In Cuban Flute Style: Interpretation and Improvisation, Sue Miller—music historian, charanga flute player, and former student of Richard EgĂĽes—examines the early-twentieth-century decorative style of flute playing in the Cuban danzĂłn and its links with the later soloistic style of the 1950s as exemplified by Fajardo and EgĂĽes. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard EgĂĽes, JoaquĂn Oliveros, Polo Tamayo, Eddy ZervigĂłn, and other renowned players.