first two full measures, the effect of instability is even more

pronounced.

Example 73. Lauro, "María Luisa," mm. 1-2.

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Lauro's waltz melodies display both instrumental and vocal characteristics. While

employing the rhythmic devices which are typical of other Venezuelan waltzes, the

romantic waltzes, "El Niño" and "María Carolina," contain the most lyrical and easily

vocalized melodies. The intervallic motion of the melodies in these waltzes is primarily

stepwise. When disjunct intervals do occur, they are usually an octave or less in distance,

and they are easily vocalized.

The first eight measures of El Niño, seen in Example 74, are typical of this lyrical

style of melody. Major and minor seconds are the most frequently encountered intervals.

Of the disjunct intervals the most frequently seen is the minor third. One octave and two

perfect fourths constitute the rest of the intervallic content of the passage.

Example 74. Lauro, El Niño, mm. [Link] only.

The first eight measures of "María Carolina" provide a similar picture. Major and

minor seconds are the most frequently occurring intervals. Measure one and five contain

a diminished third, the only example of this interval in Lauro's waltzes. Again there are
 30

disjunct intervals, but none of them are larger than a minor sixth and all of them are

easily sung. The entire passage, seen in Example 75, is typical of Lauro's most graceful

and lyrical writing in his romantic style.

Example 75. Lauro, "María Carolina", [Link] only.

Perhaps the waltz which contains the melodies which are most typically

instrumental in character is "Natalia." In the first and second sections of the piece, the

melody contains a profusion of wide skips of harplike character, use of sesquiáltero, and

syncopated rhythms and accentuations typical of the cuatro. The overall effect is

strikingly similar to the waltz, "Gentileza," by Manuel Delgado Palacios. The intervallic

content of the melody includes significant numbers of intervals which exceed the

compass of an octave including ninths, tenths, elevenths, and fifteenths. The wide range

of the melody and the arpeggiated figurations of the first eight measures evoke the harp

while, at the same time, remaining completely idiomatic to the guitar. That the influence

of the harp is present in Lauro's waltzes is incontrovertible. In an interview with Henry

Adams, Lauro stated that the influence of the harp was "...of utmost importance in the
 31

movement of the voices in the valse and the joropo...The movement of the harp is present

in all my works, especially those inspired in the joropo."5 The melody is seen in Example

76.

Example 76. Lauro, "Natalia," mm. 1-8. Melody only.

Another typical example of an instrumentally derived melody occurs in "Carora."

The factors which contribute to the characterization of this melody as instrumental

include its high level of rhythmic activity and its wide range, which extends for more

than two octaves. As observed in Example 77, the presence of arpeggios in the melody

contributes to its harplike character as well. Two other factors, a rapid tempo with a

printed metronome marking of 184, and frequent alternations between 3/4 and 6/8 meters,

also contribute to the instrumental character of this melody.

5
Lauro, "Interview: Antonio Lauro," Guitar and Lute, 10.
 32

Example 77. Lauro, "Carora," mm. [Link] only.

In "María Luisa," melodies may also be considered to be of instrumental

derivation in their character. Seen in Example 78, the main melodic idea of the first half

of the piece possesses a wide range and high level of rhythmic activity. Other

contributing factors include the presence of sesquiáltero, the 3/2 hemiola, and a rapid

tempo. The printed metronome marking is 184 for the quarter note.

Example 78. Lauro, "María Luisa," mm. 1-8. Melody only.

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Texture

One of the features which distinguishes Lauro's waltzes from those of other

Venezuelan waltz composers is the frequent adoption of polyphonic textures and a more

contrapuntal style of writing, accompanied by the frequent use of chromaticism within

the individual lines. According to Luis Zea, Lauro's use of polyphonic textures was a

result of the influence of his teacher, Vicente Emilio Sojo, who often harmonized

Venezuelan melodies in this fashion.

Two of the most striking examples of this type of writing are "María Carolina"

and "El Niño." Both of these waltzes often contain three voice textures, and when only

two voices are present, they are often of equal melodic activity. Two four-measure

passages from "María Carolina" serve as examples of the sort of textural density which

Lauro could create on the guitar. Both passages maintain three-voice texture for much of

their duration. This waltz and "El Niño" are somewhat slower in tempo in keeping with

their song-like, romantic character, but, as a performer, one's choice of tempi is

somewhat constrained by the thickness of these textures. While no metronome marking

is given for "María Carolina," the marking for "El Niño" is given as quarter note 108.

Compared to the earlier tempi given for both "Carora and "María Luisa," this is notably

slower. In Example 79, notice the extensive use of chromatic half step motion in all of

the voices in measures nine through twelve of "Maria Carolina."

Example 79. Lauro, "María Carolina," mm. 8-11.

 34

A similar example of Lauro's chromaticism occurs in El Niño. Note the thick

texture as well as the frequent use of accidentals. In the first measure of Example 80, the

bass descends by half step from A to F sharp. The middle voice of the second measure

includes a similar chromatic descent encompassing the major third from B down to G

sharp.

Example 80. Lauro, "El Niño," mm. 16-18.

 35

Lauro's contrapuntal style of writing appears in many of his faster waltzes as well.

This style is present despite the more rapid tempi of these pieces, whose published

metronome markings range from 184- 208 for the quarter note. A typical example is

"María Luisa," which, as seen in Example 81, derives its polyphonic character from its

combination of chromatic bass line and rhythmically active melody. Notice, also, that the

same sort of chromatic bass movement occurs in Example 82, taken from "Carora."

Example 81. Lauro, "María Luisa," mm. 8-11.

Example 82. Lauro, "Carora," mm. 16-20.

 36

It should be mentioned that three-voice textures also appear in the Viennese style

waltzes of composers such as Agustín Barrios. However, what distinguishes Lauro's

waltzes from them is the greater degree of independent melodic activity of each of the

voices. Thus, Lauro's waltzes are more contrapuntal in their character.

Harmony

All but two of Lauro's Venezuelan waltzes use the tonal harmonic language of the

nineteenth century romantic period. The other two are written in what Lauro called his

"polytonal" style. These two waltzes will be discussed after an examination of the

harmonic language in some of the more traditional waltzes.

In the preface to his anthology of popular Venezuelan pieces, Alirio Díaz says

that Venezuelan waltzes generally are limited in their tonal spectrum, remaining within

the home key and closely neighboring ones.6 Lauro's traditionally conceived waltzes

embrace the same sort of limited key range. Harmonic vocabulary is of the same sort as

those Venezuelan waltzes examined in the Chapter Three. Lauro's waltzes differ from

these earlier examples in their more skillful treatment of dissonance, a treatment which is

typical of the best romantic composers.

In regards to its harmonic vocabulary, the simplest of all of Lauro's waltzes is

"Petronila", the study in the form of a waltz. With the exception of two secondary
6
Alirio Díaz, preface to Fernandez, El diablo suelto, popular Venezuelan waltz
 37

dominants, its chord vocabulary is purely diatonic and actually one of the two secondary

dominants, V7/III, could also be accounted for as a diatonic harmony, VII7 in A minor.

Within the diatonic framework only four chords, i, III, iv, and V7 chords, are used. The

other secondary dominant is the V/iv chord, whose half note harmonic rhythm occurs in

such fashion as to reinforce the effect of the 3/2 hemiola which occurs in the first two

measures. An analysis is provided in Example 83.

Example 83. Lauro, "Petronila," mm.1-4.

The harmonic structure of "Andreina," Vals Venezolano number two, is similar to

the previous example in its usage of diatonic chords and lack of chromaticism. Again,

only two secondary dominants, V7/iv and V7/III, occur, with only the i, III, iv, and V7

chords occurring in the course of the piece. With a harmonic rhythm of one chord per

measure, the primary chords, i, iv, and V7, occur in twenty-seven of the thirty-two

measures of this piece.

Two waltzes, "El Negrito" and La Gatica," are other examples of pieces which are

not complex harmonically. Both use secondary dominants sparingly, with only one in El

"Negrito," V7/V, and two in "La Gatica," V7/iv and V7/III. Lauro does employ a

chromatic bass line in the second half of El Negrito descending in this fashion: A, G
 38

sharp, G natural, F sharp, F natural, E. The harmonies associated with each of these

notes are i, V6/5, minor dominant v6, IV6, iv6, i6/4.

The waltz, "El Marabino," is also one of the least complex waltzes in terms of its

harmony. Its first half is mostly made up of alternation between tonic and dominant with

secondary dominants as the section approaches its cadenc . The second half contains

harmonies which are of a slightly more romantic turn including ninth chords and even

one thirteenth chord. In three different measures, one harmony occurs which is

particularly ambiguous in terms of functional harmony, but which makes perfect sense if

one remembers that the cuatro is tuned in these pitches in its por requinto tuning, A, D, F

sharp, and B. In Example 84, this harmony decorates the cadence in measures twenty-

three and twenty-four.

Example 84. Lauro, "El Marabino," mm. 22-24. Highlighted harmonies based on open
strings of the cuatro in por requinto tuning.

At the other end of the spectrum, Lauro's most lushly romantic waltzes are "El

Niño" and "María Carolina." "El Niño" is notable for its larger tonal palette which

includes a large number of secondary dominants, greater emphasis on the secondary

triads, ii, iii and vi, chromaticism in the bass line and inner voices, and a freer and highly

romantic treatment of dissonance. Secondary dominants include the vii7/ii and V7/ii,
 39

vii/iii,and vii7/V and V7/V chords. For subdominant function Lauro makes use of the ii

chord, ii7 chord, IV chord, vi chord, and the vii and V/V chords. Frequently used

nonharmonic tones include accented passing tones (chromatic and diatonic) and long and

short appogiaturas. In this piece, Lauro often resolves dissonances only after periods of

time which of a half note duration. A recurring motif throughout the work is the half-

note appoggiatura which only resolves on the last beat of the three beat measure. This

may be observed in Example 85, where both the first and third measures are constructed

on this motif.

Example 85. Lauro, "El Niño," mm.18-20.

The same motif recurs in "María Carolina" on a number of occasions. In some

respects, the harmonic vocabulary is slightly more advanced. In measure seventy-one, a

dominant eleventh chord is encountered. Although ninth chords do occur with some

frequency in these waltzes, one rarely finds eleventh chords in Lauro's romantically

inspired music. Another unique feature in this piece is a passage which seems to extend

the secondary dominant principle to a secondary subdominant followed by secondary

dominant of the four chord. This occurs in measure ten in Example 86. The half note

appogiatura resolves in the next measure in the fashion noted in connection with "El

Niño." In one respect, this process goes even farther as a result of the chromatic
 40

movement in the middle voice. The B flat and G a the end of the tenth measure function

as a double suspension, with the B flat and following G sharp resolving only briefly on

the A, and then not resolving again until the first beat of the next measure. This prolongs

the harmonic instability until the first beat of the next measure, where a definite feeling of

repose and arrival can be noted. Several examples of modal interchange occur in this

piece as well. The most striking one, which occurs in Example 87, is the use of an F

minor seventh chord, F, A flat, C, E flat, which occurs after the composer had modulated

to C major in the second rondo episode of the piece.

Example 86. Lauro, "María Carolina," mm. 10-12.

Example 87. Lauro, "María Carolina," mm. 46-48.

Although its rhythmic traits endow it with popular character, "María Luisa" is one

of Lauro's most romantic pieces in terms of its harmony. Its harmonic vocabulary
 41

includes dominant ninth chords, chromatic harmonies over an ascending chromatic bass

line, frequent usage of secondary dominants. Lauro's treatment of dissonance in this

piece is characterized by its opening three measures, seen in Example 88, with the three

short appogiaturas culminating in the half-note appogiatura in measure three. Measures

eight through eleven are seen in Example 89, and contain the same appogiaturas, but with

an intensification which is provided by the ascending chromatic bass line. In each

example, the eighth-note appogiaturas reinforce the effect of the 3/2 hemiola, as each one

coincides with the half-note pulsations of the first two-measure hemiola.

Example 88. Lauro, "María Luisa," mm. 1-3.

Example 89. Lauro, "María Luisa," mm.9-12.

 42

In addition to its rhythmic and melodic vitality, "Natalia" is one of the most

varied of Lauro's waltzes in its harmonic vocabulary and its treatment of dissonance. In

this waltz, Lauro makes liberal use of secondary dominants, interchange of mode, and the

same sort of treatment of dissonance which was seen in "El Niño" and "María Carolina."

In keeping with its level of rhythmic activity, the second section, measures seventeen

through thirty-two, is also the most active harmonically, with chord changes occurring on

the first and third beats of each measure. As seen in Example 90, Lauro includes a ninth

chord and three secondary dominants in this three-measure passage.

Example 90. Lauro, "Natalia," mm. 21-23.

In the subsequent eight measures which constitute Example 91, several examples of

dissonances are encountered which last longer than their resolutions. A five measure

sequence, which begins in measure twenty-eight, is built around the resolution of a

dissonance which has the duration of a half note and resolves only on the final eighth

note of each measure. In measure twenty-six, the C in the top voice functions as a minor

ninth, while in measure thirty, the G in the upper voice may be considered to be either a

dissonance or a chord tone.

 43

Example 91. Lauro, "Natalia," mm.25-32.

In Chapter One, Lauro stated that his usage of the term polytonal did not conform

to the traditional definition of the musical term, but, instead, was used to imply a much

freer but ultimately tonal harmonic language. In many respects, this style steps beyond

the limits of functional harmony without abandoning the idea of a tonal center. Instead of

placing a piece in A major or A minor, one might simply state that the piece is in A. One

of the features of this idiom is the use of functional material, such as triads, in a

nonfunctional fashion, particularly with respect to their manner of resolution. Another is

the consistent usage of ninth, eleventh, and thirteenth chords as part of the harmonic

language. Also, a number of chords appear which have more than one possible

designation, and some harmonies appear which seem to be best defined as polychords.
 44

The two waltzes which are written in this style are "Yacambú" and the "Vals"

from the Suite Venezolana. In addition to their harmonic style, both waltzes are unique in

their extended formal dimensions and also by virtue of the angularity of their melodic

contours. Their rhythmic characteristics are similar to the rest of Lauro's waltzes.

Two examples from "Yacambú" are typical examples of the harmonic vocabulary

employed by Lauro in this style of writing. The progression from the a minor triad in the

first measure to the c minor seventh of the second is meaningless in the context of

functional harmony. In the following two measures, it is difficult to decide which note

serves as the root of the chord. The resolution of the F in the bass by half step to a clearly

dominant E leads the author to the conclusion that this is an example of a disguised

version of a Phrygian, or Andalusian, cadence, with the inner voice E resolving

chromatically to E flat and then D and the G resolving upward to G sharp. The

Andalusian cadence is derived from the Phrygian mode and its characteristic descent of A

G F E. This cadential figure is a typical element of Latin American music of Hispanic

derivation. It appears in other examples of Lauro's "polytonal" works, including the Suite

Venezolana and the Sonata. Ramón y Rivera mentions this cadential figure in connection

with melody in El Joropo, and describes it's appearance as proof of the essentially

Hispanic character of Venezuelan folk music.7

The melody in this phrase is notable for its lack of conjunct intervals. In the first

four measures of Example 92, the intervals are an ascending minor sixth and descending

minor seventh. These are followed by a minor third, D to B, diminished fifth, B to F, and

diminished fourth, F to C sharp.

7
Ramón y Rivera, El Joropo, 41.
 45

Example 92. Lauro, "Yacambú," mm. 1-8.

The coda of this waltz is a typical example of Lauro's sense of progression in this

style. The melodic notes of the first seven measures all are within the key of A, but the

same cannot be said of the harmony. In the first eight measures the chords are A minor,

C diminished, E diminished, F sharp minor seventh, D diminished, E minor seventh, A

half diminished seventh, and G sharp minor seventh. This passage is an example of a

style in which functional material, triads and seventh chords, is used in a nonfunctional

manner.
 46

The chord in measure nine of the coda may best be considered as a polychord, G and

F(minus their fifths), with the F in the bass resolving functionally to the E seventh chord,

perhaps another example of a disguised Andalusian cadence. What follows after that is

functionally comprehensible within the tonal framework of the key of A major. The E

seventh chord in measure 104 resolves to an A major triad with the F sharp in the treble

voice functioning as an added sixth. The rest of the harmony then moves from the A

sharp fully diminished seventh chord, vii7 of ii, to B minor seventh, ii7, to a somewhat

decorated V7 chord, to the tonic A major triad. A harmonic analysis is provided in

Example 93.

Example 93. Lauro, "Yacambú," mm. 147- 162.

47