Challenges and how to overcome them

Playing Afro-Cuban music can be a challenge for any musician, but as an instrument that is not part of the original instrumentation of this genre, it can be difficult to fit into the ensemble and to stand out as a soloist.

Furthermore, being trained as a classical musician who has not grown up surrounded by this musical culture adds another layer of discomfort when confronted with this new genre. As a beginner playing this music, I found several challenges that I had to face and decided to work on each one separately, trying to find the most efficient way to approach them with the tools I had.

The Afro-Cuban percussion lessons I had received over the past few years were the most helpful resource in confronting these obstacles. As mentioned in the previous chapter, the clave is one of the most important elements of all the different rhythmic styles in salsa. I myself found it quite difficult to recognise it in every piece, as it is not always played by a percussionist. I agree with Sarah Willis: "The minute I could feel these different rhythms in my body and where the different beats are . . . the Cubans have the Cuban music clave, which means that the beat, the time, and it changes all the time. And every single one of these pieces has a different clave. If you feel it in your body, it's easier to play." (Willis 2022).

In the structure of salsa ensembles, the horn section provides a balance between melodic function and layered, rhythmic figures. The polyrhythmic texture of the son was maintained throughout the development of the conjunto instrumentation, where trumpets and later other horns would add to the already highly synco-pated rhythms." (Mauleón 2005, 155)

Technical Challenges

• Rhythmic Complexity: Afro-Cuban music is known for its intricate rhythms in which it is fundamental to be able to recognize the clave pattern. French Horn players may need to develop a strong sense of rhythm and internalize the clave pattern of each rhythm. "The French horn is not such a well-known instrument over there. So it's been quite a challenge also for me, because these rhythms are not only the rhythms we know like cha cha cha and mambo. We've got rhythms that you've probably never even heard of either like Changüí and Guaguancó, and the Danzon, the national dance of Cuba." (Willis 2022) 

• Articulation and Phrasing: To emulate the percussive rhythmic elements in this genre it is possible French horn players may have to adapt their way of articulating trying to find a more “aggressive” use of the air and tongue which are not as common in other ensembles and repertoire. Phrasing also includes contrast in dynamic range. "I was really struggling with some of the articulations. The composers had never written for horn, like I mentioned, so they were just writing down notes on a page. And I said, Guys, you've got to put accents and lines and dynamics in there because I didn't grow up with this music and I can't do it naturally. You know, if I see a line of notes, I'll go “Tata-Tata-Tah,” and they went “bobbidi-boo,” you know, they just do that automatically." (Willis 2022)

• Ornamentation and Improvisation: Afro-Cuban music often involves ornamentation and improvisation. French horn players may need to develop skills in these areas, adapting their classical training to incorporate the embellishments and spontaneous elements characteristic of Afro-Cuban style.

• Understanding Afro-Cuban Forms and Styles: Familiarity with different Afro-Cuban forms, such as rumba, son, mambo, and others, is essential. French horn players should study the distinct characteristics of each style to authentically interpret the music.

•  Learning by Ear: Afro-Cuban music is often passed down orally, and learning by ear is a common practice. French horn players may need to develop ear-training skills and be comfortable learning music through listening and imitation.

Data analysis 

The examples that relate the horn to Afro-Cuban music are in an orchestral, wind band or chamber ensemble setting, with Sarah Willis being the only exception.

In interviews and conversations with Cuban musicians, I have found that in some ways they have simply accepted that the horn is not an instrument they use in their traditional music, like bassoons, oboes and so on. The most common reason for not using the horn in Afro-Cuban music is that you cannot hear it when it is played in a traditional Cuban band. As we know, the bell of a French horn is placed at the back, and this characteristic makes the sound of the horn less direct. Furthermore, the horn's colour is darker and more velvety compared to the direct and bright sound of trumpets, trombones or saxophones. These characteristics make our instrument a weaker choice for a salsa band. The agility of the instrument was also discussed, as we hear saxophones and trumpets improvising with extremely fast figures, which are not so often heard on the horn. I also had a better understanding of the economic side that could influence the decision to play Afro-Cuban music with a horn. It is more expensive to make and buy a horn than a trumpet, so we can understand why French horns are not so easy to find. One of the musicians assured me that it was very easy to find a trumpet, and you could use all sorts of objects as percussion instruments, but it was very rare for someone to have a French horn.

Cultural barriers were also mentioned and acknowledged as a lack of historical and cultural background. Not that it is not possible for "outsiders" to play this music, as there are many examples, but there must be research and understanding of their traditions in order to feel the music in the same way as a Cuban, it is hard work to internalise the rhythmic patterns together with the meaning and background of this music.

Moving and dancing to the music is a very important part of Afro-Cuban music. As Sarah Willis describes in her interview, Cuban musicians would tell her, "Sari, if you can't dance to it, you can't play it. You will never see a Cuban band sitting on stage like a classical orchestra: not moving or barely expressing emotion with their body language. Enjoyment and happiness are always present in their concerts and this is one of the characteristics that make this music so attractive. 

Throughout my work and development in Afro-Cuban music, I have found the connection that has always existed between me and Afro-Cuban rhythms to be extremely helpful. Studying this music with experts like Nils Fischer during my studies in Rotterdam made it easier to face some of the challenges. Since percussion is at the heart of Afro-Cuban rhythms, familiarity with the instruments, their sounds and rhythmic patterns is essential to developing the skills to play this music on your instrument. 

I have found that it is not easy to play with a brighter and more "brassy" sound when I am used to looking for other characteristics in my playing. Also, the fatigue I experienced in my embouchure muscles during the various sessions of trying out rhythms and improvisations was greater than usual when searching for brighter sounds. In addition, working with backing tracks I experienced how there is no room for movement in tempo, as Sarah Willis mentions in our interview. 

Although the challenges presented could make me feel a little frustrated, the mental positivity and enjoyment of this music did not disappear throughout the process. I find that making connections between the repertoire that horn players have been practising for years and these rhythmic patterns gives me a new perspective and positively influences my playing.

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Personal work

Solutions

• Rhythm Training: practice with metronomes and percussion tracks to develop a strong sense of Afro-Cuban rhythms. Focus on clave patterns, syncopation, and polyrhythms commonly found in this genre.

• Adapt Articulation and Phrasing: experiment with different articulation and phrasing styles that suit Afro-Cuban music. Focus on meeting a percussive quality in your playing, and consider how dynamics can enhance the rhythmic expression.

• Develop Improvisational Skills: Start by incorporating simple embellishments and gradually build your ability to improvise within the context of Afro-Cuban music. Focus on rhythms rather than melodic lines.

•  Study Afro-Cuban Styles: listen to and study various Afro-Cuban styles such as rumba, son, mambo, and others. Analyze recordings and performances by experienced Afro-Cuban musicians to understand the characteristics of each style.

• Learn by Ear: Transcribe Afro-Cuban horn lines and solos, and try to mimic the nuances of the original performances. This helps develop ear-training skills and a deeper connection to the music.