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Fri, 10/14/2022 - 16:41
Edited Text
In
the
search
of
a
Musical
iden2ty
¨just
as
music
can
be
a
channel
through
which
we
express
ourselves,
it
can
also
have
a
profound
influence
on
our
own
developing
sense
of
iden)ty…¨
•
Personal
Background
I
was
born
in
Cuba,
Manzanillo
province
of
Granma
to
a
Cuban-‐Russian
family.
Musical
Background
•
•
My
first
musical
educa2on
was
mainly
classical
at
the
age
of
18
a
began
to
study
jazz
and
improviza2on,
before
I
was
classically
trained
saxophone
player,
studying
classical
music
and
playing
mostly
French
chamber
music.
The
project
• In
search
of
my
musical
iden2ty
I
reached
out
for
elements
from
both
Russian
and
Cuban
musical
tradi2ons
to
express
myself
and
understand
my
cultural
legacy
through
music.
Ac2ons
•
•
•
•
•
•
•
•
Research
Listening
Transcrip2on
Composi2on
Arranging
and
instrumenta2on
Rehearsing
Performing
Recording
Research
and
prepara2on
• Theore2cal
work
to
generalize
the
knowledge
about
the
styles
• Solo
transcrip2ons
• GeQng
to
understand
how
to
put
together
jazz
improvisa2on
with
Cuban
rhythms,
melodic
approach
• Study
of
authen2c
rhythms
on
the
percussion
classes
to
get
closer
to
the
rhythmic
essence
of
it.
Transcrip2on
Among
with
the
jazz
transcrip2ons
I
did
for
my
weekly
classes,
over
100
transcrip2ons
of
different
styles
were
made
during
the
year.
To
get
the
necessary
vocabulary
I
transcribed
many
tradi2onal
pieces
and
contemporary
composi2ons
and
made
a
pool
of
ideas
for
my
future
composi2ons.
Here
is
the
list
of
CD’s
I
transcribed.
Composi2on
• Record
the
melodies
and
mo2fs
that
would
appear
in
my
mind.
• Keep
a
notebook
of
the
musical
ideas
• Develop
and
elaborate
them
aXerwards
Arrangement
and
instrumenta2on
• Most
of
the
tunes
were
arranged
for
a
Jazz
Quartet
• During
the
process
I
was
trying
to
experiment
with
different
set
ups
and
instrumenta2ons
depending
on
the
necessi2es
of
the
par2cular
composi2on.
Performing.
• During
the
year
I
tried
to
use
every
chance
I
had
to
perform
publicly.
• I
par2cipated
in
30
concerts,
8
of
them
performing
my
original
repertoire.
• It
was
important
for
me
to
show
my
composi2ons
in
public
to
get
feedback
and
later
make
the
necessary
correc2ons.
Recording
• During
the
year
I
made
more
than
10
recording
sessions
on
the
scoring
stage
and
recorded
11
composi2ons
• 8
of
the
songs
that
were
recorded
are
going
to
be
part
of
my
first
album.
• The
release
is
due
this
autumn.
The
album
1)
MI
CHANGUI
2)
COMO
FUE
3)
LIDIA
4)
EL
GÜIJE
5)
YORUBA
MEETS
RUSSIAN
6)
DE
REOJO
7)
A
PAULA
8)
DRUME
NEGRITA
Mi
Changui.
• Changui
is
the
style
that
is
originally
from
the
part
of
Cuba
called
Oriente.
Roberto
Baute
Segarra
(El
guararey
de
la
pastora)
Como
Fue
• This
tradi2onal
Bolero
is
very
dear
to
me
My
Version
Benny
More
¨Como
Fue¨
Lidia
• This
piece
is
dedicated
to
my
grandmother.
She
played
a
very
important
role
in
my
life
and
my
musical
educa2on.
Ex.
Aria
Parasi
El
Güije
• El
Guije
is
a
mythological
creature,
a
midget
that
comes
out
from
the
Selva
in
the
night
to
scary
the
children.
I
included
Russian
folkloric
singing
in
this
track
to
make
my
vision
of
it.
Yoruba
meets
Russian
• This
piece
is
a
fusion
of
many
very
different
elements.
De
Reojo
• This
piece
is
inspired
by
Cache
Bache
a
Trova
Duo
from
Havana.
• It
first
was
composed
as
a
song
and
I
wanted
to
give
a
fresh
perspec2ve
to
it
puQng
it
into
a
contemporary
jazz
context.
• It
is
very
colorful
and
full
of
images.
A
Paula
• Is
dedicated
to
a
very
dear
person
to
me.
• The
piece
is
very
emo2onal
and
intense.
• It
is
eclec2c
in
many
ways
as
it
brings
together
music
and
poetry.
• I
tried
to
keep
the
instrumenta2on
simpler
to
convey
my
emo2ons.
Drume
Negrita
• My
arrangement
of
a
tradi2onal
lullaby
by
Ignacio
Jacinto
Villa
-‐
Bola
De
Nieve.
• I
was
inspired
to
do
this
arrangement
by
my
teacher
and
mentor
Perico
Sambeat
aXer
hearing
his
own
version
of
it.
El
Changuí
The
process
• The
idea
of
the
song
came
to
me
when
I
saw
a
documentary
about
this
Cuban
style.
• AXer
this
I
began
collec2ng
the
musical
ideas
and
adap2ng
them
to
a
jazz
seQng.
• This
is
the
first
musical
idea
that
appeared
to
me.
• Ex.
(recording)
Elabora2ng
the
ideas
• During
the
process
I
would
show
the
material
to
my
teachers
on
every
stage
• The
melody
and
the
arrangement
began
to
get
their
shape.
The
Rhythmic
structure
The
Final
Arrangement
• During
the
recording
session
we
made
3
takes
of
this
tune.
• The
session
went
smooth
because
most
of
the
musicians
were
already
familiar
with
the
tune.
•
Como
Fue
at
Berklee.
Was
one
of
my
first
arrangements
• I
wanted
to
make
a
contemporary
version
of
this
tradi2onal
bolero,
experimen2ng
with
different
musical
elements
• This
is
how
I
began
to
shape
the
first
ideas.
Intro
• I
was
watching
a
documentary
about
Cha
cha
cha
when
an
idea
appeared
to
me.
• What
if
I
invert
the
cha
cha
pafern
and
put
it
in
5/4?
Montuno
5/4
Recording
Como
Fue
Alxey
Leon
Project
outcomes.
•
Recorded
album
•
Now
I´m
in
process
of
prepara2on
of
a
book
of
La2n
jazz
licks
for
melodic
instruments.
•
In
future
I
want
to
develop
a
teaching
method
about
how
to
u2lize
the
concepts
and
elements
of
La2n
music
in
other
styles
that
would
help
students
improve
their
musicality
through
it.
•
Further
I
want
to
develop
a
method
of
teaching
La2n
jazz
language
to
musicians
playing
melodic
instruments
bearing
in
mind
to
its
various
aspects
(phrasing,
typical
harmonic
situa2ons,
etc.)
•
The
material
wrifen
on
this
mafer
is
rather
scarce.
I
want
to
make
a
contribu2on
to
this
area
and
to
share
my
experience
of
playing
the
music
I
love.
It
is
an
afempt
to
reflect
a
part
of
my
musical
journey
and
to
become
closer
to
my
roots
musically.
• Thank
you
very
much!
• Muchas
Gracias!
the
search
of
a
Musical
iden2ty
¨just
as
music
can
be
a
channel
through
which
we
express
ourselves,
it
can
also
have
a
profound
influence
on
our
own
developing
sense
of
iden)ty…¨
•
Personal
Background
I
was
born
in
Cuba,
Manzanillo
province
of
Granma
to
a
Cuban-‐Russian
family.
Musical
Background
•
•
My
first
musical
educa2on
was
mainly
classical
at
the
age
of
18
a
began
to
study
jazz
and
improviza2on,
before
I
was
classically
trained
saxophone
player,
studying
classical
music
and
playing
mostly
French
chamber
music.
The
project
• In
search
of
my
musical
iden2ty
I
reached
out
for
elements
from
both
Russian
and
Cuban
musical
tradi2ons
to
express
myself
and
understand
my
cultural
legacy
through
music.
Ac2ons
•
•
•
•
•
•
•
•
Research
Listening
Transcrip2on
Composi2on
Arranging
and
instrumenta2on
Rehearsing
Performing
Recording
Research
and
prepara2on
• Theore2cal
work
to
generalize
the
knowledge
about
the
styles
• Solo
transcrip2ons
• GeQng
to
understand
how
to
put
together
jazz
improvisa2on
with
Cuban
rhythms,
melodic
approach
• Study
of
authen2c
rhythms
on
the
percussion
classes
to
get
closer
to
the
rhythmic
essence
of
it.
Transcrip2on
Among
with
the
jazz
transcrip2ons
I
did
for
my
weekly
classes,
over
100
transcrip2ons
of
different
styles
were
made
during
the
year.
To
get
the
necessary
vocabulary
I
transcribed
many
tradi2onal
pieces
and
contemporary
composi2ons
and
made
a
pool
of
ideas
for
my
future
composi2ons.
Here
is
the
list
of
CD’s
I
transcribed.
Composi2on
• Record
the
melodies
and
mo2fs
that
would
appear
in
my
mind.
• Keep
a
notebook
of
the
musical
ideas
• Develop
and
elaborate
them
aXerwards
Arrangement
and
instrumenta2on
• Most
of
the
tunes
were
arranged
for
a
Jazz
Quartet
• During
the
process
I
was
trying
to
experiment
with
different
set
ups
and
instrumenta2ons
depending
on
the
necessi2es
of
the
par2cular
composi2on.
Performing.
• During
the
year
I
tried
to
use
every
chance
I
had
to
perform
publicly.
• I
par2cipated
in
30
concerts,
8
of
them
performing
my
original
repertoire.
• It
was
important
for
me
to
show
my
composi2ons
in
public
to
get
feedback
and
later
make
the
necessary
correc2ons.
Recording
• During
the
year
I
made
more
than
10
recording
sessions
on
the
scoring
stage
and
recorded
11
composi2ons
• 8
of
the
songs
that
were
recorded
are
going
to
be
part
of
my
first
album.
• The
release
is
due
this
autumn.
The
album
1)
MI
CHANGUI
2)
COMO
FUE
3)
LIDIA
4)
EL
GÜIJE
5)
YORUBA
MEETS
RUSSIAN
6)
DE
REOJO
7)
A
PAULA
8)
DRUME
NEGRITA
Mi
Changui.
• Changui
is
the
style
that
is
originally
from
the
part
of
Cuba
called
Oriente.
Roberto
Baute
Segarra
(El
guararey
de
la
pastora)
Como
Fue
• This
tradi2onal
Bolero
is
very
dear
to
me
My
Version
Benny
More
¨Como
Fue¨
Lidia
• This
piece
is
dedicated
to
my
grandmother.
She
played
a
very
important
role
in
my
life
and
my
musical
educa2on.
Ex.
Aria
Parasi
El
Güije
• El
Guije
is
a
mythological
creature,
a
midget
that
comes
out
from
the
Selva
in
the
night
to
scary
the
children.
I
included
Russian
folkloric
singing
in
this
track
to
make
my
vision
of
it.
Yoruba
meets
Russian
• This
piece
is
a
fusion
of
many
very
different
elements.
De
Reojo
• This
piece
is
inspired
by
Cache
Bache
a
Trova
Duo
from
Havana.
• It
first
was
composed
as
a
song
and
I
wanted
to
give
a
fresh
perspec2ve
to
it
puQng
it
into
a
contemporary
jazz
context.
• It
is
very
colorful
and
full
of
images.
A
Paula
• Is
dedicated
to
a
very
dear
person
to
me.
• The
piece
is
very
emo2onal
and
intense.
• It
is
eclec2c
in
many
ways
as
it
brings
together
music
and
poetry.
• I
tried
to
keep
the
instrumenta2on
simpler
to
convey
my
emo2ons.
Drume
Negrita
• My
arrangement
of
a
tradi2onal
lullaby
by
Ignacio
Jacinto
Villa
-‐
Bola
De
Nieve.
• I
was
inspired
to
do
this
arrangement
by
my
teacher
and
mentor
Perico
Sambeat
aXer
hearing
his
own
version
of
it.
El
Changuí
The
process
• The
idea
of
the
song
came
to
me
when
I
saw
a
documentary
about
this
Cuban
style.
• AXer
this
I
began
collec2ng
the
musical
ideas
and
adap2ng
them
to
a
jazz
seQng.
• This
is
the
first
musical
idea
that
appeared
to
me.
• Ex.
(recording)
Elabora2ng
the
ideas
• During
the
process
I
would
show
the
material
to
my
teachers
on
every
stage
• The
melody
and
the
arrangement
began
to
get
their
shape.
The
Rhythmic
structure
The
Final
Arrangement
• During
the
recording
session
we
made
3
takes
of
this
tune.
• The
session
went
smooth
because
most
of
the
musicians
were
already
familiar
with
the
tune.
•
Como
Fue
at
Berklee.
Was
one
of
my
first
arrangements
• I
wanted
to
make
a
contemporary
version
of
this
tradi2onal
bolero,
experimen2ng
with
different
musical
elements
• This
is
how
I
began
to
shape
the
first
ideas.
Intro
• I
was
watching
a
documentary
about
Cha
cha
cha
when
an
idea
appeared
to
me.
• What
if
I
invert
the
cha
cha
pafern
and
put
it
in
5/4?
Montuno
5/4
Recording
Como
Fue
Alxey
Leon
Project
outcomes.
•
Recorded
album
•
Now
I´m
in
process
of
prepara2on
of
a
book
of
La2n
jazz
licks
for
melodic
instruments.
•
In
future
I
want
to
develop
a
teaching
method
about
how
to
u2lize
the
concepts
and
elements
of
La2n
music
in
other
styles
that
would
help
students
improve
their
musicality
through
it.
•
Further
I
want
to
develop
a
method
of
teaching
La2n
jazz
language
to
musicians
playing
melodic
instruments
bearing
in
mind
to
its
various
aspects
(phrasing,
typical
harmonic
situa2ons,
etc.)
•
The
material
wrifen
on
this
mafer
is
rather
scarce.
I
want
to
make
a
contribu2on
to
this
area
and
to
share
my
experience
of
playing
the
music
I
love.
It
is
an
afempt
to
reflect
a
part
of
my
musical
journey
and
to
become
closer
to
my
roots
musically.
• Thank
you
very
much!
• Muchas
Gracias!
Media of