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Montuno Records
Montuno has several meanings pertaining to Cuban music and its derivatives. Literally, ''montuno'' means 'comes from the mountain', and so ''son montuno'' may refer to the older type of son played in the mountainous rural areas of Oriente. Another possibility is that the word ''montuno'' comes from the word ''montura'', the Spanish word for "saddle", because the rhythm in son music is like riding a horse. Or it may mean the final section of a song-based composition; in this sense it is simply part of a piece of music. Here it is usually a faster, brasher, semi-improvised instrumental section, sometimes with a repetitive vocal refrain. Finally, the term ''montuno'' is also used for a piano ''guajeo'', the ostinato figure accompanying the montuno section, when it describes a repeated syncopated piano vamp, often with chromatic root movement.Orovio, Helio 2004. ''Cuban music from A to Z''. Tumi, Bath. p141 References See also *Son montuno *Call and response (music) *Coro-pregĂ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Cuba
The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century. Since the 19th-century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genres and musical styles around the globe, most notably in Latin America, the Caribbean, West Africa, and Eu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Son Montuno
Son montuno is a subgenre of son cubano developed by Arsenio RodrĂguez in the 1940s. Although ''son montuno'' ("mountain sound") had previously referred to the ''sones'' played in the mountains of eastern Cuba, Arsenio repurposed the term to denote a highly sophisticated approach to the genre in which the montuno section contained complex horn arrangements. He also incorporated piano solos and often subverted the structure of songs by starting with the montuno in a cyclic fashion. For his approach, Arsenio had to expand the existing ''septeto'' ensemble into the ''conjunto'' format which became the norm in the 1940s alongside big bands. Arsenio's developments eventually served as the template for the development of genres such as salsa, songo and timba. Background Son cubano developed in the late 19th century and soon became the most important genre of Cuban popular music. In addition, it is perhaps the most flexible of all forms of Latin American music, and is the foundation o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Son Cubano
Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section ( bongo, maracas, etc.) are all rooted in traditions of Bantu origin. Around 1909 the son reached Havana, where the first recordings were made in 1917. This marked the start of its expansion throughout the island, becoming Cuba's most popular and influential genre. While early groups had between three and five members, during the 1920s the ''sexteto'' (sextet) became the genre's primary format. By the 1930s, many bands had incorporated a trumpet, becoming ''septetos'', and in the 1940s a larger type of ensemble featuring congas and piano became th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oriente Province
Oriente (, "East") was the easternmost province of Cuba until 1976. The term "Oriente" is still used to refer to the eastern part of the country, which currently is divided into five different provinces. Fidel and RaĂşl Castro were born in a small town in this province (Birán). The origins of Oriente lie in the 1607 division of Cuba into a western and eastern administration. The eastern part was governed from Santiago de Cuba and it was subordinate to the national government in Havana. In 1807, Cuba was divided into three ''departamentos'': Occidental, Central and Oriental. This arrangement lasted until 1851, when the central department was merged back into the West. In 1878, Cuba was divided into six provinces. Oriente remained intact but was officially renamed to Santiago de Cuba Province until the name was reverted to Oriente in 1905. This lasted until 1976, when the province was split into five different provinces: Las Tunas Province, Granma Province, HolguĂn Province, San ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guajeo
A guajeo (Anglicized pronunciation: ''wa-hey-yo'') is a typical Cuban ostinato melody, most often consisting of arpeggiated chords in syncopated patterns. Some musicians only use the term ''guajeo'' for ostinato patterns played specifically by a tres, piano, an instrument of the violin family, or saxophones. Piano guajeos are one of the most recognizable elements of modern-day salsa. Piano guajeos are also known as ''montunos'' in North America, or ''tumbaos'' in the contemporary Cuban dance music timba. History The guajeo shares rhythmic, melodic and harmonic similarities with the short ostinato figures played on marimbas, lamellophones, and string instruments in sub-Saharan Africa. The guajeo is a seamless blend of African and European musical sensibilities, and was first played as accompaniment on the tres in the Afro-Cuban son and related music. The tres is a Cuban guitar-like instrument, consisting of three sets of double strings. ChangĂĽĂ The guajeo emerged in Cuba duri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's '' Boléro'' and the ''Carol of the Bells'', and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's "Baba O'Riley" (1971), and The Verve's " Bitter Sweet Symphony" (1997). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an os ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Syncopated
In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals. Syncopation is used in many musical styles, especially dance music. According to music producer Rick Snoman, "All dance music makes use of syncopation, and it's often a vital element that helps tie the whole track together". Syncopation can also occur when a strong harmony is simultaneous with a weak beat, for instance, when a 7th-chord is played on the second beat of measure or a dominant chord is played at the fourth beat of a measure. The latter occurs frequently in tonal cadences for 18th- and early-19th-century music and is the usual conclusion of any section. A hemiola (the equivalent Latin term ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vamp (music)
In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's ''Boléro'' and the '' Carol of the Bells'', and popular songs such as Donna Summer and Giorgio Moroder's " I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's " Baba O'Riley" (1971), and The Verve's "Bitter Sweet Symphony" (1997). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromatic Scale
The chromatic scale (or twelve-tone scale) is a set of twelve pitches (more completely, pitch classes) used in tonal music, with notes separated by the interval of a semitone. Chromatic instruments, such as the piano, are made to produce the chromatic scale, while other instruments capable of continuously variable pitch, such as the trombone and violin, can also produce microtones, or notes between those available on a piano. Most music uses subsets of the chromatic scale such as diatonic scales. While the chromatic scale is fundamental in western music theory, it is seldom directly used in its entirety in musical compositions or improvisation. Definition The chromatic scale is a musical scale with twelve pitches, each a semitone, also known as a half-step, above or below its adjacent pitches. As a result, in 12-tone equal temperament (the most common tuning in Western music), the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In music theory, the concept of root is the idea that a chord (music), chord can be represented and named by one of its Musical note, notes. It is linked to Harmony (music), harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note (or pitch) C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the Inverted chord, inversion of chords, which is derived from the notion of Invertible Counterpoint, invertible counterpoint. In this concept, chords can be inverted while still retaining their root. In tertian harmonic theory, wherein chords can be con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Son Montuno
Son montuno is a subgenre of son cubano developed by Arsenio RodrĂguez in the 1940s. Although ''son montuno'' ("mountain sound") had previously referred to the ''sones'' played in the mountains of eastern Cuba, Arsenio repurposed the term to denote a highly sophisticated approach to the genre in which the montuno section contained complex horn arrangements. He also incorporated piano solos and often subverted the structure of songs by starting with the montuno in a cyclic fashion. For his approach, Arsenio had to expand the existing ''septeto'' ensemble into the ''conjunto'' format which became the norm in the 1940s alongside big bands. Arsenio's developments eventually served as the template for the development of genres such as salsa, songo and timba. Background Son cubano developed in the late 19th century and soon became the most important genre of Cuban popular music. In addition, it is perhaps the most flexible of all forms of Latin American music, and is the foundation o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Call And Response (music)
In music, call and response is a succession of two distinct phrases usually written in different parts of the music, where the second phrase is heard as a direct commentary on or in response to the first. This can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). It corresponds to the call and response pattern in human communication and is found as a basic element of musical form, such as verse-chorus form, in many traditions. African music In Sub-Saharan African cultures, call and response is a pervasive pattern of democratic participation—in public gatherings in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental musical expression. African-American music Enslaved Africans brought call and response music with them to the colonized American continents and it has been transmitted over the centuries in various forms of cultural express ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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