Liliflute music is a small publisher of Latin American music, created by flutist and composer Carmen Marulanda. Her projects, 12 Original Colombian Pieces for Flute and Guitar, Traversuras 1&2 for Flute and Piano and the Flute duets 1&2 are an eloquent collection of studies based on Colombian and Venezuelan genres. The ingenuity of these works, in addition to the varied musical content, is the presentation: all the musical accompaniments are pre-recorded on CD, giving the flute student direct access to the original style of each region. Uniting teaching and composition, this works represents one of the newest musical trends, where the dialogue between composer and tradition is partnered with educational values.
The Flute Method by Carmen Liliana Marulanda, based on the rhythms of the musical traditions indigenous to Colombia, offers the most complete, natural and integral work for the flute that I have encountered in recent years. The technical and musical development of this method is gradually integrated into the learning of rhythms, melodies and phrasing typical of Colombian music, which makes their study a challenging, fun and satisfying work, all at once. The number of genres presented in this work is considerable, allowing the flutist to immerse himself or herself naturally in an important musical culture of the South American Continent.
The recorded accompaniments to this method are very well executed and properly recorded and serve as strong rhythmic and musical bases for the flutist to understand and interpret with certainty this beautiful music from Colombia. It is with great pleasure that I recommend this method to anyone wishing to learn about the music from Colombia and Latin America in general.
The pieces in this well-presented collection by Colombian composer and flutist Carmen Liliana Marulanda include a range of Colombian rhythmic patterns useful for the player to learn and to understand; they also provide useful educational material. Each piece has a specific purpose, outlined in the preface, and the dance styles are clearly explained. The music itself is of intermediate standard, with well-written guitar parts and instinctive flute writing. The pieces are relatively short but could be performed individually or in groups and would provide an interesting stylistic contrast within a more traditional recital, as well as being ideal for Latin-themed performances. The score comes with a CD recording of each of the tracks, performed by Luis Julio Toro and Marco Granados. (The Flutist Quarterly, Fall Issue 2013)
It is not a secret that in the past years the world has turned its attention into the music of the Latin American countries. One country with a vast assortment of complex but catchy rhythms and melodies is Colombia. Carmen Liliana Marulanda, a native of Colombia, was able to create a method book for the clarinet that is, in a way, traditional. Traditional because her method book is progressive in the level of difficulty and covers almost all of the technical aspects in the development of a proper technique for the instrument, such as scales, arpeggios, intervals, chromatic work, articulation, legato, etc. But her artistry consisted in achieving all of this while using, as an inspiration, rhythms and melodic traits of her country of birth.
This kind of method book would be perfect as an initiation into Colombian-Latin American rhythms but also as a correct but enjoyable way of acquiring a great clarinet technique.
The method book comes with play-along accompaniments, so the student can have the wonderful experience of playing the etudes with an accompaniment that is very authentic. Playing along with the recording I even thought that some of the studies could be performed as little “concert-pieces”.
There is nothing more entertaining, enjoyable and rewarding than playing duets with a friend or with your teacher. Playing duets is even better when the material played is enjoyable, fun and yet educational. That is the case of Carmen Marulanda’s Clarinet Duets I & II. In each one of these duets, Carmen addresses a very important aspect of the clarinet technique while acquainting the student with some of the most popular Latin-American harmonies and rhythms. Both parts are different but equally challenging so I recommend the practice and performance of both parts.
Because of the way these duets have being composed; I do not doubt that they could be performed as little concert-pieces.
Clarinet and Chamber Music Professor at Longy School of Music of Bard College
Former Principal Clarinet of the Simon Bolivar Orchestra and the Caracas Clarinet Quartet
Rico, Clarinetclassics, Rossi and Gao Artist
Carmen Liliana Marulanda has put together a delightful and vivacious book of Colombian melodies and dances, providing a rich source for all flutists – especially those of us on the lookout for new adventures in music.
What an exciting way to practice the flute! This collection of original pieces by Colombian flutist Carmen Liliana Marulanda is charming, educational and so much fun to play. The progressive pieces are an excellent tool for flute students, alone or with the guidance of a teacher, to reinforce fundamentals like scales, arpeggios, and especially rhythm, while playing along with the beautifully-performed, authentic Colombian accompaniment. I highly recommend these books for all flutists to get a taste of musical styles from another part of the world!
Diane Grubbe, flautista
Carmen Liliana Marulanda's flute study method offers a unique opportunity for students to enter a level of real performance, interacting with recorded accompaniments to accomplish rhythmic precision, personal phrasing and ornamentation, and above all, to use their ears instead of only using the eye, something which could in some cases be a discovery. Carmen's melodies, based on traditional Colombian music, are seductive, stimulating, and delicious to play, with a reasonable level of difficulty; students are encouraged to reach the final stage of performance, in which they can hear themselves play for real.
Luis Julio Toro
ARCMFounder/director of ensemble Gurrufío and one of Latin America's leading flutists
Carmen Liliana Marulanda's book entitled “12 Colombian Pieces for Flute and Guitar” is a great attribute to the Latin American flute repertoire and to the very scarce flute and guitar repertoire. The book covers a variety of Colombian musical styles from different regions of the country offering players of all different levels new rhythmic and melodic passages and the option to practice technique and tone in a fun way. The harmonic structure of these pieces is really ear catching, and you can practice either with a guitarist or with the CD accompaniment that comes along with the book. In addition to this, each piece was recorded with full instrumentation in collaboration with renowned Venezuelan flutists Marco Granados and Luis Julio Toro, allowing the flutist to listen to the pieces being performed with the proper style and feel. The wonderful thing about this books is that the pieces in it can serve as studies or repertoire for live performances. I was happy to perform a special arrangement of "El Torbellimatico" for two flute, which is originally a piece from the “12 Colombian Pieces for Flute and Guitar” that Carmen so graciously arranged for the 2013 Nagahara Flutes NFA Exhibitor showcase. The audience couldn't help but ask about this piece after the performance because Carmen's composition and approach to Colombian music is just as much fun to listen to as it is to play it! I believe this is by far one of the best sources for Colombian and Latin American flute repertoire today and will definitely recommend this book to my students and anyone else interested in spicing up their flute studies!"
Geraldine Morillo Barazarte
Marketing and Sales Director at Nagahara Flutes
THE FLUTIST QUARTERLY FALL, 2015 - National Flute Association
These collections of flute and piano and flute duet pieces by flutist/composer Carmen Liliana Marulanda are delightful additions to the teaching repertoire. Their organization is more or less in progressive order from easiest to most difficult in terms of technique and rhythmic dexterity.
The solo book for flute and piano features 15 pieces that average a page in length approximately 64 measures. Each piece is an original composition by Marulanda and reflects particular folk music from Colombia, or other regions such as the Caribbean and Ecuador. In total, eight genres/rhythms are represented in the book, and a brief description is included in the preface pages in both English and Spanish.
Within the solo book’s tables of contents (for both the sheet music and its accompanying CD), the author has included a summary of the teaching focus for each piece/exercise—embouchure, scales in thirds, articulation, and the like. The keys explored stay within three sharps and two flats in both major and minor. Most of the book’s melodies are based within the staff or slightly over, to F6. Only in the last piece does an A6 appear. Coordinating the flute part with the CD may be a little challenging at first for beginning players. The piano score indicates that both instruments start at the beginning, but if the flutist wants to play with the recording, the footnoted instructions indicate to wait a prescribed number of measures before starting.
Since most of the recorded accompaniments are ostinato patterns with the claves indicating the downbeat of each introductory measure, it may be difficult for a player unfamiliar with these accompaniment patterns to enter. A “count off ” may have been helpful to introduce the recordings.
The rhythms are quite fun and will certainly provide good practice as they intertwine with the piano parts. The first exercises begin tamely but then gradually morph into more complex forms that include syncopation.
The duet books come in two volumes. The first focuses on sound, arpeggios, scales, thirds, and legato articulation in five pieces: Guabina, Gabán (Joropo), Pasaje (Joropo), Torbellino,and Rhumba (in the keys of G, D, and F major). The second volume focuses on sound, high register, arpeggios, chromatic scales, and double-tonguing in an additional five pieces: Pasaje Folía, Torbellino, Rajaleña, Bolero Rhumba, and Polka Chocoana (in the keys of D minor, A minor, B flat major, and E flat major). The author includes brief explanations of the musical background of each type of piece and rhythm.
Within Volume I, there is a jump in required ability from the first duet to the remaining four. The first duet is quite tame; its first flute part plays half notes and quarter notes within the staff, but the subsequent four duets require more rhythmic dexterity and the ability to play up to F6. The second volume of duets has a nice variety of styles and is a bit more consistent in terms of level than Volume I, and each piece presents a new rhythmic challenge. An example is the Rajaleña, which features frequent hemiolas. For those looking for a creative way to challenge students while introducing different cultures and rhythms, this series of books will make a wonderful addition to the teaching repertoire.