The jungle is a Cuban music genre based on popular Cuban music along with salsa , funk/R & amp; B America, and the powerful influence of folkloric Afro-Cuban music.
Video Timba
Etimologi
The word bucket is part of the big family mb and of words that come in Spanish from the African language. Among the hundreds of other examples are rocks, rumba, marimba, kalimba, mambo, conga, and bongo.-- Moore (2010: v. 5:11).
Before being a Cuban music and a new favorite, the bucket was a word with several different uses but no special definitions, mostly heard in the Afro-Cuban races genre. A timber is a free term for a musician, and timbers often refer to a collection of drums in a folklore ensemble. Since the 1990s, buckets have referred to the form of intense Cuban music and dance forms and are a bit more aggressive.
At least as far back as 1943, the word timba was used in lyrics and song titles such as Timba timbero Casino de la Playa and Timbio timba Perez Prado team. This is also the name of the neighborhood in Havana. It began to be used as the musical genre name, first as bba brava, circa 1988. Many, the most famous NG La Banda leader Jose Luis "El Tosco" Cortes, claimed the award for being the first to use it to describe the new musical phenomenon- -Moore ( 2010: v. 5: 11).
Maps Timba
History
In contrast to the salsa, whose roots came from Cuban sons and bands in the 1940s and 1950s, timba represents the synthesis of many folklore (rumba, guaguancÃÆ'³, batÃÆ'¡ drums and sacred songs santerÃÆ'a.), and popular sources (even taking inspiration from non-Afro-Cuban music genres such as rock, jazz, funk, and the people of Puerto Rico). According to Vincenzo Perna, author of Timba: Cuban Crisis Voice, timba needs to be discussed for its musical, cultural, social, and political reasons; Its popularity in Cuba, its novelty and originality as a musical style, the skills of its practitioners, its connection with local traditions and the Diaspora's black culture, its meaning, and the way its style presents a point of tension in society. In addition to timbales, the bucket drummer uses the drum set, further distinguishing the sound from the ground salsa. The use of a synthesized keyboard is also common. Timba songs tend to sound more innovative, experimental and often more virtuoso than salsa pieces; the horn section is usually fast, sometimes even bebop-influenced, and extends to the extreme range of all instruments. Bass and percussion patterns are also unusual. Improvisation is common.
Precursors
The main timba precursors are three bands: Los Van Van, Irakere (both in the 1970s) and NG La Banda (1988), although many other bands (eg Son 14, Orquesta Asli de Manzanillo, Oriental Ritmo, Orquesta Revà ©  ©) influential in setting new standards.
Child 14
Grandes ÃÆ'Ë †xitos EGREM CD 0325 (Child 14). This CD is an excellent compilation of the best songs of Son 14 during the years in which Adalberto ÃÆ' lvarez led the band (1979-1983)...
Adalberto ÃÆ' lvarez, born in Havana and raised in CamagÃÆ'¼ey, already has some successful songs to write Rumbavana when Rodulfo Vaillant, one of the most famous composers of the era, invited him to Santiago as a musical director and a new group pianist called Son 14. The group started his career in 1979 with Adalberto's first big blow, "A Bayamo en coche." Alvarez went after three classic albums (plus a fourth song featuring Omara Portuondo's songs from three other songs) but Son 14 remained together, recording sporadically, under the leadership of Eduardo "Tiburiuni" Morales, the original singer "A Bayamo en coche." Adalberto ÃÆ' lvarez was one of the first to popularize the use of "gospel" chord progression using the main triads built on II, III and VI. Throughout the 1970s and 80s, more elements of the harmonic palette of pop music became accepted in Latin music and in the 1990s, anything that produced the hook became a fair game, resulting in a brilliant songwriting explosion while the North American salsa continues to be limited by the limitations of the genre formula.-- Moore (2010: v. 4:22)
Orquesta Ritmo Oriental
The Oriental Ritmo, often known as "La Ritmo", was one of the most popular bands in Cuba in the 1970s and 80s. Although the group is not so well known outside of Cuba, almost everyone who hears it becomes a member of the immediate sect. [... ] La Ritmo tumbaos violin is always inventive and Perera, often arranger and bass, creates tumbaos bass which are both thematic and fill holes created by other tumbaos. Pianist Luis Adolfo Peoalver mostly lived in the typical 1970s and 80s style, locking the plot with violin parts and gamosan of Lazaga style, while Perera, drummer Daniel DÃÆ'az, conguero Juan Claro Bravo and the remarkable musical stylist bounced to the never before happened before. creative altitude.-- Moore (2010: v. 3:33)
Original de Manzanillo
Original de Manzanillo added guitar to standard charanga instrumentation. Less adventurous than the Oriental Ritmo and other modern charangas, he is distinguished primarily by his singer and composer, Candido Fabrà ©  ©, an outstanding performer who influences almost every next singer with an uncanny ability to improvise the lyrics. The pianist and original leader of de Manzanillo, Wilfredo "Pachy" Naranjo is still with the group and his son, Pachy Jr., is the current pianist for Orquesta Revà ©  © and has been recorded alongside many others, including Angel Bonne.-- Moore (2010: v) 3: 33)
Elio RevÃÆ' ©, Sr. is an unrivaled talent scout. He may also be a hard man to work, if the number of musicians who have left his band is an indication! The remarkable legacy of famous Revoff bands began shortly after his group moved from Guantanamo to Havana in 1956. In 1958, most members left to form the Oriental Ritmoos. In 1965, young pianist Chucho Valdà © left his jazz career, which resulted in the establishment of Irakere. In 1968, Juan Formell, Pupy Pedroso and others set out to form Los Van Van. In the late 70s, Armando Gola, Velazco Germany and Pepe Maza went to form Orquesta 440. Singer FÃÆ'  © lix Baloy went after 1982 and enjoyed a long career with Adalberto ÃÆ' lvarez and as a solo artist. Arranger Ignacio Herrera also left after 1982. We are not sure what happened to Herrera, but based on his amazing arrangements on the 1982 album, he clearly has the potential to create his own brilliant spin-off band. Another Revec alumni who may extend to this list was Tony GarcÃÆ'a, pianist and musical director in the early 1990s and the arranger of the famous Revà ©  © "Mi salsa tiene sandunga" which became the theme song of Cuba's most important television music show, Mi Salsa. It was Ignacio Herrera's departure that caused RevÃÆ'  © to focus his talents in the spotlight on composer and other arranger Juan Carlos Alfonso. Alfonso is also a brilliant pianist whose tumbaos will be studied in this section. After five years and four classic albums that lifted the RevÃÆ' © to Van Van-like popularity and earned them the nickname La explosiÃÆ'³n del momento, Alfonso himself left the band in 1988 to form Dan Den. This is far from the end of the incredible Revà ©  © story, which we will take in later volumes. Suffice it to say that RevÃÆ'Â's history is like a Hollywood and Vine angle if you study it carefully enough, you will find most of the important Cuban musicians in the last 50 years in the process.-- Moore (2010: v. 4:49)
Los Van Van
In 1969, Formell left RevÃÆ' © to form his own band, Los Van Van, bringing along a lot of RevÃÆ' © musicians, including pianist Pupy Pedroso. His first new songs have much in common with the music he created for RevÃÆ' © even though he started calling it songo instead of changÃÆ'¼ÃÆ' .-- Moore (2010: v. 3: 16)
Los Van Van developed what came to be known as the 'songo' genre, making countless innovations for traditional sons, both in style and orchestration. In Latin music, the genre is generally associated with rhythm (though certainly not every rhythm is a genre), and whether or not the bucket is a genre of its own is debatable. Songo, however, can be considered a genre and most likely the only genre in the world only played by one orchestra, Los Van Van. The songo rhythm was created by percussionist JosÃÆ'Ã… © LuÃÆ's Quintana ("Changuito"), on the orders of Van Van Juan Formell band leader. Since the creation of the band in 1969, Los Van Van has become the most popular band in Cuba, and they themselves are regarded as one of the top timba bands.
Iraqere
Iraqere is known as a Latin jazz band outside Cuba, but most of their music can be regarded as popular dance music. Like Los Van Van, Iraqere experimented with many different styles, mixing Afro-Cuban rhythms with sons and jazz. While the band's leader Chucho ValdÃÆ' © s was revered as one of the great jazz musicians of Cuba, both jazz and magic tricks came out of the orchestra, including distilled player Josà ©  © Luis CortÃÆ' © s ("El Tosco"), who assembled a group of highly talented musicians to form NG La Banda in the mid-1980s. NG experimented with different styles, including Latin jazz, for several years, before recording what many considered the first bundled album, En La Calle , in 1989.
"Special Period" (early 1990s)
During the Special Period of the early 1990s, timba became a form of significant expression for the cultural and social upheaval that took place. The Special Period is a period of economic collapse and hardship for the people of Cuba. After the dissolution of the Soviet Union, Cuba's main trading partner, the country has experienced a worse crisis since the revolution. Cuba is now opening its doors to tourism, and the influx of tourists to the island helps broaden the appeal of music and dance. The impasse between Cuba and the rest of the world gives space to breathe new life into the city, causing nightlife and party parties to grow. Timba's dance debut and popular energy sound among tourists at a time when music and dance indirectly helped provide support for the struggling Cuban economy. While timba flourished early in the decade when Afro-Cuban conservative graduates turned to popular music caterers for inner city youth, its growth followed the music and tourism industry, as the country tried to tackle the economic challenges of the World-Soviet post. The Timba lyrics pose much controversy due to the use of vulgar and intelligent street languages, and also because they make covert references to public issues including prostitution, crime, and tourism effects on the island, which are rarely addressed by other musicians. This is not normal in previous Cuban texts. There is also a reaffirmation of Cuban identity. The difference of opinion between the old traditionalists who went abroad for success and the young blood trapped in the house - and the difference in financial rewards - will undoubtedly lead to friction. The next time, timba has largely crossed from an easily accessible mainstream media to one directed at the rich elite in high-end places. This puts a different bucket with rap, which has come in several ways to fill the role of mass music.
NG La Banda
Although NG La Banda had a great success in the early 1990s, and is credited with being the first bass band, the fate of the band has been mixed, in part because they remain highly experimental.
NG La Banda, commonly regarded as the first bass band, was one of the first groups to standardize the use of specialized gear and tumbao piano tracks, as well as being the first in a series of bands to experience the popularity of "mania" -as in Havana during the basting years 1990s.
But in terms of its members, NG La Banda is far from new. They've played with the name "Nueva GeneraciÃÆ'³n", recording some eclectic jazz albums. Five members came directly from Iraqere: leader, Josà ©  © Luis "El Tosco" CortÃÆ' © s, and all parts of the horn, known affectionately to fans as Los metales de terror for the flawless and aggressive execution of the El Virtulocic horns Tosco them... El Tosco [had] a task in 1970 with Los Van Van. The original concept for NG La Banda was to combine the appeal of popular music of Van Van Van with the jazz influence and extraordinary musicians from Iraqere.
The rhythm section is no less virtuoso than the horn. Drummer Calixto Oviedo, Bassist Feliciano Arango, drummer Giraldo Piloto and Conguero Wickly Nogueras went on to become a legend on their respective instruments. The most important from our point of view is the pianist Rodulfo "PeruchÃÆ'n" ArgudÃÆ'n... The original singers were Tony Calla and Issac Delgado, respectively from Ritmo Oriental and Pachito Alonso. Delgado left NG to form his own band around 1991. Piloto joined him about a year later as a drummer, composer and music director. El Tosco replaces Issac with another great singer, Antonio Mena...-- Moore (2010: v. 5:14)
La Charanga Habanera
What came to be known as an "explosive timb" began not with NG La Banda, but with La Charanga Habanera's debut album, "Me Sube La Fiebre", in 1992. The album included all the elements of what is now known as timba, and the band dominated the scene until the breakup of the original band in 1998 (they have been reformed).
Charanga Habanera is... catapulted to superstar status in the 1990s. Like NG La Banda, charangueros have many teething, tumbaos and tapaos changes, but their style of music is very different and constantly changing and evolving with each album. The Charanga Habanera album can be purchased in its original form, which is fortunate as they are conceived as an album, with careful attention to artwork, playlists, and overall concepts. Every note on this album survives under strict supervision. I have written many articles on each of the first five albums at www.timba.com and I have started a more technical set of analytics from the same album from the point of view of the rhythm and girenya changes. The timba.com section of Charanga Habanera also includes a very accurate transcription of every lyric, including guÃÆ'as, on each of these albums.
In terms of instrumentation, Charanga Habanera is far from being a possible charanga, and there is an interesting story behind the band's misleading name. The group leader, David Calzado, who had played the violin for the Oriental Ritmo in the 1980s, landed a multi-year contract to play traditional charanga music every summer at a large Monte Carlo tour hotel, hence the band name that corresponds to Charanga Habanera. Every weekend, the band will play an opening set for band tours like Earth, Wind and Fire, Stevie Wonder, James Brown and Kool & amp; The Gang, and charangueros became big fans of both the music and stage performances of North American R & amp; B. Outside of the season, in Cuba, there is little work for their traditional music and the whole country goes wild for NG La Banda. In response, Calzado and music director/pianist Juan Carlos Gonzalez changed everything about Charanga Habanera except his name. They added three trumpets and saxophone, bongosero, kick drum, synthesizer, elaborate costumes and stage performances, and an entirely new kind of music that does not sound like NG La Banda or Earth, Wind and Fire, but who succeeds in pure musical magic in all levels. Tumbaos piano and setting... no lack of sublime. Charanga Habanera underwent three different stylistic periods in the 1993-1997 period, represented by the three albums described above. The previous album, Love Fever (Me sube la fiebre), fits perfectly with Hey You Loca and even shares two important songs: Me sube la fiebre and Para el llanto. If you catch Charanga fever, there are three important classics about Love Fever that are not re-recorded on Hey You Loca: "ExtraÃÆ' Â ± os ateos", "PregÃÆ'³n de chocolate", and "Te voy a liquidar." - Moore (2010: v. 5:16)
Since then a large number of bands have sprung up in Cuba and internationally, many of them the most famous being led or managed by former members of the bands mentioned above. Some important figures and bands include: Pachito Alonso y sus Now, AzÃÆ'ºcar Negra, Bamboleo, La Charanga Habanera, Charanga Forever, Los Dan Den, Alain PÃÆ' Â © rez, Issac Delgado, Tirso Duarte, Klimax, ManolÃÆ'n "El MÃ © Ã… © dico de la salsa ", Manolito y Su Trabuco, La Banda NG, Paulo FG, Pupy y Los Que Son Son (directed by CÃÆ' Â © sar" Pupy "Pedroso, former pianist of Los Van Van), and Los Van Van.
ManolÃÆ'n "El MÃÆ'Â © dico de la salsa "
If the early 1990s popularity of NG La Banda and Charanga Habanera was unprecedented, the response to the arrival of the next superstar group bordered on the overwhelming: the Cuban equivalent of Beatlemania. The unlikely star is Manuel "ManolÃÆ'n" Gonzalez, the amateur songwriter that NG's El Tosco found in medical school and famously nicknamed "El MÃÆ'Ã… © dico de la Salsa". ManolÃÆ'n's music is very different from Charanga Habanera because Charanga Habanera comes from NG La Banda. His creative team includes several arranger, including Luis Bu, the brilliant pianist, Chaka NÃÆ'¡poles... and a very strong and creative rhythm section. As influential as ManolÃÆ'n from musical point of view, his charisma, his unprecedented popularity and earning power had a more stinging effect, causing a level of excitement among musicians who had not been seen since the 1950s, if ever. To borrow a phrase from Reggie Jackson, El MÃÆ'Ã… © dico de la Salsa is a "drinking stirrer." - Moore (2010: v. 5:18)
Paulito FG
Paulo FernÃÆ'¡ndez Gallo, aka Paulito FG, Pablo FG or Paulo FG, joined Issac Delgado and ManolÃÆ'¬n as the top three singers in the 1990s. The other major bands of the time, from Los Van Van to Bamboleo, were led by musicians and featured "front lines" from two to four lead singers who took turns leading while singing the other singing coros. Paulito's vocal style is characterized by sharp precision and the ability to rediscover the melody of his composition with every appearance. Like a basketball point keeper he is able to call spontaneous gear changes and only Issac Delgado bands are able to change their appearance from night to night. The Paulito Band, "Elite", is indeed an elite force, with the best or one of the best players in Havana on almost any instrument. Many members remain from Opus 13 days. Paulito wrote almost all of his material and had a brilliant chemistry with the arranger Juan Ceruto and his star rhythm section, producing some of the most elaborate and original arrangements of the 1990s. Aesthetically, Paulito music seems to share a kinship with ManolÃÆ'n but from our perspective a more useful comparison is with Delgado. Delgado and Paulito are arguably the greatest live timba bands from the point of view of being able to use gears and improvisation to make each performance from a different song from one concert to the next. Each group has a very elaborate and flexible gear system, and each has a series of brilliant pianists. Many top pianists play in both bands at different points. Paulito's pianists are Emilio Morales, Sergio NoroÃÆ' Â ± a, Pepe Rivero, Yaniel "El MajÃÆ'¡" Matos, Rolando Luna, and Roberto "Cucurucho" Carlos. Delgado is Tony PÃÆ' Â © rez, MelÃÆ'³n Lewis, Pepe Rivero, Yaniel "El Maja" Matos, Roberto "Cucurucho" Carlos, Rolando Luna and Tony RodrÃÆ'guez.-- Moore (2010: v. 5:20)
Manolito y su Trabuco
The front line of Manolito y su Trabuco has included some of the best singers of the era, including Rosendo "El Gallo" Daz, Sixto "El Indio" Llorente (who sang many Orquesta AliamÃÆ' Â © n... And Carlos Kalunga, who sang many songs which KlÃÆ'max recommended in the previous section, Manolito's 1990s record also featured one of the best and wisest synthesizer players Osiris MartÃÆ'nez, who now plays with Los Que Son Son.Manolito has a great music chemistry with other productive composers, singer Ricardo Amaray.Much of the greatest results from Trabuco result from R & amp; B influences that have not been absorbed by Amaray filtered through strong Cuban aesthetics and governing Simonet's genius.Such as Isaac Delgado, Manolito creates CDs that combine aggressive aggressive baits he plays along with other styles designed to attract foreign buyers cumbias targeting South American audiences for example Manolito's masterpiece scattered in his 17-year-old disco graphy on every album.-- Moore (2010: v. 5: 22)
Bamboleo
Like ManolÃÆ'n, Bamboleo started life as one of El Tosco's pet projects. Led by pianist LÃÆ'¡zaro ValdÃÆ' Â © s, Jr., one of the most original timba regulators, they have an instantly recognizable sound, with R & B and jazz fusion integrated with aggressive buckling, and a complicated hand signaling system that allows bloques to be spontaneously built from smaller units. Only Issac Delgado and Paulito FG outperform Bamboleo in terms of using teeth changes to change the live performance from night to night. - Moore (2010: v. 5:23)
Klimax
The leader of KlÃÆ'max Giraldo Piloto is one of the most important figures in all of Cuba's music history. Father and his name are half of the team of songwriters Piloto y Vera and his uncle is the legendary percussionist Guillermo Barreto. Beyond both famous relatives, Piloto won a timba.com poll for Best Timba Drummer and finished fourth for Best Songwriter. He left NG La Banda for not giving him enough opportunities to write. As a freelancer he wrote three important songs for Charanga Habanera, including their breakthrough hit, "Me sube la fiebre." After joining Issac, he continued to write productively. When Piloto founded Klimax in 1995, his writing became more melodic, harmonious and the original lyrics, sometimes deviating into controversial areas that resulted in censorship by the government and always pushing the envelope of musical creativity in a beautiful and varied way. Klimax is the most harmonious and sophisticated popular music band in Cuban history.-- Moore (2010: v. 5:21)
Bakuleye
Bakuleye, known as the wand that awakens the gods living under the Earth, is another popular band in Cuba known for his bucket. The band's creator, Pedro Pablo Vargas, describes Bakuleye as the revival of new ideas. Bakuleye music is a mix of different musical rhythms such as Latin jazz, boleros, ballads, bachata, and especially salsa. As one of the most promising groups from Cuba, Bakuleye has received profitable press and television coverage.
Outside Cuba
In addition to Cuba, some bandba bands appear in Miami, Florida, where many Cuban-Americans live. This became possible because members of several bandba bands moved to Miami, such as Isaac Delgado, ManolÃÆ'n "El MÃÆ'Â © dico de la Salsa", Dany Lozada (former singer and composer for Charanga Habanera), and Pepito GÃÆ'³mez (former singer in Pupy y Los Que Son Son) but finally decided to move elsewhere (to Spain, Mexico, and New York). Others include Carlos Manuel, El Pikete, Michel Calvo, Jorge Gomez and "Tiempo Libre" (who received a Grammy nomination in 2005 for the album "Arroz con Mango" and in 2006 for the album "Lo que esperabas"), Los 10 de la Salsa, Chaka and his group "El Tumbao", and Tomasito Cruz and Timba All Stars Kubanya.
In Peru, the timba also stands out with no fewer than 30 bands dedicated to promoting Cuban music, the most famous of which are Mayimbe and the Cuban Team. Others include: Mangu, CamagÃÆ'¼ey, A Conquistar, ExplosiÃÆ'³n Habana, NÃ,Â'Samble, La Novel, DÃ,Â'FarÃÆ'¡ndula, Bembe, Son de Timba, Los Trabucos, YambÃÆ'º, and Yare. Also, Lima is a hometown for Cuban musicians such as Dantes Cardosa and Michel Maza (former vocalist for Charanga Habanera) and Caroband.
Style aspect
Dance and culture
In a broad sense, people danced timba in a style called a casino that existed long before before 1989, but certain rhythmic elements of the timba setting inspired the ways of dancing that were completely new. In some cases, dancers will respond to changes in music by switching between casinos and new dance styles, giving perhaps the single strongest argument for claims that timba is an independent genre and not just "son son montuno modern" or "Cuban salsa." - Moore ( 2010: v. 5: 11).
Harmony
The early 1970s groups opened the door to the idea of ​​using new harmony in Cuban music: rock and soul in the case of Los Van Van; jazz and classical music in the case of Irakere and their followers. In the 1980s there was a general tendency for harmony to be more traditional and less eclectic, but even the main architects of this trend, such as Adalberto ÃÆ' lvarez, added new harmonic ideas such as secondary dominance and inverted triads. In any case, loggers hit a partly open door and never looked back.
In terms of actual chord progressions used in the bucket, the harmony appendix is ​​also very useful. The highly recommended exercise is to play through the entire list in key C. As dramatically different as harmonica timba after studying music from the first four volumes, it's surprising to see how many tumbaos timba recycle the same progression with small variations. While the first decade of the 2000s has witnessed a general simplification of harmony that is not unlike the 1980s after the 1970s there is still a vast untapped opportunity for further harmonic exploration. May the readers of these books be one of the future explorers.-- Moore (2010: v. 5: 11, 12).
Organize
The 1990s witnessed dramatic innovations at every level of the hierarchy of tumbaos, to parts built on the repetition of the tumbaos, to the way the parts were combined in the overall arrangement.
Most pre-revolutionary rockets survived one clave before repeating. Two-cluster tumbaos became dominant in the 1970s and 80s. In the 1990s, the length of the tumbao of the four clans was the same as the two and sometimes extended to eight. Odd lengths like three, five and six are also sometimes used. In this sense, buckets can be seen as a continuation of the ongoing trend towards longer tumbao, but the length of the whole is only half the story. Many of the 70s and 80s rolling rug applied one clone rhythm to two clone chord progressions. With Latin jazz, and jazz-influenced salsa, chord progression can extend to eight or even sixteen claves, but basic rhythm cells keep repeating every clave. In the 1990s, even the two clubs tumbao usually feature different rhythms for each half of the pattern.
Minimize the level to check out the larger mambo and coro parts built from tumbao, we soon discover a new, almost unique set of device settings for the bucket. I call it "coro asymmetric". Instead of one or two clones followed by a main vowel of the same length as the same progression, the stylists may follow the three-clone corona with one cloned guia, one-clave coro and then three -clave guÃÆ'a, the entire set of eight- clave. They may also provide different chord progression for the main coro and vocal.
The horn is also part of a new paradigm. To review, the idea of ​​using the horn section to play repeated riffs begins with the diablo section of Arsenio RodrÃÆ'guez. Arsenio usually combine coros and riff horns over a single horn. By the 1980s it had become the standard for every arrangement to include such parts, now called mambos, but featuring only horns without vowels. The mambos horn will alternate with the coro/guÃÆ'a section. The arranger leads to dramatically end this type of predictable and formulated arrangement. By the time Charanga Habanera David Calzado and Juan Carlos GonzÃÆ'¡lez hit their stride in 1993, there was no unexplored horn, guà ,as, coros and tumbao combinations and were likely to be multiplied by accompanying hybrid mambos with various "tooth" rhythm sections. - Moore (2010: v. 5: 12, 13).
Rhythms
The part of the bucket rhythm is different from their salsa counterparts in many ways inseparable from the instrument itself, to the individual pattern of each instrument, to the way the patterns are combined into the gear, to the way the group navigates between the gears. The area where the most similar salsa and timba is the tempo span and part of the biggest bells, played by the bongosero in salsa and, depending on the band, either by bongosero, timbalero or drummer on bucket.
The bell played by a timbalero in salsa is sometimes played in the same way by a timbalero or a drummer in a bucket, but in a bucket band where one person plays either a bell pattern, a different pattern, or a series of looser improvisation patterns,. The standard time recognized conga marcha used universally in salsa is also often used in buckwheat, but many other variations are also used and some congueros actually write a special marchas for each song. Many of these timga conga marchas are two or four times the length of the standard conga marcha (or tumbao).
TomÃÆ'¡s Cruz developed several adaptations of the folkloric rhythms while working in the Paulito FG bass band in the 1990s. Cruz creations offer smart matches for bass and chorus. Many of his tumbas reach two or even four strains in duration, something very rarely done before. He also makes more use of muted tones in his tumbaos, all while advancing development. The example on the right is one of Cruz's inventos ('music discovery'), a band adaptation of the cathan-based Afro-Cuban folkloric rhythm based in the Congo makuta . He plays a pattern on three congas on Paulito's song "Llamada anÃÆ'³nima." Listen: "Llamada AnÃÆ'³nima" by Paulito F.G.
The very dramatic difference between the two genres is that the salsa band does not use kick drums, an essential element in all the bucket bands. Almost all bandba bands have trap drummers and those with timbalero (eg, Charanga Habanera) add a kick drum that he plays from a standing position.
The role of the bassist is also very different. Bassis Salsa has a standard obombo-ponche tumbaos. These are sometimes used in buckets, but more often using tumbao that is flattened, and often specific to the song in question, while the tumbaos bombo-ponche salsa, by definition, always use the same rhythm from song to song. Most importantly, bassist bucket stops and starts their tumbao, one of the decisive aspects of timba gears. In salsa, tumbao bass is everywhere.-- Moore (2010: v. 5:13).
Clave split
The significant aspect of the bucket's rhythm structure is the tendency to ignore or deliberately violate the basic principle of organizing the music in-clave. This has led to a split in the world of salsa and related Latin dance music.
Some people say that new music is a cruzado [wrong "cross over" to the clave and the great art of organizing music in-claves is being lost. Others say that young Cuban musicians only take "clave licenses" and use among other things, inspired quinto concepts.
The hit song Issac Delgado "La Sandunguita" (written by Alain PÃÆ' Â © rez), is an example of a deliberate arrangement of cruzado. Bass and chorus are within 3-2, but the bell pattern is within 2-3. [... ] When asked about his counter-clave (cruzado?) Tumbao at "La Sandunguita", PÃÆ' Â © rez said that his inspiration came from rumba, mentioning quinto in particular:
"[The Sandunguita] tumbao is a subconscious thing that... comes from rumba.To get this spontaneous and natural feeling, you must know la rumba... all percussion, quinto improvisation... While we do not 'Doubt for a moment where PÃÆ' Â © rez draws its inspiration from, it is difficult to rationalize its arrangement in terms of rumba, even taking into account the more extreme example of the quinto counter-clave fraction.PÃÆ' Â © rez is not trying to rationalize its arrangement in terms of clave theory though.It is not where he comes from [...] I just do not treat the clave as a study or an in-depth analysis arranged around where it overlaps and where it comes in. I do not I learn it that way... When I imagine tumbao, I do not stop and think or write to see where the clause matches and where not,... in tumbaos developed in Cuba, you hear quinto hits... for years Years now in Cuba the bands have used different rhythmic patterns. It's amazing how bass and piano have evolved in Cuba, and that's not something that stops... the possibilities are endless. "- PÃÆ' Â © rez (2000: timba.com)
The high art of popular music in-claves began in Cuba and spread throughout Latin America and finally, across the planet. Ironically, today's young Cuban musicians are openly opposed to popular music conventions arranging in-claves.-- PeÃÂÂ ± alosa (2009: 218).
Many salsa pianists are worried when they first learn the bucket and find measures that either conflict with the clave or fail to mark it convincingly. This is an understandable problem, because when faced with tumbaos whose rhythmic pattern lasts only one clave, the rhythm marks the clone or not. However, when the rhythmic pattern lasts two or fourfold, it gives the pianist the creative leeway to choose where, and how strong, to mark the clones. If you mark claves firmly every other measure, listeners and dancers will learn to anticipate it. Thus, you can use clave polarity for artistic effects, create tension with parts that make clones ambiguous or even conflict with it, making resolutions for strong clave-alignments increasingly satisfying when it comes "(Moore 2010: 41).
"Gears"
When a band develops certain combinations of piano, bass and percussion parts, and goes back to a few times in some songs, we call them "teeth". It can be as simple as repeatedly using one groove for cuerpos and another for coros, or tearing down the singer to talk to the crowd. Using this basic definition, we can say that all dance music has some sort of gear system, but Cuban music in the 1990s brought the concept to unprecedented levels of complexity and creativity. In fact, when answering the mandatory question of "what's the difference between salsa and timba?", The most important part of the answer revolves around the gear problem. The Cuban bands of the 1990s emerged with a much wider spectrum of teeth than their predecessors, but more importantly, many of them created visual, verbal and/or musical signals to enable them to apply spontaneous gear changes in a way that different for different performance. of the same song, that is, to improvise the cut shape. For example, a singer or musical director may give a hand gesture or shout "bomba!", After which the bassist will start shifting his right hand down the low-bass strings in a distinctive pattern, with percussion simultaneously changing their pattern into a predetermined combination that works with bass to create a bamboo groove that moves the pottery. This "gear change" can be written into settings or spontaneously called in live performances by hand or vocal signal.-- Moore (2010: v. 5:75)
Details
The breakdown gear sets the bucket apart from the other salsa. The following example is the funky Calixto Oviedo drumset pattern for a high energy-splitting type known as presiÃÆ'³n . Watch: Calixto Oviedo plays a drumset breakdown pattern presiÃÆ'³n
Compared to salsa
Although it is very similar to the salsa on the surface of things because of the origin of the male heritage, the bucket has a certain quality of its own that distinguishes it from salsa, similar to the way R & The American B is distinguished from the soul. In general, timba is considered a very aggressive type of music, with rhythm and "swing" taking precedence over melodies and lyrics. Associated with timba is a radical and provocative dance style known as despelote (literally meaning chaos or frenzy) consisting of rapid rotation of body and pelvis, thrusting and vibrating movement, bending and producing harmonious oscillations of the maximus glute. Those involved in showtimes and pemasyarakatan timba create a culture of black pride, strong, masculine, and male hypersexuality narration to go with a voice called "masculine" by the bucket. In a socialist society in which values ​​and centers of identity in labor and political citizenship, black males represent themselves not as a production force but a pleasure. The timba is complex, very easy to dance, and reflects the problems and contradictions of contemporary Cuban society as it expresses the repeated taps associated with everyday life repeatedly experienced by Cuba during the early 1990s. This is the dynamic evolution of salsa, full of improvisations and the heritage of Cuba Afro, based on the sons, Rumba and mambo, taking inspiration from Latin jazz, and very percussive with intricate sections. Very few existing "(or existing)" existing "salsa in Cuba, the most influential foreign salsero is Venezuelan Oscar D'LeÃÆ'³n, one of the few salsa artists ever to perform in Cuba. Timba musicians are thus entitled to claim a different musical heritage from salsa musicians.
Basically, buckets are more flexible and innovative than salsa, and include a variety of more diverse styles, all of which can be defined as buckets. The limits of what is timba and what is not less rigid when compared with the salsa, because innovation and improvisation is a key concept in Timba music. According to Juan Formell, director of Los Van Van, bucket is not a traditional son's form, but something new. Timba combines percussion and heavy rhythms originally from Cuban barrios.
The Timba combines many elements of Afro-Cuban culture and music. These include various Cuban Afro rhythms (on all instruments), expressions or parts of the lyrics in 'LucumÃÆ'' (Cuba Yoruba, previously used in religious contexts) and references to Afro-Cuban religion, the necessity for improvisation and interaction with the audience during concerts, storytelling in lyrics, melodic quotes, rhythms and/or lyrics from other sources and an ongoing part of the coro-pregon interaction (call and response) in the song. Contrary to salsa (early), timba does not claim social or political messages, partly because of the political situation in Cuba.
More specifically, timba differs from salsa in orchestration and settings. Some timba artists easily admit that they sometimes take inspiration from the flow of music that comes outside of Cuba. Thus, bands like La Charanga Habanera or Bamboleo often have horns or other instruments playing some melodic tones of songs by Earth, Wind and Fire, Kool and Gang or other funk bands. In terms of instrumentation, the most important innovation is the permanent incorporation of drum kits and synthesizers. Many timba bands instead kept the traditional charanga ensemble in the 1940s, which included double bass, conga, cowbell, clave, piano, violin, flute and in expanded horn sections which (in addition to traditional trumpets and trombones) could include saxophone. However, many innovations are made in the style of play and setting, especially on bass (sometimes taking inspiration from non Cuban music genres), pianos (with baroque musical elements such as Bach), horns (an intricate arrangement known as "champolas" ), and the use of clave (where 2-3 son clave is standard in salsa music, timba often leans towards 2-3 rumba clave, 3: 2 Son clave and 3: 2 rumba clave). Also different from salsa is the frequent shift from key major to minor (and vice versa), a very complex rhythmic arrangement (often based on santerÃÆ'a or abakuÃÆ'¡ rhythms), speed shifts and number of regulated breaks, or "bloques." Also, because of the many origins of Cuban Afro (and, of course, for traditional Cuban music such as Son), Timba's music is highly syncopated.
Status
Although timba is considered a popular form of music, technical mastery of timba is only possible through highly trained musicians, who have a strong theoretical background in classical music, jazz, traditional Cuban music, as well as other international genres. This is made possible through the high standards of government-run music schools in Cuba, as well as the intense competition among musicians.
The government's policy of supporting Cuba's artistic and musical arts is considered a source of revenue and a legitimate way to attract tourism. However, the island's most popular dance bands have been ignored by Latino radio in the US and parts of Cuba, and absent from the charts. However, Cuban sound pieces began reaching a wide audience in the US through music recordings produced by popular musicians, such as Willy Chirino and Qbadisc, from New York City, Miami, and Puerto Rico who are currently incorporating buckets into their songs. New York and Puerto Rico musicians have increasingly combined double-hit bass drums in a more sophisticated solution that is not yet in Cuba. Because of the resources available outside of Cuba, it is easier for musicians outside the island to create music that has been heavily influenced by the Cuban people. That is, it is easier for foreigners to mimic, create, and excel their music to the public more quickly because of the technology available. Gonzalo Grau, the leader of the band La Timba Loca, hopes the bucket will gain popularity in America, but he realizes that only a small crowd will come to show at first. Because of the politics surrounding Cuba, the music has no chance of gaining exposure in the United States and has not yet become as commercial as the traditional salsa of other Latin countries. Nevertheless, many Cuban musicians seek to work abroad, and a large number of musicians now work in exile, both in the United States and in Europe (and to a lesser extent in Latin America), leading to a new wave of crosses between buckets and salsa. While timba has passed its peak in recent years, all the major groups are still actively recording and performing, and major labels - especially in Europe - have started to take interest in the bucket.
Because the timba is so aggressive and the challenge of dancing to several Cuban bands in search of a wider audience has deliberately made Latin-majority music will find it easy to dance, mixing Latin staples like salsa, merengue, and romantic ballads into the Cuban Rhythm. In 1990, several bands have incorporated funk and hip-hop elements into their settings, and expanded the instrumentation of the traditional conjunto with American drum set, saxophone and two keyboard formats. Together with Kans and Cuban timbales, the drum set provides powerful funk and rock beat that adds more blows to the rhythm section, and bass players begin to incorporate funk-related play techniques, slap, and pull ropes by percussion. The combination of the trumpet and the saxophone gave the horn a more shaken sound, and the harmony began to flourish on a more contemporary level.
Source of the article : Wikipedia
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