Answer to Question 1
Melodies are based on five-note (pentatonic) scales with the same melody played simultaneously at different pitch levels giving a distinctive, rich quality to the music.
Individual pitches are distributed to different panpipe players so that one performer (or group) is resting while another is playing the next part of the melody, a procedure known as hocketing.
The k'antu Kutirimunapaq is in three sections with each section repeated in addition to the entire cycle being repeated two times. The sectional repetition extends the piece to accommodate the continuous dancing that goes along with the music.
Answer to Question 2
Similarities: same basic sanjun genre, double-couplet verse structure, comparable tempo, and short-long-short rhythmic marker.
Differences:
While similar rhythmic patterns are used in individual phrases of the African-Ecuadorian sanjun, the phrases lack the exact isorhythmic phrase structure of Quichua sanjunes.
The African-Ecuadorian sanjun has syncopation (misplaced accents); the Quichua sanjuan does not.
There is different instrumentation in the sanjun examplesfor example, harp, golpe (time beater) and singer in one of the Quichua sanjuanes versus singers, lead (requinto) guitar, and guiro (scraper) in the African-Ecuadorian sanjun.
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