BEGINNING BAND

Paso Flamenco
VICTOR LOPEZ (ASCAP)

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INSTRUMENTATION

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1 Conductor 2 Baritone Treble Clef World Parts

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10 Flute (World Part Trombone Available for download from
2 Oboe in B b Treble Clef) www.alfred.com/worldparts
10 B b Clarinet 4 Tuba Horn in E b

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2 B b Bass Clarinet 2 Mallet Percussion Trombone/Baritone in B b Bass Clef
6 E b Alto Saxophone (Bells, Xylophone) Tuba in E b Bass Clef
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4 B b Tenor Saxophone 1 Timpani (Tune: F, C) es Tuba in E b Treble Clef

2 E b Baritone Saxophone 2 Percussion 1 Tuba in B b Bass Clef
8 B b Trumpet (Snare Drum, Bass Drum) Tuba in B b Treble Clef
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4 F Horn 3 Percussion 2
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6 Trombone/Baritone/Bassoon (Tambourine, Castanets,
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Crash Cymbals)
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Please note: Our band and orchestra music is now being collated by an automatic high-speed system. The enclosed parts are now sorted by page count, rather than score order.
 PROGRAM NOTES
Paso Flamenco is a blend of the paso doble and flamenco dance styles. Paso doble is a representation of
a bullfight, where traditionally the male dancer takes on the role of the matador (bullfighter) and the
partner takes on the role of his cape. Synonymous with Spanish culture, the paso doble is a traditional
folk dance. The name paso doble in Spanish means two step. The two step refers to the marching
nature of the steps, and the dance is recognizable by its dramatic poses that usually mirror the highlights
in the music.
Also arising in Spain, flamenco is believed to be a fusion of traditional folk forms and gypsy traditions.
In traditional flamenco dance, the male holds his body straight, bending back slightly, with arms curved.
Footwork is strong and the total effect is one, which conveys dignity, manliness and passion. As for

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the women, the arms are raised to form an elegant curve, and hands are frequently used to make
beautiful circular movements. Finger snapping, clapping and stamping of the feet can also used. Flamenco
is flamboyant and dramatic and, for the most part, successful flamenco performance depends upon the

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expression of inner passions and emotions of the performer.

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NOTES TO THE CONDUCTOR

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The tonality of this composition displays a modal mixture. It incorporates pitches or chords from the

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parallel minor or major key. This provides a teaching opportunity to discus modal tonality and to explain
the difference between the major and minor modes. To facilitate the rehearsal, the key signature of

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Concert F has been used throughout and accidentals have been added for the minor mode section.
Additionally, this piece illustrates the use of the Phrygian mode, usually called Andalusian cadence, which

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in fact is the most common in the traditional flamenco music. The cadence is very evident throughout
the piece, but it is highlighted at the introduction and ending of this composition.
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Paso Flamenco has somewhat of a march-style flavor. The introduction statement is 16 measures in length
and should be played courageously. Starting with the pickups (or anacrusis) to measure 12, the trumpet
is exposed throughout this section by the use of the stop and go compositional technique. The first
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part, a repeated 16 measure segment, is written in a minor mode. On the repeat, the countermelody
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in the flute, oboe and bells compliments the melody and should not be played louder than the melody.
Note that in the flamenco style, the melody and accompaniment change from one note to another in a
smooth transition, rather than using discrete intervals. The most traditional flamenco songs are usually
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limited to a range of a sixth (four tones and a half). This makes its use particularly appropriate for
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beginning ensembles.
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When performing Paso Flamenco it is important to feel the rhythm rather than mechanically count the
beats. The rhythm is fundamental to flamencoit is the basic definition of the musicand without rhythm,
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there is no flamenco. Rhythm is therefore more than simply the division of beats and accentuations; it is
the backbone of this musical form and consequently, the feel of rhythm is extremely important. Although
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the bass line has been doubled in the low brass and woodwinds, it should be played on the light side and
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with a continuous two-beat pulsation.

The use of the tambourine and castanets in this composition are critical as their sound serves as the
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trademark to this style of music. At measure 34, the clarinet, tenor saxophone and horn are playing
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the melody. Throughout this section, the countermelody is carried by the alto saxophone with some
support from the trumpet. The melody then shifts to the flute, oboe and trumpet, starting with the
pickups to measure 50. The countermelody continues in the alto saxophone, horn and xylophone parts
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until the D.S. al Coda. Note that, when going to the sign at measure 13, although it is marked to be
repeated, the ensemble should play measures 1323 once (as if it were the second time around) and go
directly to the coda until the end.
I hope that Paso Flamenco provides the enjoyment and educational purpose intended and that it is
ultimately a meaningful musical experience for you and your students.
 Paso Flamenco
FULL SCORE Victor Lopez (ASCAP)
Approx. Duration - 2:00
Moderately = 120
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Timpani
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(Snare Drum, Bass Drum)

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Tamb.
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(Tambourine, Castanets,
Crash Cymbals)
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2008 BELWIN MILLS PUBLISHING CORP. (ASCAP),

A division of ALFRED PUBLISHING CO., INC.
29560S All Rights Reserved including Public Performance
 4

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 7
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 8

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 9

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 10
42

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42 43 44 45 46 47

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 50 11

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Perc. 2

48 49 50 51 52 53
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 12

. . . . . .
58

Fl. &b J

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54 55 56 57 58 59
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 13

. . . . >
D.S. % al Coda
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Perc. 2 .
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60 61 62 63 64 65
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Coda 67
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67 (1st time only)
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Timp.
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Tamb.

Perc. 2 ..
66 67 68 69 70 71 72

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 15

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1. 2.
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J
f P f
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73 74 75 76 f 77 78 79
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