EDITORS’ INTRODUCTION
SALAMPATI is a 127-page book featuring choral arrangements of Bicol Folk Songs with music arrangement and notation by Ruben Federizon and edited by Maria Christine Muyco. Originally published in 2017 by Jen Print, Inc., this publication was made possible with the support of the National Commission of Culture and Arts (NCCA). “Salampati” is the Bikol word for dove.
The captivating rendition of the musical arrangements was immortalized in a subsequent recording accompanying the book. The Philippine Madrigal Singers, under the direction of Mark Anthony A. Carpio, delivered a magnificent performance. Initially recorded on CD at the MADZ Music Studio on May 4 and 6, 2018, and January 7, 2019, the music is now available on Spotify and YouTube.
Ruben Federizon’s passion for Bicol folk songs traces back to his high school days at Ateneo de Naga. Tasked by Fr. James J. O’Brien, SJ with transcribing the folk songs collected by Ateneo students from across the Bicol Region, Federizon honed his skills in music transcription. The submission of folk songs from the students’ hometowns and ancestral lore was a prerequisite in Fr. OB’s classes.
Folk music played a vital role in the seminal work initiated by Fr. OB, which would eventually become his legacy to Bicol – The Historical and Cultural Heritage of the Bicol People. This book stands as the cornerstone of O’Bikoliana at the James O’Brien Library of Ateneo de Naga University.
In the initial manuscripts of the book, dating back to 1966 and 1968, Fr, OB acknowledged the contributions of Ateneo students. He gratefully dedicated the book to Benedicto Rueda (’66), Jaime Veneracion (’64), Leoncio de la Torre, Jr. (’65), as “original members of the Ateneo research team responsible for its first beginnings,” and Ruben Federizon “for so patiently and skillfully notated and taught well, over the score of beautiful Bicol songs to various classes and groups.”
Ruben revealed that he had no prior knowledge of these manuscripts and only stumbled upon them during his recent visits to the Ateneo library. This discovery inspired him to meticulously restore and refine the music transcripts. He completed the arrangements of 37 Bicol folk songs into book form in 2012, a project he dedicated to the memory of Fr. James J. O’Brien, SJ. Whenever feasible, he acknowledged the Ateneo student who contributed each folk song.
In this Dateline Ibalon article, we present excerpts from the SALAMPATI book, including the Foreword by Ruben Federizon and the Editor’s Note by Maria Christine Muyco. Highlights include Bicol and English lyrics of ten Bicol folk songs and their corresponding links to YouTube versions.
FOREWORD by Ruben Federizon
Folk songs serve as spontaneous expressions of a people’s life, culture, experience, and identity. In this book, I use folk songs to mirror the character, traits, and peculiarities of the people of my hometown, Bicol. While the composers of these folk songs remain largely unknown (as is common with most folk songs), their spirit lives on in community gatherings, leisure, or in the quiet solace of individuals yearning to articulate their joys or sorrows. These melodies pulsate with life as they are passed down fervently from one generation to the next!
From my earliest years, the haunting melodies of Bicol folk songs accompanied my upbringing, sparking a deep affinity within me. During my formative years at Naga Parochial School, where I received my elementary education, I eagerly lent my voice to the boys’ choir, harmonizing with the rich tapestry of Bicolano folk tunes. As I progressed to Ateneo de Naga for my secondary education, I became immersed in a noble endeavor: a collective effort to preserve our cultural heritage. Alongside a dedicated team, I embarked on a mission to gather these cherished folk songs, destined to be enshrined within the pages of an unpublished book, meticulously curated by Father James J. O’Brien, SJ, entitled, “The Historical and Cultural Heritage of the Bicol People.”
The process of arranging Bicol folk songs into a cohesive book took shape in 2012. Driven by a profound sense of duty to safeguard these cultural treasures, I was compelled to compile them into an organized, bound, and enduring format. Additionally, I harbored a fervent desire to ensure the perpetuation of these songs through the voices of my fellow Bicolanos.
During a visit to the heart of Bicol, Naga City, I was taken aback to discover that the younger generation was no longer familiar with these cherished folk melodies. Instead, their repertoire seemed limited to “Si Nanay, Si Tatay” (Mother and Father). The revelation highlighted a troubling trend of confusion and ignorance: Potenciano Gregorio’s composition, “Sarung Banggi” (One Night), was mistakenly regarded as a folk song.
It struck me deeply that the present generation of Bicolanos is no longer immersed in the folk songs once sung by their ancestors. Faced with this poignant realization, I felt compelled to arrange thirteen of these cherished melodies for a mixed choir. Recognizing the robust tradition of choral singing in the Philippines, I saw an opportunity to reintroduce these songs to the new generation. Through the medium of choral singing, there is a hopeful aspiration that the new generation will become acquainted with the rich tradition of folk songs from their province and country. It is a chance for them to perform these melodies with pride and pass them on to future generations. Folk songs stand as a profound expression of the Philippines’ national pride! Let us ensure these songs endure, so they may never fade into obscurity.
The folk songs featured in this volume encompass a diverse array of themes. From lighthearted humor to expressions of romantic love, familial affection, religious devotion, nostalgia, and various sentiments in between, each melody offers a unique glimpse into the cultural fabric of Bicol. Notably, the beloved love ballad “Sarong Banggi” has transcended regional boundaries to become a cherished piece even among non-Bicolanos. Recognizing its widespread popularity and communal significance, I have come to regard it as a form of “public property,” emblematic of the collective heritage shared by all. Thus, I felt compelled to arrange and include this iconic song in the book, ensuring its rightful place among the treasures of Bicol folk music.
Just as with my previous choral arrangements, I strive to imbue each song with its own unique flavor. This aspect is vital in evoking a sense of belonging and nostalgia, enabling people to reconnect with their traditions. Moreover, it enhances the joy of singing and listening together, while also resonating deeply with choral professionals, performers, enthusiasts, aesthetes, the general public, and, most importantly, fellow Bicolanos.
EDITOR’S NOTES by Maria Christine Muyco, PhD
SALAMPATI, this anthology of Ruben Federizon’s original folk song arrangements, was finalized in 2012. The idea of publishing this collection initially arose during a visit with Ruben in Vancouver, British Columbia, Canada, in 2015. When the National Commission for Culture and the Arts (NCCA) issued a Call for Proposals, we seized this opportunity to advance our discussion and transform the envisioned publication into reality. It felt like a beacon of hope, signaling the forthcoming publication of these arrangements.
Musical arrangement is truly an art form in its own right. While composition involves crafting original ideas and shaping experiences through musical idioms, arranging is akin to reinterpreting an existing concept, presenting it in a fresh and innovative manner. This process is far from simple. In choral arrangement, the musical style serves as the arranger’s distinct voice, leaving a lasting imprint on the composition. This voice resonates through the harmonies, textures, and overall tonal palette, persisting long after the music has ceased. When individual singers recall the intricacies of the arrangement and collectively bring them to life, the choir becomes enveloped in a transcendent state, imbuing the arrangement with a vibrant essence akin to a living, breathing entity!
Ruben Federizon stands as a towering icon in Philippine choral music. Even during my undergraduate years, I had the privilege of witnessing his compositions and arrangements performed by esteemed choirs like the Philippine Madrigal Singers (then known as the UP Madrigal Singers). His works graced performances that garnered acclaim at prestigious European Prix events and various international competitions. I highlight this not only to promote his music but also to ensure that he is remembered as an integral part of Philippine music history.
My role as an editor primarily involves shaping the book’s overarching narrative, serving as a lens through which readers can explore Bicol’s folk traditions through its music. Despite the changing times since these pieces were first introduced, there remains a timeless essence that embodies the core character of the Bicolanos, evoked through these songs. Therefore, certain sections of the book undergo meticulous review, with text being revisited, refined, and reworked based on feedback and suggestions for improvements, ensuring continuity throughout the pages. Karmen Biasbas, the book designer and layout artist, has been instrumental in clarifying the narrative’s intention, playing a significant role in the cohesive presentation of the material.
Both the composer and the arranger hold their music in sacred regard, and as the editor, I deeply respect this creative sanctuary. Consequently, my role primarily entails ensuring that the musical notations maintain consistency in fonts and sizes across all pieces, facilitating easy readability. Ruben has thoughtfully provided a pronunciation guide, curated through the expertise of his friends: Dr. Jonathan Malicsi and Dr. Jesus Hernandez from the University of the Philippines’s Linguistics Department. Additionally, Marilou Mendoza, Maria Rossi, and Butch Federizon have contributed to the English translations of the Bicol folksongs.
I am convinced that the editing process initiated within these arrangements will persist as the songs are brought to life through rehearsals and performances, transitioning from print to sound. Through meticulous work with the scores and diligent practice, the pieces are honed and refined, preparing them for public presentations. This ongoing endeavor ensures that the composer’s intent is faithfully realized and honored. One might even say it is a perpetual journey, constantly revisiting and reshaping the tapestry of Bicolano folk memory through the weaving and reweaving of these timeless melodies.
FEATURED FOLK SONGS
All Salampati YouTube videos courtesy of Mark Anthony Carpio, Choirmaster, Philippine Madrigal Singers
SALAMPATI (The Dove)
Salampati guminaro, guminaro dahil sako.
Salampati murmured a plaintive song because of me.
Ano daw an kinamundo, luminayog nin harayo.
I wonder why she chirped a sad song as she flew away.
Luminayog paibaba. Tumoro si sakong luha.
She flew downwards. Tears flowed down my eyes.
Naging salog, naging sapa, naging danao nin dakula
Stream, river, and lake of tears.
TIKONG-TIKÔ (Very Crooked)
Naglakaw ako sa tikong dalan
I walked by a crooked road
Nakakua ako nin tikong sundang.
Found a crooked knife.
Tinagbas ko sa tikong kawayan,
Cut a crooked bamboo,
Nakakua nin tikong ligawnan.
Found a crooked fishing rod.
Ano’ng nangyari sakuyang buhay?
What’s happened to my life?
Gabos na bagay tikong-tiko!
I see everything crooked!
Binanwit ko sa tikong sapa,
I fished in a crooked river,
Nakasubad nin tikong sira.
Caught a crooked fish.
Linuto ko sa tikong koron,
Cooked it in a crooked claypot,
Kinakan ko, masiramon.
Ate it. It was delicious.
Naglakaw ako sa tikong tinampo,
Walked by a crooked road,
Pinara ko si tikong awto.
Hailed a crooked bus.
Binayad ko si tikong singko,
Paid with a crooked shilling,
Pasahero tikong tawo.
A crooked passenger.
ILONG PAGKAMOOT (Forlorn Love)
Ilong pagkamoot na siring sa gamgam na dai nin pakpak
Forlorn lonely love, like a flightless bird without wings.
Dai maka-awit manga inagrangay na nakaheherak
Cannot sing a lively song but sing a mournful song.
Dai makalayog sa daga nahulog ning daing paglaom
Cannot fly away, falls to the ground without any care.
Dai makahiro nakubhan si puso sa labing pagmundo
Cannot move with heavy heart, filled with so much sadness.
O, madahas sa puso ko, puso kong tinugod
O my pitiful heart, my pierced heart.
Binayaan mo pa, puso na daing palad
And you left my heart, my heart without fate
Siisay pa daw an madulok sa puso kong ini?
Who will take pity on my heart and love it?
ilong pagkamoot na siring sa sakong puso.
Forlorn lonely love so is my heart.
KASADORANG BERDE, BESTIDANG MAPUTI (Green Jacket, White Dress)
Pagkadaing palad, Tatay, ining sakong swerte
I am unfortunate, Father, with my ill-fated luck
Ako nagaagon, Tatay, habo an babaye.
I am getting married, Father; but she does not want me.
An marhay kaini, Tatay, pumuli sa dati.
It is better for me, Father, to go back to old days.
Soltero nin ambon, Tatay, magtanom kamote.
To wander aimlessly, Father, and plant sweet potatoes.
Kanugon pa, Tatay, Lastima! Kasadorang berde, Lastima!
What a waste, this green jacket, Father. Poor me!
Utang ko sa sastre, Lastima! Di mabayaran.
My debt to the tailorman, how sad, I cannot pay.
Hinabuan nya ko, Lastima! Panong pagbayad ko, Lastima!
She does not want me, have pity! How can I pay the tailor?
Ta mayong katabang, Lastima! Paghanap nin kwarta.
I am doomed to have no help. poor me!
CLICK TO VIEW KASADORANG BERDE, BESTIDANG MAPUTI
ANO DAW IDTONG SA GOGON (What might be in the grass)
Ano daw idtong sa gogon
What might be in the grass
Bulawan bagang paghilingon?
Shining like bright gold in the sun?
Kasu sakuyang dolokon
Nearer I went to see
Ay, ay, burak palan nin balagon.
O, a flower hidden in the grass.
Kaso sakuyang kikua
When I plucked the flower
Sarung boses nagsayuma
A faint voice I heard
“Hari man ngaya pagkua”
“Please, pluck it not.”
Ta sadiri ni Maria.
It is for the Virgin Mary.
Ranga s’ya nin puso, magayon
She eases my pain, she is such a beauty
“Hari man ngaya sa pagkua.”
“Please, pluck it not.”
CLICK TO VIEW ANO DAW IDTONG SA GOGON
KUDOT-KUDOTAN (Pinching Game)
Kan sadit pa ako, sadit ka pa man
When I was a small boy, and you were a small girl
Nagkarawat kita nin kudot-kudotan
We used to play the “pinching” game.
Kinudot mo ako, kinudot ta ka man.
You would pinch me and I would pinch you.
An sabi mo sako, “Luway luwaya man,”
And you said to me, “Please, be gentle.”
Kan sadit pa ako, sadit ka pa man
When I was a small boy, and you were a small girl
Nagkarawat kita nin kudot-kudotan.
We used to play the “pinching” game.
Kinudot mo ako, kinudot ta ka man.
You would pinch me and I would pinch you.
An sabi mo sako, “Ay, magirok!”
And you said to me, “It tickles!”
Hain ka na baya, kakawat kong madaya?
Where are you now, my pretty playmate?
Ta makawat kita nin kudot-kudotan
Let’s play the “pinching” game again
Kudotan moa ko, kudotan ta ka man.
Pinch me and I pinch you.
An kawat na ini hinahanap ko ngonyan.
This game I long for now.
SI NANAY, SI TATAY (Mother dear, Father dear)
Si Nanay, si Tatay di ko babayaan.
Mother dear, Father dear, never shall I leave you.
Balakid na boot an sacuyang utang.
All the love I owe you, I can never repay.
Si pagdara sako nin siyam na bulan;
Nine months I had lived in your womb;
Gatas na dinudo, di ko mabayaran.
My mother’s milk, I can never repay.
Ay Nanay, ay Tatay, kung ako humale,
Mother dear, Father dear, if ever I should leave you
Hihidawon mo man sag abos mong aki.
I know you will miss me.
Makakua kaman nin makakasangle,
If you find someone to take my place,
Dai makaarog kan sakong ugali.
He will not care for you as I have.
Ay Nanay, ay Tatay kung ako maraot,
Mother dear, Father dear, if you think ill of me,
Pugotan nin payo, ibuntog sa lawod.
Cut off my head, into the the lake, cast it away.
Kung mahiling nindo nanag-anod-anod,
If ever you should see it floating,
Ay Nanay, ay Tatay, sapoda man tulos.
Mother dear, Father dear, please fish it up.
CLICK TO VIEW SI NANAY, SI TATAY
GAMGAM NA PERIKO (The Parrot)
Mahale na ‘ko sa ngonyan.
I am leaving now.
Ika sakong babayaan
I am leaving you alone.
Siisay an walat ko ngonyan
Whom do I leave for you
Na saimong kaulayulay?
Who will be your companion?
An iwawalat ko simo
What I will leave for you
Sarong gamgam na periko
Is a parrot.
Kung malipungaw kang gayo,
If you feel lonely,
Iyong kaulayulay mo.
You can talk to this parrot.
An tugon ko simo lamang:
This is what I ask of you:
Idakop mo akong gamgam.
Find me a bird.
Badilon mong dai pulkan.
Gun down a bird without firing,
Puroton mong dai kaptan.
Pick up the bird without touching.
Dagnan mo siya ihanao
Then, find for the bird
Nin barayong na tuktukan
A chopping board.
Pikadilyohon mong parhay
Then, cook it well.
Hawak dai malugadan.
Be sure not to hurt the bird as you cook it.
Dangan mo siyang guibohon
Then, cut the bird in halves
Manikagduwang kakanon.
For two persons to eat.
Ibugtak mo s’ya sap lato na malinig.
Put the bird in a clean plate.
Dangan mo siyang buhayon.
Lastly, revive the bird to life.
CLICK TO VIEW GAMGAM NA PERIKO
SARONG BANGGI (One Evening)
Sarong banggi sa higdaan
One evening as I lay in bed
Nakadangog ako nin huni nin sarong gamgam
I heard a beautiful song of a bird.
Sa luba ko katurugan
I thought I was just dreaming
Bako kundi simong boses, iyo palan.
But it was no dream for it was your sweet voice.
Dagos ako bangon si sakuyang mata ibinuklat
Quickly I opened my eyes and rose up my bed
Kadtong kadikluman ako ngalagkalag
In the darkness, I tried to see
Kasu ihiling ko si sakuyang mata sa itaas,
In the darkness I looked up,
Simong lawog nahiling ko, maliwanag.
I saw your radiant and lovely face.
Kadtung kadikluman kan mahiling ta ka,
When I saw you in the dark,
Mamundo kong puso, tulos naugma.
My lonely heart found happiness.
Minsan ‘di nahaloy, idtong napagmasdan
It did not take long I realized
Sagkod nuarin pa man dai ko malilingawan.
It was just a brief sight I will never forget.
Magpoon na ika sakuyang namutan,
Since I started loving you,
Ako nakamate nin kaginhawahan,
I felt a soothing relief,
Pati ang puso kong tagub kapungawan,
Once my heart is full of loneliness,
Ngonyan burabod nan in tunay na kaugmahan.
Now a spring of real happiness.
SARO, DUWA, TOLO (One, Two, Three) – A medley of 3 Bikol Folksongs
Saro, Duwa, Tolo (One, Two, Three)
Saro, duwa, tolo, apat, lima, anum, pito, walo, siyam
One, two, three, four, five, six, seven, eight, nine
Uya ka sa puso ko!
You are in my heart!
Saro, duwa, tolo. Kita nagsayaraw.
One, two, three. We danced.
Apat, lima, anum. Uya sa guiromdom.
Four, five, six. I think of you.
Pito, walo, siyam. Uya ka sa daghan.
Seven, eight, nine. You are close to me.
Sampolo na may saro. Uya ka sa puso ko!
Nine, ten, eleven. You are in my heart!
Uya, Uya, Uya (Here it comes)
Uya na, uya na an dakulang barko.
Here it comes, here it comes, the big ship.
Pano-panong karga, anas na daraga.
Passengers full, all pretty maidens.
Pag-abot sa lawod, nagbanderang pula.
When in open waters, a red flag was raised.
Adios rarelasyon, babayaan ta ka.
Good-bye, my love. I leave you now.
Romerong Masetas
Romerong masetas, kung pagromodon ka
Romerong masetas, I beg you
Di ka naghanap ibang masitera.
Don’t find another pot.
Iyo mong hanapon idtong nainot na
But rather, find the first one
Nag-agi nin sakit
Who have gone through pain
Labing penintensya.
And suffering.
(Romerong masetas is a tropical flower commonly prescribed by herbolarios as a cough remedy.)
CLICK TO VIEW SARO, DUWA, TOLO
ABOUT RUBEN FEDERIZON
Ruben Federizon embarked on his formal music education journey at the University of the Philippines, where he earned his bachelor’s degree in music. He then pursued graduate studies at San Francisco State University and the University of British Columbia, culminating in a master’s degree in music. Immersed in the realm of music, he imparted his expertise as a teacher of Composition and Arranging at the University of the Philippines College of Music.
A distinguished vocalist, Ruben joined the esteemed Philippine Madrigal Singers, eventually assuming the role of resident arranger and composer for the ensemble. His choral works and arrangements have graced the stages of numerous prestigious choral festivals and competitions worldwide. Notable venues include the Concorso Polifonico Guido d’Arezzo, Bela Bartok International Choir Competition, International Chamber Choir Competition Marktoberdorf, Florilège Vocal de Tours, and the California International Choral Festival and Competition in San Luis Obispo. Additionally, his contributions have been showcased at esteemed choral conferences such as the American Choral Directors Conference and the World Youth Choir Conference in Estonia.
Presently, Ruben resides in Vancouver, Canada, where he serves as the Music Director at Saint Faith’s Anglican Church. Additionally, he holds the position of official staff accompanist for the Music Department at Douglas College in British Columbia.
Music sheets are available from the Philippine Madrigal Singers Store. A digital copy can also be ordered directly from Ruben Federizon. He can be contacted through his website… https://www.amajormusicpublishing.com/
ABOUT THE PHILIPPINE MADRIGAL SINGERS
The Philippine Madrigal Singers, affectionately known as the Madz, was founded in 1963 by National Artist Professor Andrea O. Veneracion. Renowned for their exceptional talent and dedication, the choir has garnered widespread acclaim, emerging as one of the most decorated ensembles globally. They have achieved unparalleled success, securing top honors in numerous prestigious choral competitions around the world.
Under the guidance of choirmaster Mark Anthony Carpio, the Philippine Madrigal Singers maintain their legacy by showcasing a diverse repertoire spanning Renaissance, Classical, Filipino and international folksongs, contemporary and avant-garde compositions, opera, and even pop music. Their distinct specialization in the madrigal idiom has led to their innovative performance style, characterized by singing in a semi-circle formation without a conductor. This unique approach reflects their commitment to excellence and has become emblematic of their artistic identity.
Read more about the Madz,,, http://www.philippinemadrigalsingers.com/credits.html