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CD NOTES

GENERAL REMARKS:

TUNOG PiL-AM’s musical style blends traditional Philippine music elements
and Filipino American sensibility in music making. It is different from any type
of fusion music in that it only utilizes Philippine instruments, thus foregrounding
the Filipino component more so than the American pop. All of TUNOG
PiL-AM’s music adheres to traditional Philippine music structures of the
kulintang (gong and drum music from the southern Philippines) and Kalinga
bamboos (upland northern Philippines). Often, repetitive patterns and rhythmic
layers are used as well as interlocking patterns and rhythms culminating into a
resultant melody. Wherever there are songs, the lyrics are all based on the
interviews of Pamela Costes with youth members of the ensemble interfused
with traditional Philippine chants.


FOT MOTO

This arrangement of a Kalinga traditional chant for both southern kulintang instruments and northern bamboos is one of the inspirations
for TUNOG PiL-AM to innovate on Philippine instruments. The University of the Philippines ensemble called “Musika Asya” to which
Pamela Costes, TUNOG’s director, was a former member played it originally. Pamela arranged the piece to suit TUNOG PiL-AM’s
needs and style. When performed on stage, TUNOG PiL-AM features a northern Philippine dance called TINALUKATIKAN with
three female dancers and one male dancer. The chant goes: “menbelewe fot moto” over and over, which literally means, “do not have
four eyes” and metaphorically speaks of faithfulness to a partner.

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KAPROMAYAS

This is a Maranao traditional kulintang (row of eight gongs) music. The characteristic being a right hand melodic line with left hand
rhythmic accompaniment that is played on the rim of the lower gongs. This is played by five players: 2 on agung (pair of large hanging
gongs) playing interlocking rhythms, 1 babandil (time keeper), 1 dabakan (a barrel or goblet-shaped drum), and the kulintang.


TIDTU SABAY-SABAY

This is a Magindanaon traditional kulintang music. It is the fastest of the three modes in this style of the kulintang. It features five
players: 1 on agung, 1 on gandingan (4 thin-rimmed hanging gongs), 1 babandil, a dabakan, and kulintang. The babandil part in this
example is played on the rim of the highest kulintang gong.


RITMONG TAUSUG (aka KG piece)

This piece had been taught to the group by the world-renowned Philippine contemporary ensemble called KONTRA-GAPI during
their 2000 North American tour. It is based on the rhythm of the Tausug people of the Philippines but nicknamed by the youth
members as KG piece, in honor of the Philippine ensemble where they first heard the music. KONTRA-GAPI is the catalyst that
pushed both the director and youth of TUNOG PiL-AM to go beyond the boundaries of the traditional and inspired the youth to be
more creative in expressing themselves through Philippine music. This particular rendition had been arranged by Pamela Costes to suit
the needs of TUNOG PiL-AM.

 

BINALIG A MAMAYUG

Another Magindanaon Traditional piece. This is another mode/style from this
tradition.


KAYAMANAN NG LAHI

One of TUNOG PiL-AM’s signature pieces; the music was based on the Sinulog
Kangungudan rhythm of the Magindanaons. It highlights both gong and bamboo
instruments from the Philippines. In live performances, TUNOG features dances
inspired by the southern Philippines with a more modern-inspired finale. It also
includes a rather challenging chant at the beginning followed by a round song, the
lyrics of which beckons the listeners and Filipino Americans to celebrate and be
proud of who they are.


 

KAYAMANAN NG LAHI  (Richness of Heritage)
(Vocal Part)
Music & Lyrics: Pamela Costes

Nais naming ipagbunyi,
Kayamanan ng aming lahi.
Awit namin handog sa inyo;
Pakinggan ang aming munting alaala.
Magdiwang tayong sama-sama.
Taas noong ipahayag tayo’y Pilipino.

[It is our desire to celebrate,
the richness of our heritage.
We dedicate our song to you;
Listen to our humble remembrance.
Together let us celebrate.
Proudly proclaim we are Filipinos.]

TAGUNGGO

This is one of the well-loved melodies of Magindanaon kulintang. In this rendition, selected youth members revamped the traditional
style by infusing improvisations of their own on the instruments. In certain occasions, TUNOG PiL-AM uses this music to accompany
a ritual, healing dance by a solo female dancer.


        EXTENDED BINALIG

        This piece started with the traditional “Binalig” for beginning kulintang students. The new
        members of TUNOG learned the piece and Pamela Costes extended it through variations in
        order to accommodate the bigger sound that the youth in this ensemble prefers. The extension
        is an exploration of the traditional pattern through increase and decrease in volume and tempo.

        SINULOG KANGUNGUDAN

        This is a Magindanaon traditional music. Kangungudan means new, and this style is often heard
        among younger kulintang players. There are segments of this rendition where the dabakan and
        agung accompanists do their improvisations exhibiting in the process the musical sensibilities of
        the Filipino American youth performers.





HIMIG PILIPINO

The most loved and requested piece of TUNOG PiL-AM, “Himig Pilipino” is the embodiment of the moment of awakening of the youth in
this ensemble to their Filipino culture. This piece is at once celebratory as it is poignant and took inspiration from the Maranao rhythms. On
stage, a dance accompanied by traditional chant and wood instruments inspired by northern upland traditions are featured. The form is
circular in that it opens with a solo chant followed by the full ensemble, and comes back to the solo chant after the additional dance taken
from the singkil (dance on four bamboos) of the Muslim people of the Philippines. It ends with a question “Naririnig mo ba?” (Can you
hear it?) addressed to the listeners and answered by a soft chorus humming a pattern of a traditional Maranao ending to kulintang music.


HIMIG PILIPINO (Filipino Melody)
(Vocal Part)
Music & Lyrics: Pamela Costes

Naririnig mo ba?
Ang musikang dala ng simoy ng hangin?
Kakaiba ito,
subali’t mayroong kahulugan sa amin.
Pakinggan mo ang himig ng aming ninuno.
Pakinggan mo ang himig Pilipino.

[Can you hear the music that the breeze of the wind carries?
It is different but to us it is meaningful.
Listen to the melody of our ancestors.
Listen to the Filipino melody.]


KUNGKUNGAN YO (Crowning)
Traditional Ifugao

Kungkungan yo,
Han ibiba yo.
Tapopo hod na,
Payebunan da.
Bi duldulla yo,
Ad narbinobog.

[Crown your guests, relatives with feathers;
To make them feel at home in your home, Banaue.]


FAYCCA would like to thank the following that worked hard to make this CD possible: The Board and parents for fundraising, the Directors for
training, teaching, and composing music for the ensemble, the youth members of TUNOG PiL-AM, Soundhouse Studio of Seattle, Scott Colburn
for being such a wonderful sound engineer, Data Northwest for duplication, and last but not least, the CD Committee (Hideaki Onishi, chair; Heidy
Bohol, web manager; Elena Cosio, finance manager; Mark Cosio, CD design; James Cummings, studio search; Alex Montances, mixing suggestions;
Hector Montances, mixing suggestions; and Rex Yabut, photos).