52
CANCIONES DE MI ISLA SoNGS oF MY IsLAND
ARRANGED AND EDITED BY: WILLIAM BELLBER MARTA MONTANEZ
WITH THANKS TO : EMERITO BENITEZ WILLIAM RoDRIGUEZ
ILLUSTRATED BY ARMANDO Sora MARTIN RuBiO (PGS, 3.5.21.27)
REVISED EDITION COPYRIGHT (C) 1981 BY ART RESOURCES FOR TEACHERS AND STUDENTS. INC. WITH THE FOLLOWING EXCEPTIONS:
EscuELA LINDA~ EscuELA MIA BY WILLIAM BELLBER ~ 1973 BY WILLIAM BELLBER USED BY PERMISSION
PRECIOSA BY RAFAEL HERNANDEZ (C) 1948 BY PEER INTERNATIONAL CORP, USED BY PERMISSION
lAMENTO BoRINCANO BY RAFAEL HERNANDEZ <01930 BY RAFAEL HERNANDEZ
CoPYRIGHT RENEWED BY PEER INTERNATIONAL CORP, 1932 BY PEER INTERNATIONAL CORP, CoPYRIGHT RENEWED BY PEER INTERNATIONAL CORP, USED BY PERMISSION
EN MI VIEJO SAN JuAN BY NoEL EsTRADA ~ CoPYRIGHT DoRsEY BRoTHERS Music~ A DIVISION oF Music
SALES CoRPORATION~ 1965. 33 WEsT 60TH Sr~ NEw YoRK CITY 10023, ALL RIGHTS RESERVED. USED BY PERMISSION
PUBLISHED BY A.R.T.S.~ INC. 32 MARKET STREET~ NYC 10002 2nd printing 1987 3rd printing 1993
TABLE OF CONTENTS 1. FOLK AND CHILDREN'S SONGS
AMBOS A DOS I I I I I I I •• I I I I • I • I I •• 1 ARROZ CON LECHE. I I I •••••• I I I II .2 BRINCA LA TABLITA ...... I I I I I ••• 4 CINCO POLLITOS ........ I I Ill •••• 5
;
EL COQU I ... ' I I •• ' I I • I I I I •• I I • I • 6 ESCUELA LINDA. Ill. I I I •• I I •••••• 8 EL HIJO DEL CONDE. I I I I till II ••• 10 LA LINDA MANilA ........ II II .... 12 NARANJAS DULCES ... I. I. I I I I I I I •• 13 MAMBRU. I ••••• I I'. I I I I I I I I •• I' • • 14 QUE BONITA! .................... 16 QUt BONITA BANDERA!. I •••••• I ••• 18
;
QUE LLUEVA! .................... 20 SANTA MARIA ..... I I •• I. I. I I ••••• 22
2. CoMPOSED AnuLT SoNGS
CON MEDIO PESO ..... Ill I •• I. I I •• 25 EN MI VIEJO SAN JUAN ........... 28 CAMPANITAS DE CRISTAL ... I. I I I I .32 LAMENTO BORINCANO ..... I •••• I I •• 36 PREC I OSA I I • I I I ' I •• I I I •• I • I I I I • I 40
THE MUSIC OF PUERTO RICO IS AS RICH AND VARIED AS THE ANCIENT CULTURES REPRESENTED IN OUR PEOPLE, TAINO-INDIAN~ SPANISH 1 AND AFRO-CARIBBEAN CULTURES ARE AT THE ROOTS OF THE INDIGENOUS AND POPULAR MUSIC OF PUERTO RICO, MUSIC HAS ALWAYS BEEN A COMMON EXPRESSION OF ALL OUR PEOPLE,
WE HAVE NO RECORD OF lAINO-INDIAN MUSIC AND DO NOT KNOW WHAT IT ACTUALLY SOUNDED LIKE, OuR MUSICOLOGISTS HAVE VENTURED TO GUESS THAT IT WAS HIGHLY RHYTHMICAL AND IMITATIVE OF NATURAL SOUNDS, WE PERFORM MUCH OF OUR MUSIC WITH INSTRUMENTS THEY CREATED~ NAMELY~ THE GUIRO (GOURD-SCRAPER) AND MARACAS (GOURD-RATTLES),
SPANISH DANCES~ THE SEJS IN PARTICULAR~ HAVE HAD A MARKED INFLUENCE ON PUERTO RICAN MUSIC, BUT NO INFLUENCE HAS BEEN GREATER OR TAKEN SO MUCH TO HEART AS THE RHYTHMICAL INFLUENCE OF OUR AFRO-CARIBBEAN CONTRIBUTORS WHO REALLY "ETHNICIZEDn OUR MUSIC, THE BOMBA AND THE PLENA ARE PREFECT EXAMPLES OF AUTHENTIC PuERTO RICAN MUSIC.
LIKE MANY OTHER CULTURES~ PUERTO RICO HAS A LARGE REPERTOIRE OF SONGS FOR CHILDREN, THIS BOOK IS A COLLECTION OF THE MOST POPULAR OF THE SONGS PUERTO RICAN CHILDREN SING,
A CASSETTE TAPE OF THE SONGS IN THIS BOOK PLAYED ON FLUTE AND PIANO IS AVAILABLE FROM A.R.T.S.~ INc.~ 32 MARKET STREET~ New YoRK CITY 10002.
SOBRE LA PLENA (ABOUT THE PLENA)
THE PLENA IS ONE OF THE MOST EXCITING AND JOYFUL SONG-DANCES OF THE CARIBBEAN, A COMBINATION OF AFRO-CARIBBEAN AND SPANISH CHARACTERISTICSJ THE PLENA MADE ITS FIRST APPEARANCE LATE IN THE NINETEENTH CENTURY, IT CAME FROM THE SLUM AREAS OF COASTAL TOWNS AND IS A PERFECT VEHICLE FOR RECOUNTING INCIDENTS IN THE DAILY LIVES OF ORDINARY PEOPLEJ HISTORICAL EVENTSJ SOCIAL CUSTOMS AND RELIGIOUS BELIEFS , MORE LIKE GOSSIP THAN NEWSJ THE COMMENTS OF THE PLENA ARE FUNNY,SATIRICALJ OR FEIGNED MAltR-OF-FACT,
,. 0RIGINALLYJ THE INSTRUMENTS USED FOR THE PLENA WERE THE SINFONIA (coNCERTINA)J TAMBOR (ToM-TOM DRUM)J PANDERETA (HAND DRUM)J CLAVES .. (RHYTHM STICKS), AND GUIRO (GOURD-SCRAPER).
THE MELODY (VOCAL) LINES WERE SUNG IN ~ TIME, BUT WERE WRITTEN OUT IN TRIPLETS:
mmlmmlmm THE SINFONIA (CONCERTINA) PROVIDED THE HARMONIC CONTENT WHICH WAS EXPRESSED WITH AS FEW AND AS SIMPLE CHORD CHANGES AS POSSIBLE:
I, IV, V7J I (MAJOR MoDE) IJ V7, (MINOR MODE), OR I, VIIJ IV,V7, I (MINOR MoDE),
THE TAMBOR (TOM-TOM DRUM) PLAYED THE BASIC PLENA RHYTHM, EXPRESSED
THE PANDERETA (HAND-DRUM) PLAYED THE FAST BEATJ EXPRESSED:
~ r:1 u I r:f u I r1 r1 ri r1 WITH THE ACCENT FALLING ON THE SECOND HALF OF THE FIRST AND SECOND BEATS.
THE CLAVES (RHYTHM STICKS) PLAY STRAIGHT METRIC TIMEJ EXPRESSED:
~rrlrr rr rr rr THE GUIRO (GOURD-SCRAPER) PLAYS THE MOST CHARACTERISTIC VARIATION OF THE PLENA RHYTHM:
~ r u II= r r I r c.r I r r:~
SOBRE LA BOMBA (Asour THE BoMBA)
THE BOMBA (AN AFRO-CARIBBEAN EXPRESSION SYNONYMOUS WITH DRUM) IS A NATIVE PUERTO RICAN DANCE OF NATIONAL POPULARITY AND IMPORTANCE, THERE ARE MANY VERSIONS OF THIS DANCE WHOSE ROOTS STEM FROM THE MUSIC OF THE SPANIARDS, Bur NO FORM OF THIS DANCE HAS EVER REMAINED AS POPULAR OR HAS BEEN TAKEN AS MUCH TO HEART BY "LOS PUERTORRIQUENOS" AS THE BOMBA OF AFRO-CARIBBEAN ORIGIN.
THE BOMBA WAS THE CONTRIBUTION OF THE BLACK-PUERTO RICANS WHO LIVED ALONG THE COASTAL REGIONS OF PUERTO RIC01 BROUGHT TO THE ISLAND AS SLAVES BY THE SPANIARDS, IT WAS THE FEATURED DANCE PERFORMED AT EVERY FESTIVAL AND AT EVERY CELEBRATED EVENT, IT IS A CONGLOMERATION OF AFRICAN1 SPANISH1 AND SOMETIMES FRENCH1 MUSICAL EXPRESSIONS1 RESULTING IN AN AUTHENTIC EXPRESSION OF THE PUERTO RICAN EXPERIENCE,
THE BOMBA WAS PERFORMED AT REGULAR WEEKLY GATHERINGS (CELEBRATED OUTDOORS)~ USUALLY ON SATURDAY EVENINGS1 AFTER A LONG1 HARD WEEK IN THE SUGAR CANE FIELDS, THE MUSICIANS WERE THE FIRST TO ARRIVE AND WARM UP BY PLAYING THE BOMBA RHYTHMS1 WHILE THE CHILDREN PLAYED IN THE STREETS AND PASSERSBY WENT ABOUT PREPARING FOR THE WEEKLY CELEBRATION, BY EVENING1 MOST OF THE PARTICIPANTS WOULD HAVE GATHERED IN THE SQUARE OR DANCE AREA1 AND THE FESTIVITIES COULD BEGIN,
THE INSTRUMENTS USED FOR THIS DANCE ARE: TWO DRUMS OF DIFFERENT SIZES CALLED BOMBAS (TOM-TOM)J MEDIUM AND SMALL; TWO STICKS AND A WOOD-BLOCK CALLED CUA; AND A SINGLE MARACA (GOURD-RATTLE),
THE MELODY (VOCAL) LINE WAS SUNG BY A CHORUS IN UNISON OR IN OCTAVES, IN THEIR ORIGINAL FORM1 BQMBAS WERE ANTIPHONAL AND WERE NOT HARMONIZED,)
THE LARGER DRUM OR BOMBA1 ALSO NAMED BURLADOR1 PLAYED THE RHYTHMIC PULSE OF THE DANCE IN ~ METER1 EXPRESSED:
~ J ~ ~ .Jf j J ~ ll) J ; J'l ) J ~ J:l •
THE SMALLER DRUM1 ALSO CALLED REQUINTO OR SUBIDOR1 PLAYED CONTRASTING RHYTHMS1 ALSO IN A ~ METER1 EXPRESSED:
~ J J J J I J J J J I J J J l I J i J .t~l
THIS IS ONE OF THE MANY VARIATIONS PRODUCED BY THE SMALLER DRUM IN ORDER TO MAINTAIN THE POLYRHYTHMICAL NATURE OF THE DANCE,
THE CUA (WOOD-BLOCK PLAYED WITH STICKS) PLAYED THE FOLLOWING RHYTHMIC PART:
THE SINGLE MARACA1 PLAYED BY ONE OF THE SINGERS OR DANCERS, COULD PLAY FREELY ANY RHYTHMIC PART FITTING INTO THE MAIN PULSE OR BEAT oF THE BOMBA. FoR EXAMPLE:
WILLIAM BELLBER
AMBOS A DOS 1
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J I AM - BOS A DOS~ MA - TA - RI-LE~
RI-LE~ AM-BOS A DOS~ MA-TA -RI-LEJ RI-LE RON,
2.tQUE QUIERE USTED? MATARILE~ RILE1 RILE1 ETC, 3, Yo QUIERO UN PAJE1 MATARILE1 RILE1 RILE1 ETC. 4, ESCOJA USTED1 MATARILE1 RILE1 RILE1 ETC, 5, Yo ESCOJO A FULANIT01 MATARILE~ RILE1 RILE~ ETC. 6.lQuE OFICIO LE VA A PONER? MATARILE~ RILE~ RILE~ ETC. 7, LE PONDREMOS CARPINTER01 MATARILE1 RILE1 RILE1 ETC, 8. EL DICE QUE NO LE GUSTA1 MATARILE~ RILE1 RILE1 ETC. 9, LE PONDREMOS BAILARIN1 MATARILE1 RILE1 RILE1 ETC, 10, EL DICE QUE sf LE GUSTA1 MATARILE1 RILE1 RILE1 ETC . 11. (ELEBREMOS TODOS JUNTOS1 MATARILE1 RILE~ RILE1 ETC.
Two BY TWO, MATARILE, RILE, RILE, ETC, WHAT DO YOU WANT? I WANT A PAGE, CHOOSE HIM YOURSELF , 1 CHOOSE SOMEBODY, WHAT JOB SHALL WE GIVE HIM? LET'S MAKE HIM A CARPENTER, HE DOESN'T LIKE THAT JOB, LET'S MAKE HIM A DANCER , HE LIKES THAT JOB. LET'S CELEBRATE TOGETHER,
2 ARROZ CON LECHE
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RICE AND MILK WANT TO GET HARRIED TO A LITTLE WIDOW FROM THE CAPITOL WHO KNOWS HOW TO CROCHET~ WHO KNOWS HOW TO EMBROIDER1 WHO STICKS HER NEEDLE INTO THE PIN-CUSHION, TIN! TAN! THIN BREAD SOUP,
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2. Dos Y DOS SON CUATRO) CUATRO Y DOS SON SEIS. SEIS Y DOS SON OCHO) Y OCHO DIEZ Y SEIS)
3. Y OCHO) VIENTICUATRO) Y OCHO TREINTA Y DOS, iANIMAS BENDITAS!* ME ARRODILLO YO,
JUMP THE BOARD. I'VE ALREADY JUMPED IT, You JUMP IT NOW BECAUSE I AM TIRED. Two PLUS TWO ARE FOUR, fOUR AND TWO ARE SIX. SIX AND TWO ARE EIGHT AND EIGHT, SIXTEEN AND EIGHT, TWE~TY-FOUR AND EIGHT, THIRTY-TWO, GooD SOULS, I KNEEL DOWN (TO PRAY),
*ALTERNATIVE ENDING "ANri HERE IT FINISHES",
CINCO POLLITOS 5
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MY AUNT HAS FIVE BABY CHICKS, ONE JUMPS, ANOTHER CRIES, AND THE OTHERS SING A SYMPHONY,
; 6 EL COQUI
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THE COQUI, HOW I LOVE IT, IT'S SO PRETTY, THE SONG OF THE COQUI, AT NIGHT WHEN I GO TO BED, IT ROCKS ME TO SLEEP, SINGING THI S: COQUI, COQUI, COQUJ, QUI, QUI, QUI, (ETC,)
8 ,
ESCUELA LINDA~ ESCUELA MIA *
~EMPO DE BOLERO <7 - BY WILLIAM BELLBER
Es-CUE-LA LIN-DA ES - CUE-LA ---
" MI - A CA-MI-NO DE_ES-PER - AN - ZAS __
RA-YI- TO DE LUZ SEN-DE-RO DE EN-SEN-._.
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AN-ZAS QUE AL-EG-RA EL CO - RA - ZON
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QUE A-LE -GRA EL CO - RA - ZON
PRETTY SCHOOL, MY SCHOOL; ROAD OF HOPE -LITTLE RAY OF SUNSHINELEARNING PATH WHICH BRINGS MY HEART JOY, I SHALL ALWAYS REMEMBER YOU WITH HAPPINESS, DEEP IN MY SOUL, PRETTY SCHOOL, MY SCHOOL,
10 EL HIJO DEL CONDE
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2. TANTO ESTUVO EL HOMBRE.,/CARAMBA! CON AQUEL PAPEL HASTA QUE MI MADRE.,/CARAMBA! LO LLEGO A SABER,
3. Yo LE coNTESTE.~icARAMBA! EN orRo PAPEL QUE ME CASARIA.,iCARAMBA! PERO NO CON EL.
4. ME COGIO MI MADRE.,iCARAMBA! ME LLEVO AL CORRAL CON LA DISCIPLINA.,jCARAMBA! ME QUISO MATAR,
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11
THE SON OF THE COUNT1 DEAR ME! SENT ME A LETTER ASKING ME IF I WANTED1 DEAR ME! TO MARRY HIM, HE KEPT TRYING SO HARD1 DEAR ME! WITH HIS LETTERS THAT MY MOTHER1 DEAR ME! FOUND OUT, I ANSWERED HIM IN ANOTHER LETTER THAT J WOULD GET MARRIED1 DEAR ME! BUT NOT WITH HIM! MY MOTHER TOOK ME1 DEAR ME! OUT TO THE YARD AND BEAT ME ALMOST TO DEATH WITH THE RULER,
12 LA LINDA MANITA
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THE BABY HAS A PRETTY LITTLE HAND! How PRETTYJ HOW CUTEJ HOW GRACEFUL IT IS! 1 HAVE A PRETTY HAND! How PRETTYJ HOW CUTEJ WHAT Goo GAVE ME!
NARANJAS DULCES 13
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MEN-TO.~ EN EL MO - MEN-TO.~ TE OL-VI- DA-RE. -SWEET ORANGES, BITTER LEMON, GIVE ME A HUG; THIS I ASK OF YOU, IF YOUR OATH OF HONOR IS FALSE, I'LL FORGET YOU IN A MOMENT,
II
14 MAMBRU
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15
2. SI VENDRA PARA PASCUASJ QUE DOLORJ QUE DOLORJ QUE PENAJ SI VENDRA PARA PASCUASJ 0 PARA NAVIDAD. QuE RE Ml DO, QUE DO RE SI, 0 PARA NAVIDAD.
3. ALLA VIENE UN BARQUITOJ QUE DOLORJ QUE DOLORJ QUE PENA1 ALLA VIENE UN BARQUITOJ QUE NOTICIAS TRAERA?
, /? QuE RE Ml DO, QUE DO RE SI, QUE NOTICIAS TRAERA.
MAMBRU WENT OFF TO WARJ WHAT SORROW) WHAT PAIN, MAMBRU WENT OFF TO WARJ WHEN WILL HE RETURN? WILL HE RETURN FOR EASTER) WHAT SORROW) WHAT PAIN, WILL HE RETURN FOR EASTER) OR FOR CHRISTMAS? THERE COMES A LITTLE BOATJ WHAT SORROW) WHAT PAIN, THERE COMES A LITTLE BOAT1 WHAT NEWS WILL IT BRING~
16 i QUE BONITA!
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How BEAUTIFUL THEY ARE! How BEAUTIFUL THEY ARE! How BEAUTIFUL ARE THE WOMEN WHO COME FROM BORINQUEN, THEY ARE WHITE AND MIXED AND BLACK, AS YOU CAN SEE. THEY ARE SWEET AS HONEY AND LOVELY AS BORINQUEN,
II
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WHAT A PRETTY FLAG! WHAT A PRETTY FLAG! WHAT A PRETTY FLAG ) THE FLAG OF PUERTO RICO! BLUE) WHITE) AND RED) WITH A STAR IN THE CENTER . GENTLEMEN) HOW PRETTY IS THE FLAG OF PUERTO RICO.
- A:
20 "' :QUE LLUEVA!
QuE LLUE - VA1 QUE LLUE - VA1 LA
VIR - GEN DE LA CUE -VAl LOS PA- JA -RI -TOS
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21
LET IT RAIN! LET IT RAIN! THE VIRGIN OF THE CAVE~ THE BIRDS SING~ THE CLOUDS GO AWAY , YEs~ NO~ LET IT RAIN IN HEAVY SHOWERS,
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22 SANTA MARIA RITMO DE PLENA
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23
~?# J. ~ ~ .J J F~
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2. (OMUNICAN DE AGUADILLAJ QUE A LA SEIS VIERON CORRERj AL DIABLO A SESENTA MILLAS J HUYENDOLE A UNA MUJER.
SA INT MARY~ PROTECT US FROM ALL HARMi SAVE US~ DEAR LADY~ FROM THIS TERRIBLE ANIMAL, HE HAD THE FACE OF AN ox~ THE CHEST OF A BULLi HE HAD THE LEGS OF A MARE~ AND A YARD-AND-A-HALF LONG TAIL, WE HEARD THE NEWS FROM AGUADILLA THAT THEY SAW THE DEVIL RUNNING AT SIXTY MILES AN HOUR-RUNNING FROM A WOMAN!
24
COMPOSED ADULT SONGS
CoN MEDIO PESO IS A POPULAR AND HUMOROUS SONG, lT WAS WRITTEN AS A SATIRE ON PREVAILING ECONOMIC CONDITIONS DURING THE 1950's AND TELLS THE CHARMINGLY FUNNY TALE OF ONE PUERTO RICAN'S SOLUTION TO THE PROBLEM OF INFLATION.
EN Ml VIEJO SAN JUAN REFLECTS THE DEEPEST SENTIMENTS OF ALL THOSE PUERTO RICANS WHO~ ALTHOUGH FAR AWAY FROM HOME~ NEVER CEASE TO CHERISH THE THOUGHTJ NOR RELINQUISH THE HOPEJ OF RETURNING TO OUR NATIVE HOMELAND, THIS IS, WITHOUT A DOUBTJ ONE OF THE BEST-LOVED SONGS IN THE PUERTO RICAN POPULAR MUSIC REPERTOIRE.
(AMPANITAS DE (RISTALJ PRECIOSA AND LAMENTO BORINCANO WERE WRITTEN BY RAFAEL HERNANDEZ~ PUERTO RICO'S GREATEST AND MOST POPULAR COMPOSER,
(AMPANITAS DE CRISTAL (CRYSTAL BELLS) WAS INSPIRED DURING A MOMENT WHEN RAFAEL WAS SITTING COMFORTABLY IN AN ARMCHAIR NEXT TO A LAMP WHOSE SHADE WAS ENCIRCLED BY CRYSTALS, As THE SUMMER BREEZE GENTLY BLEW~ IT MADE THE CRYSTALS SOUND, THUSJ WAS BORN THE ROMANTIC AND POETIC BALLAD, THIS SONG WAS PERFORMED AND RECORDED BY EVERY MAJOR ARTIST IN EVERY COUNTRY WHERE SPANISH IS SPOKEN, IT IS POSSIBLY THE MOST FREQUENTLY PERFORMED AND RECORDED SONG IN THE ENTIRE SPANISH MUSIC REPERTOIRE,
PRECIOSA A~D lAMENTO BORINCANO HAVE COME TO BE REGARDED AS NATIONAL ANTHEMS BY THE PUERTO RICAN PEOPLE, THE ROOTS OF THESE TWO SONGS ARE DEEPLY IMBEDDED IN THE SOCIALJ POLITICAL) AND ECONOMIC LIFE OF THE ISLAND, THEY ARE GENUINE EXPRESSIONS OF OUR JOYS AND SORROWS, OF THE DEEPJ ABIDING LOVE AND RESPECT FOR OUR NATIVE HOMELAND, THEY ALSO REFLECT THE INVINCIBLE SPIRIT OF OUR PEOPLE,
WILLIAM BELLBER
CON MEDIO PESO 25
"SEIS" LIJERO
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15 J. ~ ,r:;J ~ 1 r· r 1 f':t " CA Y E - SA VA - CA ME DIO BE - CER - ROS;
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26
2. CON MEDIO PESO COMPRE UNA CHIVA Y ESA CHIVA ME DIO CHIVITOS YA TENGO VACAS TENGO BECERROS TENGO CHIVA TENGO CHIVITOS TODO ESO POR MEDIO PESO.
3. CoN MEDIO PEso coMPRE GALLINAS Y ESAS GALLINAS DIERON POLLITOS YA TENGO VACAS TENGO BECERROS TENGO CHIVOS TENGO CHIVITOS TENGO GALLINAS TENGO POLLITOS TODO ESO POR MEDIO PESO.
4. CoN MEDIO PESO coMPRE UNA MONA Y ESA MONA ME DIO MONITOS YA TENGO VACAS TENGO BECERROS TENGO CHIVOS TENGO CHIVITOS TENGO GALLINAS TENGO POLLITOS TENGO MONA TENGO MONITOS TODO ESO POR MEDIO PESO ••.
Y ME PRESTARON EL MEDIO PESO!
WITH HALF A DOLLAR J BOUGHT A COWJ AND THAT COW GAVE ME SOME CALVES, I HAVE A COW AND I HAVE CALVES, AND ALL OF THAT FOR HALF A DOLLAR!
WITH HALF A DOLLAR I BOUGHT A GOAT, AND THAT GOAT GAVE ME SOME KIDS, I HAVE A COW: I HAVE CALVES, I HAVE A GOAT AND I HAVE KIDS, AND ALL OF THAT FOR HALF A DOLLAR!
WITH HALF A DOLLAR I BOUGHT SOME HENSJ AND THOSE HENS GAVE ME SOME CHICKS, I HAVE A COWJ I HAVE CALVES, I HAVE A GOAT, I HAVE SOME KIDS, I HAVE SOME HENS AND I HAVE SOME CHICKS , AND ALL OF THAT FOR HALF A DOLLAR!
WITH HALF A DOLLAR I BOUGHT A MONKEY, AND THAT MONKEY GAVE ME A BABY MONKEY. I HAVE A COW, I HAVE CALVES, I HAVE A GOAT, I HAVE KIDS, I HAVE SOME HENS, I HAVE SOME CHICKS, I HAVE A MONKEY AND I HAVE SOME BABY MONKEYS, AND ALL OF THAT FOR HALF A DOLLAR,, ,
AND I DID ALL THAT WITH THE HALF-DOLLAR I BORROWED!
----
27
28 EN MI VIEJO SAN JUAN
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IN MY ANCIENT SAN JUAN1 HOW MANY DREAMS I HAD IN THE YEARS OF MY CHILDHOOD: MY VERY FIRST LOVE1 AND THE TEARS THAT I SHED1 IN MY SOUL THEY'RE REMEMBERED. THEN CAME THE DAY1 ALAS1 WHEN I HAD TO LEAVE MY BEAUTIFUL ISLAND, BuT MY HEART STAYED BEHIND IN THAT TOWN BY THE SEA1 IN MY ANCIENT SAN JUAN. FAREWELL1 MY ONLY BORINQUEN, FAREWELL1 GODDESS OF THE SEA1 LAND OF SUN AND PEACE, I GOi NOW I GO, BuT SOMEDAY I SHALL RETURN. 1 SHALL FIND LOVE AGAIN1 I SHALL DREAM ONCE AGAIN1 IN MY ANCIENT SAN JUAN ,
II
31
32 CAMPANITAS DE CRISTAL - BY RAFAEL HERNANDEZ
CUAN - DO LA BRI-SA DE IN-VIER-NO SE -Fm
r CUE-LA POR MI VEN -TA - NI - TA
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33
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34
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WHEN IN THE WINTER THE BREEZE COMES THROUGH MY WINDOWJ I HEAR, I HEAR THEM SING; I HEAR THEM SING, As IF AN ANGEL WITH HANDS MADE OF SILK PLAYED ON BELLS NEAR MY WINDOW SILL. THEY PLAYED A MADRIGALJ A MADRIGAL - TI-LINJ TI-LINJ TI-LIN. LISTEN. How PRETTY IS THE TI-LIN OF MY CRYSTAL GLASS BELLS -TI-LINJ TI-LINJ TI-LIN. BELLS THAT PLAY FOR ME A LOVELY SONG. PRETTY BELLS THAT BRING LIFE TO MY HOURS OF SORROW, RINGING~ RINGING~ RINGING, ONLY FOR ME1 ONLY FOR MEJ CRYSTAL BELLS.
36 LAMENTO BORINCANO - BY RAFAEL HERNANDEZ
r I SA - LE LO - CO DE CON-LLE- VA EN SU PEN - SA -
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EL JI - BA -TAM-B IEN SU
37
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38
PASAJ LA MANANA ENTERA SIN QUE NADIE QUIERA SU CARGA COMPRARJ AYJ SU CARGA COMPRAR. TODOJ TODO ESTA DESIERTO Y EL PUEBLO ESTA MUERTO
/
DE NECESIDAD SIJ DE NECESIDAD, SE OYE ESTE LAMENTO POR DOQUIER
/
EN MI DESDICHADA BORINQUENJ SI,
Y TRISTE EL JIBARITO VA / ,
LLORANDO ASIJ PENSANDO ASIJ /
DICIENDO ASI POR EL CAMINO, QuE SERA DE BoRINQUEN MI DIOS QUERIDO. QuE SERA DE MIS HIJOS Y DE MI HOGAR.
BORINQUENJ LA TIERRA DEL EDEN LA QUE AL CANTAR EL GRAN GAUTIER LLAMO LA PERLA DE LOS MARES, AHORA QUE TU TE MUERES CON TUS PESARESJ DEJAME QUE TE CANTE YO TAMBIEN. Yo TAMBIEN •...••••.•.
HE IS VERY HAPPY TO BE TAKING HIS PRODUCTS TO TOWN, IN HIS WAY, HE THINKS OF A WORLD FULL OF HAPPINESS, HE PLANS HOW TO IMPROVE HIS LIFE AND HOME: THIS IS WHAT HE LIVES FOR, HE LAUGHS AND SINGS AS HE GOES, HIS HEAD FULL OF PLANS, HJF J SELL MY LOAD, Goo IN HEAVEN, I WILL BUY MY WIFE A BEAUTIFUL DRESS,H AND HIS HORSE SEEMS TO SHARE HIS DREAMS AND HIS SONG. THE SUN RISES; SOON HE WILL BE AT THE MARKET,
THE WHOLE MORNING GOES BY AND NOBODY BUYS ANYTHING FROM HIM. EVERYTHING IS DESERTED; THE TOWN IS DYING OF POVERTY. IF YOU HEAR THIS
39
SAD SONG ANYWHEREJ IT COMES FROM BoRINQUEN. THE SAD COUNTRY BOY GOES CRYING LIKE THIS AS HE GOES: "WHAT WILL BECOME OF BoRINQUENJ MY DEAR LORD?" WHAT WILL BECOME OF MY SONS AND MY HOME?" BORINQUENJ THE LAND OF EDENJ WHICH GREAT GAUTIER CALLED "PEARL OF THE SEA". Now THAT YOU ARE DYING OF HARDSHIPJ I WANT TO SING TO YOU".
40 PRECIOSA - BY RAFAEL HERNANDEZ
~to\¢ '"" 'll Cer~
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41
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42
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CIO-SAI TE LLA-MAN LOS HI-JOS DE LA LI -BER-TAD.
44
I KNOW ALL ABOUT THE ENCHANTMENT OF MY BORINQUEN SO PRECIOUS, THAT IS WHY I LOVE HER SO DEARLY AND ALWAYS WILL CALL HER SO LOVELY~ npEARL OF THE CARIBBEAN"~ "PEARL OF THE CARIBBEAN"~ BORINQUEN,
I KNOW OF HER FINE SPANISH WOMEN AND OF HER ROSES SO RED , THAT IS WHY MY OWN BoRINQUEN I WILL ALWAYS KNOW AS 11 SO LOVELY"~ "PEARL OF THE CARIBBEANn~ "PEARL oF THE CARIBBEANN~ BoRINQUEN.
nso LOVELYn~ YOU'RE CALLED BY THE WAVES FROM THE OCEAN THAT BATHE YOU~ nSO LOVELY"~ FOR BEING ENCHANTING~ FOR BEING AN EDEN, AND ALSO~ YOU CARRY YOUR NOBILITY FROM YOUR MOTHER SPAIN. AND THE SAVAGE CHANT OF INDIANS BRAVE ARE ALSO YOUR OWN,
"So LOVELY"~ THE POETS ALL CALL YOU WHEN THEY SPEAK YOUR STORY, WHAT DOES IT MATTER IF ALL THE TYRANTS THREATEN YOU WITH THEIR EVIL MINDS, •so LOVELY" YOU'LL BE WITHOUT BANNERS~ TRIUMPHS~ OR GLORY, n$0 LOVELYn, SO LOVELYn~ YOU'RE CALLED BY THE SONS OF TRUE LIBERTY,
