Spanish-Caribbean musical studies are improved by this groundbreaking reading on Cuban trumpet playing. Shaping the latter conventions in decisive ways, horn men Felix Chappott’n and Alfredo “Chocolate” Armenteros become custom-made musicological petri dishes for the cultivation of the author’s doctoral dissertation. As such, its scholarly musicological analyses, identification and transcriptions of important solos and otherwise germane passages of technical and historical consequence make the book worth trotting through. Still, would-be readers challenged by the fact that the “second G4 moves through a G#4 on the last quarter beat of the measure to resolve on an A4 half note in m. 17″on a trumpet background section of the omni-interpreted “Bilongo” will be hoofed from the most important contributions of this work.
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