(this was originally due November 16th) CABALLO VIEJO MEANS OLD HORSE IN SPANISH 
The contour of this song is very hilly due to the brass timbre of the trumpet. The only time where the line kinda went flat was when the vocals came in from 1:20-1:37. The phrasing was very complex and hard to detect, here is what I have determined: there was five sections with multiple phrasing incorporated into each one.The first section was from :00-:22, which had one phrase that was repeated two times. The second section was from :23-1:20, which had three phrases that were repeated in random order. The third section was from 1:20-1:37 and had vocals and had two phrases that were repeated. The fourth section was from 1:38-2:30 and had two or three phrases that were repeated. At 2:30 till the end of the song, the third section (with the vocals) was played (meaning repetitive phrasing). In regards to African traits, this song used repetitive phrasing which is abundant in African style music. The melodic character of this song is disjunct due to the use of large intervals. The range is high because of how high the brass instrument goes up in pitch.
There are five layers in this song: trumpet (aerophone), classical guitar (chordophone), gurro (membraphone), some sort of cow-bell or block of wood (ideophone) and vocals (aerophone). Just like in African style music, this song has multiple faucets in it, and no instrument is the ‘main’ instrument. The classical guitar, gurro, and cow-bell function as the rhythmic/bass accompaniment to the song. The vocals add lyrical style and a contrast against the other instruments. The trumpet is almost like the melodic instrument of the song. It is how the song is defined due to its contrast to the other instruments in regards to pitch. The speed of the layering was even throughout the whole song, although the vocals (1:20) sounded a little faster than the trumpet. There was no call and response in this piece.
The meter in this song is a duple meter. The tempo was medium due to the slow/bluesy nature of the trumpet. It was very relaxing to listen to. The rhythm in each layer is pretty complex, but I am going to try my best to analyze it. The gurro was steady during the whole song as it did “one (hold for one) three, four”. The trumpet also repeated three rhythmic patterns which were “one-e-and-a-two-e-and-a three-e-and-a-four (hold for one)”, “one-and-a-two-(hold for one) four”, AND “one-e-and-a- two- THREE- and-a-four-and”. The trumpet was very complex in this tune. The guitar was hard to hear, but played many walking notes and filled up much of the rhythmic linear space. In the beginning, the cowbell was very steady and played a repetitive “one-two-three-four”, but at 1:20 when the vocals joined in it became louder and played “ONE-TWO-THREE-FOUR”. The difference is in the dynamics, which will be discussed in the following paragraph. In African musical styles dynamics are often played with to create wonderful sounds. There was syncopation between the cowbell, guitar, and trumpet, meaning the accents would hit at different points in the linear structure of the song.
There was a slight harmony between the trumpet and the classical guitar. The harmonic character was consonant for the most part. As I mentioned before the dynamics of the cowbell, and the trumpet accented the sensual feeling of this song. By using dynamics correctly, this song bled with so much emotion. There was hardly any vocals, so articulation does not apply to this song.
below is a version of Caballo viejo:
