LIFE AND WORKS

Lucio D. San Pedro

Lucio was born on February 11, 1913 in Angono, Rizal, the son
of Elpidio San Pedro and Soledad Diestro. At a young age, he
composed various hymns and became the local church
organist, succeeding his late grandfather.

San Pedro graduated from the University of the Philippines (UP)

College of Music with a double major in Composition and
Conducting. While at UP, San Pedro wrote a symphonic work
called “Suite Pastorale.” In 1943, he wanted to write lyrics for one of its movements to
submit to a competition sponsored by the Japanese government during its occupation of the
Philippines. He did not join the competition. On a ship upon his return home, San Pedro met
Levi Celerio who wrote the lyrics for this movement, what would become the iconic “Sa
Ugoy ng Duyan”, a lullaby and ode to a mother’s love.

San Pedro excelled as a teacher, conductor, and composer. San Pedro conducted the
Banda Angono Numero Uno, Musical Philippines Philharmonic Orchestra, Peng Kong
Grand Mason Concert Band, and the San Pedro Band of Angono. He was a prolific
composer whose works included band music, concertos, choral works, cantatas, chamber
music, and songs for solo voice. Among his famous compositions are “Simbang Gabi”,
“Lahing Kayumanggi”, and “Sa Mahal Kong Bayan”, which touch on Filipino culture.

San Pedro was dubbed a “creative nationalist” for his artistic way of showing love for his
country. He won countless awards, the most prominent being his conferment as National
Artist of the Philippines for Music in 1991.

Angono, Rizal has been recognized as the “Arts Capital of the Philippines” largely because
of its being the home town and inspiration for San Pedro and his cousin, town-mate and
fellow National Artist, Carlos “Botong” Francisco. Francisco was a skilled muralist who was
posthumously named National Artist for Visual Arts (Painting) in 1973.

Levi Celerio, who would collaborate with San Pedro again after “Sa Ugoy ng Duyan”, was
also named National Artist for Music and Literature in 1997.

San Pedro died on March 31, 2002, at the age of 89.

 “Sa Ugoy ng Duyan”

Sana’y di nagmaliw ang dati kong araw

Nang munti pang bata sa piling ni nanay
Nais kong maulit ang awit ni inang mahal
Awit ng pag-ibig habang ako’y nasa duyan
Sa aking pagtulog na labis ang himbing
Ang bantay ko’y tala, ang tanod ko’y bituin
Sa piling ni nanay, langit ay buhay
Puso kong may dusa sabik sa ugoy ng duyan
Nais kong matulog sa dating duyan ko, inay
Oh! Ina
 Simbang Gabi by Lucio San Perdo
Ikalabing anim ng Disyembre
Ikalabing anim ng Disyembre
(ding dong ding dong)
May mga parol na nakasindi
May mga parol na nakasindi
Ikalabing anim ng Disyembre
Ikalabing anim ng Disyembre
At ang lamig ay lubhang matindi
Simula na ng Simbang

Simbang gabi simbang gabi

Ay simula ng pasko
Simbang gabi simula ng pasko
Sa puso ng lahing pilipino s’yam na gabi
Kaming gumigising sa tugtog ng kampanang walang tigil
Maaga kami kinabukasan lalakad kaming langkay langkay
Babatiin ang ninong at ninang ng maligayang pasko po
At hahalik ng kamay

Simbang gabi simula ng pasko

Sa puso ng lahing pilipino s’yam na gabi
Kaming gumigising sa tugtog ng kampanang walang tigil
Maaga kami kinabukasan lalakad kaming langkay langkay
Babatiin ang ninong at ninang ng maligayang pasko po
At hahalik ng kamay

Lahat kami’y masayang masaya busog ang t’yan at puno

Ang bulsa hindi namin malilimutan ang masarap na puto’t suman
Matutulog kami ng mahimbing iniisip ang bagon taon natin
Natin at ang tatlong hari darating sa pilipinas
Ay pasko parin maaga kami kinabukasan
Lalakad kaming langkay langkay
Babatiin ang ninong at ninang ng maligayang
Pasko po at hahalik ng kamay
(ding dong ding dong)

Pasko na! Pasko na!

May parol nang nagbitin (2x)
May mga ilaw nang nagnining-ning(2x),
May mga ilaw nang nagnining-ning pasko na!
Pasko na! May parol nang nagbitin!
Nakikita na sa mga bit’win ang pagsilang ng Niño sa belen (2x)
Pasko na!pasko na!may parol nang nagbitin
Nakikita na sa mga bit’win ang pagsilang ng Niño sa belen(2x)
L’walhati, l’walhati sa D’yos sa kaitaasan
At sa lupa’y kapayapaan sa mga taong may mabuting kalooban.
 LIFE AND WORKS
Ryan Cayabyab
Warmly known as Mr. C, born Raymundo Cipriano Pujante
Cayabyab on May 4, 1954 in Manila, Philippines. Ryan's
mother was an opera singer; she died when he was only 6,
while his father fight to sustain him and his three siblings. His
mother's wish was that no one of her children would make
music as a line of work; knowing how tough life is for a
musician with insufficient income.

Ryan Cayabyab firstly took up Bachelor of Science in

Business Administration in the University of the Philippines,
Diliman. But at the same moment, he searched for an
employment to sustain his studies, and sooner join with then-
Senator Salvador Laurel as accompanist for the Development Bank of the Philippines (DBP)
Chorale Ensemble. Noting his incomparable ability on the piano, the Senator presented him a
scholarship that would allow Ryan to alter his course and hold learning in music.

Cayabyab afterward graduated from the UP College of Music earning a Bachelor of Music, Major in
Composition degree. Following that, he became a complete professor for the Department of
Composition and Music Theory in the UP Diliman for about two decades.

At the twist of the century, he was about to take his family and transfer abroad, but when presented
by Danding Cojuangco, President of the San Miguel Corporation, a authority post that would give
him full way in producing and performing new music that would carry out a new wave to the
Philippine music scene, he acknowledged the proposal.

Ryan Cayabyab is a prominent Filipino musician and the existing Executive and Artistic Director of
the San Miguel Foundation for the Performing Arts. His works vary from specially made full-length
ballets, theater musicals, choral pieces, a crowd set to unaccompanied chorus, and orchestral
pieces, to salable recordings of popular composition, film scores and television specials.

Now, he is presently in his 7th year as Executive and Artistic Director of the San Miguel Foundation
for the Performing Arts.
Kumukutikutitap Lyrics
by Ryan Cayabyab
Kumukutikutitap, bumubusibusilak
Ganyan ang indak ng mga bumbilya
Kikindat - kindat, kukurap -kurap
Pinaglalaruan ng inyong mga mata

Kumukutikutitap, bumubusibusilak
Ganyan ang indak ng mga bumbilya
Kikindat - kindat, kukurap -kurap
Pinaglalaruan ng inyong mga mata

Iba't - ibang palamuti

Ating isabit sa puno
Buhusan ng mga kulay
Tambakan ng mga regalo

Tumitibok-tibok, sumisinok - sinok

Wag lang malundo sa sabitin
Pupulupot-lupot paikot ng paikot
Koronahan ng palarang bituin

Dagdagan mo pa ng kendi
Ribon, eskosesa't guhitan
Habang lalong dumadami
Regalo mo'y dagdagan

Kumukutikutitap, bumubusibusilak
Ganyan ang kurap ng mga bituin
Tumitibok-tibok, sumisinok - sinok
Koronahan ng palarang bituin

Dagdagan mo pa ng kendi
Ribon, eskosesa't guhitan
Habang lalong dumadami
Regalo mo'y dagdagan

Kumukutikutitap, bumubusibusilak
Ganyan ang kurap ng mga bituin
Tumitibok-tibok, sumisinok - sinok
Koronahan mo pa ng palarang bituin
Ryan Cayabyab – Limang Dipang Tao Lyrics
Limang Dipang Taong Nagtutulakan
Sa Abenidang Aking Napagdaanan
Nag-Aabang Ng Masasakyan, Patungo Kung Saan,
Di Ko Malaman

Sa Aking Dyipning Sinasakyan,

Mayroong Natanaw Na Mama
Sa Dinami-Rami Ng Nagdaraan, Ikaw Pa Ang Nakita,
Ikaw Pa Ang Nakita
May Kasamang Dalaga, (May Kasamang Dalaga)

Para, Mama Dito Na Lang, Bababa Na Ako

Para, Mama Dito Na Lang, Heto Ang Bayad Ko
(Heto Ang Bayad Ko)
Para Na Sabi, Para Na Sabi, Para Mama
Para Na Diyan Sa Tabi!

Limang Dipang Taong Nagtutulakan,

Ang Dinaanan Ko Sa Paghabol Sa Iyo
Tinatanaw Ang Pagakay Mo
Sa Dalagang Pinagseselosan Ko

Sa Pagmamadali Nadapa Ako,

Sa Bangketang Kinatatayuan Mo
Lumapit Ka, At Tinulungan Ako,
At Kita'y Tinitigan (At Kita'y Tinitigan)
Mga Mata'y Nagkabanggaan
Ano Ba Itong Naramdaman?

Sorry, Mama Pasensiya Ka Na, Akala Ko'y Asawa Kita

Sorry, Mama Pasensiya Ka Na, Sorry't Naabala Ka Pa
Sorry Na Sabi (2x), Sorry Mama, Sorry't Napagkamalan Ka

Limang Dipang Taong Nagtutulakan

Sa Abenidang Aking Kinatatayuan
Nagaabang Ng Masasakyan
Patungo Kung Saan, 'di Ko Malaman

Limang Dipang Taong Naguunahan

Sa Unting Sasakyang Nagdaraan
Sayang Ang Dyipning Kanina'y Lulan
At Ngayo'y Nagsisisi, Sa Aking Pagbubusisi
Malaking Pagkakamali

Para, Mama Sasakay Po, Limang Dipang Taong Nagtutulakan

Para, Mama Sasakay Po, Limang Dipang Taong Naguunahan
Para Na Sabi (2x), Para Mama, Para Na Diyan Sa Tabi.
Para Na Diyan..
 LIFE AND WORKS

Francisco F. Feliciano
Dr. Francisco F. Feliciano (1941 - 2014) was one
of the Philippines’ most important composers. Dr.
Feliciano created more than 30 major works that
include operas and music dramas including La
Loba Negra, Ashen Wings, Sikhay Sa Kabila ng
Paalam (Beyond the Farewell), and the life of
wartime Filipino hero, Jose Abad Santos.

Among his large works are Transfiguration and

Missa Mysterium for orchestra and large chorus,
the ballet Yerma, and several prize winning compositions including Pokpok Alimpako, a
favorite piece of choirs in international choral competitions, and Salimbayan. Umiinog,
Walang Tinag (Perpetuum Immobile) was premiered in New York City at the ISCM Festival.
In 1977, Dr. Feliciano was given a John D. Rockefeller III Award in Music Composition.

One of Asia’s leading figures in liturgical music, Dr. Feliciano composed hundreds of
liturgical pieces, mass settings, hymns, and songs for worship. At the Asian Institute for
Liturgy and Music, a school for church musicians he founded 20 years ago, he supervised
the publication of a new Asian hymnal containing mostly works of Asian composers. Dr.
Feliciano’s works are published worldwide in hymnals and worship books of various
churches.

Dr. Feliciano was president of the Samba-Likhaan Foundation: The Asian School of Music,
Worship and the Arts, an organization located in Quezon City, the capitol of the Philippines,
and neighboring city of Manila. Devoted to the promotion of Asian music and arts, its goal is
to put music and art in the context of worship.
“POKPOK ALIMPAKO”
By Francisco Feliciano
 “PAMUGUN”
By Dr. Francisco Feliciano
Sparrow, sparrow, I am hungry.
You will be hungry if you don’t steal.
If I steal I will be chased.
You will be chased if you don’t run.
If I run I will be shot.
You will be shot if you don’t hide.
If I hide I will be found.
You will be found if you don’t climb.
If I climb I will be poked.
You will be poked if you don’t jump.
If I jump I will be sprained.
You will be sprained if you are not massaged.
If I am massaged I might be caught.
You will be caught if you don’t soar.
If I soar I will be swooped upon.
You will be swooped upon if you don’t dive.
If I dive I will be trapped.
You will be trapped if you haven’t died
 LATIN AMERICAN DANCES
Rumba, or sometimes 'rhumba', is a slow and flirtatious dance. Some say it is the spirit and soul of Latin
American dance. It's certainly a dance of romance and always a good choice for weddings.

Basic Steps for Men (rumba)

The gentleman starts with his left foot stepping forward. The man's steps are as follows:

1.Step forward with your left foot

2.Sidestep to the right with your right foot
3.Move your left foot to your right
4.Step back with your right foot
5.Sidestep to the left with your left foot
6.Move your right foot to your left foot

Basic Men’s Dress Code

Can be described as follow based on the appearance aspect:

1 .Very simple - this dress doesn't have any decorations, and because of its simple design it
may not look as attractive as other dresses. Such dress is best for practice and usually it's
much cheaper than the dress designed for competitions.
2 .Basic - this dress looks much better and looks almost as attractive as fancy dress.

3. Fancy - it's the top class high-end sophisticated very attractive dress. It's the best option
for dance competitions. Professional dancers wear such dress at dance championships and
you may usually see this type of dress on TV.
Basic Men’s Dress Code for International
Standard and American Smooth
A BASIC SHIRT FOR WEARING
WITHOUT A TAILCOAT

MEN’S SHIRT IS ACTUALLY A LEOTARD WITH BUILT-IN

PANTS
 Men Pants (Trousers)

STRAIGHT NORMAL-WAIST BLACK PANTS

WITHOUT STRIPES

STRAIGHT NORMAL-WAIST BLACK PANTS WITHOUT STRIPES

 Basic Women’s Dress Code for International
Latin and American Rhythm

THE DRESS IS SHORTER THAN STANDARD/SMOOTH DRESS. BASIC DRESS

CAN BE SHORT SOLID GOWN

2-PIECES SETS (SHIRT AND A SKIRT) ARE ALSO ALLOWED.

Basic Steps for Women (rumba)
The lady starts with her right foot stepping backward. The woman's steps are as follows:

1. Step back with your right foot

2. Sidestep to the left with your left foot
3. Move your right foot to your left foot
4. Step forward with your left foot
5. Sidestep to the right with your right foot
6. Move your left foot to your right foot
RUMBA PROPER ATTIRE
 CHACHA is a popular Latin American dance where the dancer uses a slight triple hip
undulation In to slow count.

Starting with a Prep Step

1 Start with your feet

together. Your feet should be
together when you begin, with
your left foot popped up slightly
so that you are balancing on
the ball of your foot. Most of
your weight should be
supported by your right foot.

2
Step out to the left. Keep your
right foot in the same place, and
step out to the left, just past the
width of your shoulders. As you
step to the left, let your hips
follow your foot. Your left hip
should be popped out slightly to
the left side, just over your left
foot.
3
Slide your right foot to meet your left
and then back. Once your left foot is
popped out, lightly slide your right foot
across the floor to meet your left foot.
Then slide your right foot behind you. As
you slide your right foot back, lift your left
foot up slightly.

4
Rock forward to your left
foot. Once your right foot is in
place behind you, rock forward so
that your weight shifts from your
right foot to your left foot. Then
bring your right foot up to meet it.
This is the main starting position
for the chacha

Performing a Basic Cha Cha Step

Start with a triple step. Your feet should be
together. Pop your right foot up slightly, but
keep the ball of your foot on the floor. Lower
your right heel to the floor as your raise your
left foot up. Then lower your left heel to the
floor and raise your right heel. Repeat once
more on the right side.
Basic Side Step for Men

1. Sidestep to the left with your left foot

2. Step backward & left with your right foot
3. Left foot in place, weight shifts to it
4. Sidestep to the right with your right foot
5. Move your left foot to your right foot
6. Sidestep to the right with your right foot
7. Step forward & right with your left foot
8. Right foot in place, weight shifts to it
9. Sidestep to the left with your left foot
10. Move your right foot to your left foot
Basic Side Step for Women

1. Sidestep to the right with your right foot

2. Step forward & right with your left foot
3. Right foot in place, weight shifts to it
4. Sidestep to the left with your left foot
5. Move your right foot to your left foot
6. Sidestep to the right with your left foot
7. Step backward & left with your right foot
8. Left foot in place, weight shifts to it
9. Sidestep to the right with your right foot
10. Move your left foot to your right foot
PROPER ATTIRE FOR CHACHA
MUSIC PIECE OF WESTERN CULTURE
NON WESTERN MUSICAL PIECE
 GINGERGRACE ACADEME

COMPILATION
OF
WORKS IN
MAPEH 10
SUBMITTED BY:
YORI M. DE LEON
10- JOHN LOCKE

SUBMITTED TO:
MA’AM JOY PONTILLAS