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Richard Egües and José Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachachá. Despite the commercial success of their recordings with Orquesta Aragón and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. InCuban Flute Style:Interpretation and Improvisation, Sue Miller—music historian, charanga flute player, and former student of Richard Egües—examines the early-twentieth-century decorative style of flute playing in the Cuban danzón and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egües. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of theCuban flute style, with commentary from flutists Richard Egües, Joaquín Oliveros, Polo Tamayo, Eddy Zervigón, and other renowned players. Miller also covers techniques for flutists seeking to learn the style—including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute—as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings.Cuban Flute Stylewill appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

The duduk is a double reed instrument with cylindrical bore originating from Armenia. It is characterized by a deep and melancholic sound that has become one of the characteristics of Armenian music. Although its physical characteristics bring it close to the oboe (double reed) and the clarinet (cylindrical bore), its timbre make the duduk a distinct instrument. The present article aims at explaining this particularity by calibrating the parameters of a reed wind instrument model adapted for the duduk that can capture the main characteristics of the duduk sound. For this, physical measurements are made using an artificial mouth. Simulations are in good agreement with experiments and show that a clarinet model with a low reed resonance frequency is able to reproduce the main features of the duduk. This low reed frequency appears to be the main specificity of the duduk.

There are incredible options available to us: instruments, mouthpieces, ligatures, reeds, barrels, bells... where to begin!? Working equipment that allows us to be the musician we aspire to be is essential to our success. CRACK PREVENTION Be aware of instrument care during the colder months or in a cold space. If a clarinet cracks through the top tone holes, you will likely feel a lack of sustainability, inconsistent control in the upper register, pitch issues, and resistance that might go in and out depending on how open or closed the crack might be. Many players use a thumb position that is too low which can precipitate injury and tension Take a moment and pick up a cup or water bottle.

According to A.B. Cunningham, D. melanoxylon has been traded for over 4400 years and was one of the first things ever traded in ancient Egypt.1 This paper is intended to provide a different perspective on mpingo, one that sheds light on the communities surrounding it and, in a way, displays the \"social life of mpingo. \"3 According to U.G. Wegst, \"The acoustical properties of wood, such as the volume, quality, and color of the sound are determined by the mechanical properties of the material from which they are made because the sound is produced by vibrations of the material itself. BIOLOGICAL ANALYSIS OF MPINGO Dalbergia melanoxylon, commonly known as African blackwood or mpingo, is a highly valued timber species with a rich history of cultural, ecological, and economic importance. The logs are typically sub jected to a period of aging and drying, allowing the wood to stabilize and reach an optimal moisture content for further processing.

[...]a phrase I say often to students, \"Allow the breath to frame the phrase as a singer uses commas and periods.\" CRAFTING THE PHRASE WITH BREATH APPROPRIATE TO RANGE We can focus on how each phrase is crafted and framed with the air, taking into consideration how much air is needed for the upper clarion register versus the lower chalumeau, altissimo, or throat tones, and for the assigned dynamic. BREATH APPROPRIATE TO DYNAMIC We can use our breath speed and velocity to craft our dynamic ideas by using a slower air stream for soft and fuller air stream for full dynamics. FREQUENCY OF BREATH When there are a number of small motives separated by rests, to keep time players are tempted to breathe on every rest, which can create compressed air buildup in the lungs.

Later, I found another type of machine, an SLM machine, which puts a blank plate into a vat of resin, zaps it with a laser beam about six thousand times and you come up with a mouthpiece. Whether you are using a mold, making something on a CNC machine, making something on a regular milling machine, or using 3D printing. [...]I am playing around with a new form of bell, which I think could be revolutionary, but we will see if I can get that product developed and out in the market. What if you have a bell that fixes the low E and low F, but the B and C are not affected? CH:

[...]watching professionals form embouchures actually shows a two-part process, the first of which resembles a smile, the firming of the lower lip as the reed is positioned. The other aspects of a good single-lip embouchure are well known: the reed an appropriate strength; the angle of the clarinet appropriate for the mouth formation of the individual; the teeth relatively high on the mouthpiece; the lower lip neither too high nor too low on the reed. There is a bonus: tone has more ring with the bell in the air, and long Bî will not sound flat and muffled. Because we skip the thumb in the right hand, the index finger of the right hand corresponds to the thumb of the left hand, and so on. [...]it \"finds\" the reed and helps students learn to keep the tongue close to the tip of the reed and to touch the reed with light contact. 7 The second technique is totally practical, to be used any time a note is repeated or at the beginning of a new slur.

Russianoff was a student of Daniel Bonade and Simeon Bellison, and himself taught a generation of clarinetists in his time at the Manhattan School of Music and The Juilliard School. LONG LIVE THE REED Before solemnly interring your fantastic reed, the one that only last night expired; before heaping blame upon the weather, the aridity, humidity, altitude, and the nasty effects of the Gulf Stream on your favorite piece of fine French cane, why don't we pause a moment, \"cool it,\" and try to see what went wrong. Teacher \"E\" usually uses black pigskin, while beveled glass and a rubber band arrangement usually indicates \"F\". The reed is not to blame if the clarinet leaks or a pad falls off. 2 Rings must be high enough to give pads good covering leverage, yet still be comfortable. 3 Don't overadjust the one-andone Bí/Eí at the expense of the entire right hand lower joint.

The vibrational behavior of reeds in wind instruments is highly sensitive to their moisture content, yet the underlying hydration dynamics and their relationship to ageing remain poorly understood. In this study, we employ in situ neutron radiography to visualize and quantify internal water distribution in clarinet reeds at three stages of use: pristine, broken-in, and aged. Reeds were subjected to controlled wetting durations followed by drying under ambient conditions to enable time-resolved analysis of moisture uptake and retention. Neutron imaging revealed that water preferentially accumulates in the vamp region due to longitudinally exposed vascular structures, while the stock remains largely dry. Ageing significantly reduces both water uptake and retention capacity. Pristine reeds absorbed water rapidly and uniformly, whereas aged reeds exhibited faster drying; asymmetric moisture distribution; and non-uniform swelling and shrinkage, consistent with structural fatigue. These results demonstrate how repeated use alters hydration behavior and underscore the governing role of anatomical features, such as exposed vascular bundles and parenchyma cells. This study presents the first application of neutron imaging to clarinet reeds, providing spatially resolved insight into internal moisture dynamics. The findings establish a scientific basis for understanding reed break-in and ageing, with implications for performance optimization, reed design, and maintenance practices. Moreover, this work pioneers a novel application of neutron imaging in the study of woodwind instruments, where moisture control critically influences playability and longevity.