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This is a live street performance in Seattle WA by a group of Ecuadorian Andean Muscians. No song title or lyrics are given. They are playing a mix of pre and post colonial instruments, such as the pre-colonial pan flute and a post-colonial guitar and charango. The beat is a steady duple and the pace is fast and lively. One of the men begins to sing in Spanish in a style that feels very similar to mainstream Latin American music. This song does not have the sonic dissonance which is sometimes characteristic of indigenous Andean music. Overall, I would say that this is a contemporary song which uses Andean instruments. It is important to note that these musicians are performing in America, and likely have a large white audience. They may be playing a song with western elements in order to cater to the taste of this audience.

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Andean Music- No name for the band provided

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Andean Music- No name for the band provided

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Oona-- I just realized I picked the same song as you! I have some similar findings to yours but also some other observations! This song features sounds from charagos, sikus, guitars, and the quena. The string instruments (charagos and guitars) play continually throughout the song and play a familiar, repeating tune throughout. This contrasts the wind instruments (sikus, quena) which do not play for the entirety of the song, rather they join in periodically and play a greater range of notes. One gentleman in this group sings the melody while another, although quietly, sings the harmony. I would describe the timbre of this song as airy and bright, which I would attribute to the sikus and how they lead the song. The meter is duple, and there is a regular rhythm throughout. The context of this song is it appears to be a street performance, played for people to enjoy or dance to.

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I was intrigued by this song because it seems to be a mix of pre and post colonial instruments. There is a charango (post-colonization) featured in the video, as well as the quenas/flutes and huancara drums which represent the pre-colonial style of Andean music. This is a very light sounding song, and to me it has a very fluid sound which makes sense because the name translated to English means "sacred river". The instruments don't seem like they are trying to outplay each other, rather that they are working together and flowing to create the sound. This is a studio recorded song, seems to be relatively produced so they could add the nature element background without neighboring sounds. The meter is triple, and it is a regular rhythm.

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I chose a song by Mercedes Sosa called “Todo Cambia” which translates to everything changes. After dissecting the lyrics, this song is about how everything changes in this world, yet her love does not change for her people and her land; this follows suit for most of her music in that they share a commonality of a romantic tone. In the song I can hear a triple meter which follows a regular rhythm throughout the entirety of the song. This rhythm is played mostly by string instruments like the guitar and ukulele. The separation of the triple is a somewhat long and a twangy beat, I would think being a tambourine. Mercedes sings as a soloist but when she stops singing the playing of a flute is introduced which also carries on the rhythm as well as the relaxed timbre. Mercedes sings with a soft melody, however, the lyrics to her music hold very powerful meaning.

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I chose a song from Hatun Kotama called "Lotama." This song contains a regular polyrhythm, with a harmonica and foot stomping in a consistent pattern and vocals on top of that with a different pattern. The song contains a blend of several different sounds and instruments--the most prominent being what sounds like a harmonica (though I am not certain). It also included a deeper-sounding flute, vocals, foot stomping, and whistling (?). This song definitely contains the sonic dissonance between the flutes, harmonica, and vocals, though it is not as prevalent in this song as it was in "Chinkashka." The texture of the song is also very dense, and it has a mixed timbre (some high and some low pitches). I could not find a translation of the lyrics in the song, but they sound kind of frantic and excited. As the song continues, the vocalists start to echo each other. This gives a sort of call-and-response feel until the end of the song. At the very end, the stomping accelerates to end the song.

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El Pueblo Unido Jamas Sera Vencido by Inti- Illimani

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El Pueblo Unido Jamas Sera Vencido by Inti- Illimani

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I found the song "El Pueblo Unido Jamas Sera Vencido" while searching and listening to the various musicians that were given as ideas. When first listening, you can instantly hear string instruments, and in specific a guitar. This addition of the string instrument tells you that the criollo culture had a large influence on the instruments used in this song. The song begins with a relaxed tempo and then picks up and has a faster tempo. The song also includes a stronger beat with a regular rhythm. The recording quality is good as it is recorded in a studio. You can clearly hear the instruments and vocals, and there are no sounds of the audience clapping or participating in the song as you would hear in a live recording. The vocals begin quiet and then as the song goes on they begin to become louder and sound more passionate. The song is in Spanish and is a protest song in Chile, it stands for life free of oppression and symbolizes the struggles of people around the world. This song was released in 1975 during the times of violent dictatorships and shows how Andean music is used transnationally because this song goes deeper than being solely used for entertainment. Instead it is used as a protest song for social justice and change. It depicts that struggles and inequality of the world.

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Lalo Mir - Cruza - Encuentro en el Estudio

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Inti Illimani - El pueblo unido jamás será vencido - Encuentro en el Estudio - Temporada 7

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The song I chose was the classic Andean song "Valicha" by Miguel Angel Hurtado. The music immediately starts out with a bright timbre and a collection of what seems to be both pre-colonial and post-colonial instruments with percussion, woodwinds, and string instruments being heard. This mix of pre-colonial and post-colonial can be seen further in the music as the song contains a classic indigenous Andean melody but was written by a criollo man and then translated into Quechua. The song only features one vocalist and thus is light in texture, which accompanies well with the cheerful airy tune. Furthermore, as this song is a classic dance song, it has a simple duple meter and a strong beat, which allow it to be easy to dance to as well as a steady rhythm.

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VALICHA - Canción En Quechua (ILLAPAS CUZCO)

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I found this song by Inkuyo while researching the music. When beginning the song, I immediately heard strings, which indicates some post colonial instruments and I also saw some pre colonial instruments in the video. I got more of a sense of calm, refined, tune when listening. It sounded like it flowed really well and it was just a relaxing melodic type of song to play. it sounds like a traditional song to me and I associate with it similar to the Native Americans we have in the US due to the melodic sound. In my research, I found that Achachila means guardian spirit and I think this makes dense due to the powerful tone over the song and it seems like a song that would've been passed down from ancestors, "guardian spirits."

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I chose the song Khusillo which means happiness when translated from Gujarati, a Indo-European language. It starts off with a fast tempo and a regular rhythm, starting with a guitar and charango, into a flute with drums. It slows down for a bit in tempo and picks back up again. It sounds like it has a triple meter, has a fairly high-pitched timbre, and a lot of depth and volume with the way the instruments are played. There are no vocals, and it sounds like it is influenced by National pieces while still maintaining the Regional nature. It sounds like it could have been recorded in a studio, as the quality of the audio is very clean. In my opinion this song is very happy, and almost feels like an adventure from start to finish. I am not sure of the context in this piece, but it almost sounds playful and very much adventurous.

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This song is titled "La Maza", which translates to "the mace"  and in this case most likely refers to a type of heavy club used to beat people, perhaps a weapon utilized in the Argentine dictatorship Sosa often sang in protest of. The song begins with a metallic and twangy sounding string instrument that goes on to play the harmony throughout the piece, indicating influence of criollo culture in the production of this music. About one minute into the song, a percussive instrument that sounds like a rattle or drum (or both?) begins in time with the rhythm in a duple meter; these instruments are more representative of Indigenous Andean culture. Parts of the song like this have a strong pulse while other parts have no pulse and could be described as free rhythm, featuring almost solely Sosa. Here, she carries the melody with strong and soaring vocals and is flexible with keeping time, likely to help convey emotion. The timbre is smooth and powerful and the mood melancholy. The lyrics, in Spanish, are undoubtedly political and I interpret them to be about having hope in the face of struggle and darkness; this is in line with the socially conscious Nueva Cancion movement that Sosa helped pioneer.

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I chose the song Alturas by Inti Illimani. The word Alturas translates to “heights”. Alturas is a word of Spanish origin. This makes sense because Andean folk music is mostly sung in the Spanish language. The beginning of the song starts with a flute-like instrument and changes into a string instrument that sounds like a banjo. After a few seconds of individual instruments playing they soon start to play in a melodious sound that sounds harmonious with each other. The song progresses into a faster tempo and eventually continues and ends with a slower beat than what the beginning sounded like. I enjoyed the soothing tempo and upbeat of the whole song. I also enjoyed how it was instrumental and there were no voices because I could more easily appreciate the sounds of the instruments without having to decipher them from voices as well. This type of Andean folk music would be good for background study music.

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The opening of the song starts with a soft and happy melody, the first thing we hear from the singer is a type of vocalization that sounds like a chant. In a certain section of the song, you are able to only hear the vocal accompanied by a drum set followed by a guitar solo. Towards the end of the song you are able to hear a lot of percussion instruments, I think I hear a drum set and maybe a caja. The song kept a fast tempo throughout, and the vocals are very full which makes the song very vibrant.  At the end of the song, you again hear this chanting or calling but this time it’s accompanied by the clapping of hands I think this is very appropriate to be in the song as Mercedes Sosa was very influential in Argentina during the dark times of the country and her music was the voice of those who were underrepresented and this clapping allows the listening audience to be a part of the song. This song has a lot of lyrical meaning as it describes you have to believe in life and you have to put in the effort to make a change.

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I chose the song Manifesto, which was the last song by Victor Jara made before he was murdered by the Chilean government. The song is in a triple meter, where it sounds like 6/8. The song has a subtle but strong slow pulse, or a fast pulse depending on if you feel the song on the macro or micro beats. The song starts with the main melody coming from an acoustic guitar. The melody is accompanied by two other guitars, where one is lower-pitched and the other is higher-pitched. When Jara starts singing the melodic guitar drops out, and during the chorus he is complimented with bright strong chords on another guitar. Occasionally there’s a small little riff from a bright guitar following out of certain parts of the song. The song is technically busy with all the instruments playing different rhythms, but the texture still manages to sound bare. The whole song is very melancholic and has an echoey timbre.

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Victor Jara - Manifiesto (audio oficial)

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I chose this song because I was able to hear a few distinct sounds and the overall melody was really nice. The first thing I noticed is that there is a pitched instrument throughout the entire song, and I’m pretty sure it’s a flute. It also sounds like there are two flutes playing at the same time because the sounds overlap at some points in the song. I also hear a string instrument that is high pitched which makes me think it is a tiny instrument. The rhythm of the song is regular, but I would say the beat is strong. At some points, the beat is more focused while at other points it fades and is quiet, but it is always there. One thing that is interesting is that there are no words or singers, but I think the instruments sound like there is some vibrato. The flutes when played with a long note have a varying sound which to me means the player was changing the amount of air going into the flute.

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Listening to this song by Violeta Parra, besides her voice I hear the guitar, or string instrument, so I know that her music was post-colonization. Listening further, I also hear a weak beat, there’s no underlying pulse to the song, however I believe the guitar is producing a regular rhythm? Additionally, the guitar and her voice seem to be emphasizing every other beat, soft to loud to soft, so I think this is in duple meter. The tempo is fast but with a soft timbre. The song seems to be emotional, and the tone or mood reminds me of Mercedes Sosa, as a person but also her song we listened to in class. Unlike the densely textured songs we listened to in class, I think this one is light, emphasizing the tone and emotion in her voice as well as the guitar.

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Mercedes Sosa - Sólo le pido a Dios (con León Gieco)

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Mercedes Sosa - Sólo le pido a Dios (con León Gieco)

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I really liked Mercedes Sosa when we checked her out in class so I chose this song, especially after looking up the translation as I could easily see how it is about unifying or a relatable song for people of the time period with all the dictatorships. There is multiple string instruments, but also a harmonica and drums at certain points. The song is a plea to God to not ignore injustice, the "battle", or the future. The song is in Spanish, appealing to a broad audience of Spanish speakers. The song starts with a guitar solo, joined by another instrument when she starts singing, which is very powerful and attention-grabbing in my opinion. There is a lot of emotion and strength in her vocals. The music is very rhythmic and repetitive with the occasional switch up, like the added harmonica during an instrumental break. Her higher vocals are occasionally aided by the smooth, deeper vocals of Leon in the particular version I was listening to.

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Mercedes Sosa - Sólo le pido a Dios (con León Gieco) (en vivo)

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the song starts of with a string instrument playing the same sting and Jara singing. then towards the middle some brass instrument stat to play. in the back round there there are some drubs playing at a beat that almost feels like a heart beat there are flute that play in the back round . After translating some of the lyrics. It about fighting ageist your operons and wanting you fight wanting you live. during the whole song Jara is the only singer and at no point is his voice get drowsed out by the instrumental

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I found this song simply by looking it up on youtube and it sounded interesting so I decided to write about it. But the song consists of piano, voice, drum, clapping and guitars. All together they don’t have a dense timbre and mostly an accompaniment to the signers. I would say the song is relatively upbeat but not too happy, more neutral. The two or three singers sing in unison together throughout the song which is in duple meter and a steady rhythm. It is a little more free form in the beginning when the piano first plays and one voice is talking over. And we see this free form again later in the song when the piano is doing a solo. Unfortunately, I do not remember the name but the drum being played is an Andean drum. The song was recorded as a live recording. I would say that dynamically it is steadily the same loudness, forte. It has a strong beat being kept by the clapping hands. At some parts gives a jazz like feel this was probably influenced by the europeans,

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From the first couple notes of this song, I was hooked. There is a strong prevalence of pre-columbian Andean instruments such as flutes and drums, and I was excited it included what sounds to be a charango. Being completely instrumental, it was clear to hear the song's strong beat with an interesting meter that changes quite often throughout. It has a fast, yet steady tempo. Alturas has a free rhythm for the majority of the song but one could argue it's polyrhythmic. The emotional tone sounds alert, awake and refreshed. It sounds highly produced with a stereophonic sound. The music is stored in two different channels and feels to be traveling from one headphone to another.

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No Puedes Volver Atras by Victor Jara translates to “ you can’t go back.” Without being able to understand the language you can feel the hurt and sorrow in Victors  voice as he sings  so soulfully. The song begins with just a gentle strumming of the guitar for  the first 00 :21 seconds. It is a soft triple meter even rhythmed tune. When he begins singing  The guitar remains the same but the focus shifts to his vocal expression. At around 1:52 there is a guitar solo break in the song that has a lullaby-esque roll to it that lasts only a few seconds but  adds an interesting element to the song. The guitar becomes almost monotonous beneath the vocal track but the breaks at  1:52 and again at the end almost create a level of silence even though the guitar is still playing. Thi allows you not only to appreciate the solo, but also the words and the feeling behind them as they are sung.

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The song La Muralla is by the musical group Quilapayun, which is one of the artists recommended by the professor for this assignment. There is the prominent use of guitars, maracas, drums, and claps, and the many male vocalists present alternate between singing alone, in unison, and in a call-and-response fashion. This song exhibits a triple meter throughout its entirety that could work perfectly as the backdrop for a traditional dance. However, interestingly enough, the tempo of the song changes from slow to fast and back again very suddenly throughout the song, giving separate portions of the songs different moods. The English translation of the song's lyrics speak of making a wall together with many other people: "To make this wall /  Bring me all the black hands, your black hands / The white ones, your white hands." The men sing of closing the wall to things that may bring hardship and pain, and opening the wall to the beautiful things of the world. Like much other Andean music, the song speaks of beauty, resistance, labor, and the shared efforts of the people together as one.

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I found this song on YouTube an was very intrigued with the sound at the beginning. The first instrument I notice is the Charango which has a distinct sound and seems to capture the rhythm of the song. The use of the charango also tells me this song is not traditional in nature and is postcolonial. The melody is carried by the flutes. There seems to be two different types of flutes being used in this song higher pitched ones and lower pitched ones. The song is quite repetitive with only two or three variations of the same rhythm yet to me it is very soothing. Also to be noted that this is a street performance which changes the acoustics a little bit so it sounds different than a studio recording. the beat seems to be in doubles with a distinct back and forth of the charango.

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Bailando sounds sounds like a modern folk song with some hints of native American sound like quality. At the beginning of the song, there was a guitar playing solo but as the song continues the song continues to add different instruments one by one creating from a single instrument to that of an ensemble setting. The music has a lot of repetition with a slight variation to the music that is being placed. The tempo was steady and had a duple meter. In total I believe I had counted up to 5 instruments in song. This song was instrumental with no vocalist. there would be a section where a brass like instrument would come in and play. It had a clear tone with little tangy sound to it's sound. There are some counterpoints where the instruments would talk to each other. There would sections where there be cheering and chanting which adds a level of festivity. I believe that this song would be played around a bonfire.

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This piece comes from the Hakun Kotama flute school in Ecuador. Their mission is to revitalize Quechua culture through passing on traditional styles of flute music. The piece starts with a single player, who is then joined gradually by the other flute players. They appear to be playing a repeating melody, but some players are offset from others, like a round. The low sound of a conch shell joins and provides a bass line as two vocalists enter in a chanting style. Their dialogue is in a call-and-response style, with phrases being said by one vocalist and repeated by the other. There is a strong beat, driven by what sounds like foot-stomping. The tempo is fast and energetic. There is also some whistling that can be heard throughout the piece, which has a dense texture of many layered voices and rhythms.

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“Gracias a la vida” caught my attention since it was a song that continuously reappeared whenever searching for music by other artists such as Mercedes Sosa and Victor Jara; after a quick google search, I found that it was originally written and performed by Violeta Parra a year before her death. The song begins with a regular rhythm strung on the guitar in a triple meter, shortly followed by Parra’s voice accompanied by a soft guitar baseline in the background. Throughout the song, her voice tends to exhibit an airy timbre during quieter, higher pitched portions of the song and a more open, mellow tone during lower pitched portions of the song. The song’s overall somber mood reminded me of the solemn yet powerful emotions typically portrayed in the transnational “nueva cancion movement” which was andean folk music dedicated to promoting social change in South America. Considering the song’s melancholy mood, its chorus which translates to, “thanks to life,” the lyrics which describe life’s blessings, and the fact that this piece was written a year before Parra had passed makes this piece sound like it was intended to be a sincere goodbye.

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I choose the song Maldonado Chukllu Tanta by Hatun Kotama flute school. I started off by searching the lyrics and found out that the song is actually just a tune that relates to a family or place that is nearby. The tunes have the artist dance in a spiral and they sing over each other. I would say the harmonica and the foot stomping is the most noticeable. It is very consistent and keeps the rhythm in a good beat. The tempo of the song is fast, and the song is also in a Duple meter. It is also good to notice the actual vocals in the song which adds to the excitement given from the song. The vocals of this song were used during the Hatun Puncha festival and they would quickly get the attention of any listener. As for other instruments I mainly hear the harmonica and foot stomping. I also hear a sort of buzz but can’t distinguish if that is coming from a person or a concha. It is most likely a concha because they are able to match the same beat every time. The two vocalists are repeating whatever the other says and that helps keep the fast pace in the song. The song overall was very well, and I can see it being played at a festival to excite people or gather people around.

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Maldonado Chukllu Tanta (Maldonado rondín "Maldonado Harmonica")

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This song brought me in with its intensity and it kept me interested throughout. To start, the tempo of the song is fast and intense. It is polyrhythmic as both the flute and stringed instrument have different rhythms. Eventually, there are claps added that reinforce the fast paced nature of the song and provide a really interesting contrast with the softness of the other two instruments. The presence of the stringed instrument means that the context of this song is not regional but likely either globalized or national. The song has no lyrics which makes me doubt that it has a transnational context. The lack of lyrics and the upbeat nature of the song suggest that the intention of this song is for people to dance or be put in a good mood by. The timbre is light as the strings sound like they are being lightly strum and the flute creates soft sounds. The tone is definitely happy. Overall, the song is very pleasant to listen to the tonality of the song just makes me happy.

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Wuauquikuna Official- (Cover) Sound of Silence 

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Wuauquikuna Official- (Cover) Sound of Silence 

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Even though this sound is more modern than classic Andean music, but I thought it was interesting that they used traditional instruments and how they used Simon and Garfunkel since Simon and Garfunkel really helped Andean music reach North America and European countries. The soft timbre of the song really helps the flutes shine in their musical light while keeping a duple meter rhythm throughout the song.  Having the tone of the music be more on the softer sign it really puts the listener at ease and truly cherish the sound of Andean music.

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The Sound of Silence - Sonidos del Silencio Panflute and quenacho - Wuauquikuna

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the song is very refreshing and they started with a polyrhythm that makes it like that. in this song the band uses different types of instruments, at the same time; they used Siku, Ghungroo, and I think it called Pakhavaj, also the guy in the back may be using Caja but I'm not sure because it can be a regular drum. I noticed that they did not wear the stereotypical clothes for Andeans, instead, they wore the clothes that represent their real culture. Back to the song they did in the opening of their consert which is called "Buenas Nuevas," the beat was strong, and it was hard figuring out the meter of this song because the sound of the Siku was higher than other instruments, but I think the meter was triplet. the tempo was steady they repet the same rythem over and over. overall I loved the song and I loved how I vibe with it without having any lyrics.

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Kennedy Center Education Digital Learning

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This Andean song has been one of my favorites for a long time. I heard it for the first time on the radio while I was driving with my grandfather years ago and it's been an integral part of my playlist ever since. One of the parts of this song that really captures me is its use of triple meter. The beat is present, but not overwhelming. Organized in threes, the kind of swishy/shushy sounding beats add to the ambience of the song itself and contribute to its relaxed tempo. The rhythm is regular and doesn't change. The overall melody is created by what sounds like a stringed instrument, placing this song firmly in the post-colonial Andean time period. The pan flute harmony is lilting and easygoing, reminiscent simultaneously of the coolness of mountain air and the warmth of the sun on your face. It has a light timbre and the mood seems content and peaceful. Love, love, love this song.

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Bailando sounds sounds like a modern folk song with some hints of native American sound like quality. At the beginning of the song, there was a

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The song Cataclismo from Sacambaya is quite upbeat and groovy. There are many instruments used in the song, including ocarina, charango, caja, and quena. The quena starts out carrying the melody with the caja in the background as the harmony. The song has a relaxed and adventurous timbre. The song sounds like something I would hear if I was exploring a grassland. The song seems to be in duple meter. Near the end of the song, an ocarina seems to come in and take over the melody, with almost a hollow sound to it. There are no lyrics in this song which leads me to believe that it was made as a dancing song due to its upbeat and groovy nature.

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This song sounds, to my Western ear, like it would be considered more regional Andean music, although based on the channel that posted it, "Bolivia Eterna", and considering Bolivia's pride in their indigenous heritage, I think it can be considered National music.  The most striking and emphasized instruments are the multiple pan flutes (siku),however they are supported by a charango and an acoustic guitar, what appears to be a maraca-esque percussion instrument, an occasional single flute, and a bombo drum with cymbal providing a steady beat.  The song generally has a slow tempo, although this picks up for a while in the middle of the song.  There is a steady beat, although it sounds to me to be in duple meter, it is not strongly so.  While most of the siku have a more central range, the shorter siku have an almost ethereal, windy sound, and the longer/deeper siku have a vibrato played into them which reminds me of a horn being played (animal horn, not brass horn).  I’m unsure as to how the single flute is played, as it appears to be used for the note-less wind sounds, being played both vertically and transversely.

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It's Kurt here.
The song is a instrumental piece, four piece I think. You can hear the flute (I think is siku) in the beginning and also through out most part of the song. It sounds really airy and has a cool effect shifting left and right. It was playing the melody throughout the song. There are two string instruments, one is guitar and the other one sounds like a charango, which has a more lighter and spry sound. The guitar was laying the foundations while the charango is being swept pretty fast and gentle. The charango also played some melody and later was shifted to the siku. There's a drum with a deep and soft sound, I can't tell wha exactly is the drum but it sounds not as harsh, which goes along with the song pretty well. There are also pretty steady and light drumming in the back, not so obvious, pretty subtle and gentle.

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This song is purely instrumental, and is a blend of electronic music and Andean folk. The song starts out with a loose feeling charango solo. The beat in this solo isn't accented strongly, but it appears to be consistent in tempo. The charango is then replaced by a synth in the background which also doesn't really emphasize the tempo. Then the beat is defined when a drum kit comes in and plays a straight beat that reminds me a lot of lofi hip-hop. Then the song continues to layer in the charango melodies, along with some flute and synth melodies. This song has many layers. The rhythm is maintained by the drum kit, chords are layered in with a synth, and both are covered by solos on the flute and charango. This song is a good example of how the music is developing to fit a more global music market.

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The song I chose this week was El Condor Pasa by Simon and Garfunkel, and I chose this song because I waws intrigued with how an American duo could create Andean folk music. Firstly, there is a constant rhythm to the song outside of the intro, where the only sources of sound are coming from a lead guitar-like instrument with others in the background. After the singing starts, the guitar relaxes into a set of chords while pan flutes join. While the original song was not sung in English, Simon and Garfunkel added English lyrics after hearing the song. The tone of the singing is high and wispy at the end of every other verse to match the increase of volume from the flutes. Interestingly, I thought I heard only one singer, which is uncharacteristic for Simon and Garfunkel music. If there was an ideal word to describe the texture of the song, it would be homophonic because it is only one singer being accompanied by a few instruments. 

Simon & Garfunkel : El Condor Pasa (1970) - YouTube

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The song I chose this week was El Condor Pasa by Simon and Garfunkel, and I chose this song because I waws intrigued with how an American duo could create Andean folk music. Firstly, there is a constant rhythm to the song outside of the intro, where the only sources of sound are coming from a lead guitar-like instrument with others in the background. After the singing starts, the guitar relaxes into a set of chords while pan flutes join. While the original song was not sung in English, Simon and Garfunkel added English lyrics after hearing the song. The tone of the singing is high and wispy at the end of every other verse to match the increase of volume from the flutes. Interestingly, I thought I heard only one singer, which is uncharacteristic for Simon and Garfunkel music. If there was an ideal word to describe the texture of the song, it would be homophonic because it is only one singer being accompanied by a few instruments. 

Simon & Garfunkel : El Condor Pasa (1970) - YouTube

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I picked this song because the beginning sounded like an Irish song. Also, because it wasn't confusing even though it was dense. It did not feel dense, because all the instruments blended nicely together.

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Traditional music from the Andes: Chasca - Warmista