Lyrics LUPANG HINIRANG

A

Bayang magiliw, Perlas ng silanganan, Alab ng puso, Sa dibdib mo’y buhay. Lupang hinirang, Duyan ka ng magiting, Sa manlulupig, ‘di ka pasisiil.

B

Sa dagat at bundok, sa simoy at sa langit mong bughaw, May dilag ang tula at awit sa paglayang minamahal.

Ang kislap ng watawat mo’y tagumpay na nagniningning.

Ang bituin at araw niya kailan pa ma’y di magdidilim.

C

Lupa ng araw, ng luwalhati’t pagsinta, Buhay ay langit sa piling mo.

Aming ligaya na ‘pag may mang-aapi, Ang mamatay nang dahil sa iyo.

“Lupang Hinirang,” (Tagalog, “Chosen Land”) or “Pambansang Awit ng Pilipinas” (Philippine National Anthem) was originally in Spanish known as “Marcha Nacional Filipina,” a march set composed by Julián Felipe in 1898. “Lupang Hinirang” began as incidental music (background music), adapted as the anthem which President Emilio Aguinaldo commissioned for use in the proclamation of Philippine independence from Spain. It was first performed in public on June 12, 1898 on the balcony of his residence in Kawit, Cavite. General Emilio Aguinaldo proclaimed Asia’s first independent republic before a cheering throng, where the Philippine flag brought from Hong Kong was unfurled for the first time at the historic window of the Aguinaldo Mansion. The Banda San Francisco de Malabon (now called the Banda Matanda from present-day General Trias) played the “Marcha Nacional Filipina” during the proclamation of Philippines as a republic.

For more than a year, the Philippine National Anthem remained without any lyrics. In August 1899, Jose Palma authored the poem “Filipinas” in Spanish, which became the original words of the anthem. The poem was intended for publishing on the first anniversary of the La Independencia newspaper. Later, “Filipinas” was adapted to the music of “Marcha Nacional Filipina” (also known as “Himno Nacional Filipino”).

The lyrics of the Philippine National Anthem underwent several changes until its present version. Jose Palma’s original Spanish lyrics had been translated into English and Tagalog. During the American colonial rule of the Philippines, the Spanish lyrics of the anthem was translated into “The Philippine Hymn.” During the term of President Ramon Magsaysay, the Spanish lyrics of the anthem was translated into “Lupang Hinirang,” which became the official version of the Philippine National Anthem in 1956. The Surian ng Wikang Pambansa (Institute of National Language penned the current Tagalog lyrics and was adopted and made official subject to a slight revision in the 1960s. On February 12, 1998, Republic Act No. 8491 was passed, codifying the 1956 Tagalog lyrics into law abandoning the use of the Spanish and English versions.

Flag and Heraldic Code of the Philippines

Republic Act No. 8491 or The Flag and Heraldic Code of the Philippines regulates usage of the National Anthem and contains the complete lyrics of “Lupang Hinirang.” It cites that “The national anthem embodies and expresses the aspirations, dreams, ideals, longings, commitment and determination, nationalism and patriotism, sentiment and spirit of the people.”

Enacted in 1998, it states that “Lupang Hinirang” when performed “shall always be sung in the national language” regardless of if performed inside or outside the Philippines and specifies that the singing must be done “with fervor.” Violation of the law is punishable by a fine and imprisonment.

The anthem is usually played during public gatherings in the Philippines or in foreign countries where the Filipino audience is sizable. The Flag and Heraldic Code of the Philippines also cites that it be played at other occasions as may be allowed by the National Historical Institute (now known as the National Historical Commission of the Philippines). It prohibits its playing or singing for mere recreation, amusement, or entertainment except during international competitions where the Philippines is the host or has a representative; local competitions; during the “sign-on” and “sign-off” of radio broadcasting and television stations in the country; and before the initial and last screening of films and before the opening of theater performances.

As stipulated in Section 37 of the Flag and Heraldic Code of the Philippines, “The rendition of the National Anthem, whether played or sung, shall be in accordance with the musical arrangement and composition of Julian Felipe.”

The National historical Institute (NHI) says that the proper time signature is or duple meter and tempo is MM100 (100 BPM  100 beats per minute) and that the anthem should last 53 seconds.

Furthermore, according to Section 38, the attending public shall sing the anthem whenever it is played at a public gathering. While doing so, the public shall stand at attention facing the Philippine flag as a sign of respect. The other provisions on the national anthem are detailed in Chapter II, Sections 35 to 39 of R.A. 8491.

The Code specifies penalties for violation of its provisions. Section 48 provides for public censure and cancellation of licenses and permits, Section 49 requires the Department of Education (DepEd) and the Commission on Higher Education (CHED) to ensure that all students commit the national anthem to memory, section 50 specifies penalties of fine or imprisonment for violations.

Several bills have been introduced to amend the Flag and Heraldic Code to highlight the importance of complying, abiding and conforming to the standard expression as prescribed by law.

A. MATERIALS

Audio tracks – Scan QR code on the right

Sheet music – Pamulinawen arrangement by Genaro Cesar Edilo Jr.

B. GUIDE TO THE PIECE

The Philippine National Anthem is in 2/4 time signature or in duple meter. There are two beats in a measure and the beat note (the note that gets one beat) is the quarter note. This piece is to be performed in 100 BPM (100 beats per minute) tempo and should last 53 seconds.

The composition is in ternary form. It has basically three parts namely A, B, and C. The first measure (measure 1) is the introduction, a D7 block chord (dominant chord to G) to be played by the ensemble. Music A starts from measure 2 to measure 9 (8 measures in all equivalent to one period [composed of 2 phrases – 1st phrase, antecedent/question is from measure 2 to measure 5 and 2nd phrase, consequent/answer, is from measure 6 to measure 9]), then a repeat mark

is indicated in measure 9 meaning, the music will be repeated from measure 2 to measure to 8, skip measure 9 and then proceed to measure 10 (another 8 measures, equivalent to one period). All in all, there are 16 measures in Part A, composed of 2 periods (each period composed of 8 measures] with 2 musical phrases [4 measures each phrase]). This is the first section of the composition.

Music B begins with an upbeat from measure 10 and ends with measure 18. Then repeat from measure 11 till measure 17, skip measure 18, proceed to measure 19, for the second ending of Music B. Just like in Music A, there are 16 measures in Part B, composed of 2 periods (each period [8 measures] with 2 musical phrases [4 measures each phrase]). The 1st phrase antecedent) starts with an upbeat from measure 10 to a downbeat in measure 14. The 2nd phrase (consequent) starts with an upbeat from measure 14 and ends with a downbeat on measure 18 (1st and 2nd phrases = 1st period [8 measures]). The 3rd phrase starts with an upbeat from measure 18 and repeats from measure 11 to measure 14 with a downbeat and the 4th phrase starts with an upbeat on measure 14 to measure 19 (skip measure 18 for the 2nd ending) with a downbeat (3rd and 4th phrases = 2nd period [8 measures]. This is the second section of the composition.

Music C begins with an upbeat from measure 19 and ends with a downbeat on measure 35. Just like in Music A and B, there are 16 measures in Part C, composed of 2 periods (each period is composed of 8 measures x 2 = 16 measures]; each period is composed of 2 musical phrases [each phrase is composed of 4 measures x 2 = 8 measures = 1 period). The 1st phrase antecedent phrase) starts with an upbeat from measure 19 to a downbeat in measure 23. The 2nd phrase (consequent phrase) starts with an upbeat from measure 23 and ends with a downbeat on measure 27 (1st and 2nd phrases = 1st period, 8 measures in all). The 3rd phrase starts with an upbeat from measure 27 and ends with a downbeat on measure 31 (antecedent phrase). The 4th phrase starts with an upbeat from measure 31 and ends with a downbeat on measure 35 ( consequent phrase), the end of the composition as indicated by a double bar (  ) at the end of the staff. (3rd and 4th phrases = 2nd period, 8 measures). This is the third section, part C of the Philippine National Anthem.

In terms of key, Part A with a sharp placed on the fifth line of the staff (F/fa), ends with a tonic note. So (as indicated in measure 9 [1st ending] & measure 10 downbeat note [2nd ending]), means that Music A is in the major key, key of G. Part B, still with a sharp placed on the fifth line of the staff (F/fa), ends with a tonic note, so (as indicated in measure 18 [1st ending, downbeat note] & measure 19 downbeat note [2nd ending]), means that Music B is in the major key, key of G. In Part C, a natural sign (      ) is placed on the fifth line of the staff cancelling the effect of the sharp previously (Part A & B) found in the same place. Part C ends with a tonic note, C or do, which indicates that the last part of the composition is in the major key, Key of C. The change of key from G (Music A & B) to key of C is what can be described as modulation.

Analysis of the arrangement

The Philippine National Anthem is arranged for the Himig Kawayan instruments namely: gabbang and marimba (uppermost part of the great staff), the angklung and guitar (middle part of the great staff), and bumbong (lowest part of the great staff).

Basically, the music is written in a homophonic style. The first measure (measure 1) is the introduction, a D7 block chord (dominant chord to key of G) is to be performed by the ensemble.

Section A – This section is in the key of G. The melody is written in the upper part for gabbang and marimba. The middle part, written for the angklung and guitar, provides the chordal accompaniment. The lowest part, the bumbong, provides the bass part.

Section B – This section is in the key of G. The melody is written in the upper part for gabbang and marimba. The middle part, written for the angklung and guitar, provides the chordal accompaniment to the melody. The lowest part, the bumbong, provides the bass part.

Section C – This section modulates to the key of C. The melody is written in the upper part for gabbang and marimba. The middle part, written for the angklung and guitar providing the chordal accompaniment. Bumbong in the lowest part of the staff, provides the bass part.

The arrangement ends with a C block chord in measure 35. The music ends with an authentic cadence (a definite conclusion in music). This cadence involves a harmonic progression of dominant to tonic (V–I). The final two chords are found in measure 33 which is in the dominant chord G (V) and measures 34 and 35 in the tonic chord C (I).

Notes:

1. Instilling discipline is important, so it is good to remind players/members to continue mastering their parts through practice, memorization, etc. Remind them also the importance of waiting for others to rehearse their parts with the trainer/conductor.
2. Members would benefit if they did sectional practice. If there are other available practice rooms, members could be asked to transfer to continue their practice and allow the section leader/s to take charge. This will facilitate learning, save time, and develop the members’ sense of responsibility and resourcefulness as well as enhance their musicality.
3. Remind the students that repetition leads to learning and  Explain the parts in the rehearsal plan where the musical phrases are to be repeatedly played. In cases where rehearsal time is limited, the trainer/conductor may omit the repetition.

References:

“The Philippine National Anthem and R.A. 8491.” Accessed April 2, 2022. https://www. filipinaslibrary.org.ph/himig/the-philippine-national-anthem-and-r-a-8491/.

“The Philippine National Anthem (Lupang Hinirang).” Accessed April 1, 2022. http:// www.philippinecentral.com/anthem.html.

“The Philippine National Anthem: Lupang Hinirang.” Accessed April 2, 2022. http://msc. edu.ph/centennial/anthem.html.

“The Philippine National Anthem.” Accessed April 1, 2022. https://www.philembassy. org.au/the-philippines/national-anthem.