“Cancion De La Havana” is about two and a half pages long, and features the Western African (Nigerian) rhythmic pattern, which is basic for Afro-Cuban idioms. Measures 38-53 pulls strong influence from Cuba and Puerto Rico, and is reminiscent of Guaguanco music, which represents a combo of West African and flamenco influence. It is recommended for a student to practice measures 14-21 as a two-hand rhythmic drill, in order to avoid difficulty in coordinating rhythms. A student should also familiarize themselves with and listen to several examples of this type of music, in order to fully capture and understand Caper’s intentions for this Afro-Cuban inspired piece.
This piece requires quite a bit of freedom in timing. as it contains frequent changes in meter, accelerandos, and free cadenza-like passages which should not be measured strictly.
Portraits of Jazz by Valerie Capers is a collection of 12 early intermediate to intermediate jazz style pieces published in 1976 by Aztec Diaz-Tec 800, and Oxford University Press in 1992. These pieces are inspired by or dedicated to a particular jazz musician or singer
Valerie Capers was born in 1935, and was introduced to music through her father’s ties to Fats Waller (American Jazz Pianist), and her brother’s performances in the Mongo Santamaria Band. She received her early education at the New York Institute for the Education of the Blind and graduated from the Juilliard School of Music, with Bachelors and Masters degrees. Capers brings a wide scope of pianistic styles and concepts to her playing, drawing from jazz idols and keyboard masters alike.
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