Research Question: 

  • In what ways has the French Horn been incorporated into Afro-Cuban music, and what challenges do horn players new to this genre face, both technically and culturally?

Methodology

 

To explore this question, I will conduct comprehensive study that combines literature review, interviews to experienced Afro-Cuban music players and practical demonstrations. The methods include: 

 

  • Literature review: an examination of existing literature, including books such as Salsa Guidebook for Piano & Ensemble by Rebeca Mauleon, and other digitalized resources such as articles and research papers to understand the role of the French Horn in Afro-Cuban music.

 

  • Interviews: conduct interviews with experienced players who have worked within the Afro-Cuban music tradition.

 

  • Practical demonstrations: film short videos demostrating the challenges and repercussions of playing Afro-Cuban music as a horn player.

←   Table of Contents  →

 

Objectives

 

1. To investigate the background of the French Horn in Afro-Cuban music.

2. To integrate Afro-Cuban music in my playing.

Introduction

 

Afro-Cuban music and the French Horn are two things that are not often seen together. I come from Lanzarote, one of the Canary Islands (Spain), and Latin music is an important part of our culture. For me as an individual, this kind of music has been in my life since I can remember. However, it has never had anything to do with my musical studies. I started playing the horn when I was very young and for many years I had the impression that this instrument was meant to play classical and romantic pieces, Maxime Alphonse studies and some brass or wind quintet music. During my bachelor's degree, I learned more about the musical possibilities I could have as a French horn player, but I always stayed within the academic parameters that the school focused on.

An important moment in my musical career was my Erasmus experience in 2021-2022 in Codarts, Rotterdam. During my stay in the city, I experienced a musical immersion that I had never experienced before. This city and this school feed you (and maybe even overwhelm you) with a great variety of styles and genres. I had the opportunity to join the minor of Afro-Cuban percussion with the percussionist Niels Fischer and a salsa band with the pianist Marc Bischop (he was quite shocked that a French Horn player wanted to join this group). Being surrounded by colleagues from the Latin music department was also a highlight. Attending concerts and Latin jam sessions was a regular activity in my social life, and I could not help but be fascinated by the energy of the musicians on stage and the audience watching or even dancing. As a classical musician, I have often experienced stage fright and insecurity during concerts or auditions, and I hardly recognise this in the musicians I would be playing with in the salsa band. Also, the pressure we put on ourselves during our daily rehearsals has caused mental blocks. One of the tools I have often used to release tension and find joy in playing is to listen to and play along with salsa pieces, and I have even surprised myself by feeling comfortable in registers that I did not feel possible moments before when playing an orchestral excerpt or etude. 


In addition to this, Sarah Willis is another important motivation for me to explore Afro-Cuban music with the French horn. "Sarah Willis MBE is an internationally renowned French horn player. She has been a member of the Berlin Philharmonic Orchestra since 2001 and is also an acclaimed TV and digital presenter. She travels the world with her horn, bringing the best of classical music to a global audience." (Willis n.d.).  She has released three albums combining classical and Cuban music. She is the first French Horn player I know who has done this and inspired me to listen to and even try some of her arrangements.


With all this in mind, I am immersing myself in this genre, researching and experimenting with a rather unusual instrument for this music.