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Montuno
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 *Call and response (music) In music, call ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Son Montuno
Son montuno is a subgenre of son cubano developed by Arsenio Rodríguez 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 founda ... [...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 ... [...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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coro-pregón
Coro-pregón (or coro-guía, coro-inspiración) in Afro-Cuban music and other Afro-Latin Latin music (mainly from the Puerto Rico), most of all salsa, but also in some non-Cuban genres like merengue and bachata, refers to a call and response section between the lead singer and the ''coro'' (chorus). It is found in most Cuban genres, for example son and son montuno, rumba, cha-cha-chá, timba, and many more. Origins The practice of call and response singing probably stems from traditional African music and was brought to Cuba by slaves. It can still be found in its ancient form in Cuban religious music. Vocal improvisations are also based on market vendors' chants, called pregón. Pregón The lead singer usually improvises both melody and lyrics (although most singers have some standard lines which they use quite frequently). This is called guía or pregón. The term pregón also refers to a vocal improvisation without coro, and a genre in which such vocal improvisation is ... [...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 (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, such as electronic 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 (music), beat, for instance, when a 7th chord, 7th-chord is played on the second beat of a 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 conclu ... [...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. 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. Fidel and Raúl Castro were born in a small town in Oriente province ( Birán). The province was split in 1976 into five different provinces: Las Tunas Province, Granma Province, Holguín Province, Santiago de Cub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from the 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 John Lennon’s “Mind Games” (1973), 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), The Verve's " Bitter Sweet Symphony" (1997), and Flo Rida's " Low" (2007). 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 cover ... [...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 scal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In the music theory of harmony, the root is a specific Note (music), note that names and typifies a given chord (music), chord. Chords are often spoken about in terms of their root, their Chord quality, quality, and their Chord extensions, extensions. When a chord is named without reference to quality, it is assumed to be major chord, major—for example, a "C chord" refers to a C major triad, containing the notes C, E, and G. In a given harmonic context, the root of a chord need not be in bass note, the bass position, as chords may be Inversion (music), inverted while retaining the same name, and therefore the same root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice period, common practice tonality), the root of a chord is the Musical note, note on which the subsequent thirds are stacked. For instance, the root of a triad (music), triad such as E Minor is E, independently of the vertical order in which the three n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Call And Response (music)
In music, call and response is a compositional technique, often a succession of two distinct phrase (music), phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. Additionally, they 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 the verse-chorus form, in many traditions. By region Africa In many African cultures, call and response is a pervasive pattern of democracy, democratic participation—in public gatherings in the discussion of civic affairs, in religious rituals, as well as in vocal and instrumental West African music, musical expression. Most of the call and response practices found in modern culture ori ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
