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Calipso: Trombone Charanga La Habana

This document contains musical notation for a trombone piece titled "Charanga la Habana" by Jose A. Oriola. The notation includes rhythmic patterns, melodic lines, and repeated motifs played across different sections. Key elements like tempo and dynamic markings are indicated. The piece has an allegro tempo and features call-and-response phrases between the trombone and other instruments.

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Jose Suñer
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100% found this document useful (1 vote)
66 views2 pages

Calipso: Trombone Charanga La Habana

This document contains musical notation for a trombone piece titled "Charanga la Habana" by Jose A. Oriola. The notation includes rhythmic patterns, melodic lines, and repeated motifs played across different sections. Key elements like tempo and dynamic markings are indicated. The piece has an allegro tempo and features call-and-response phrases between the trombone and other instruments.

Uploaded by

Jose Suñer
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Trombone CALIPSO Jose A.

Oriola
 
Charanga la Habana
       

Allegro
     

               
    
6

 

                 
11
 
  
16  
              
 
          

               
1.
21
            

       
          
2.

  
26
  

30
                   
      

34
          
               

39               
        

    3        3 
3

   
3

44

         


      
49 1. 2.

  

2 Trombone

 
                  
54

 

           
      
59

 

64          


               

            
   
1. 2.

69
      

             
       
74
   

              
    
78

       

83             


               

         3 
    
3
  
88
 

    3        


3 1. 2.
94
    

   
                 
98

 

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