Cuban Flute Style: Interpretation and Improvisation by Sue Miller

By Sue Miller

Richard Egües and José Fajardo are universally considered as the prime exponents of charanga flute enjoying, an improvisatory variety that crystallized in Nineteen Fifties Cuba with the increase of the mambo and the chachachá. regardless of the economic good fortune in their recordings with Orquesta Aragón and Fajardo y sus Estrellas and their impact not just on Cuban flute avid gamers but additionally on different Latin dance musicians, no in-depth analytical examine in their flute solos exists.

In Cuban Flute variety: Interpretation and Improvisation, Sue Miller—music historian, charanga flute participant, and previous scholar of Richard Egües—examines the early-twentieth-century ornamental kind of flute enjoying within the Cuban danzón and its hyperlinks with the later soloistic sort of the Fifties as exemplified via Fajardo and Egües. Transcriptions and analyses of recorded performances display the attribute parts of the fashion in addition to the forms of person avid gamers. a mixture of musicological research and ethnomusicological fieldwork unearths the polyrhythmic and melodic elements of the Cuban flute variety, with remark from flutists Richard Egües, Joaquín Oliveros, Polo Tamayo, Eddy Zervigón, and different popular gamers.

Miller additionally covers innovations for flutists looking to study the style—including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute—as good as suggestions on articulation, phraseology, repertoire, working towards improvisation, and dealing with recordings. Cuban Flute Style will entice these operating within the fields of Cuban track, improvisation, track research, ethnomusicology, functionality and function perform, well known tune, and cultural theory.

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