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Songo Music
Songo is a genre of popular Cuban music, created by the group Los Van Van in the early 1970s. Songo incorporated rhythmic elements from folkloric rumba into popular dance music, and was a significant departure from the son montuno/mambo-based structure which had dominated popular music in Cuba since the 1940s. Blas Egües was the first drummer in Los Van Van, but it was the band's second drummer, José Luis Quintana "Changuito", who developed songo into the world-wide phenomenon it is today. Songo is the most famous of the post-Revolution Cuban rhythms, beginning with the mozambique, which drew from the deep well of Afro-Cuban folkloric rhythms (mainly rumba). During the 1970s, many Cuban bands created their own original rhythms: Los Van Van invented songo; Orquesta Ritmo Oriental—''nueva onda''; Orquesta Tipica Juventud—''bata cinco'', and Orquesta Revé named their invention—'' changüí'', after the "funky," folkloric proto-son music of the 19th century. Songo is a precurs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cuban Music
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] |
Bell Pattern
A bell is a directly struck idiophone percussion instrument. Most bells have the shape of a hollow cup that when struck vibrates in a single strong strike tone, with its sides forming an efficient resonator. The strike may be made by an internal "clapper" or "uvula", an external hammer, or—in small bells—by a small loose sphere enclosed within the body of the bell (jingle bell). Bells are usually cast from bell metal (a type of bronze) for its resonant properties, but can also be made from other hard materials. This depends on the function. Some small bells such as ornamental bells or cowbells can be made from cast or pressed metal, glass or ceramic, but large bells such as a church, clock and tower bells are normally cast from bell metal. Bells intended to be heard over a wide area can range from a single bell hung in a turret or bell-gable, to a musical ensemble such as an English ring of bells, a carillon or a Russian zvon which are tuned to a common scale and install ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flute
The flute is a family of classical music instrument in the woodwind group. Like all woodwinds, flutes are aerophones, meaning they make sound by vibrating a column of air. However, unlike woodwind instruments with reeds, a flute is a reedless wind instrument that produces its sound from the flow of air across an opening. According to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute is called a flautist or flutist. Flutes are the earliest known identifiable musical instruments, as paleolithic examples with hand-bored holes have been found. A number of flutes dating to about 53,000 to 45,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a developed musical tradition existed from the earliest period of modern human presence in Europe.. Citation on p. 248. * While the oldest flutes currently known were found in Europe, Asia, too, has ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charanga (Cuba)
Charanga is a traditional ensemble that plays Cuban dance music. They made Cuban dance music popular in the 1940s and their music consisted of heavily son-influenced material, performed on European instruments such as violin and flute by a Charanga orchestra. (Chomsky 2004, p. 199). The style of music that is most associated with a Charanga is termed 'Danzón', and is an amalgam of both European classical music and African rhythms. Origins "Scholars agree that Spain and parts of West and Central Africa provided the most crucial influences in the development of Cuban popular and religious music. But in the case of charanga, the contributions of French and Haitian influences cannot be ignored. Charanga began its history in the early nineteenth century when Haitians, both African and French, escaped the island's revolution. They brought with them a love for the French contredanse, a multi-sectional dance form that evolved into the danzón, the quintessential charanga style. ... [...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] |
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. Changüí The guajeo emerged in Cuba duri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Los Muñequitos De Matanzas
Los Muñequitos de Matanzas is a Cuban rumba ensemble from the city of Matanzas. The group was established in 1952 as Conjunto Guaguancó Matancero and released their first LP in 1956 through Puchito. Since then, Los Muñequitos have continued to perform and record, becoming one of the most successful and critically acclaimed rumba groups of all time. History On October 9, 1952 in the barrio of La Marina, city of Matanzas, Cuba, a group of young rumberos stopped off at their local tavern El Gallo after work. While unwinding over drinks, a song by Arsenio Rodríguez came on the bar’s record player. The drummers began accompanying the song by playing on the counter, on glasses and bottles, using whatever items were at hand. Their performance so impressed the other customers, as well as passers-by, that the men received applause when the song and their accompaniment concluded. It was at that moment when one of the men suggested they form a rumba group to perform at local venues. It ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clave Rhythm
The clave (; ) is a rhythmic pattern used as a tool for temporal organization in Cuban music. In Spanish, ''clave'' literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba. In ethnomusicology, clave is also known as a ''key pattern'', ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''. The clave pattern is also found in the African diaspora music of Haitian Vodou drumming, Afro-Brazilian music, African-American music, Louisiana Voodoo drumming, and Afro-Uruguayan music (candombe). The clave pattern (or hambone, as it is known in the United States) is used in North American popular music as a rhythmic motif (music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guaguancó
Guaguancó () is a subgenre of Cuban rumba, combining percussion, voices, and dance. There are two main styles: Havana and Matanzas. Percussion * battery of three conga drummers: the ''tumba'' (lowest), ''tres dos'' (middle, playing a counter-clave), and ''quinto'' (highest, and lead drum). These parts may also be played on cajones, wooden boxes. * claves usually played by a singer * guagua (aka Catà) (hollowed piece of bamboo) * maraca and/or a chekeré playing the main beats Other instruments may be used on occasion, for example spoons, palitos (wooden sticks striking the side of the drum), and tables and walls played like drums. Clave Rumba clave is the key pattern (guide pattern) used in guaguancó. There is some debate as to how the 4/4 rumba clave should be notated for guaguancó. In actual practice, the third and fourth stroke often fall in rhythmic positions that do not fit neatly into music notation. Triple-pulse strokes can be substituted for duple-pulse strokes. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rumba Quinto
The quinto (literally ''fifth'' in Spanish) is the smallest and highest pitched type of conga drum. It is used as the lead drum in Cuban rumba styles such as guaguancó, yambú, columbia and guarapachangueo, and it is also present in congas de comparsa. Quinto phrases are played in both triple-pulse (12/8, 6/8) and duple-pulse (4/4, 2/2) structures. In columbia, triple pulse is the primary structure and duple pulse is secondary. In yambú and guaguancó duple-pulse is primary and triple-pulse is secondary. Quinto performance in rumba The optimum expression of quinto phrasing is shaped by its interaction with the dance and the song, in other words, the complete social event, which is rumba. Quinto interaction with the song During the verses of the song the quinto is capable of sublime creativity, while musically subordinate to the lead vocalist. There are natural pauses in the cadence of the verses, typically one or two measures in length, where the quinto can play succinct phra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tumbao
In music of Afro-Cuban origin, tumbao is the basic rhythm played on the bass. In North America, the basic conga drum pattern used in popular music is also called ''tumbao''. In the contemporary form of Cuban popular dance music known as timba, piano guajeos are known as ''tumbaos''. Bass pattern Clave-neutral The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. Often the last note of the measure is held over the downbeat of the next measure. In this way, only the two offbeats of tresillo are sounded. The first offbeat is known as ''bombo'', and the second offbeat (last note) is sometimes referred to as ''ponche''. The following example is written in cut-time (2/2). Clave-aligned Arsenio Rodríguez's group introduced bass tumbaos that have a specific alignment with clave. The 2-3 bass line of "Dame un cachito pa' huele" (1946) coincides with three of the clave's five strokes. Dav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conga
The conga, also known as tumbadora, is a tall, narrow, single-headed drum from Cuba. Congas are staved like barrels and classified into three types: quinto (lead drum, highest), tres dos or tres golpes (middle), and tumba or salidor (lowest). Congas were originally used in Afro-Cuban music genres such as conga (hence their name) and rumba, where each drummer would play a single drum. Following numerous innovations in conga drumming and construction during the mid-20th century, as well as its internationalization, it became increasingly common for drummers to play two or three drums. Congas have become a popular instrument in many forms of Latin music such as son (when played by conjuntos), descarga, Afro-Cuban jazz, salsa, songo, merengue and Latin rock. Although the exact origins of the conga drum are unknown, researchers agree that it was developed by Cuban people of African descent during the late 19th century or early 20th century. Its direct ancestors are thought to be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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