Afro Cuban drumming: the drummers of Chucho Valdes
(2024)
author(s): Marc Gómez Masdeu
published in: Codarts
This research wants to be a guide of my personal and artistic process of how I have developed and improved my skills in Afro-Cuban music and Afro-Cuban Jazz through Enrique Pla, Rodney Barreto, and Dafnis Prieto. And how I have integrated this into my background to help me grow as an artist.
The topic that has motivated me to do this research is my interest in Cuban music and especially in Irakere. Many Cuban drummers are worthy of in-depth study, but I have chosen these three because all three have played or currently play with Chucho Valdes.
Talking about Enrique Pla undoubtedly leads you to the founding of Irakere; Rodney Barreto played in Irakere when they reunited again and Dafnis Prieto is his current drummer.
The strategy that I followed is:
Strategy:
Case study and experiment of the exercises with other students.
Methodology:
Triangulation (analysis/transcription, feedback/reflection, interview).
Experiment with the drummer’s feedback.
The results of this research can be seen in the following categories:
Personal: Results that have enriched me and my way of playing.
Audiences: Elements that may interest the reader and the musician who wishes to gain a deeper understanding of Afro-Cuban music, in particular, its drummers and more specifically those associated with Chucho Valdes
On a personal level, the most important thing has been this two-year process of studying these great musicians and everything that I have acquired musically, technically, and the transcriptions I made during the research.
Readers of this research can appreciate the interviews I have conducted with these three musicians and other related Cuban drummers, the exercises I have created to develop these aspects of the music and repertoire in particular, and the transcriptions of compings and solos that I have made of them.
I have learned many new skills and tips from these drummers and from listening more deeply to this music and this has enriched me a lot as a musician.
Looking back to the results of this research, one of the important conclusions that I reached is that any drummer who wishes to gain an understanding of this music has to listen to and study the tradition of the Afro-Cuban percussion, all the styles, and the periods, and of course open mind and don’t be a slave of it since you also have to listen to the evolution of styles.
La trompa de la salsa: the role of the French Horn in Afro-Cuban music
(2024)
author(s): Ana Muñoz Koniarska
published in: KC Research Portal
Discovering Afro-Cuban music as a classical musician was an outstanding moment in my career. Realizing how unusual it is for French Horns to be involved in this style inspired me to start this research and further develop my skills.
Even though it is usual to find trombones and trumpets in Afro-Cuban music ensembles, it is challenging to find examples with French Horn players. Currently, the most successful horn player in this genre is Sarah Willis, who fell in love with Cuban rhythms and decided to share them by creating innovative albums.
The methodology of this research includes a literature review of existing works related to Afro-Cuban music, interviews with experienced players in this field, and practical demonstrations in video form. The theoretical framework provides a brief review of Afro-Cuban music from its origins until today, paying special attention to the practically non-existent presence of French Horn players in this field. The practical framework collects data on the challenges that a classical French Horn player may encounter when playing this music and offers possible solutions.
As a result of this study, I now have a better understanding of this style and why the horn is not usually included in it. Also, having the experience of playing Afro-Cuban music as a classical musician has clarified the differences and difficulties of approaching this music but more so how it can nourish my musical practice with new skills.
The chosen format of presentation will be a public exposition of the results of the research.
THE AFRO-CUBAN DRUM RHYTHMS: Origin, Selection, Analysis and Development of drum patterns applied to Jazz Trombone
(2016)
author(s): Juanga Lakunza
published in: Codarts
My intention with this Artistic Research was to learn more about the afro-Cuban rhythms that I consider one of the bases on which a lot of modern music is built.
As a trombonist, I don´t consider myself only as a jazzman, sincerely I would like to be the most complete musician that I can. Of course, to study jazz gave me many tools for being more comfortable in other styles, but rhythmically, the Latin-American music has still a lot to say.
The compilation of the information for the development of this research report, has allowed me to discover an exciting world to which I am truly attracted.
Since I was a child I have been fascinated and captivated by the percussion.
Music is magic, but if there is something more magical than the music itself , that is the sound of the drum. Since ancient times the drum has been a sacred element in many cultures. The present Western society, with its great technological development, is forgetting the basics of human spirituality.
I sincerely believe that the drum will have an important role in the future, as a healing member of society. Every musician should be percussionist before playing his own instrument.