This work “Primera Suite para Saxofón Alto Solo”, composed by the Colombian saxophonist Herman Fernando Carvajal, is structured as a suite, in which it brings together three traditional Colombian rhythms (Fandango, Cumbia, and Chandé). It invites us to explore the richness and diversity of the popular music from the Pacific and Caribbean regions of Colombia through a solo instrument. Each of these rhythms, representing the customs and folklore of the country, adds a unique identity to the piece. The fandango, on one hand, with its festive energy and complex rhythmic structure, merges with the cumbia, which is characterized by its ancestral connotation. On the other hand, the chandé, with its emphasis on festivity and percussive instruments, combines and highlights the versatility of the saxophone.

In this analysis, the representative elements of the form, harmony and extended techniques used will be described.

Fandango

The first section of the piece is developed through the rhythm of fandango, mostly known for being written in a binary compound meter of 6/8. It presents symmetrical phrases ranging from 4 to 8 bars in axial tonality of Gm, fluctuating between natural minor, harmonic minor, and melodic minor, frequently altering the sixth and seventh degrees of the scale (E♮- F#).
The introduction is free, guided by tempo markings: Allegro fiestero, Meno mosso, Vivace, Lento, and Ad libitum. Through joyful and festive melodies (characteristic of the fandango rhythm), the composer introduces various extended techniques, as evidenced in the previous table. As a result, variations in sound are generated, new colors are added, and the performer’s capabilities are enhanced.

As an example of the aforementioned (introduction of the Fandango), here the composer simultaneously employs various extended techniques with variations in the tempo markings.

Formal Structure of the Fandango	Measures	Extended Techniques
Introduction		Glissando Slap Tongue  Multiphonics  Bend
Theme		Bend  Bisbigliando High Register  Multiphonics  Glissando
Conection		Multiphonics  Bisbigliando

Cumbia 

The cumbia is written in a binary meter of 2/2 and features symmetrical phrases developed in the key of Am, with a modulation to Bm. During this section, Herman proposes the imitation of a traditional Colombian instrument, the Maracón (typically used in cumbias), through the combination of the Slap and the blowing of air from the mouthpiece simultaneously.

Other techniques are also used at this moment in the piece. Through a new tempo indication, in this case slower, the melody is developed in symmetrical phrases, maintaining the characteristic and traditional harmonies of the cumbia.

Chandé 

Finally, the third section of the piece, the Chandé, presents the fastest tempo, and it is also the only major key, G. As in the previous two sections, the harmony is basic and moves between tonic and dominant functions, involving techniques such as double tonguing and glissandos. The composer develops the melody over symmetrical measures and also presents some changes in meter (5/8 - 7/8), which eventually lead to the final modulation (A).