In music of Afro-Cuban origin, tumbao is the basic rhythm played on the bass . In North America, the basic conga drum pattern used in popular music is also called tumbao . In the contemporary form of Cuban popular dance music known as timba , piano guajeos are known as tumbaos .
20-488: The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son -based musics, such as son montuno , mambo , salsa , and Latin jazz . Often the last note of the measure is held over the downbeat of the next measure. In this way, only the two offbeats of tresillo are sounded. The first offbeat is known as bombo , and the second offbeat (last note) is sometimes referred to as ponche . The following example
40-453: A specific counter- clave motif. Tomás Cruz developed several adaptions of folkloric rhythms when working in Paulito FG 's timba band of the 1990s. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his tumbaos span two or even four claves in duration, something very rarely done previously. He also made more use of muted tones in his tumbaos, all the while advancing
60-455: A two-beat cycle. The fundamental accent—2& is referred to by some musicians as ponche . The basic tumbao sounds slaps (triangle noteheads) and open tones (regular noteheads) on the "and" offbeats. There are many variations on the basic tumbao. For example, a very common variant sounds a single open tone with the third stroke of clave (ponche), and two tones preceding the three-side of clave. The specific alignment between clave and this tumbao
80-405: Is critical. Another common variant uses two drums and sounds bombo (1a) on the tumba (3-side of the clave ). For example: Beginning in the late 1960s, band conga players began incorporating elements from folkloric rhythms, especially rumba. Changuito and Raúl "el Yulo" Cárdenas of Los Van Van pioneered this approach of the songo era. This relationship between the drums is derived from
100-420: Is one of the original innovators of timba and is a popular salsa and timba performer. Paulito began his professional career singing with Adalberto Álvarez and Dan Den . He then joined the band Opus 13, led by the arrangers Joaquín Betancourt and Juan Manuel Ceruto. Paulito took over leadership of Opus 13 in the early 1990s, and changed the name of the group. In 1995 Paulito released Sofocándote , one of
120-464: Is written in cut-time (2/2). Arsenio Rodríguez 's group introduced bass tumbaos that have a specific alignment with clave . The 2-3 bass line of "Dame un cachito pa' huele" (1946) coincides with three of the clave's five strokes. David García identifies the accents of "and-of-two" (in cut-time) on the three-side, and the "and-of-four" (in cut-time) on the two-side of the clave, as crucial contributions of Rodríguez's music. The two offbeats are present in
140-701: The 1990s. Many timba bands use two keyboards, such as Issac Delgado 's group, which features's Melón Lewis (1st keyboard) and Pepe Rivero (2nd keyboard). Tresillo (rhythm) Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.151 via cp1112 cp1112, Varnish XID 382890339 Upstream caches: cp1112 int Error: 429, Too Many Requests at Fri, 29 Nov 2024 05:43:16 GMT Paulito FG Paulito FG (aka Paulo FG, Pablo FG) (born Pablo Alfonso Fernández Gallo in Cuba )
160-496: The contemporary speech of the street and places it into the refrains of his estribillos (choruses). Paulito considers the estribillo to be a synthesis of his overall message, and "the secret lies in the treatment of the estribillo inside the literary body of the song” (Vaughan 2010: 752). Paulito stated that during Cuba's economic crisis of the mid-1990s, known as the Special Period , timba music provided an opportunity “to forget
180-556: The development of . The example on the right is one of Cruz's inventos ('musical inventions'), a band adaptation of the Congolese-based Afro-Cuban folkloric rhythm makuta . He played the pattern on three congas on the Paulito song "Llamada anónima". The Cuban jazz pianist Gonzalo Rubalcaba developed a technique of pattern and harmonic displacement in the 1980s, which was adopted into timba tumbaos ( timba piano guajeos ) in
200-560: The following 2-3 bass line from Rodríguez's "Mi chinita me botó" (1944). The two offbeats are especially important because they coincide with the two syncopated steps in the son's basic footwork. The conjunto's collective and consistent accentuation of these two important offbeats gave the son montuno texture its unique groove and, hence, played a significant part in the dancer's feeling the music and dancing to it, as Bebo Valdés noted "in contratiempo " ['offbeat timing']—García (2006: 43). Moore points out that Rodríguez's conjunto introduced
220-533: The most innovative recordings of the new dance genre timba . This was the first CD featuring his drummer Yoel Páez, one of Cuba's best. Paulito (El bueno soy yo) was released in 1996. It features Sergio Noroña (piano), Yosvel Bernal (synthesizer keyboard), Joel Domínguez (bass), Tomás Cruz (congas), and Yoel Páez (drums). In 1997 he released Con la conciencia tranquila , considered by many to be his masterpiece (Moore 2011: web) The piano guajeos were individually constructed for each song. Joel Domínguez' bass-playing
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#1732858996381240-462: The shortages, the cutoff electricity, the bad transportation, to find refuge” (Vaughan 2012: 10). At the same time, timba, the first internationalized Cuban dance craze in decades, brought much needed tourist dollars into Havana. Over time, timba musicians sought to obtain some of the wealth they were earning for state institutions. They began to dress in a more flashy, hip-hop style, emulating the economic aspirations of many struggling Cubans. This led to
260-511: The spot with specialized hand signals. All the while, he constantly dances, interacts with the crowd, and reinterprets his own lyrics. Paulito's bands broke new ground with a number of innovations. Some of the most significant contributions came from his conga drummer Tomás Cruz. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his tumbaos span two or even four claves in duration, something very rarely done previously. He also made more use of muted tones in his tumbaos, all
280-469: The style known as rumba . The feeling of the high drum part is like the quinto in rumba, constantly punctuating, coloring, and accenting, but not soloing until the appropriate moment (Santos 1985). In several songo arrangements, the tumbadora (' conga ') part sounds the typical tumbao on the low-pitched drum, while replicating the quinto (lead drum) of guaguancó on the high-pitched drum. The quinto-like phrases can continually change, but they are based upon
300-455: The tumbao is what timba authority Kevin Moore refers to as “controlled improvisation;" the pattern continuously varies within a set framework. The basic son montuno tumbao pattern is played on the conga drum . The conga was first used in bands during the late 1930s, and became a staple of mambo bands of the 1940s. The primary strokes are sounded with open tones, on the last offbeats (2&, 2a) of
320-406: The two-celled bass tumbaos, that moved beyond the simpler, single-cell tresillo structure. This type of bass line has a specific alignment to clave, and contributes melodically to the composition. Rodríguez's brother Raúl Travieso recounted, Rodríguez insisted that his bass players make the bass "sing." Moore states: "This idea of a bass tumbao with a melodic identity unique to a specific arrangement
340-401: The while advancing the development of songo-type innovations created by Changuito and Raúl "el Yulo" Cárdenas of Los Van Van . The example on the right is one of Cruz's inventos ('musical inventions'), a band adaptation of the Congolese-based Afro-Cuban folkloric rhythm makuta . He played the pattern on three congas for the Paulito song "Llamada anónima." Like other timberos, Paulito takes
360-486: Was a continuation of Paulito's most creative period. The album marked the end of his collaboration with Juan Ceruto, with half of the songs arranged by Ceruto and the other half after his departure. Personnel included Mauricio Herrera (drums), Jorge "El Toro" Castillo (congas), Cristóbal Verdecia (bass), and Rolando Luna (piano). Paulito FG is one of the most innovative Cuban timba artists. He spontaneously moves his rhythm section through various arrangement changes, created on
380-468: Was both rhythmically aggressive and significantly melodic. Domínguez's bass lines were one of the major elements after the vocal choruses, giving the music its distinctive contrapuntal character. Creatively incorporating elements from different folkloric sources, the conga tumbaos of Tomás Cruz interlocks with the timbales / drumset hybrid parts created by Yoel Páez. The horn-playing and Ceruto's charts were also remarkable. Una vez más...por amor (2001)
400-468: Was critical not only to timba , but also to Motown , rock , funk , and other important genres." Timba tumbaos incorporate techniques from funk, such as slapping, and pulling the strings in a percussive way. The following excerpt demonstrates several characteristics of timba bass. This is Alain Pérez's tumbao from a performance of Issac Delgado piece "La vida sin esperanza". Pérez's playful interpretation of
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