As you listen to the selection “Amor imposible” compare what you are hearing to the sanjuán “Muyu muyari warmigu” by the Quichua master harpist Efraín with Rafael, voice and golpe. Identify four prominent similarities between the two selections—see also relevant discussion in Worlds of Music

What will be an ideal response?

• (1) The harp is prominent in the two selections, both as an accompanying and lead instrument.
• (2) Both examples illustrate the familiar Andean "bimodality"--minor scale/key and its relative major (B minor/D major in the case of "Amor imposible"
• (3) In both "Muyu muyari warmigu"/"Vuelve, querida mujer" and "Amor imposible" the accompanying rhythms are tapped on the harp soundbox rather than on a drum.
• (4) Accompanying rhythmic patterns in both selections involve three-note marker patterns: short-long-short in "Muyu muyari warmigu"; long-short-short or triplet of three notes, short-short-short, in "Amor imposible."