A Path Less Traveled
I read an interesting article on cubanow.net interviewing Enid Rosales, one of the new wave of tres players in Cuba who are expanding the instrument's possibilities far beyond its traditional role in son and popular music.
Rosales' journey to the tres was unconventional. Like many of Cuba's highly trained musicians, she began with piano studies. However, Cuba's strict age requirements for music school entry forced her to switch instruments—she was considered too old to continue as a pianist. She pivoted to guitar before making her final decision at the Amadeo Roldán Conservatory: the Cuban tres would be her voice.
Training with Masters
At the prestigious Instituto Superior de Artes (ISA), where she is now a professor, Rosales studied under some of Cuba's finest musicians including Alexis Méndez, Maylin Selis, Dariel Pérez, Arturo Cruz, and Efraín Amador, founder of the Cuban School of Tres and Laud. This rigorous training gave her the technical foundation to explore new territories.
Beyond Traditional Boundaries
What sets Rosales apart is her refusal to be confined by genre. She has become known for her work in Nueva Trova, classical music, and even foreign musical styles—areas where the tres rarely ventures. Her studies with trovador Erick Sánchez proved to be a turning point, teaching her about both traditional and Nueva Trova approaches. This knowledge transformed her understanding of composition, pushing her beyond simply writing music to truly innovating with the instrument.
Rosales discusses her mission to demonstrate that the Cuban tres can thrive in any musical context, challenging preconceptions about what this uniquely Cuban instrument can achieve.