In Detail: (numbers refer to numbers in the score) 1. Play this multiphonic gliss by gradually sliding your finger off the G key open hole. Keep the rim itself depressed. This will raise the pitch by approximately one quarter tone. 2. Play this gliss and others like it by again sliding your finger off the G key open hole, and then sliding it back. The diamond shows the fingering to be used. In this case, the D3 sounding is played as a harmonic of the GI fingering indicated. 3. T. Tr. indicates a Timbral Trill, a trill between two fingerings for the same note. This produces a trill more of color than pitch. Play the fingering indicated, and trill the keys with a slash through them. 4. Play the C3 as a harmonic of the F1 as indicated by the diamond. Then quickly slide your finger off the F key hole as shown by the fingering diagram. This will produce a D4 quarter flat, as shown by the quarter flat symbol. Then re-cover the hole for the subsequent C and B flat harmonics. 5. Play this multiphonic gliss the same as in measure 5, but this time bring your finger back to it’s original position. This will produce the up-down gliss indicated. 6. This four-note multiphonic is played by singing and playing in unison. This will let the first few notes of the overtone series speak along with the fundamental pitch. Use falsetto voice if necessary to get into unison. The V over the note indicates the use of voice/unison on this note only. If you are unfamiliar with this technique start by singing in unison and playing long tones on low B, C and D flat. As you increase the dynamic to triple forte the overtones will enter the sound. Then practice attacking these sonorities quickly and shortly, as they are used in Charanga. 7. Using the thumb B flat lever makes this passage much easier. 8. In this passage the flute and voice are in contrary motion. The voice can be in any comfortable octave, and should be practiced separately. Then practice playing the two Parts together very slowly, then eventually speed up to the correct tempo. Please note that in beat three the voice stays on D1 while the flute finishes the passage. Starting in the next measure the voice is in unison with the flute, again in any comfortable octave.9. Here the flute and voice must again be in unison for the overtone-based multiphonics to speak. Je RISE O IOI II TOI IIIT I III IIT III II IIIS SA IIIA A et eet Composer/flutist Michael Colquhoun is currently active as a solo recitalist, as director of the Latin Music Ensemble Los Caribes, and as Associate Professor of Music at Canisius College. He has earned his Ph.D. from the State University of New York at Buffalo where he studied with Robert Dick, Morton Feldman, Cheryl Gobbetti, Lejaren Hiller, and Leo Smit. His works have been published by McGinnis and Marx Music Publishers and performed by Los Caribes, the Talking Drums, the New Jazz Orchestra of Buffalo, the Cathedral Brass, the Schanzer/Speach Duo, the Buried Treasures Ensemble, the New Music Consort, the East Buffalo Media Association and the Maelstrom Percussion Ensemble. Mr. Colquhoun’s compositions draw upon both the Classical and Jazz traditions, and often involve a mixture of composed and improvised elements working together to produce a coherent whole. He has received commissions from the New York State Council on the Arts, Meet the Composer, The National Flute Association and the Buffalo Public Schools. ANOTE- d - FROM THE COMPOSER: Tam not a large and faceless publishing company, nor am I a long dead composer from out of the distant past. Just like you, I am a living and working musician trying to get by in hard economic times. Please do not photocopy this work for others to play. If you do so you are stealing my right to just and fair compensation for my work. I can be contacted at any time for information on buying additional copies of Charanga or of any of my other pieces. Thank you for your interest in my work. I can be reached at: 286 Commonwealth Avenue; Buffalo, NY 14216-1810. mcolquhoun@earthlink netSalsa is a popular Hispanic American urban dance music with deep African and Cuban roots. Charanga is a style of Salsa which was popular from the 1920's through the 1970's. What made Charanga unique was that along with the usual percussion section (congas, bongos/cowbell, timbales, maracas/guiro and clave) there was a string section and a flute lead. When the music was cocinando or “cooking” the percussion, piano, bass and strings would play a powerfully swinging, polyrhythmic pattern over which the Charanga flutist was free to improvise complex and intricate riffs. These days, while Salsa is as popular as ever, the Charanga as a separate entity is rare. The flute, however, continues to be an important solo instrument. This piece is a cubist portrait of Charanga, and is dedicated to all the great Latin Charanga flutists. PERFORMANCE NOTES Charanga should be played both rhythmically and relaxed; it should swing. The opening, repeated measure is a typical Charanga ostinato which is often referred to in the rest of the piece. It is always marked as “Air:” and is played by puffing short, unfocused bits of air across the embouchure hole. “Ord” returns the performer to normally produced tones. The constant switching between these two, and other, sonorities will require a lot of slow, careful practice before starting to speed the piece up to the tempo indicated. There are also occasional sixteenth note rests, each with an accent mark underneath. Think of these as “stressed rests” and imagine a very loud sound (perhaps a tim shot on the timbales) occurring during this rest. It will help capture the rhythmic feel of the piece. The recording should be used only as a general guide to the sonorities in Charanga. Please do not slavishly imitate the recording; it is best to find your own interpretation. Accidentals are effective within the measure and at the pitch. For a more detailed exposure to these contemporary techniques, please consult Nine Etudes for the Contemporary Flutist (McGinnis & Marx Music Publishers) by Michael Colquhoun.a_Air: —_— seee 000d Od. “Fo et ® = Ogecec0 4S