This was another song that Yma never seems to have sung on stage.  Although bogus, and framed in a tacky arrangement, it offers her an excellent opportunity to provide some stunning vocalism.  According to Hernan Braña (and to sheet music that I have seen), this was originally a flute solo he wrote and played during the Sumac concerts.  Later, around 1976, he rescucitated the vocal version for Yosef Synovec, the Sumac impersonator who sang the piece under the title of "Snake" in his club appearances.

The arrangement written for Yma is purposefully fragmented to demonstrate various "Andean" calls.  Because of the imitative content of the song, this piece is more successful than others as program music.  Yma's voice is in excellent shape with much forward buzz and carrying power and, unique to this singer, a nonchallant delivery of even the most complicated passages.

Unfortunately, the accompaniment of brass, winds and strings is only partially successful; a pervading Country-Western flavor undermining the exotic effect sought.  Capitol studio engineers use echo devices to simulate the wilds of mountain tops, and create atmosphere, but it is only the snake-like melody that Yma sings at the beginning and the end of the song that ties the piece together.

In this main theme, rippling triplet figures in Yma's lower register are well contrasted by brilliant, lightning-quick staccati that rise to high D and shoot forth into the echo-enhanced acoustics like chimes in the chill air of a winter morning.  Aside from these moments the only other item of interest is a descending glissando to low E at the conclusion which Yma does with her mouth almost shut.

Because of the fragmented contour of the music and the sometimes bizarre singing, (which intermixes, Opera, Jazz, Blues, and various vocal effects) the song remains uneven.  It could also have done without the accompanying male chorus since they add no atmosphere.  When the orchestration works, (as it does in a few spots) the combination of trombones, strings, flute, percussion, winds, and gong provide some unique sounds.  When the orchestration does not work - which is often, it sounds pedantic and tacky.

Webmaster's note: As mentioned above, this piece was written by Hernán Braña but was usually credited only to Moises Vivanco on many pressings and releases.