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A -
abacuá/abakuá/abakwa
A secret fraternal society, initially all male, developed in Cuba by
the African Carabalí people. 2. The
musical styles of the Abacuá people and folkloric ensembles
greatly influencing Cuban secular forms such as rumba.
abanico
Literally, "fan"; a stylized roll played by the timbalero usually
to signify a change in the music (i.e. from verse to chorus). The Spanish
word for fan, used to describe the Timbales figure
(roll and accent) played to introduce or close sections and to setup
various ensemble passages (pick-up phrase).
a caballo.
acheré (atcheré)
A small rattle or shaker made of either metal, wood, gourd, coconut or
other material, used to play the standard bell patterns or other accompaniments
in Batá ensembles.
afro
A rhythmic style combining adaptations of sacred batá drum
rhythms popularized in Cuba in the 1940s, and often used to interpret
lullabies.
Afrokán, Pello, el
See Pedro Izquierdo.
agbé/agué/agwé
The Yoruba name for the beaded calabash gourds,
also called shekeré/chekeré or guiro.
agogo bell
Small bells welded together on a flexible metal rod also traditionally
used by the Comparsas in the Cuban Carnival.
An iron bell of Yoruba origin, used in conjunction with iyesá drums.
agrupación
See son.
aguinaldo
Folkloric music typically associated with Christmas
amele
See onkónkolo.
Arará
Dahomean ritual/ceremonial drums brought to the Oriente province of Cuba
by the Haitian emigres following the Haitian slave rebellion of 1791.
areíto
1. A term derived from the native, indigenous tribes living in Cuba before
colonization, (such as the Siboney, Taíno and Guanajatabibe tribes),
referring to elaborate religious celebrations of music, dance and theatre;
2. A rhythmic style combining several elements of Cuban carnaval rhythms
with the son and rumba, as well
as several North American influences, resulting in a free-style, highly-syncopated
style. The areíto later evolved into what is now known as songo.
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B -
Bantú
The African Congolese people and culture. Considered one of the most
influential African cultures throughout the Caribbean.
baqueteo
The rhythmic pattern played by the timbalero in
the Danzón (popular before the 1950's).
A style developed by Cuban timpanists, of playing beats on the shell
or bead while the fingers of the other hand "filled in." This
two measure pattern consisted of a steady stream of eighth notes played
alternatively on various parts of the two timbales.
barracón
the barracks which were used as slave quarters in colonial Cuba' often:
surrounding a courtyard.
bastonero
a danza director who decided how many couples would dance on each dance
and the position of each dancer.
batá
Sacred hourglass-shaped drums of Yoruban/Nigerian
origin used in the Santeria religious ceremonies.
Their rhythms are based on a drum language which reproduces the tonal
changes and speech patterns of the Yoruba language.
batalero
Batá player.
bembé
1. A religious gathering and festivity held to honor an Oricha.
2, A set of traditional drums made from hollowed palm tree logs with
nailed-on skins which are tuned with heat and used in the Bembé ceremonies.
bolero
An Afro-Latin ballad form usually with romantic lyric content.
bomba
1. A folkloric songstyle (rhythm and dance) of Puerto Rico with predominantly
African influence (commonly found in salsa repertoires) and adapted by
Cortijo in the mid-1950's into a popular dance style as well as taken
up by salsa musicians. 2. Large barrel-shaped drums, similar to and shorter
than the Cuban tumbadora (conga drum), used in the Bomba style.
bombo
1.The Spanish term for bass drum. 2.The bass drum used in the Rumba and
other folkloric styles. 3. Term used to describe the "and of beat
2", or the second note of the three side of the clave rhythm.
This is the note emphasized by the bass drum.
bombo criollo
An adaptation of the European military bass drum, used in Cuba for Carnaval
in styles such as the conga.
bongo(s)
Small pair of single-headed drums attached by a thick piece of wood,
tuned high in pitch and played while held between the player's legs.
Originally, the bongo's drum heads (skins) were tacked-on, but later
a system of tuneable hardware was attached. Today's bongos are made of
either fiberglass or wood. Emanating from the Changui and Son tradition
as the original drum of these styles, they perform a combination of timekeeping
pattern and improvised, rhythmic variation or counterpoint within an
ensemble. The larger of the two drums is called the hembra and
the smaller macho. In many parts of Cuba bongo is
the name used for timbales.
bongocero
The bongo (and bell) player.
botija/botijuela
A clay jug originally used to import Spanish olive oil into the New World
regions, it became one of the first bass instruments of the Son style.
buleador
One the basic rhythmic patterns of the Bomba style
played on the Bomba drum (may be interpreted on
congas as well).
bongo bell
The campana/cencerro or
hand bell, it is the bell played by the bongocero during
the Montuno section of an arrangement and mounted
and played by the Palito player during Rumbas.
Bonne, Enrique
Inventor of the Afro-Cuban rhythm called pilón.
brake
drums
Automobile break drums used as metal percussion sounds by the comparsas in
the Cuban carnival.
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C -
caballo ("a
caballo")
1. Spanish term for horse. 2. In Afro-Latin music it is used to describe
a rhythmic accompaniment that resembles in feel the trotting of a horse.
3. Rhythmic accompaniment to the Pachanga style.
cajón/cajónes
Resonant wooden crates of various sizes (originally, to box and transport
cod), used to play the early forms of Rumba. They
are still used today by folkloric ensembles.
campana
Also called the Bongo Bell, or Cencerro,
the large handheld bell is played by the bongocero during
the Montuno section of an arrangement in dance
ensembles and mounted and played by the Palito player
during some Rumbas.
campesinos
Peasant people. Sometimes referred to as Guajiros.
canción
Spanish songstyle focusing primarily on the lyrics/melody and a simple
guitar accompaniment (often referred to as trova), it became one of the
fundamental components in the development of the Son style.
carabalí
The people of the African Calabar region. They were primarily the founders
and proponents of the Abacuá (Abakwa) societies
in Cuba.
carnaval
The Christian pre-Lent celebration usually lasting from three days to
a week.
cáscara
1. The Spanish word for shell. 2. The term used to describe the wooden
shells of the early timbales, still used today
to describe the shell of any timbal. 3. Term used for the rhythmic pattern
played on the sides (shell) of the timbales. Also referred to as Paila.
cencerro
Another term for the large cowbell (campana).
chachá
The smaller of the two heads of the batá drums.
cha-cha
bell
The small bell mounted on the timbales and used
for the Chachachá, Guajira and
similar styles.
chachachá
A dance and musical style evolving from the Nuevo
Ritmo of the Danzón style. As a dance, "Cha
cha" became popular in the 1950' and 60's and is descended from Mambo.
changui
1. The early predecessors to the Son groups using
original instrumentation of guiro, maracas, bongo, tres and marimbula.
Some ensembles still perform today. 2. The early style of Son performed
by these groups.
Changuito (Jose Luis Quintana)
Former percussionist for Orquesta Aragon and Los Van Van, inventor of
the Cuban song styles merensongo and songo and
the Afro-Cuban feel called timba songo layé.
charanga/charanga francesa
A Cuban musical group, developed in the early 20th century, which played danzón and
danzonete, and later chachachá. 1. Ensembles:
Cuban groups that interpret the Danzón style.
2. Initially called Charanga Francesa, European influenced in their instrumentation
of woodwinds, strings section and rhythm section of string bass, European
tympani (which later became the timbales), and guiro.
3. General term for the music played by these ensembles.
charanga bell
The smallest of the mounted timbale bells, used
for the "Tipico"Charanga style.
chekeré
See shekeré.
cierre
A rhythmic break, either an arranged ensemble passage or only played
by the percussion in either arranged or improvised fashion, usually played
as a transition between sections of a piece.
cinquillo (cubano)
1. A five note pattern derived from the Cuban contradanza.
2. A five note group of notes derived from the Son clave pattern
that is both a part of the baqueteo - the timbale accompaniment
to the Danzón - as well as a common rhythmic
articulation in both arranged and improvised performance. The term also
describes the interpretive performance, or "stretching," of
the five notes of the clave pattern. This interpretation
can also be applied to the Tresillo.
clave
1. Instrument - Pair of polished wooden sticks used to play the rhythm
called Clave. The larger of the two sticks is called the hembra and
the smaller macho.
2. Rhythm - A five-note, two-bar rhythm pattern which generates rhythmic
measurement, and is the foundation and backbone of Salsa (or all popular
Afro-Cuban music). There are 4 common rhythms, the Rumba and Son clave
and a 6/8 (or "Afro") variation of each. In "Salsa," the
Son Clave is prevalent. Clave rhythm is the basis of Afro-Latin musical
styles and is considered the key, the identity, the root, and the "soul" of
the music. It is the main organizing principle, the "metronome" of
all the music, to which every element of arrangement and improvisation
must be aligned. Clave is the primary pulse, the first rule, and the
main factor that defines "Salsa."
3. Dance Timing - Most authentic, musically connected, or culturally/traditionally
trained dancers use the clave as a focal point in salsa music
to stay in time to the foundation and "soul" of the music,
allowing for a natural appearance and rhythmic, free expression of the
music.
columbia
One of the three Rumba styles, it is played in 6/8,
sung with a combination of Spanish and African lyrics and traditionally
danced only by men in a dance often depicting a challenge to each other.
Played with the tumbadoras, guataca or cowbell and clave and
sometimes shekerés and bombo.
combo
Type of Latin ensemble developed in the 1950's through the influence
of the jazz groups and big bands that employed the drum set, bass, piano
in the jazz rhythm section format along with all of the standard Latin
percussion of timbales (played by the drum set
player), congas and the like. They also employed
saxophones and sometimes guitar.
comparsa (or conga de comparsa)
The specific musical group which plays the conga during carnival. 1.
A musical gathering, dance and parade taking place primarily during the
Cuban Carnival. 2. Term sometimes (incorrectly) used to describe the
music that accompanies this dance and parade - the Conga.
conga
The musical instrumentation and style that accompanies the Comparsa,
it is also a style developed, performed and integrated by ensembles separate
from the Carnaval Comparsas. Sometimes the style is referred to by regional
interpretation - as in Conga Habanera or
Conga Santiguera.
conga habanera
The Havana style of the Cuban carnival rhythm, called conga.
conga oriental
The Santiago style of the Cuban carnival rhythm, called conga.
congas
Also called Tumbadoras, the single headed, hollowed
Cuban drums derived from the Congolese Makuta drums. Initially made from
hollowed logs with cowhides nailed or strung on, they are now made of
wood and fiberglass with mass-produced hardware and heads.
conguero
A conga player.
conjunto
A style of Latin ensemble developed in the 1940's. It evolved from the Septeto instrumentation
and was another interpretation of the Son styles.
Originally consisting of the tres, contrabass, bongos,
brass, and vocalists, who played clave, maracas and guiro.
Later the guitar, piano and congas were added.
contrabass
The largest and lowest member of the violin family.
contradanza
Literally, the "country dance," this 18th century style of
Cuban music was influenced by the European court (most likely from the
French "contredanse," originally a possible mispronunciation
of its predecessor, the English "country dance"). This European
musical and dance form was the predecessor to the Danza, Danza
Habanera and, most significantly, the classic Danzón style.
corneta china/trompeta china
The Chinese trumpet used in the early Carnaval Comparsas and
the first bass instrument to be added to the Sexteto ensembles,
creating the Septeto.
córo/córo-pregón
Córo is chorus and the Córo Pregón is the call-and-response
between the lead vocal, the Pregón - which is generally improvised
- and the chorus, the Córo - which is generally arranged or a
fixed part. It is a principal structural element of the Son and
became a part of the traditional commercial Latin dance form via the Montuno section
of an arrangement.
conversación
A Spanish word meaning "conversation." In Batá performance,
the conversation and interaction that takes place between the Iyá (the
lead or mother drum) and the Itótele (the
middle drum).
cowbell
Descended from the Guataca, these instruments
include the timbale mounted bells (Mambo, Cha-Cha, Charanga), Campana, Agogo and Comparsa bells.
The patterns performed on these bells, when used either alone or simultaneously,
make up most of the metallic percussive rhythms of Afro-Cuban popular
music.
cúa
The rhythmic stick pattern of the Puerto Rican Bomba style.
It sometimes functions as a clave in this style.
cuatro
Guitar-like instrument derived from the Cuban Tres but
containing four sets of two strings. Primarily associated with Puerto
Rican styles.
cucharas
The Spanish word for "spoons," initially used to play the palitos accompaniment
to the Cajones in the early Rumba styles.
Still used today in folkloric ensemble performances.
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D -
danza
A 19th century musical and dance form emanating from the Contradanza and
a predecessor to the Danzón.
danza habanera
See Habanera.
danzón
A Cuban song style and dance form derived from the Contradanza, Danza, Danza
Habanera and interpreted by the Charanga orchestras
and instrumentation. Originally an ABAC form (A-Paseo (introduction),
B-Flute melody, A-repeat of the Paseo, C-String Trio). Later a D section
(the Nuevo Ritmo) was added creating and ABACD
form. This D section integrated elements of the Cuban Son and
spawned the Mambo as well as developments of the Montuno section
of arrangements and later the Cha-Cha-Cha.
décima
The ten line verse structure common to the Spanish Canción,
it served as he traditional verse structure of the Cuban Son.
descarga
An instrumental improvisation or "jam session." Spanish word
for "unloading."
diana
A vocal introduction (sometimes arranged, sometimes improvised); call-and-response
style used in some Rumba styles.
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E -
el
Barrio
The Spanish name given to the East Harlem section of New York City in
the 1920's and 30's after the migration and settlement of vast numbers
of Puerto Rican and Cuban people in this area. Another term for "Spanish
Harlem."
estribillo
A vocal refrain or chorus, the term applies particularly to the vocal
choruses of the Son style.
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F -
fua
sticks struck on a resonant surface; see also: clave
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G -
gua-gua
1. Latin-American slang term used for a bus or van. 2. The term used
for the hollowed bamboo piece that is mounted and used to play Palitos patterns.
The Gua-Gua is said to "drive the ensemble."
guaguancó
One of the three Rumba styles, it is a medium to
fast style played on the tumbadoras or cajones along
with the clave, palitos, bombo and shekerés and
danced traditionally by a male and a female depicting the sexual "capture" of
the female by the male with a thrust called the Vacunáo.
guajeó
Originally the term used to describe the repeated rhythmic figure of
the Tres in the Changui and Son styles,
it was later also used to desribe the same function by the string section
in the Charangas and later the Moñas of
the horn section.
guajira
1. A songstyle originating with the Campesinos containing
elements of the Spanish Canción and the
Cuban Son. It is societally somewhat of a parallel
to the Blues of America. The lyric content is sometimes sad or longing,
nostalgic or expressing the difficulties of an impoverished life-style.
2. Slang term for a Cuban peasant woman.
guajiro
A slang term for a (male) Cuban peasant and sometimes used as a term
for a cowboy type peasant farmer or rancher.
guapacha
A secondary rhythm step in clave-based dances, used
by experienced rhythm dancers as an accent when appropriate to the segment
of music. The break step on "2" (or in dance count either "2" or "6")
is delayed a half beat, stepping instead on the "and" before "3." A
specific syncopation, most frequently applied to Chachachá.
guaracha
1. Traditionally an ealy form of street peasant music with satirical
lyric content somewhat in the Son rhythm style. 2.
Loose term for a general medium tempo Son Montuno or
little brighter style tune or groove.
guataca
Hoe blade used in the conga de Comparsa. A hoe
blade (played with a large nail or railroad spike) used to play what
later became Cowbell accompaniments to the Rumba Columbia and
other folkloric Afro 6/8 styles. Folkloric ensembles still use this instrument.
guayo
A larger version of the guiro.
guicharo
Term used to describe guiros with finer ridges,
particularly those found in some Puerto Rican styles.
guira
The term used to describe the metal scraper (guiro,
scraped with a metal fork or Afro comb) used in the Dominican Merengue
style.
guiro
A serrated gourd, scraped with a stick, very popular in Afro-Cuban, as
well as other Latin American countries, music. 1. (Instrument) Calabash
gourd with ridges carved
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H -
Habanera
Style emanating from the Contradanza and Danza,
it was the final precursor to the Danzón style.
hembra
The female, larger of any two paired percussive instruments (bongos, clave, timbales,etc).
hierro
Term used to describe the Guataca - the hoe blade
- or other metal sound used as the cowbell accompaniment
to the Rumba Columbia and
other folkloric Afro 6/8 styles.
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I -
itótele
The middle drum of the set of three Batá drums.
iyesá (drums)
A set of four sacred, cylindrical, two-headed drums of hand-carved cedar,
played with sticks.
iyá
The lead, and largest, drum (mother drum, Iyá Ilú) of the
set of three Batá drums.
Izquierdo, Pedro (Pello el Afrokán)
See Pello el Afrokán.
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J -
jibaro
The term used in Puerto Rico for a small-farm worker, farmer, or peasant,
and for the music from the countryside.
Joropo
A dance form from Venezuela which has roots in Flamenco. Joropos are
both work and festivity songs and their sound resembles that of a
galloping horse. They are closely associated with coastal cowboys,
known as Llaneros (rangers). Joropos are played by ensembles that
typically include harp, cuatro (four-string guitar), maracas, and
bandola (small, four-string guitar).
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K -
key
signature
Defines the tonal center, or absolute pitch, and the basic scale formula,
or relative pitch of the notes in harmonic context within a written piece
of music. There are 15 major and 15 minor key signatures. The sharps
or flats at the beginning of the staff indicate the main tone (diatonic)
to which other tones are related.
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L -
lelolai
llame
The call used in Batá performance to begin
a playing of to begin a conversation between the Iyá and
the Itótele.
lucumi
The term used as the name of the Yoruban people in Cuba as well as their
language and religion.
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M -
macho
The male, smaller of any two paired percussive instruments (bongos, clave, timbales,etc).
mambo
Umbrella term for popular dance and hybrid music style, developed in
the 40's and 50's. 1. The musical section that evolved in the late 1930's
and 1940's from the Nuevo Ritmo of the Danzón.
2. An up tempo Afro-Cuban musical style that evolved in the 1940's and
50's as a blending of the Mambo section, elements
of the Son and some influences of American Jazz orchestras.
3. A section of an arrangement usually following or developing from the Montuno section
featuring new arranged (or sometimes improvised) material such as Moñas in
the horn section. 4. The Afro-Cuban dance of the same name popularized
in New York and sometimes called Salsa.
mambo
bell
The bell played by the timbalero in mambo style
songs.
manoseo del cuero
A style using hands and fingers developed by early Cuban tympanists.
manoteo
See marcha.
maracas
Canister rattles with handles originally made from gourds or rawhide
and filled with beads, pebbles, seeds or the like. Hand held and played
in pairs.
marcha
Literally "march," the name sometimes given to the conga part.
marimbula
A large resonant wooden box with a (kalimba-like) thumb piano constructed
over an opening in the box. It is of Congolese Bantú origin
and was the original bass instrument in the Changui groups.
The player sits on the box and plucks at the metal keys and strikes rythmic
figures on the box itself.
martillo
1. Spanish word for hammer. 2. The name of the rhythm played on the Bongos.
It is primarily a timekeeping pattern but the performance in an ensemble
includes many inprovised variations called repiques.
merengue
Although other countries in the Caribbean (notably neighboring Haiti)
claim to have originated the merengue, most aficionados give pride of
place to the Dominican Republic. A hybrid of African and Latin rhythms,
merengue became popular during WWI. It is essentially dance music, usually
played by a full band in the cities and by three-piece combos in the
countryside. Dancers move only from their hips down, shuffling to an
uptempo 2/4 beat.
merensongo
An Afro-Cuban feel invented by Changuito.
montuno
1. Section of an arrangement featuring the Córo/Pregón of
the lead vocalist and chorus as well as instrumental solos. 2. Term used
to describe the repeated syncopated vamp played by the piano.
moña
Layered parts played by the horn section featuring staggered entrances,
layered and contrapuntal parts and generally a building intensity. Usually
introduced during the Mambo section. They are generally
written but sometimes improvised.
mozambique
An Afro-Cuban rhythm invented by Pedro Izquierdo (Pello
el Afrokán), at first used bin the Cuban carnival, later popularized
by Eddie Palmieri in New York.
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N -
nueva
ola
meaning "new wave", refers to a period in Puerto Rican popular
music in the 1970's typified by folkloric elements. The best known exponents
were Haciendo Punto en Otro Son, Danny Rivera, and Lucecita Benitez.
nuevo
ritmo
The D section added to the end of the Danzón in
the late 1930's and early 1940's. Created by bassist/composer Irael "Cachao" Lopez
it served as the takeoff point for the Mambo,montuno section
and later the Cha-Cha.
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O -
okónkolo
The smallest of the set of three Batá drums,
it serves primarily as the timekeeper.
orishas (orichas)
Deities of the pantheistic Santeria and other
African, Afro-Latin and Afro-Caribbean based religion.
Oriza
According to conguero/trumpeter Jerry González, oriza is a Puerto
Rican-origin rhythm akin to the Jamaican Calypso. This is a dubious claim
since the best known Puerto Rican rendition of oriza, by Cortijo y su
Combo, is based, almost note for note and word for word, on the Cuban-origin
composer Silvestre Mendez's song titled Nueva Oriza. Oriza is different
from other rhythmic patterns in that it does not include improvisation.
It can be played with one, two or three drums in antiphonal fashion.
orquesta tipica
A Cuban musical group used to perform the contradanza.
Orchestras that were the traditional interpreters of the early forms
of the various Danzas. Their instrumentation consisted
of woodwinds, brass, strings, the guiro and the
traditional European tympani.
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P -
pachanga
A rhythm style created by Eduardo Davison in Santiago, the capitol of
the Oriente province of Cuba. Its signature is a conga pattern called "caballo" (literally
meaning "horse").
pailas
A vessel of iron or copper used in the sugar cane factories of Cuba;
another name given to timbales. (CS) 1. Anoather
name for the timbales, sometimes used to describe a pair that is
smaller than the larger orchestra timbales.
2. Paila is also a term used to describe the sides or shells of the timbales. "Play
paila" means play the sides or play cáscara.
palitas or palitas cubanas
Smaller in size than the paila, these instruments
allowed the performer to sit while he played.
palito(s)
Literally"sticks"; the sticks and pattern played during rumba.
Pair of sticks traditionally used to play Gua-Gua that accompanies the
Rumba styles. 2. The name of the patterns played on the Gua-Gua. In nontraditional
settings the patterns can be played on any wood sound.
panderetas
The name of the (jingle-less) tambourines used in the Puerto Rican Plena style.
paseo
The A section (introduction) to the Danzón form.
Pello el Afrokán (Pedro Izquierdo)
Invented the Afro-Cuban rhythm called Mozambique.
pilón
A rhythm invented by Enrique Bonne in the eastern
province of Cuba.
plena
A folkloric Puerto Rican songstyle traditionally played on the Panderetas.
The lyric content often deals with social or political statements, criticisms
or satire. Normally played in 4/4 time, and has no clave.
ponche
The term used to describe beat four, or the last beat of the "three
side" of the Clave, or any of the rhythmic
variations played off of this beat.
pregón
(córo-pregón)
See Córo-Pregón.
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Q -
quijada
Instrument made from the jawbone of a donkey or mule and played by striking
the lower jaw against the upper producing a sharp rattle effect.
Today's Vibra-Slap was made to replicate the sound of the traditional
Quijada.
Quintana, Jose Luis (Changuito)
See Changuito.
quinto
The smallest and highest pitched lead drum of the three tumbadoras used
in the Rumba styles. Its role is improvisational--
it interacts with the vocals and dancers as well as plays solo features.
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R -
rebajador
The middle drum part in the Conga Style (Conga,
Rebajador, Salidor).
requinto
The lead drum in the Bomba style.
rumba
Three forms: Guaguancó, Yambú,
and Columbia. An Afro-Cuban musical form comprised
of drumming, call-and-response vocals and dancing.
rumba
Columbia
A type of rhythm played at a rumba. The rumba columbia is played faster
than the guaguancó. In this rhythm men dance by themselves accompanied
by drummers and singers. Each dancer is required to show his prowess
to observers. It is up-tempo and played in 6/8 time. Sung in a mixture
of African and Spanish.
rumba flamenca
A style of Rumba from southern Spain which greatly influenced the development
of the Cuban Rumba styles.
rumbero
A participant in the tradition of Rumba
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S -
salidor
1. In the Conga style, the high drum of the three
basic tumbadora parts (Conga, Rebajador,
Salidor). 2. In the Rumba Guaguancó,
the low drum of the three parts (Salidor, Tres Golpes, Quinto).
salsa
Generic term, developed in the late sixties-early 1970's, used to describe
the blending of numerous specific music styles into dance orchestra arrangements.
The one common element in the musical structure is the rhythm pattern
of the clave 2. A common umbrella term used to describe
the dance that is done to Salsa music (also see mambo).
3. Spanish word for sauce.
salsa
vieja
the earliest salsa music; salsa that was performed during the earliest
period of salsa music and usually associated with pioneers such as Larry
Harlow, Johnny Pacheco, Ray Barretto, Roberto Roena, Willie Colón,
Pete "El Conde" Rodríguez, Ismael Miranda, Héctor
LaVoe and the Fania All Stars.
salsero
One who is a follower or participant in salsa 2. A name given to musicians
in a specific area of Cuba.
Samba
A form of Brazilian music that emerges from Carnival-related traditions.
Carnival in Brazil has its origin in the old Portuguese celebration
entrudo. Entrudo was a commemoration for a good harvest, when farm
owners and their slaves put on masks and fancy clothes to dance on
the streets. Carnival as we know it today started around mid-nineteenth
century, first just with music and dance and later with costumes.
In the beginning, carnival parties marched to the sound of Portuguese
songs. Soon these were replaced by the polka and music from other
immigrants. In 1870, a new kind of carnival music emerged that was
more typically Brazilian. In that year, people sang the first carnival
song created in the country: "E Viva Zé Pereira." Zé-pereiras
were a group of friends that played drums on the streets followed
by the people. From this carnival music emerged the samba.
sancocho
1. A Puerto Rican stew 2. A melting pot, blend, mixture of many things
together
santeria
The pantheistic religion of the Yoruban/Nigerian pople
and the Yoruban/Lucumi culture of Cuba, as well
as of Afro-Caribbean and others throughout the world. Marked by the multi-deity
concept of various Orishas and the use of the Batá drums
in the ritual ceremonies.
sartenes
Small frying pans welded together and used as bells for patterns in the Conga/Comparsa Carnaval styles.
They originated as makeshift descendants of the African Agogo bell.
segundo
The name used to describe the second or middle drum (the Tres
Golpes) in the set of three used in the Rumba styles.
Also loosely used to describe the second drum in a pair or the middle
drum in a set of three.
septeto
The Son ensemble that resulted from the addition of
the Trompeta China (and later the trumpet)
to thte Sexteto ensemble. (Most prominent was
the Septeto Nacional de Ignacio Piñiero founded in 1927).
sexteto
The initial form of Son group emanating from the Changui groups
consisting of the tres, contrabass, guitar, bongos, maracas and clave with
vocals. (Most prominent was the Sexteto Habanero founded in 1920).
shekeré
(Alternate Spelling--chekere) Calabash gourds strung with beads, used
for percussion.
shines
The freestyle, and many times syncopated, footwork usually done while
dancing mambo or chachachá in
open dance position.
sobado
The name given to the sound played by the hand on the hembra,
or low drum. From the Spanish word "sobar" - to rub. (CS)
son
Most influential Cuban style initiated in the second half of the nineteenth
century in the eastern province of Oriente. It combines Spanish elements
of the Canción style and instruments with
African rhythm and percussion. Early forms were interpreted by the Campesinos and
developed by the Changui groups.
sonero
A lead singer with the ability to improvise lyrics, relevant stories,
and melodies.
songo
A fusion of elements of rumba, son, jazz and funk. The bands playing
this style usually bear electronic instrumentation. The development
of songo is attributed to Juan Formell and his band Los Van Van.
son montuno
Style emanating from the Son tradition, with richer
rhythm.
songo
Contemporary Cuban rhythm which is a combination of Rumba, Son and
other folkloric styles. Its development has also been influenced by the
American Jazz and funk styles as well as American approaches to the rhythm
section instruments in these styles.
Subidor
high-pitched bomba drums providing dialogue with the dancers in a bomba.
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T -
tambora
Barrel-shaped double-headed drum from the Dominican Republic used in
the Merengue style. The drum is played with a stick which strikes
one head and the wooden shell of the drum, and the hand which plays
the opposite head.
timbalero
The musician who plays the timbales (as a "drummer" plays the
drumset).
timbales
Pair of tunable drums invented in Cuba. Mounted on a stand and played
with sticks and some timekeeping strokes made with the hand on the lower
drum. Measuring in sizes from 13" to 15" in diameter they are
paired as 13" and 14" or 14" and 15". Initially used
exclusively by the Charangas interpreting Danzón,
they became part of the Latin orchestra in the 1940's and are now a mainstay
and signature sound of many Afro-Latin styles. The standard set now includes cowbells,
woodblocks and a cymbal. Timbales are the direct descendant of the European
tympani. The larger of the two drums is called the hembra and
the smaller macho. (CS)
timbalitos
Smaller and higher pitched versions of the standard timbales measuring
in sizes from 9" to 12", they are usually added to the standard
set for a setup of four drums and are mostly used in soloing.
timbalones
Larger version of timbales, typically found in Charangas.
(CS)
timba songo layé
An Afro-Cuban feel invented by Changuito. (CS)
tipico
1. Spanish term for typical or traditional. 2. Term specifically used
to describe the Orquesta Tipica. 3. Term
informally used to describe traditional, folkloric or "classic" sound,
instrumentation or approach to playing an instrument or style.
tres
A smaller derivative of the Spanish guitar with either three sets of
two strings or sometimes three sets of three strings. It is a key instrument
and signature sound of the Changui and Son style.
tres golpes
Term used to desribe the middle drum (Salidor, Tres
Golpes, Quinto) as well as the pattern played
on this drum in the Rumba Guaguancó.
tresillo
Spanish term for triplet, it is used to describe the three note group
of the three side of the clave when the rhythmic
interpretation is "in the cracks" between the duple and triple
meter. In the Son parallel of the Afro 6/8 clave,
the rhythm is a literal triplet. In the Son clave it
is an interpretive triplet. The tresillo functions the same as the cinquillo.
trompeta china
See Corneta China.
trova (cancion)
Another term used to describe a style of the Spanish Canción form,
with the sensibility of the troubador style.
tumbadora
The single headed, hollowed Cuban drums derived fromt the Congolese Makuta
drums. Initially made from hollowed logs with cowhides nailed or strung
on, they are now made of wood and fiberglass with mass-produced hardware
and heads. Also generically called Conga drums.
tumba francesa
A folkloric style developed in the Oriente (eastern) province of Cuba,
developed by Africans who departed Haiti after the Haitian Revolution
in 1791. (CS) 1. Style of music of Dahomean roots originally developed
in the eastern province of Oriente byt the slaves who emigrated to Cuba
after the Haitian Revolution in 1791. The drums are used to play the
style.(EU)
tumbáo (bass, congas)
The repeated pattern played by the tumbadoras or
drums. (CS) The standard timekeeping patterns performed by the bass and congas in
the popular dance styles as the Son, Son
Montuno, Guaracha, Mambo etc.
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U -
(empty)
- V -
vacunáo
In Rumba Guaguancó,
a thrust made by the male depicting sexual capture of the female.
vihuela
a five stringed musical instument similar to the lute and quite common
in Spain and other parts of Europe, reaching the height of its popularity
in the 16th century. The vihuela is tuned A-D'-G'-B-E and today is
only used in mariachi bands.
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W -
(empty)
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X -
(empty)
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Y -
yambú
A form of Rumba traditionally performed on the Cajones.
It is a slow to medium tempo duple meter style and is danced by male-female
couples but does not include Vacunáo of
the Rumba Guaguancó.
Yoruba
The yambú is a slow-tempo rhythm in which dancers imitate the
motions of older people. It is intended for flirtation between men and
women while avoiding physical contact; hence the expression: "en
el yambú no se vacuna" (There's no fooling around in yambú).
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Z -
(empty)
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