A B C D E F G H I J K L M N O P Q R S T U V W X Y
Select the first letter of the word
from the list above to jump to the appropriate section of the glossary.
- A -
1. 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.
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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
See caballo.
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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.
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A rhythmic style combining
adaptations of sacred batá drum rhythms popularized in Cuba in the
1940s, and often used to interpret lullabies.
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See Pedro Izquierdo.
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The Yoruba
name for the beaded calabash gourds, also called shekeré/chekeré or guiro.
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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.
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- agrupación
- See son.
(empty)
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- amele
- See onkónkolo.
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Dahomean ritual/ceremonial drums
brought to the Oriente province of Cuba by the Haitian emigres following the Haitian slave
rebellion of 1791.
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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.
Home
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The African Congolese people and
culture. Considered one of the most influential African cultures throughout the Caribbean.
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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 eigth notes played alternatively on
various parts of the two timbales.
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the barracks which were used as slave
quarters in colonial Cuba' often: surrounding a courtyard.
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 speec patterns of the Yoruba
language.
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- batalero
- Batá player.
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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.
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An Afro-Latin ballad form usually
with romantic lyric content.
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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 tataken up by salsa musicians. 2. Large barrel-shaped drums, similar to and shorter
than the Cuban tumbadora (conga drum), used in the Bomba style.
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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.
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An adaptation of the European
military bass drum, used in Cuba for Carnaval in styles such as the conga.
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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.
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The bongo (and bell) player.
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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.
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One the basic rhythmic patterns of
the Bomba style played on the Bomba drum (may be
interpreted on congas as well).
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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.
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Inventor of the Afro-Cuban rhythm
called pilón.
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Automobile break drums used as metal
percussion sounds by the comparsas in the Cuban carnival.
Home
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.
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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.
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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.
Peasant people. Sometimes
referred to as Guajiros.
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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.
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The people of the African
Calabar region. They were primarily the founders and proponents of the Abacuá
(Abakwa) societies in Cuba.
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The Christian pre-Lent
celebration usually lasting from three days to a week.
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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.
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Another term for the large cowbell (campana).
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The smaller of the two heads
of the batá drums.
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The small bell mounted on the timbales and used for the Chachachá,
Guajira and similar styles.
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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.
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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.
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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.
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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.
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The smallest of the mounted timbale bells, used for the "Tipico"Charanga style.
See shekeré.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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The Havana style of the Cuban
carnival rhythm, called conga.
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The Santiago style of the Cuban
carnival rhythm, called conga.
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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.
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A conga player.
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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.
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(empty)
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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.
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The Chinese trumpet used in the early
Carnaval Comparsas and the first bass instrument to be added to
the Sexteto ensembles, creating the Septeto.
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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.
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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).
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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.
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The rhythmic stick pattern of the
Puerto Rican Bomba style. It sometimes functions as a clave in this style.
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Guitar-like instrument derived from
the Cuban Tres but containing four sets of two strings.
Primarily associated with Puerto Rican styles.
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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.
Home
A 19th century musical and dance form
emanating from the Contradanza and a predecessor to the Danzón.
See Habanera.
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.
The ten line verse structure common
to the Spanish Canción, it served as he traditional verse
structure of the Cuban Son.
An instrumental improvisation or
"jam session." Spanish word for "unloading."
A vocal introduction (sometimes
arranged, sometimes improvised); call-and-response style used in some Rumba styles.
Home
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."
A vocal refrain or chorus, the term
applies particularly to the vocal choruses of the Son
style.
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