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Body percussion in the band repertoire:
case study of the work La corrida de toros, by Mario Bürki
Percussão corporal no repertório de bandas:
estudo de caso da obra La corrida de toros, de Mario Bürki
Salvatore Di Russo
Universidad de Alicante, Grupo de Investigación en Neuromotricidad y Alfabetización Motora (NEUROMOTRICITY), Alicante, Spain
Salvatore.dirusso1@gmail.com
Vicenta Gisbert Caudeli
Universidad Autónoma de Madrid, Dep. Interfacultativo de Música de la Facultad de Formación Profesorado y Educación, Madrid, Spain
Francisco Javier Romero Naranjo
Universidad de Alicante, Departamento de Innovación y Formación didactica, Alicante, Spain
Antonio Domenico Pelizza
, Rome, Italy
SCIENTIFIC ARTICLE
Section Editor: Fernando Chaib
Layout Editor: Fernando Chaib
License: "CC by 4.0"
Submitted date: 03 dec 2023
Final approval date: 22 mar 2024
Publication date:
DOI: https://doi.org/10.35699/2317-6377.2024.48665
ABSTRACT: When analyzing the band music repertoire, which includes works composed for wind ensemble as well as
arrangements from orchestral compositions, an increase in the incorporation of body percussion as a compositional resource has
been observed. This article focuses on the work La corrida de toros by Mario Bürki. The Swiss composer, in his descriptive
symphonic poem, is dedicated to presenting the different parts of a Spanish bullfight, also called tercios if we stick to bullfighting
terminology. Starting with the paseillo that leads the bullfighters into the arena, up to the tercio de muerte (third of death) in the
final part. The composition includes sounds and rhythms combined with the percussion of different parts of the body. This paper
presents a complete musicological analysis that contemplates structural, organological, harmonic and rhythmic parameters.
Special attention is given to the aspects related to the musical function that body percussion plays in this composition.
KEYWORDS: Body percussion; Band repertoire; Mario Bürki; BAPNE Method; Musical pedagogy.
RESUMO: Ao analisar o repertório de música de banda, que inclui obras compostas para conjunto de sopros, bem como arranjos
de composições orquestrais, observou-se um aumento na incorporação da percussão corporal como recurso composicional. Este
artigo enfoca a obra La corrida de toros de Mario Bürki. O compositor suíço, em seu poema sinfônico descritivo, dedica-se a
apresentar as diferentes partes de uma tourada espanhola, também chamadas de tercios, se nos atermos à terminologia das
touradas. Começando com o paseillo que leva os toureiros à arena, até o tercio de muerte (terço da morte) na parte final. A
composição inclui sons e ritmos combinados com a percussão de diferentes partes do corpo. Este texto apresenta uma análise
musicológica completa que contempla parâmetros estruturais, organológicos, harmônicos e rítmicos. É dada atenção especial aos
aspectos relacionados à função musical que a percussão corporal desempenha nesta composição.
PALAVRAS-CHAVE: Percussão corporal; Repertório de banda; Mario Bürki; Método BAPNE; Pedagogia musical.
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Body percussion in the band repertoire:
1. Introduction
When analyzing the musical repertoire of wind bands, we observe that it includes works composed for wind
ensemble, as well as arrangements of orchestral composition. The repertoire is constantly updated, with
publishers publishing transcriptions and adaptations in addition to original works composed for band (Ayala
2020). In the development of this research, an increase in the incorporation of body percussion as a
compositional resource has been observed, having verified that there is abundant literature where its
function is educational (Arnau-Mollá and Romero-Naranjo, 2022a, 2022b; González et al. 2022; Romero-
Naranjo and Andreu-Cabrera 2023a, 2023b). At the beginning of the 20
th
century, numerous musical
pedagogues incorporated resources from movement and body percussion (Trives et al. 2019; Trives and
Vicente-Nicolás, 2013) with a functional approach that mainly contributes to rhythmic internalization.
Moreover, it is an element of support for rhythmic experimentation, belonging to bodily expression (Arnau
Mollá and Romero-Naranjo, 2023; Carretero-Martínez et al. 2014; Di Russo and Romero-Naranjo, 2023;
Fabra-Brell and Romero-Naranjo, 2017; Khanjankhani Mehrizi et al. 2024; Navarro-Maciá and Romero-
Naranjo 2024a, 2024b; Penalva-Martínez et al., 2023; Romero-Naranjo, 2013a, 2013b, 2013c, 2014, 2017,
2017, 2018, 2019, 2020, 2021, 2022), where expressiveness is sought after using bodily flexibility,
movement, displacement or laterality, among others (Montoya 2017; Romero-Naranjo and Llorca-Garnero,
2023; Romero-Naranjo, Andreu-Cabrera and Arnau-Mollá, 2023c).
This analysis has allowed us to verify that some of the compositions that use this resource evoke musical
aspects of Latin American cultural and musical inspiration. Some songs, games, dances, and traditions from
various cultures come together in musical practices that present a clear tendency towards interconnection
due to globalization (Bahamón and Leandro, 2014). We will mention some of the works that share similarities
due to their connection with Latin inspiration and the coincidence in the use of the resource of body
percussion: Libertadores by Óscar Navarro (2010), Alba Overture by Ferrer Ferrán (2012), Festa by Roberto
Granata (2023) and Las corrida de toros by Mario Bürki (2016). Libertadores, by Óscar Navarro, shows us the
use of voice and body percussion in its composition, evoking the musical intensity of indigenous American
musical traditions (Di Russo and Romero-Naranjo, 2021).
The aforementioned works by Ferrer Ferrán and Roberto Granata also show passages that incorporate body
percussion; in both works, turns and rhythms of Latin roots are evoked, also taken from traditional dances.
Our didactic proposal will focus especially on the descriptive symphonic poem by Mario Bürki. We would like
to highlight that symphonic poems emerge in Romanticism as an artistic fusion that leads to sound metaphor
(Castelló, 2020). In other musical genres, themes are presented, and it is possible to observe their
development as the musical work progresses, however, in the symphonic poem it is more common to see
variations or transformations of the initial themes. It starts from inspiration, but the theme transcends
development and mutates (Castelló, 2020). Regarding symphonic poems and programmatic music, a small
dispute looms between purist musicians and new trends where music and words coexist in a balanced way.
Richard Strauss' compositions, for example, became a trend by combining two basic elements: lied and
leitmotiv (Bueno, 2018).
The proposal that makes up the last section of this work begins with the vision presented by the BAPNE
Method. It involves incorporating music-motor activities of body percussion where dual task and
neuromotor skills are involved. This recognized method provides socio-emotional and cognitive stimulation
by working on the executive functions of the brain through learning and motor skills (Andreu-Cabrera and
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Romero-Naranjo, 2021; Mas-Mas, Arnau Mollá and Romero Naranjo, 2023; Romero Naranjo, Pujalte Cantó
and Arnau-Mollá 2023; Romero Naranjo et al. 2023). The dynamics that provide attentional and motivational
improvement allow us to approach musical work from the activation caused by the dual task, providing an
innovative approach for performers and specialists in musical pedagogy.
2. Methodology
The objective of this work is to formulate an ontological reading of Las corrida de Toros by Mario Bürki. The
investigation of the characteristic features of the composition is not intended to be a musical analysis in the
traditional sense of the term (melodic, harmonic, rhythmic, structural, etc.) but rather to understand an
atypical piece from the corpus of works written for wind ensemble and percussion of Iberian inspiration. It
will be necessary, in carrying out the work, to highlight the different functional aspects of the research
objectives.
Given this, we will often have to deal with an analysis without presuppositions (La Motte, Dahlhaus, and
Giani, 2020) since in this piece we do not always come across a solid codicil structure. Many times, the
rhythmic pulsation seems to deviate from the traditional agogic statement through the neutralization of
strong habitual rhythms and the generalized lability of a tonal center calls into question the consolidated
harmonic processes. It follows that we must pay attention to the language used by the author, abandoning
the false assumption that we are dealing with a mere descriptive work of local color.
The phases of the bullfight, briefly described by the author as support for the score, are transfigured in the
different sections of the piece, taking the listener to a dreamlike dimension, where, through a
cinematographic process, he decontextualizes the perception of the bullfighting climate, through evocative
musical resources with various connotations. Seeking a parallel with cinema, this process is comparable to
that used by Pier Paolo Pasolini in his film Accattone (Pasolini, 1961) where, also in this case, a violent fight
scene between two neighborhood boys is transfigured and sublimated through the musical commentary
created with Wir setzen uns mit Tränen nieder de Matthäus-Passion BWV 244 by Johann Sebastian Bach. The
two beggars are no longer two young people on the margins of society, but their bodies intertwined, through
musical influence, with a process of estrangement, become transformed into a marble sculpture of classical
plasticity. The combination of these elements contributes to the creation of a musical architecture similar to
a sui generis symphonic poem with a program that is conceptually stated, but musically ignored.
The unifying feature of the piece is a continuous tense phase that will only dissolve in the final episode
Liberación illuminated by an epically cathartic beam of light underlined by the liberating rhythm of body
percussion.
It is possible to have a general idea of the piece through the performance of the Banda de Música de Manacor
(Balearic Islands) under the direction of Eduardo Bernabéu during the first concert of the 2021-22 season at
the Manacor Auditorium on October 23
rd
of 2021 (Banda de Música de Manacor 2021).
3. La corrida de Toros
La corrida de Toros clearly falls into the category of symphonic poems due to the presence of a composition
program established by the author accompanying the score that is configured as a guide for the performer
that is recounted below in the original language (Table 1).
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Body percussion in the band repertoire:
Table 1. Composition program (Bürki 2016)
GERMAN
ENGLISH
LA CORRIDA DE TOROS
La Corrida de Torros, auf Deutsch Stierkampf, beschreibt den
Ablauf eines spanischen Stierkampfs.
Am Beginn steht der Paseillo. Alle Mitwirkenden ziehen in die
Arena ein und stellen sich dem Publikum vor.
Zwei berittene Alguacilillos erbitten dann symbolisch vom
Komitee den Schlüssel zur «Puerta de los Toriles», dem Tor,
hinter dem sich die Kampfstiere befinden.
Der eigentliche Stierkampf besteht nun aus drei durch Horn-
Signale getrennten Teilen, die Tercios genannt werden.
Normalerweise nehmen drei Toreros an einer Corrida teil, und
auf jeden davon entfallen zwei Stiere.
Im ersten Tercio verwendet der Torero die Capote, ein großes
Tuch von purpurroter und gelber Farbe. Zwei berittene
Picadores, die den Stier mit einer Lanze abwehren, kommen
dann in der Arena.
Im zweiten Teil stehen nun die Banderilleros im Mittelpunkt. Sie
müssen zwei Banderillas, mit bunten Bändern geschmückte
Spieße, in den Rücken des angreifenden Stieres stoßen.
In der abschließenden «Suerte suprema» verwendet der Torero
die Muleta, ein kleines rotes Tuch. Nun muß er seine faena, seine
Meisterschaft im Umgang mit dem Stier, beweisen, und ein
künstlerisches Gleichgewicht zwischen menschlischer
Geschicklichkeit und animalischer Kraft herstellen. Am Ende der
Corrida tötet der Torero den Stier, indem er ihm sein Schwert in
den Nacken stößt.
LA CORRIDA DE TOROS
La Corrida de Torros, in English bullfight, describes a typical
Spanish bullfight.
A Corrida starts with the paseillo, with everybody involved
in the bullfight entering the ring and presenting himself to
themselves to the presidency and symbolically ask for the
keys to the «puerta de los toriles». Behind that door, there
are the bulls.
With the door being opened and the first bull entering the
ring the spectacle starts. It consists of three parts, called
tercios, which are separated by horn signals. There are
three toreros in each Corrida, and each one will have to
torear two bulls.
In the first tercio the bullfighter uses the capote, a quite
large rag of purple and yellow color. Now two picadores
The second part is la suerte de banderillas. Three
banderilleros must stick a pair of banderillas into the
In the final «suerte suprema» the bullfighter uses the
muleta, a small red rag. He must show his task, his mastery
in dominating the bull, and to establish an artistic symbiosis
between man and beast. The Corrida ends with the torero
killing the bull by with his sword.
When analyzing the score, we find ourselves faced with an ethical approach to the narrative. The symphonic
poem does not describe the phases of the bullfight through a language mediated by the Spanish national
musical heritage, according to the canons of this musical genre, the main product of the national schools,
but the program is exhibited through international musical distortions that sublimate and transfigure the
violent spectacle of the bullfight.
31. Organological and timbral characteristics
The organic instruments used by Mario Bürki in La Corrida de Toros (Figure 1) are that of the Symphonic
Band with a strong presence of percussion with the inclusion of those of a strong ethnic character used to
create the ethnic-musical climax that characterizes composition using instruments such as the cajon,
castanets, congas, floor tom, cabasa, and timbales.
As shown in the organic chart below and included in the score, the percussion appears to be balanced
according to the wind instruments in terms of percentage; a timbral balance that is rarely found in the
repertoire of the Concert Band.
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Body percussion in the band repertoire:
Figure 1. The organic instruments (Bürki 2016)
Another timbral aspect that characterizes the composition is the use of body percussion found from
measures (use measure instead of bar; bar is more colloquial) 149 to 172 and from bars 208 to 238 with
clapping (palmas) which, as indicated by the author in the explanatory notes (Table 2):
Table 2. Description of clapping (Bürki 2016).
GERMAN
ENGLISH
Palmas sind die traditionellen Klatsch-Rhythmen des
Flamencos. Die beiden Perkussionisten gestalten an dieser
Stelle solch einen Rhythmus“.
Palmas are traditional clap-rhythms of flamenco. The two
percussionists make such a rhythm at this point.
From bar 451 to bar 484 there is another body percussion (Table 3) resource that is achieved as indicated in
the score (Figure 2):
The competition and combination of all these timbral elements, which will be highlighted in the analytical
path, are functional for the creation of a chromatic range that provides La Corrida de Toros with a musical
specificity, though not unique, that is certainly difficult to find in the band repertoire.
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Body percussion in the band repertoire:
Table 3. Description of body percussion (Bürki 2016).
GERMAN
ENGLISH
“Der Rhythmus bildet sich ausfolgenden 3 Elementen:
-Schlag auf Oberschenkel
-fSchlag auf Brust
-Klatschen
In der folgenden Grafik wird ersichtlich, wie der Rhythmus
aufgebaut ist:”
This rhythm includes following three elements:
-Beat on thigh
-Beat on breast
-Clap
Figure 2. Body percussion performance (Bürki 2016)
3.2 Structure
The piece could be defined as a symphonic poem in eight parts, some of which are described by the
composer in the score. This diagram (Table 1) is intended to be a guide to the general structure of the work
from the melodic, rhythmic, harmonic, organological, timbral, and comparative points of view in the
subsequent analysis. In the diagram, the texts included in blue refer to main sections and those in red are
secondary connecting sections.
Table 4. Structure of the composition. Own elaboration.
I SECTION
La Corrida de Toros begins with a prelude that can be defined as what one finds in opera preludes and
overtures, as an anticipation of what will happen during the piece. In fact, within this section, the melodic,
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rhythmic and harmonic prime cells (Réti 1978) are presented, which will constitute the primary material for
the construction of entire sections of the work.
The prelude creates a dreamlike and waiting atmosphere, a transfigured premonition of the bullfight, which
envelops the listener, preparing them for an unusual event. This sensation is created in the first seven
measures by a pentatonic scale (Bb-Cb-Eb-F-Ab) with an impressionistic flavor, played by woodwind
instruments, glockenspiel, vibraphone (in the absence of the piano) and piano with a mute pedal that leads
to a superposition of strings generated by them. In bar 3 4 the piccolo presents the melodic cell built in the
Phrygian scale that will constitute the thematic material of the last section of the piece. (Figure 3).
Figure 3. Pentatonic sequence and piccolo melodic cell (Bürki 2016, 1)
Measure 17. The second bassoon introduces the main rhythmic cell which is increased and distributed more
widely in measure 34, con moto will show two measures, one of 4/4 and another of 3/4 and in the seventh
section, they will merge into a 7/4 design constituting the rhythmic pulsation of the Tango performed by the
first alto saxophone in bar 339 (Figure 4).
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Body percussion in the band repertoire:
Figure 4. Main rhythmic cell. Own elaboration
From bar 41 the first oboe, the first clarinet, and the first flute thematize the rhythmic design, alternating in
a contrapuntal design with sixteenth notes. The accompaniment gradually strengthens with the entry at bar
39 for alto clarinet and bass clarinet and at bar 46 for the alto and tenor saxophones with repeated notes
and the piano (Figure 5). At the same time, the contrapuntal and melodic design acquires intensity with the
intervention in bar 48 of the piccolo that gives more emotion towards the high note to the contrapuntal
texture that calms down in bar 53 with the harmonic material of bars 3 – 8 giving cyclicity to the structure
of the section, concluding it with the climax of the incipit (Figures 5 and 6).
Figure 5. Rhythmic design theming (Bürki 2016, 3)
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Body percussion in the band repertoire:
Figure 6. Timbral thickening (Bürki 2016, 4)
II SECTION
At bar 54 the second section begins. From bar 54 to bar 59 the brass instruments, excluding the horns,
perform a rhythmic design that follows that of the previous episode, acting as its dissolution and as a
modulating bridge towards a harmonic region of B flat minor, the pseudo tonal area of the section.
Introduced by a combined harmonic atmosphere of the two alternating alto saxophones in which a tonally
affirmative intervention of the timpani is inserted in bars 61 and measure 64, a pizzicato of the double bass
with the same function as the timpani, the oboe exposes the Paseíllo theme, which is also the first motif
(Serravezza, 1989). In this case, as can be seen in much of the piece, there is an oscillation between tonality
and modality that does not allow for a harmonic analysis based on traditional references. The first measure
of the theme is composed of a semibreve in the dominant of B flat minor, while the second exposes four
sounds that, with the introduction of the G flat, shift the balance towards the Phrygian mode (Figure 7).
The exposition of the first theme ends with a stretto where the melodic elements of the second measure of
the same are interpreted alternatively by the high woodwinds (Figure 8).
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Body percussion in the band repertoire:
Figure 7. Paseíllo Theme (Bürki 2016, 5-6)
Figure 8. Final closure (Bürki 2016, 7)
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Body percussion in the band repertoire:
From bar 80 to bar 86 we find the alternating exposition between trumpets and horns of the second motif
by the brass instruments embroidered by a dense alternating counterpoint played by wind instruments,
xylophone, and marimba (Figure 9).
Figure 9. Second motif (Bürki 2016, 8)
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From bar 86 to bar 93 there is a modulating bridge that leads after a dominant-tonic cadence of the timpani
to the tonal zone of C where there is a repetition of the first theme performed entirely with the melodic line
entrusted to high wind instruments, trumpets, and glockenspiel. This is a combination that creates a very
clear, almost crystalline sound that emerges from the orchestral mass, contrapuntal designs of the clarinets,
confident rhythmic accompaniment to trombones, bass instruments, and percussion, and a countermelody
of the winds characterized by a glissando on an interval of 7
th
diminished ascending; an expressive means
often used to create an epic atmosphere, of particular solemnity. After the maximum expansion of the
section, from bar 116 to bar 129, a solo by the 1
st
horn closes the episode accompanied by thematic cells
that refer to the first theme and by the ringing of tubular bells.
III SECTION
The Vivo misterioso of bars 130-148 constitutes a connecting section played on the harmonic ambiguity
obtained with the use throughout the third section of a pedal composed of double chords of empty IV and
V that support a design distributed between the woodwinds without melodic identity, built on cells of three
eighth notes that stubbornly repeat the same basic idea in different keys; we will encounter the same
procedure in the seventh section. This interlude closes with a four-chord sequence BbM Cm BbM AM
that leads into the tonal region of the next section.
IV SECTION
Bars 149 – 249. This section, although not specifically indicated in the score, presents the typical specificities
of flamenco and, from the point of view of the program, can be identified with the primer tercio. The most
evident aspect is the rhythmic base supported by the claps (palmas) built on a pattern composed of two
measures of 6/4 constituting a metric formula (palo) that creates a measure composed of twelve
movements. The twelve-movement rhythm based on strong accents essentially distinguishes two generic
groupings: cantes linked to the soleá (sun) and songs linked to the seguiriya (tragic and slow pole) (Álvarez
Caballero 1998) and (Navarro García 2010). In the group of songs, the strong accents fall according to the
following pattern (Figure 10):
Figure 10. Palo flamenco. Own elaboration
While the second group follows the following mode of accentuation (Figure 11):
Figure 11. Mode of accentuation. Own elaboration
In the case of flamenco present in the fourth section of the work at hand, we find ourselves faced with a
revisitation of the traditional palos, adapted to the expressive needs of the score. The claps (palmas)
performed by the second and third percussion emphasize the odd movements (1 3 5 7 9 11) of the
first type of time signature and on the movements 1 4 7 9 11 in the second type. These two rhythmic
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patterns, as can be seen, do not faithfully refer to the flamenco tradition, but rather follow the progression
of the melodic line (Figure 12).
Figure 12. Rhythmic scheme of clapping in La corrida de toros (Bürki 2016, 15-16)
This section has two themes: the initial melodic theme is presented for the first time by the alto saxophones
in bars 149 – 156 (Figure 13) while the second, contrasting and markedly rhythmic one, is presented by the
1st, 2nd, 3rd trumpet and the euphonium in bars 157 – 164 (Figure 14).
Figure 13. First theme. (Bürki 2016, 15-16)
Figure 14. Second theme of trumpets and bombardino (Bürki 2016, 16-17)
The harmonic conduction, for the first theme, alternates tonality and Phrygian modality typical of Iberian
popular music while the second theme is built on a chord sequence Dm Cm Bbm Am, everyone in their
first inversion. In measures 165-171, the second theme is again proposed in a varied way in bars 165 – 171
by three flutes with the harmonization of the saxophones and the glockenspiel. Later, in bars 172 – 180,
there is a repetition of the previous thematic material with permutations of melodic movement alternating
trumpets, horns, xylophone, and piano (Figure 15).
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Figure 15. Resumption of thematic material (Bürki 2016, 18)
The clapping stops and for the first time, a recurring style appears in the piece: that of long trills that alternate
with rapid successions of sounds played by high-pitched wind instruments (Figure 16).
Figure 16. Trillo-scala style (Bürki 2016, 18)
Starting at measure 180, initiated in the previous measure by an Andalusian cadence (Figure 17) based on a
Phrygian tetrachord (Tenzer 2006) of the bass instruments, an episode develops in which the two alto
saxophones are seen making a duet, and then the two bassoons. This duet is based on a horn harmony
formed by an A pedal in the octave of the 1st and 4th horn and a 2nd and 3rd movement based on the Dm -
AM (tonic-dominant chords) creating, also in this case, harmonic ambiguity.
From the previous example, we can see the composer's care in searching for the colors and the scenographic
part of the piece: the score requires the use of the cajon, an instrument of Peruvian origin and therefore
foreign to the Spanish tradition on stage, in a clear position both from an acoustic and visual point of view.
In bar 208 we find the recapitulation with the re-exposition of the two themes in opposite blocks: the wind
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instruments interpret the first theme with the rhythmic scansion of the clapping while the trumpets interpret
the second with a countermelody of the horns, the rhythmic basis of the percussions and harmonic fabric
created by the marimba through an Andalusian cadence. From measure 222 onwards, several counterpoints
are performed by a dense texture designed by the wind instruments and supported by an important
percussive base. The extinction of the section develops in bars 238 - 249 based on an alternating brass
chorale counterpointed by the woodwinds over a dominant pedal.
Figure 17. Andalusian cadence (Bürki 2016, 19)
V SECTION
At bar 250, Allegro, a sudden resumption in the Dm tonal area of the thematic material of the second section
acts as an interlude a connection between the two main sections. In bars 258 – 259, a rapid modulation
process returns the episode to the harmonic region of the original exposition, that is, of Fm confirmed by
the harmony that traces a clear tonic-dominant path but is denied by the modality of the melodic line. The
section ends with a harmonious question that creates an atmosphere of suspended expectation that will not
be resolved in the first measures of the next Pasodoble, as it opens with a series of empty fifths of F C
(Figure 18).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 18. Pasodoble (Bürki 2016, 28)
VI SECTION
The Pasodoble, which develops from bar 266 to bar 338, from the point of view of the dramatic action which
is ideally represented through the score and can be identified with the segundo tercio. Meanwhile from the
rhythmic-musical point of view it presents a division into three movements that contradict the agogic,
highlighting once again the stylistic mark of La corrida de Toros that aims to generate an effect of
et al. 1991) so that the listener is freed from the automatism of
perception through presentation of unpublished aspects of the piece (Foschi 2019). The Pasodoble was born,
as its name indicates, as a binary marching rhythm, originally intended to mark the progress of the troops
and later acquired by the bullfighting ceremony and finally becoming universal cultural heritage as a form of
dance. The Pasodoble proposed in ternary measure seems to want to overthrow the established conventions
in this genre. We must not forget that the Pasodoble is considered a very popular dance genre in Spain. It is
usually presented in binary time and not very fast. It is common to find an introduction that is melodically
based on the dominant and then a trio that is frequently presented in the subdominant (or relative when
the Pasodoble is in the minor key) (Martínez del Baño 2018). The mutation of the form desired by Mario
Bürki in his composition, though maintaining the traditional harmonic and colorful structure, creates an
alienating effect through the rhythmic increase that leaves the strong subsequent accent that is taken for
granted by the listener's previous experience suspended for a movement. The section is based on two
thematic ideas of a contrasting nature: the first, markedly rhythmic, is presented by the brass with an
intervention in 2/4 of the wind instruments in bars 274 – 275 that ends in the next two measures with
clarinets and horns, citing the melodic cell of measure 1 (Figure 19).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 19. First thematic idea (Bürki 2016, 29)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
The second, clearly melodic, is presented by the first clarinet with a superposition in the upper V in bar 290
of the first flute and countermelody of the first alto saxophone complementary to the main melody that
provides continuity to the motif with a colorful added value given by the rhythmic accompaniment of the
castanets (Figure 20).
Figure 20. Alto saxophone counterpoint (Bürki 2016, 30)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
In bar 277 the euphonium anticipates the incipit of the trumpet theme in bars 297 – 312 derived from that
of the clarinet and characterized by an anacrusic attack, a typical stylistic feature of the Pasodoble as in the
trumpet solo in España cañí by Pasqual Marquina (1932). The previously recorded contrapuntal scale trill
design returns (Figure 21).
Figure 21. Trumpet solo (Bürki 2016, 31)
From bar 312 of eight measures, the initial rhythmic pulsation reappears that will lead to bar 320 to an
extinct coda based on the recurring compositional procedure used, for example, by Gustav Holst (1921,
1922) in his two suites for military band, of the movement from high to low of a melodic phrase that creates
a strong dissolution effect (Figure 22).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 22. Dissolution effect (Bürki 2016, 33-34)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
VII SECTION
The seventh section, the Tango section, develops from bar 339 to bar 435 (tercer tercio). Also in this case
the dance is transfigured according to the classical model both from a rhythmic and formal point of view.
Tango, as a recognized flamenco style, is usually shown in a binary way. Sometimes we find Tangos
composed in a quaternary structure, it is not an error in the transcription but an attempt to reflect the
natural phrasing of the music. We must not forget that in its origin since we have evidence of its appearance
in Cádiz in the mid-19th century, it was shown as a binary rhythm of ternary subdivision. Initially, it seemed
to sound in tonal harmony and progressively mutated towards modal harmony, slowing down and dividing
pulses into halves (Pérez Garrido 2019). The 7/4 time of the section, as was already seen in the previous
Pasodoble, creates a dichotomy, this time by default concerning to the dance present in support of the
metronomic indication prescribed when based on a metric sweep of two measures of 4/4. The tempo of this
section is derived from bars 40 – 52 (Coins 3 and 4) where the rhythmic design and melodic intervals are
identical but divided into two measures (4/4+3/4). Even the general sound moves away from Tango through
the use of percussions such as congas and cabasa that are of African origin, though later acquired by Latin
American music and the omission of typical timbres of Tango, especially the bandoneon (Figure 23).
Rhythmic depth is also fueled by quatrains and tercets played alternately by muted trumpets and trombones
(Figure 24).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 23. Tango rhythm and melodic anticipation of the trombone (Bürki 2016, 34-35)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 24. Rhythmic thickening (Bürki 2016, 35)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
From bar 343 to the Vivo of bar 356 we witness an interrupted and tense rhythmic impulse created through
a constant increase of the agogic and the accelerando that explodes in a dance very far from the passionate
and melancholic climax of the traditional Tango, which transports the listener to a Latin rhythm with fusion
features. In bar 342, the first trombone plays a melodic cell that anticipates the solo of the first trumpet
(Figure 25 whose interval design, with some variations, seems to derive from the Ukrainian folk melody Oci
ciornie (Anonymous 1897) inserted into a context from which results detached as it emerges immediately
from the listening (Figure 26).
Figure 25. Trumpet solo (Bürki 2016)
Figure. 26. Oci Ciornia (Anonymous 1897)
Starting at bar 356 we find the exposition of the thematic pattern composed of eight measures (4+4)
consisting of a design of eighth notes played by the high woods and the high saxophones on the rhythmic
basis that was previously developed in bars 339 – 343 (Figure 27).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 27. Thematic pattern (Burki 2016, 37)
From a harmonic point of view, the sequence, Eb m Db M B M Bb m, is recorded in the first four-
measure section of the pattern with recurrent use of enharmony as it frequently occurs in the piece. The
rhythm, the use of percussion (marimba, xylophone, congas, cabasa, bell-mounted cymbals), and the
pulsating, ostinato, and pseudo-improvisation character of the pattern bring the section closer to the stylistic
, in bars 364 – 369, plays an improvised episode
constructed from four sequences of sounds repeated even at a distance of one octave (Figure 28).
Figure 28. Improvised piccolo episode (Bürki 2016, 38-39)
In bar 370, the rhythmic division is changed to (2+2+3) and in the following measures, there is a moment of
rhythmic adjustment dictated by this change. The accompaniment takes on a new form with the intervention
of trumpets and trombones that repeatedly execute glissandi that end in a rip. The woodwinds up to the
first clarinet reflect the trill scale designs (Figure 29).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 29. Trombone ripping and high woodwind instrument design (Bürki 2016, 39)
Later, the trumpets and horns represent the first thematic idea in the upper V with permutations. Note the
t trumpet, “take piccolo trumpet if you’re a sissy” (Figure 30).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 30. Reformulation of the first thematic idea (Bürki 2016, 40)
After a four-bar rhythmic connection at bar 385 we find the resumption of the second theme consisting of
the thematic pattern with a return to scansion (2+3+2) while the resumption of the first thematic idea meets
the subdivision rhythmic. (2+2+3) in bar 407. In bar 419 the dissolution of the Tango begins with a sudden
change of climax obtained through the rhythmic mutation (8/4) and the return to the arena with a clear
reference to the previous Pasodoble. In the following measures, rhythmic impulses, and melodic fragments
"cool" the emotion of the Tango through a process of aggravation and increase in sound until reaching
measure 431 when a sharp crash (sec!) of the cymbals abruptly interrupts the process in course and begins
the declamation of the first melodic idea by trumpets and horns in choral form on a lower and upper pedal
formed by a bichord in Bb F. The rhythm of the drum contributes, as it subsides, to general pacification. In
the following three measures, the thematic idea executed in retrograde movement and pushed increasingly
towards the lower end closes the section with the same stylistic artifice as the previous Pasodoble (Figure
31).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 31. Tango resolution (Bürki 2016, 47)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
VIII SECTION
Liberación, the eighth and final section of the composition, begins at bar 436. The tension that has
characterized La Corrida de Toros until now dissolves into a relaxed and broad Bolero, characterized by an
epic aura, configuring a liberation in the true sense of the term. From a melodic point of view, the episode
is built from two complementary ideas: the first is derived from the primary cell exposed by the piccolo in
bars 3–5 of the first section, and the second, is the original idea. The harmonic structure, as in much of the
piece, is in a tonal region of B flat. From bar 438 to bar 446 the melodic ideas of the piece are presented in
a fragmented way (Figure 32). The rhythm of the Bolero is supported in bar 451 by the body percussion
according to the scheme presented in Figure 2 in later entries with the coloristic particularity of the
acciaccatura marks of the trombones that accentuate the clapping of the body percussion and in this case,
Starting at bar 455, the clarinets expose the thematic material derived from the primary cell that develops
for sixteen measures (8+8) on harmonic groupings of 2 + 2 (T D Tp D) + (t D SD D). In bar 471 in the
form of a continuous plot with changes in the melodic path and the insertion of sounds foreign to harmony
that, through a feeling of indeterminacy, give the general atmosphere a feeling of cathartic anticipation. The
thematic material comes with a thickening of the composition obtained with the addition of high-pitched
wind instruments and alto saxophones. This resurgence is supported by the exposition of the second theme
performed by the horns, thus creating two thematic blocks of particular narrative weight and contrasting
character: the first is characterized by an ostinato design and variable direction, and the second is hieratic
and declamatory (Figure 34).
From bar 471, there is also a thickening of the percussion with the entry of the floor timpani that hits the
mallets in correspondence with the clap and eighth note of the trombones, creating a particularly suggestive
colorful effect. Starting at bar 487 we notice an amplification of the timbral, and emotional intensity given
by a thickening of the sound initially created by the alternation of woodwind-brass instruments with the
addition of new contrapuntal elements, eighth-note drawings of clarinets and greater rhythmic weight. The
themes are proposed again in the Db tonal region. Also, for this section, according to the Author's modus
operandi, there is an external cultural reference of formal origin, which is the Bolero by Maurice Ravel (1929).
As with the work of the French composer, Bürki's composition is structured as an ascending sonorous parable
that, starting from a minimal exposition, thickens until reaching an orgiastic and liberating tutti in the final
bars. The tutti of bar 503, as well as the following ones, is introduced through a chromatic passage of the
wind instrument towards the dynamic explosion in the ff. Thanks to an inversion of parts related to the
previous representations, the first theme is played by the horns and the second by the wind instruments
(Figure 35).
From bar 511 to bar 526 is the last complete exposition of the thematic material leading in bar 527 to a
fifteen-bar coda that closes the piece. In the first eight, the horns and first trumpet exhibit a permutation of
the second thematic block by semitone intervals of Ab chord trilled by the high woodwinds. In the final
Determinato, by analogy, the wind instruments present the first theme in four measures over a rhythmic
ostinato, blocks of chords from the trumpets and glissandi from the horns and alto saxophones that recall
those of the trombones in the final part of the Bolero, in correspondence with which the author notes “as
loud as you can (but not louder!)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
in fact structurally, although with an inversion of the final scale but with the same rhythmic intention, they
can be considered very similar (Figure 36).
Figure 32. Fragmented melodical ideas (Bürki, 2016, p. 50)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 33. Body percussion (Bürki 2016, 51)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 34. Thematic blocks (Bürki 2016, 53).
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 35. Dynamic thickening (Bürki 2016, 57)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 36. The end of La corrida de Toros (Bürki 2016, 62) and the end of Bolero of Maurice Ravel (Ravel 1929, 66)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
4. Didactic proposal
Activities are designed for double-task or dual-task work, understanding this as the simultaneous
performance of different activities that involve the dissociation of limbs and the use of the voice (Sayago-
Martínez et al. 2021). These dynamics are not based on choreographic quality, as they have a motor function
that must be sequenced according to their cognitive and motor difficulty (González et al. 2022). The proposal
is offered through activities sequenced by a degree of difficulty where movements and displacements are
combined with the use of the voice (Alonso-Marco and Romero-Naranjo, 2022; Andreu-Cabrera and
Romero-Naranjo, 2021).
We will start from the rhythmic sequence taken from Bürki's work (figure 37) to which we will add a letter
with a prosodic coincidence.
Figure 37. Body percussion rhythm (Bürki 2016)
Option1: yo to-co-las pal mas si vie-nes-a ver-me tú
Option2: los miér-co-les ven go nos tó-ma-mos un ca fé
Option3: te ve-o-bai lan do me di-vier-to jun-toa ti
Option4: si ca-da-ma ña na me des-pier-to muy fe liz
Once we have internalized the rhythm, which is more difficult in the second measure when we find the
irregular two-tone figure in the third part, we will begin to perform the exercise in movement.
1. Moving squares. We will begin by saying the numbers as we move forming a square (Figure 38).
2. Later, once the movement has become automatic, we will incorporate the different worked letters.
Special attention will be paid to the third part of the second measure. If we observe that there are
irregular movements, we can consider performing the movement holding hands, so that the general
movement guides those who may have greater difficulty in that irregular meter. In this activity, we
do not incorporate body percussion reflected in the score, unless the group's competence is high,
and they require a greater objective challenge.
Figure 38. Moving in square for dual task. (Romero-Naranjo 2018)
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
3. Free movement around the room, repeating the phrase chosen by one of the participants or, if you
prefer, proposing your own. It is always more creative for them to make and work on their proposals.
All together we move around saying the phrase rhythmically and clapping only in the last two parts
of the dotted quarter-quarter note sequence.
4. Incorporating cooperative work, we will add another variant to point 3. The clapping of the last two
parts of the sequence must be given by another partner, thus inviting the coincidence and
collaboration of the participants. Music has a high cooperative component, so it is always positive to
include proposals that enhance interaction (Gisbert, 2022).
5. Incorporating mathematical calculation. The activity guide must have previously thought out the
instructions to avoid rhythmic errors that could slow down the dynamics, even so this activity will be
carried out at a slower pace. At the beginning, you can move freely around the space and stop in
front of whoever you want to give us an answer.
Example1: Dos más-cua-troy dos más tres pien-say-di me cuán toes
Dos más-cua-troy dos más tres to-doe-so on-ce es
Example2: Si a diez le qui to tres pien-say-di me cuán toes
Si a diez le qui to tres to-doe-so sie-te es
Example3: Tres más-u-noy dos más dos pien-say-di me cuán toes
Tres más-u-noy dos más dos to-doe-so o-cho es
6. Variation on activity 5. We can do it sitting, incorporating very basic body percussion sequences, since
the calculation always involves greater difficulty.
5. Conclusions
The incorporation of body percussion into the band repertoire not only offers an opportunity to introduce
new band sounds but also a way to acquire rhythmic awareness through a direct experiential dimension that
does not require a process of abstraction. At the same time, it constitutes an innovative and motivating
resource by being able to provide and improve executive functions such as dual tasking, attention, and
working memory, as long as it is complemented with some pedagogical proposal. After carrying out an initial
search, some examples are found in the repertoire that coincide on two issues: firstly, the use of body
percussion incorporated by the composer himself and secondly the connection with Latin tradition and
inspiration.
Reviewing the literature related to the BAPNE Method, it is considered beneficial and interesting to propose
a didactic proposal associated with the work of study. A better perceive the neuromotor effectiveness of the
BAPNE method, a methodology with more than fifty articles in the Web of Science (Figure 39), we suggest
reading other publications on the repertoire for Band and Bapne where we provide numerous practical
resources (Di Russo et al. 2023). Complementing Bürki's work with activities that allow activating the skill of
dual tasking in preparation for interpretation. We consider that this didactic use with application to the band
repertoire can be favorable for the incorporation of pedagogical learning resources in various repertoires
since numerous previous studies have shown the improvements that this type of dynamics provides both on
an individual and collective level.
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
Figure 39. Bapne in Web of Science
6. Bibliographic References
Alonso-Marco, Maria, and Francisco Javier Romero-
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Anonymous. 1897. Oci Ciornia. Moscow: Jungerson. [Score].
Arnau-Mollá, Antonio Francisco, and Francisco Javier Romero-
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Arnau-Mollá, Antonio Francisco, and Francisco Javier Romero-Naranjo.
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Ayala Herrera, Isabel María. 2020.
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Bahamón Paloma, Serrano and Leandro Edwin, Rey Velasco. 2014. Bucaramanga, música y cultura urbana: Retos para
el ejercicio profesional de música. Artseduca 8: 158-177.
Banda de Música de Manacor. 2021. La corrida de toro [Video] Youtube.
https://www.youtube.com/watch?v=7IN0VJt4wog
Bueno, Irene Zorrilla. 2018. El solo de viola en la obra Don Quixote op. 35 de Richard Strauss. AV Notas: Revista de
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
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Bürki, Mario. 2016. La corrida de toros. Luterbach: Musikverlag Frank. [Score].
Carretero-Martínez, Andrea, Romero-Naranjo, Francisco Javier, Pons-Terres, Jessica María, Crespo-Colomino, Natalia.
2014. - Spatial and psychomotor development in students of Primary Education through the
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Approximation [Article]. ERPA 2021 International Congresses on Education, Sakarya, Turkiye.
Di Russo, Salvatore, Romero-Naranjo, Francisco Javier. 2021b. Body Percussion In The Work Of Composer Oscar
Navarro. *The Case Of “Libertadores [Article]. ERPA 2021 International Congresses on Education, Sakarya,
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Di Russo, Salvatore, Romero-Naranjo, Francisco Javier, Gisbert Caudeli, Vicenta, Cantarini, Gianluca. 2023. The
repertoire for wind band and body percussion. A state of the question from the bapne method. Innovación
docente e investigación en arte y humanidades: Nuevas tendencias para el cambio en la enseñanza superior,
171-184. Dykinson.
Fabra-Brell, Eugenio, Romero-Naranjo, Francisco Javier. 2017. Social competence between equals through body
percussion according to method BAPNE in secondary students. Procedia-Social and Behavioral Sciences, 237,
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Ferran, F. 2012. Alba Ouverture. Madrid: Ibermusica. [Score].
Foschi, Rosa. 2019. Rosa Foschi: Polaroid ROSA & film FOSCHI. Edited by Ilaria Bernardi. Pistoia: Gli Ori.
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(Monográfico): 112. doi:10.37467/revhuman.v11.3865.
Granata, R. 2023. Festa. Memories of a majorcan travel. Roma: Clivis. [Score]
González, María Luisamercedes, Liendo Andreina, Asurmendi, Estibaliz and Romero, Francisco Javier. 2022. Bruno
Mars y la percusión corporal: estrategias creativas desde la neuromotricidad con el método BAPNE. In
Acercamiento multidisciplinar para la investigación e intervención en contextos educativos edited by A.Martos,
A.B. Barragán, M.C. Pérez, M.M. Molero, M.M. Simón y M. Sisto, 449-462). Dykinson.
Holst, G. 1921. Suite in Eb for military band op. 28 n.1. London: Boosey & Co. LTD. [Score].
Holst G. 1922. Suite in F for military band op. 28 n. 2. London: Boosey & Co. LTD.
Khanjankhani Mehrizi, Elahe, Samadi, Hossein, Saeid, Ahar, Romero-Naranjo, Francisco Javier.
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Di Russo, Salvator; Caudeli Vicenta Gisbert; Romero-Naranjo, Francisco Javier; Pelizza, Antonio Domenico.
Body percussion in the band repertoire:
La Motte, Diether de. 2020. Analisi musicale. Edited by Maurizio Giani. Roma: Astrolabio.
Marquina, P. (1932). Espana Cani. Leipzig: D. Rahter. [Score].
Martínez del Baño, Benito. 2018. Cartagena y el pasodoble. Revista de Investigación sobre Flamenco La madrugá 15:
117-141. https://revistas.um.es/flamenco/article/view/353901
Mas-Mas, Delfina, Antonio Francisco Arnau Mollá, and Francisco Javier Romero-Naranjo. -Task and
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