The Harana is a serenade tradition in rural areas of the Philippines in which young men may formally meet single lady visitors.[1]If you are one of the Filipinos having a hard time distinguishing between harana and kundiman music, don’t be ashamed – you are not alone! It is very easy to confuse the two.
It is common to hear people refer to ANY old Tagalog love song as kundiman or harana. Though I cringe every time, I often don’t bother to correct them because I’m in no mood to start a dissertation type of explanation. But a blog, now there’s the perfect soapbox to indulge.
So, herewith is my attempt to correct some fallacies. To Philippine music scholars out there, feel free to chip in at the Comments section below.
Harana
During a serenade, one can pretty much sing any love song he likes, even English ones, and still get away calling it a harana. But if you are going for a truly authentic harana experience like they did in old Philippines, you have to use a particluar set of songs specifically written for the endeavor. These songs were written by some of the better-known composers in the last 75 years such as Santiago Suarez, Constancio de Guzman and Antonio Molina, to name a few.
Harana music has its very own distinctive style and a clear stamp of authenticity. In musical terms, the rhythm is habanera which is in 2/4 time. Interestingly, none of the haranistas I met knew what a habanera was. That term is used mostly in western classical music. Instead, the haranistas refer to this rhythm as danza. To hear a sample of this rhythm, click here.
The arrangement is simple and straight forward. It always starts with an introduction of solo guitar, then verse 1 followed by verse 2, then a little bit of solo guitar in the middle, then back to verse 2 until the end. Occasionally, there are short exchanges between the guitar and voice in the middle, like they do here.
Another area to look for signs of authenticity is in the lyrics. True harana songs place the singer in the act of serenading such as when he implores “Dungawin mo hirang” (Look out the window, my beloved), “Natutulog ka na ba, sinta” (Are you asleep, my love) or “O Ilaw, sa gabing madilim” (Oh light, in a night so dark).
My favorite aspect of the harana lyrics is its use of pure, unadulterated and archaic Tagalog. They use words you and I will never hear in a daily conversation in Manila. Words such as idampulay (to offer or give), tanglaw (luminous or luminosity), or pagkagupiling (a light sleep). You will also never encounter even a hint of Spanish word – a characteristic shared by kundiman songs. Harana and kundiman may be the last refuge of the ancient Tagalog language.
Instrument-wise, the guitar is the most trusted companion. Though other instruments were known to be used such as the violin and banduria most recordings of harana from the 1940s to 1960s featured only a guitar (or two) accompanying the vocals.
There are many popular Filipino love songs that don’t meet these requirements but nevertheless were used in harana. Songs such as the popular Dahil Sa Iyo by Miguel Velarde, Jr. or Dahil Sa Isang Bulaklak by Leopoldo Silos. Stylistically, the haranistas never refer to them as harana, instead they just call them ‘love songs’.
Things to look for: when you hear the danza rhythm played on guitar combined with lyrics that place the haranista in the act, using archaic Tagalog, that’s a dead giveaway that you are listening to a true harana.
HARANA AND BALITAW
- Secular Music
- Message of love and courtship.
- The music will end with the woman either accepting or rejecting the man’s proposal.
Harana - it is a form of courtship during the older times. This involves a man singing a love song to the girl he's courting as she stares or listens by the window.
Balitaw - It is a type of folk song in Cebu; therefore making it a Visayan song as well
Answers & Comments
Answer:
The Harana is a serenade tradition in rural areas of the Philippines in which young men may formally meet single lady visitors.[1]If you are one of the Filipinos having a hard time distinguishing between harana and kundiman music, don’t be ashamed – you are not alone! It is very easy to confuse the two.
It is common to hear people refer to ANY old Tagalog love song as kundiman or harana. Though I cringe every time, I often don’t bother to correct them because I’m in no mood to start a dissertation type of explanation. But a blog, now there’s the perfect soapbox to indulge.
So, herewith is my attempt to correct some fallacies. To Philippine music scholars out there, feel free to chip in at the Comments section below.
Harana
During a serenade, one can pretty much sing any love song he likes, even English ones, and still get away calling it a harana. But if you are going for a truly authentic harana experience like they did in old Philippines, you have to use a particluar set of songs specifically written for the endeavor. These songs were written by some of the better-known composers in the last 75 years such as Santiago Suarez, Constancio de Guzman and Antonio Molina, to name a few.
Harana music has its very own distinctive style and a clear stamp of authenticity. In musical terms, the rhythm is habanera which is in 2/4 time. Interestingly, none of the haranistas I met knew what a habanera was. That term is used mostly in western classical music. Instead, the haranistas refer to this rhythm as danza. To hear a sample of this rhythm, click here.
The arrangement is simple and straight forward. It always starts with an introduction of solo guitar, then verse 1 followed by verse 2, then a little bit of solo guitar in the middle, then back to verse 2 until the end. Occasionally, there are short exchanges between the guitar and voice in the middle, like they do here.
Another area to look for signs of authenticity is in the lyrics. True harana songs place the singer in the act of serenading such as when he implores “Dungawin mo hirang” (Look out the window, my beloved), “Natutulog ka na ba, sinta” (Are you asleep, my love) or “O Ilaw, sa gabing madilim” (Oh light, in a night so dark).
My favorite aspect of the harana lyrics is its use of pure, unadulterated and archaic Tagalog. They use words you and I will never hear in a daily conversation in Manila. Words such as idampulay (to offer or give), tanglaw (luminous or luminosity), or pagkagupiling (a light sleep). You will also never encounter even a hint of Spanish word – a characteristic shared by kundiman songs. Harana and kundiman may be the last refuge of the ancient Tagalog language.
Instrument-wise, the guitar is the most trusted companion. Though other instruments were known to be used such as the violin and banduria most recordings of harana from the 1940s to 1960s featured only a guitar (or two) accompanying the vocals.
There are many popular Filipino love songs that don’t meet these requirements but nevertheless were used in harana. Songs such as the popular Dahil Sa Iyo by Miguel Velarde, Jr. or Dahil Sa Isang Bulaklak by Leopoldo Silos. Stylistically, the haranistas never refer to them as harana, instead they just call them ‘love songs’.
Things to look for: when you hear the danza rhythm played on guitar combined with lyrics that place the haranista in the act, using archaic Tagalog, that’s a dead giveaway that you are listening to a true harana.
HARANA AND BALITAW
- Secular Music
- Message of love and courtship.
- The music will end with the woman either accepting or rejecting the man’s proposal.
Harana - it is a form of courtship during the older times. This involves a man singing a love song to the girl he's courting as she stares or listens by the window.
Balitaw - It is a type of folk song in Cebu; therefore making it a Visayan song as well
Explanation:
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