In Conlusion
Before starting this research, I was aware that the French Horn was not a common instrument in Afro-Cuban music. However, as a European who had focused her studies mainly on classical music, I thought that this might just be my impression. I could imagine that Cuban horn players would play along with their familiar rhythms, even though the songs and groups that had gained some recognition abroad did not include this instrument.
Taking into account the objectives of this research, my conclusions are as follows:
In relation to the first objective, after researching the history of Afro-Cuban music and the different instruments used in it, I can confirm that French horns were rarely used. They will play some Cuban music in orchestras and wind bands but they will not include this instruments in traditional ensembles. Sarah Willis is still the only French Horn player who is known to have had the desire to explore these rhythms, facing technical and cultural challenges. The sound characteristics of the horn may not be the most attractive for a salsa band because of the colour and directness of the sound.
With regard to the second objective, introducing Afro-Cuban music into my practice, given my background, and already being familiar with some of the different rhythms and instruments used, I could feel the beat and clave when practising with rhythmic bases. The biggest challenge was finding a brighter and more direct sound and staying in tempo when trying improvisations. There is no doubt that exposure to Afro-Cuban rhythms can broaden musical horizons, cultivate cultural awareness and enhance skills as a versatile musician.
Finally, the register of this research does not mean the end of development in new areas as a French Horn player, and the new skills that Afro-Cuban music has brought to my playing will continue to grow and find ways to connect in my practice.