The pan-Latin Americanism of salsa is found in its cultural milieu, more than its musical structure. That bell arrangement became the standard for timba, which emerged at the end of the 1980s. [10] Such early guitars are thought to have given rise to the tres some time around 1890 in Baracoa. Bobby Sanabria: "The concept of utilizing 3-2 and 2-3 as a terminology developed in New York City. One exception was the BVSC spin-off, the Afro-Cuban All Stars. Several Cuban New York musicians who had already been performing Cuban dance music for decades when salsa was popularized initially scoffed at the term. ", Loza, Steven. Salsa is made up of various rhythms, mambo, guaracha, son, cha-cha, etc.., and the difference between these rhythms and Reggaeton / Rap as examples, is that salsa music has musical substance. Salsa Cubana ist der „klassische“ Stil und der in Deutschland noch immer am weitesten verbreitete. [32] They also occasionally included other instruments such as the bongo, and later they decided to expand the trio format to create a son conjunto by adding a piano, more guitars, tres and other voices. Bongos are not typically used in charanga bands. The most recent innovations in salsa genre include hybrids like Latin house, salsa-merengue and salsaton, alongside salsa gorda. Quiz for Spanish vocabulary to do with computers. The cinquillo rhythm is now in the second measure. The pachanga was popularized by Orquesta Sublime and other Cuban charangas. '", Gerard 1989, p. 7. Kevin Moore states: "There are two common ways that the three-side is expressed in Cuban popular music. These bands consisted of a relatively small horn section, piano, double bass, a full array of Cuban percussion instruments and a vocalist fronting the ensemble. Cuban popular music played a major role in the development of many contemporary genres of African popular music. Darunter versteht man beim Salsa den Zeitpunkt in der Musik an dem ein Richt… The traditional conjunto format consists of congas, bongos, bass, piano, tres, a horn section, and the smaller hand-held percussion instruments: claves, guíro, or maracas, played by the singers. 2010 p. 247. The demise of the USSR (Cuba's major economic mainstay) in 1991 forced Cuba to encourage tourism to attract sorely needed foreign currency. [90] The musical aspect of this social change was based on the Cuban son, which had long been the favored musical form for urbanites in both Puerto Rico and New York. Peñalosa 2010 p. 248. Der Unterschied besteht nun im Interesse an diesem Thema und darin, was tatsächlich auf der Insel im Vergleich zu vor 10 Jahren verfügbar ist. He was perhaps the greatest sonero ("Castellano que bueno baila usted", "Vertiente Camaguey"); another important sonero was Roberto Faz. [115] More often than not, clave was not a major consideration in the composing or arranging of these hits. "Salsa Losing Popularity To Ballads On City Airwaves", http://www.timba.com/artist_pages/alain-p-rez-interview-part-2?lang=en-US, "Cali ratificó ser la capital mundial de la salsa", "Mambo On 2: The Birth of a New Form of Dance in New York City", https://web.archive.org/web/20160304193521/http://www.timba.com/musician_pages/3, http://launch.groups.yahoo.com/group/latinjazz/, "What is Salsa? The U.S. embargo against Cuba (1962) halted the two-way flow of music and musicians between Cuba and the United States. The tres plays the typical Cuban ostinato figure known as guajeo. "[111] The re-working of Afro-Cuban rhythmic patterns by Africans brings the rhythms full circle. Later these conjuntos added piano, other percussion instruments, more trumpets, and even dance orchestra instruments in the style of jazz big bands. ... Salsa New York Style wird … The five-stroke clave represents the structural core of many Afro-Cuban rhythms, both popular and folkloric. In 1975 New York, DJ and conga drummer, Roger Dawson created the "Sunday Salsa Show" over WRVR FM which became one of the highest-rated radio shows in the New York market with a reported audience of over a quarter of a million listeners every Sunday (per Arbitron Radio Ratings). Older generations continue to preserve the son as one of the music genres they listen to, specifically in Oriente, where they tend to maintain more traditional versions of the son compared to Havana.[39]. Globally, the term salsa has eclipsed the original names of the various Cuban musical genres it encompasses. [15][16], Musicologist Peter Manuel proposed an alternative hypothesis according to which a great deal of the son's structure originated from the contradanza in Havana around the second half of the 19th century. The basic son ensemble of early 20th-century Havana consisted of guitar, tres, claves, bongos, marímbula or botija, and maracas. Rubén Blades' album Siembra was heard everywhere on the island throughout the mid-80s and has been quoted extensively in the guías and coros of everyone from Van Van's Mayito Rivera (who quotes [Blades'] 'Plástico' in his guías on the 1997 classic Llévala a tu vacilón), to El Médico de la Salsa (quoting another major hook from 'Plástico'—'se ven en la cara, se ven en la cara, nunca en el corazón'—in his final masterpiece before leaving Cuba, Diós sabe).[107]. When salsa uses non-Cuban rhythms, such as a Puerto Rican plena, guajeos are essential to tie that genre in with the salsa format. Chicago Review Press, Inc., 2004. Despite being given credence by some authors in the first half of the 20th century, including Fernando Ortiz, the Crónicas were repeatedly shown to be apocryphal in subsequent studies by Manuel Pérez Beato, José Juan Arrom, Max Henríquez Ureña and Alberto Muguercia.[18]. For the most part, salsa music was not influenced by developments in Cuban popular music during the 1970s. Leymarie, Isabelle. Most salsa is in two-three clave, and most salsa piano guajeos are based on the two-three onbeat/offbeat motif. The 1980s saw salsa expand to Nicaragua, Argentina, Peru, Europe and Japan, and diversify into new stylistic interpretations. Manuel, Peter, with Kenneth Bilby and Michael Largey. [14] In the 20th century, salsa acquired a musical meaning in both English and Spanish. Jahrhunderts in den Ostprovinzen Kubas ( Oriente ) durch die Verbindung von afrokubanischen Trommelrhythmen mit der Gitarrenmusik der spanischen Farmer. This group established the "classical" configuration of the son sextet composed of guitar, tres, bongos, claves, maracas and double bass. [12] Nonetheless, it has become increasingly clear for musicologists that different versions of the son, i.e. This era of creativity and vitality is best represented by the Gonzalez brothers of Conjunto Libre (as the band was originally called). Celia Cruz, who had a successful career in Cuba, was able to transition well to salsa in the United States. [64] By the time salsa emerged in the 1970s, there was already a second generation of clave savvy composers and arrangers working in New York. Additionally, as a result of the increasing popularity of big band music and in an effort to increase revenues, the recording industry focused on producing newer types of music and essentially removing son from their music repertoires. The 1980s was a time of diversification, as popular salsa evolved into sweet and smooth Puerto Rican salsa romantica, with lyrics dwelling on love and romance, and its more explicit cousin, salsa erotica. Cuban timba musicians and New York salsa musicians have had positive and creative exchanges over the years, but the two genres remain somewhat separated, appealing to different audiences. Clave is the basic period, composed of two rhythmically opposed cells, one antecedent and the other consequent. Print. There was one final distinct Latin music era in New York before salsa emerged, and it was an original, home-grown hybrid: the Latin boogaloo (or boogalú). Oscar D'León from Venezuela is a huge salsa star. A chord progression can begin on either side of clave. [45] Many salsa songs contain a nationalist theme, centered around a sense of pride in black Latino identity, and may be in Spanish, English or a mixture of the two called Spanglish.[41]. Salsa ist sowohl eine Musikrichtung als auch ein Tanz, der seine Wurzeln in der afro-kubanischen Kultur hat und sich in Puerto Rico und New York zu einer der aufregendsten Mischungen der Latin Music entwickelt hat. "[32] As an example of this, ethnomusicologist Ed Morales notes that the interaction of Latino rhythms and Jazz music in mid-twentieth century New York was crucial to the innovation of both forms of music. Palmieri's solos tend to be rhythmically complex, with avant-garde elements such as harmonic dissonance. A lot of people get confused about how to use these words. A turning point that made this transformation possible occurred when then-president Machado publicly asked La Sonora Matancera to perform at his birthday party. Tito Puente worked for a time in the Afro-Cubans before starting up his own successful band. Latin jazz (which was also developed in New York City) has had a significant influence on salsa arrangers, piano guajeos, and instrumental soloists.. Salsa is … [80] When a chord progression begins on the two-side of clave, the music is said to be in two-three clave. Regionen unterschied. Harlow also stretched out from the typical salsa formula with his ambitious opera Hommy (1973), inspired by the Who's Tommy, and integral to Celia Cruz's comeback from early retirement. [37], The salsa controversy is also closely tied to the decades-long estrangement between the governments of the United States and Cuba, and the United States embargo against Cuba. Mongo Santamaria: "Don't tell me about 3-2 or 2-3! Led by Angel "Cachete" Maldonado and featuring a young Giovanni Hidalgo, Batacumbele interpreted songo in a horn-based format, with a strong jazz influence. Mauleón codifies this approach with examples of bomba, plena, and merengue arrangements for salsa ensemble. Emilio Grenet: "[The] melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak." He said: 'the sones that were composed at that time were nothing more than two or three words that were repeated all night long. [72], According to Bobby Sanabria, the 3-2, 2-3 concept and terminology was developed in New York City during the 1940s by Cuban-born Mario Bauzá, when he was music director of Machito's Afro-Cubans. "[114] Since the mid-1990s African artists have also been very active through the super-group Africando, where African and New York musicians mix with leading African singers such as Bambino Diabate, Ricardo Lemvo, Ismael Lo and Salif Keita. [89] Some of the young boogaloo artists, like Willie Colón, were able to transition into the next phase—salsa. The Trío was founded by Miguel Matamoros (vocals and first guitar), who was born in Santiago de Cuba (Oriente) in 1894. Although the two rhythms share no parts in common, the band received death threats because some right wing Cuban exiles thought Palmieri's band was playing contemporary Cuban music. They reported on this "new" phenomenon taking New York by storm—salsa.[23]. One of those groups, The Apaches, was invited in 1916 to a party held by President Mario Menocal at the exclusive Vedado Tennis Club, and that same year some members of the group were reorganized in a quartet named Cuarteto Oriental. Argeliers, L. "Notes toward a Panorama of Popular and Folk Music. Although there have been many disputes regarding the origins of salsa, the first salsa album ever to be recorded and released was from Louie Ramirez who was born in New York of Puerto Rican parents. When you're backing a soloist, you play a riff over and over again. A proliferation of music clubs, recording studios, and concert appearances of Cuban bands in Léopoldville spurred on the Cuban music trend during the late 1940s and 1950s. Many leading salsa artists have described salsa in broad and inclusive, but vague terms, making no mention of the music's Cuban foundation. A series of repeated octaves invoke a characteristic metric ambiguity. [44] Politically and socially activist composers have long been an important part of salsa, and some of their works, like Eddie Palmieri's "La libertad - lógico", became Latin, and especially Puerto Rican anthems. The time had come for a new level of integration of jazz and Cuban rhythms. Similarly, radio broadcasts of son became popular in West Africa and the Congos, leading to the development of hybrid genres such as Congolese rumba. From New York, salsa quickly expanded to Puerto Rico, the Dominican Republic, Colombia, Nicaragua, Venezuela, and other Latin American countries. [27] The sextet members were: Guillermo Castillo (conductor, guitar and second voice), Gerardo Martínez (first voice), Felipe Neri Cabrera (maracas and backing vocals), Ricardo Martínez (tres), Joaquín Velazco (bongos), and Antonio Bacallao (botija). [8], The first salsa bands were predominantly Cubans and Puerto Ricans. Since a chord progression can begin on either side of clave, percussionists have to be able to initiate their parts in either half (a single measure in 22 or 24). "Although a great number of New York's stars and sidemen in the 1970s were Cuban and Puerto Rican, the basic musical elements of salsa were derived mainly from Cuba.". For example, Orquesta Ritmo Oriental started using the most common salsa timbale bell and bongo bell combination. The chachachá originated in the Cuban charanga bands, but was adopted by the horn-based groups in New York. We feel it, we don't talk about such things"—quoted by Washburne 2008 p. 190. An intransitive verb is one that does not require a direct object (e.g. In 1997, the film and CD Buena Vista Social Club, produced by Ry Cooder, was a big hit in the United States. In this sense salsa has been described as a word with "vivid associations". "It is ironic that in a music dominated by Nuyorican and Puerto Rican musicians, the use of the folk music of Puerto Rico has never been very popular. Jerry Gonzalez founded the jazz group the Fort Apache Band, which included his brother Andy and established a new standard for Latin jazz. !Den Unterschied machen für mich hier die lange Erfahrung und das tänzerisch... e Können der Trainer, die familiäre und lockere, freundliche Atmosphäre. 8–9. The influx of Cuban musicians had more of an impact on jazz than salsa. In Dragon Ball Z: Battle of Gods, six righteous Saiyans hold hands in a circle and transfer their kiinto the Saiyan who is becoming the Saiyan God. Often the last note of the measure (ponche) is held over the downbeat of the next measure. Print. Some of the founding salsa artists were Johnny Pacheco (the creator of the Fania All-Stars), Celia Cruz, Rubén Blades, Richie Ray, Bobby Cruz, Ray Barretto, Willie Colón, Larry Harlow, Roberto Roena, Bobby Valentín, Eddie Palmieri, and Héctor Lavoe. The trumpet and trombone moñas shown below ("Bilongo") can be repeated verbatim, or altered. Díaz Ayala, Cristóbal: Discografía de la Música Cubana. 252. Taylor & Francis, This page was last edited on 13 March 2021, at 14:47. Latin jazz (which was also developed in New York City) has had a significant influence on salsa arrangers, piano guajeos, and instrumental soloists. Louie Ramirez has been called "the Quincy Jones of Salsa". Music professor and salsa trombonist Christopher Washburne writes: This pan-Latino association of salsa stems from what Felix Padilla labels a 'Latinizing' process that occurred in the 1960s and was consciously marketed by Fania Records: 'To Fania, the Latinizing of salsa came to mean homogenizing the product, presenting an all-embracing Puerto Rican, Pan-American or Latino sound with which the people from all of Latin America and Spanish-speaking communities in the United States could identify and purchase.' Some Cuban musicians referred to this late-80s sound as salsa cubana, a term which for the first time, included Cuban music as a part of salsa. "Cuban Fire: The Story of Salsa and Latin Jazz." There are those who say that Salsa is an evolution of Cuban music, however the sound originates from Puerto Rican composer and musician Louie Ramirez. The other measures outline C. Most salsa bass tumbaos are based on the tresillo pattern. Washburne notes that Willie Colón is an exception. In 1955 José Curbelo recorded some other salsa songs (La familia, La la la and Sun sun sun ba bae). New York: Continuum Publishing, 2002. Where and How Did it Start? Spanish School Vocabulary Quiz; Spanish Verbs – estar, ser, tener, haber, hacer, ir, venir, decir, poder, dar, ver, saber; Games. "El Pito" was another hit by this popular combo. "[31] Rubén Blades' definition of salsa is also inclusive: "Salsa music is urban folklore at the international level. KROSS S.A. ul. (used to ask for something or permission) a. can ... My son doesn't know how to tie his shoes. Hutchinson says salsa music and dance "both originated with Cuban rhythms that were brought to New York and adopted, adapted, reformulated, and made new by the Puerto Ricans living there. Departing from the rumba-inspired percussion parts of the previous songo era, "La expresiva" uses typical salsa bell patterns creatively incorporated into a Cuban-style timbales/drum kit hybrid. Moñas differ from typical rhythm section guajeos in that they often will rest for a beat or two within their cycle. My girlfriend can dance the salsa. The bands that were playing in Havana had meanwhile been steadily evolving into something quite distinctly Cuban, and less like salsa. The claves and güiro are played by the singers. The Africans adapted guajeos to electric guitars, and gave them their own regional flavor. [33], At present, the traditional-style son is seldom heard but has been assimilated into other genres and is present in them. But in addition, throughout the 1970s, salsa groups from Colombia, the Dominican Republic, and Venezuela, among other Latin American nations, emerged, composing and performing music that related to their own specific cultural experiences and affiliations, which posited salsa as a cultural identity marker for those nations as well.[29]. The city became a haven for the Mafia, gambling and prostitution in Cuba, and also became a second home for trendy and influential bands from New York City. Those trovadores from different parts of the country met others who already lived in Havana such as María Teresa Vera and Rafael Zequeira. Along with tourism, music became one of Cuba's major assets. New York: Continuum Publishing, 2002. The Buena Vista Social Club album and film as well as a stream of CDs triggered a worldwide Cuban music boom. Calle Real. Boggs, Vernon W., ed. "[33] He later notes that Mambo helped pave the way for the widespread acceptance of Salsa years later. Sergio George is up front and unapologetic about his attitude towards clave: "Though clave is considered, it is not always the most important thing in my music. It was first recorded in 1985 by Compay Segundo's own group. [82] What's known as the Cuban típico style of soloing on trombone draws upon the technique of stringing together moña variations. Offering forums, vocabulary trainer and language courses. Cuban conguero Daniel Ponce summarized this sentiment: "When the Cubans arrived in New York, they all said 'Yuk! The 1970s also brought new semi-known Salsa Bands from New York City, Bands like Angel Canales, Andy Harlow (Larry Harlow's brother), Chino Rodriguez y su Consagracion (Chino Rodriguez was one of the first Chinese Puerto Rican artist that cued the eye of Fania Record's owner Jerry Masucci and later became the Booking Agent for many of the Fania Artists. The number of salsa bands, both in New York and elsewhere, increased dramatically, as did salsa-oriented radio stations and record labels. During this same period, Tito Puente changed to performing and recording primarily Latin jazz for the remainder of his career. The slick, highly produced Fania sound was too predictably formulaic for some tastes. Clickio provides advanced monetization, site performance, analytics and compliance solutions to publishers P. 367. "Poncho Sanchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis.". Adalberto Alvarez y su Son. Prior to the founding of Libre, they had played in one of Palmieri's most experimental salsa bands. Along with the final D4, the initial D4 on the [last offbeat] in the first measure of the module and the Eb4 on the [offbeat] immediately preceding the final note of the module are identical in both modules. When adapting these non-Cuban rhythms to salsa it is common to alter them in order to fit into the Cuban template. The 1970s saw a number of musical innovations among salsa musicians. After trovador Sindo Garay settled in Havana in 1906, many other trovadores followed him hoping to obtain a recording contract with one of the American Companies such as RCA Victor and Columbia Records. Dawson helped to broaden New York's salsa audience and introduced new artists such as the bi-lingual Angel Canales who were not given play on the Hispanic AM stations of that time. Arroyo worked for many years with the Colombian arranger Fruko y sus Tesos (Fruko and his band Los Tesos). Sergio George quote. There were many other working bands as well. Er benötigt wenig Platz und ist daher ideal geeignet für volle Tanzflächen. He used improvised solos, toques, congas, extra trumpets, percussion and pianos, although all these elements had been used previously ("Papauba", "Para bailar son montuno"). In 1966, the same year as Joe Cuba's pop success, the Palladium closed because it lost its liquor license. And salsa was a way to do this so that Jerry Masucci, Fania and other record companies, like CBS, could have a hegemony on the music and keep the Cuban musicians from spreading their music abroad. In this way, only the two offbeats of tresillo are sounded. It is a concept. That is why some salsa musicians refer to piano guajeos as montunos. The first version of the module is over the dominant chord and contains the pitches A3 (the fifth) and C4 (the seventh). [19] Around 1910 the son most likely adopted the clave rhythm from the Havana-based rumba, which had been developed in the late 19th century in Havana and Matanzas.[20]. Create an account or log in to Instagram - A simple, fun & creative way to capture, edit & share photos, videos & messages with friends & family. By the late 1940s, son had lost its controversiality even among conservative Cubans which made it even less appealing to Cubans. Can already lead/follow all basic combinations and turns with in cuban Salsa, or are relatively new to L.A. style/Cross-body Salsa (improver level) As LA style is a specific way to dance On1, as far as French are concerned (and with the terminology they use) Johnny Vasquez is dancing salsa portoricaine sur le 1 which is a special case of salsa portoricaine, but salsa portoricaine is not synonymous with LA style Q … [89] By the end of the 1960s though, the Latin music establishment shut down boogaloo airplay and the movement fizzled out. 130. Techniques like guajeo pattern displacement often make the music difficult for non-Cubans to dance to. 2. The marketing of salsa romántica singers has often been based more on their youthful sex appeal than on the quality of their music. Willie Colón introduced the cuatro, a rural Puerto Rican plucked string instrument, as well as some songs with jazz, rock, and Panamanian and Brazilian music influences.[94]. 4. Print. Producer and pianist Sergio George helped to revive salsa's commercial success in the 1990s by mixing salsa with contemporary pop styles with Puerto Rican artists like Tito Nieves, La India, and Marc Anthony. "Salsa and Socialism: Dance Music in Cuba, 1959–99.". These include son montuno, son oriental, son santiaguero and son habanero. Popularization began in earnest with the arrival of radio broadcasting in 1922, which came at the same time as Havana's reputation as an attraction for Americans evading Prohibition laws. Unexpectedly, a fifth member of the quartet is mentioned, Carlos Godínez, who was a soldier in the standing army (Ejército Permanente). However, it was Joe Arroyo and La Verdad, his band, that popularized Colombian salsa beginning in the 1980s. Younger generations of Cubans prefer the faster, dance-oriented son-derivatives such as timba or salsa. Guajeos are a seamless blend of European harmonic and African rhythmic structures. Charanga Habanera, Havana d'Primera, Klimax, Paulito FG, Pupy y Los Que Son, Salsa Mayor, and Tiempo Libre. Salsa at 79 years old! Leymarie, Isabelle. 2 talking about this. In Spanish, the word son, from Latin sonus, denotes a pleasant sound, particularly a musical one. [16][17], Various music writers and historians have traced the use of salsa to different periods of the 20th century. Soon, they were creating their own original Cuban-like compositions, with lyrics sung in French or Lingala, a lingua franca of the western Congo region. Sometimes there are references to Afro-Cuban religions, such as Santeria, even by artists who are not themselves practitioners of the faith. This led to the development and mass distribution of newer types of Latin music. [29] At that time many sextets were founded such as Boloña, Agabama, Botón de Rosa and the famous Sexteto Occidente conducted by María Teresa Vera.[28]. Salsa ist ein lebendiger Tanz, eine ständige Improvisation in einer klaren rhythmischen Form. The 1970s was the songo era in Cuba, with groups like Los Van Van and Orquesta Ritmo Oriental playing a highly syncopated, rumba-influenced form of charanga. With some guajeos, offbeats at the end of the two-side, or onbeats at the end of the three-side serve as pick-ups leading into the next measure (when clave is written in two measures). The term boogaloo was probably coined in about 1966 by Richie Ray and Bobby Cruz. Sales Department export@kross.pl. In 1980 the Mariel boatlift brought thousands of Cuban refugees to the United States. "Son (music)" redirects here. Moña 1 sounds every stroke of 2-3 clave except the first stroke of the three-side. Leszno 46 06-300 Przasnysz Poland. [63] The specific alignment between clave and the conga is critical. By the end of the decade, Fania Records' longtime leadership of salsa was weakened by the arrival of the labels TH-Rodven and RMM. Moore: "By the 1940s [there was] a trend toward the use of what Peñalosa calls the 'offbeat/onbeat motif.' If the song hits, that's what matters. However, the development of Salsa Cubana is drastically different. It was in Havana where the encounter of the rumba rural and the rumba urbana that had been developing separately during the second half of the 19th century took place. Although the first, third, and fourth notes (G3, C4, and Eb4) are identical in both modules, the second note reflects the change in harmony. [100] As salsa grew and flourished in other countries, removed by both time and space from the New York epicenter, it adopted local sensibilities and drifted away from its Afro-Cuban moorings. Critics of salsa romántica, especially in the late 80s and early 90s, called it a commercialized, diluted form of Latin pop, in which formulaic, sentimental love ballads were simply put to Afro-Cuban rhythms—leaving no room for classic salsa's brilliant musical improvisation, or for classic salsa lyrics that tell stories of daily life or provide social and political commentary. To distinguish it from similar genres from other countries (such as son mexicano and son guatemalteco), the term son cubano is most commonly used. By the early 1980s a generation of New York City musicians had come of age playing both salsa dance music and jazz.
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