Brenda K. Starr, Son By Four, Víctor Manuelle, and the Cuban-American singer Gloria Estefan enjoyed crossover success within the Anglo-American pop market with their Latin-influenced hits, usually sung in English. 9. Palmieri's solos tend to be rhythmically complex, with avant-garde elements such as harmonic dissonance. When you're backing a soloist, you play a riff over and over again. In 1980 the Mariel boatlift brought thousands of Cuban refugees to the United States. Washburne recounts: "As arrangers struggled to 'fit' these music styles into a salsa format, a variety of 'clave discrepancies,' or clashes, like in 'Cali Pachanguero,' often resulted. Music of Latin America and the Caribbean, 2nd Edition, 2018. And that was a very, very broad category, because it even includes mariachi music. Melodic variety is created by transposing the module in accordance to the harmonic sequence, as Rick Davies observes in his detailed analysis of the first moña: The moña consists of a two-measure module and its repetition, which is altered to reflect the montuno chord progression. It began with Juan Formell, the former director for Orquesta Revé (1968), and the founder and current director of Los Van Van. The next Cuban "dance craze" to hit the United States was the chachachá. [15] She cites the first use in this manner to a Venezuelan radio DJ named Phidias Danilo Escalona;[15][20] In 1955 Cheo Marquetti created a new band called Conjunto Los Salseros and recorded some new songs (Sonero and Que no muera el son). Ironically, Cuban-based music was promoted more effectively worldwide in the 1970s and 1980s by the salsa industry, than by Cuba. Sometimes there are references to Afro-Cuban religions, such as Santeria, even by artists who are not themselves practitioners of the faith. The five-stroke clave represents the structural core of many Afro-Cuban rhythms, both popular and folkloric. Salsa romantica can be traced back to Noches Calientes, a 1984 album by singer José Alberto "El Canario" with producer Louie Ramirez. According to Lise Waxer, "African salsa points not so much to a return of salsa to African soil (Steward 1999: 157) but to a complex process of cultural appropriation between two regions of the so-called Third World. Salsa it comprises various musical genres including the Cuban son montuno,guaracha,chachacha,mambo and bolero Samba Samba is a Brazilian musical genre and dance style. It is still common today for an African artist to record a salsa tune, and add their own particular regional touch to it. Formell fused American pop with clave-based Cuban elements. The number of salsa bands, both in New York and elsewhere, increased dramatically, as did salsa-oriented radio stations and record labels. answer choices Reggae Salsa Samba Soca Zouk Tags: Question 4 SURVEY 30 seconds Q. Fuses Afro-Caribbean styles of the marcha, reggae and calypso, and is played by carnival bands, hard and fast percussive Zimbabwean Dance music played on drums with guitar accompaniment, influenced by mbira-based guitar styles, popular form of South African music featuring a lively and uninhibited variation of jitterbug, a form of swing dance, popular music style fom Nigeria that relies on the traditional Yoruba rhythms, where the instruments are more Western in origin, dancd style begun in Zaire in the late 1980s, popularized by Kanda Bongo Man. The Cuban origins of the music do not conveniently fit into the pan-Latino narrative. Some songs, especially English ones originating in the United States, are at times impossible to place in clave. 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." Sometimes clave is written in two measures of. By the end of the decade, Fania Records' longtime leadership of salsa was weakened by the arrival of the labels TH-Rodven and RMM. The clave patterns originated in sub-Saharan African music traditions, where they serve the same function as they do in salsa. The term salsa was initially promoted and marketed in New York City during the 1970s. The pianist uses this guajeo to provide the rhythm section with its drive. Whereas salsa occasionally superimposes elements of another genre, or incorporates a non-salsa style in the bridge of a song, Cuban popular music since the 1970s has fully integrated North American jazz and funk to the point of true hybrid. 8–9. In 1979 Harlow released his critically acclaimed La Raza Latina, a Salsa Suite. The [offbeats] in the second-module measure reflect the harmonic changes. Some of the other important timba bands include Azúcar Negra, Bamboleo, Manolín "El Médico de la salsa". This process eventually resulted in the establishment of several different distinct regional genres, such as soukous.[110]. [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. Salsa is the product of various musical genres including the Cuban son montuno, guaracha, cha cha chá, mambo, and to a certain extent bolero, and the Puerto Rican bomba and plena. In one scene, the Afro-Cuban folkloric genres of batá and rumba are shown being performed in Puerto Rico, implying that they originated there. [41], Salsa lyrics often quote from traditional Cuban sones and rumbas. Fusion of calypso with Indian rhythms, thus combining the musical traditions of the two major ethnic groups of Trinidad and Tobago, Muslim music often performed as a wake. A piano guajeo may be played during the verse section of a song, but it is at the center of the montuno section. Motivated primarily by economic factors, Fania's push for countries throughout Latin America to embrace salsa did result in an expanded market. In this sense salsa has been described as a word with "vivid associations". The following I IV V IV progression is in a three-two clave sequence. Every salsa musician must know how their particular part fits with clave, and with the other parts of the ensemble. [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. It's music is Cuban,Puerto Rican and Colombian dance music. [36] Today, competing nationalities claim ownership of the music, as there are musicians in New York City, Puerto Rico, Colombia, and Venezuela, who claim salsa was invented in their country. At the height of its popularity, the Palladium attracted Hollywood and Broadway stars, especially on Wednesday nights, when a free dance lesson was offered. It comprises various musical genres including the Cuban son montuno, guaracha, chachacha, mambo and bolero, basic underlying rhythm that typifies most Brazilian music. 7:30 pm – 9:30 pm Cocoson is a unique small band that sounds like a big salsa orchestra. [43] It's not uncommon now to hear the Puerto Rican declamatory exclamation "le-lo-lai" in salsa. The following guajeo is based on the clave motif in a two-three sequence. Louie Ramirez has been called "the Quincy Jones of Salsa". Once the audience is clapping clave along with him, Palmieri will sit back down at the piano and proceed to take his solo. It is a Jaimacan musical style that was strongly influenced by the island’s traditional mento music. The first post-Revolution Cuban dance music genre was the short-lived, but highly influential mozambique (1963). It includes everything. Cuba's momentary "salsa craze" brought back some of those older templates. 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 the product of genres such as the Puerto Rican bomba and plena. In this usage salsa connotes a frenzied, "hot" and wild musical experience that draws upon or reflects elements of Latin culture, regardless of the style. 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). Some salsa tumbaos that have a specific alignment with clave. [82] What's known as the Cuban típico style of soloing on trombone draws upon the technique of stringing together moña variations. It is. Washburne notes that Willie Colón is an exception. [104] Some viewed salsa romantica as a rhythmically watered-down version of the genre. That is how people learn Cuban music outside Cuba"—Timba.com 2002. Salsa music is a popular dance music genre that initially arose in New York City during the 1960s. 10. Some bands are expanded to the size of a mambo big band, but they can be thought of as an enlarged conjunto. '", Gerard 1989, p. 7. In this way, only the two offbeats of tresillo are sounded. 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. Listen: Guatacando." John Storm Roberts states: "It was the Cuban connection, but increasingly also New York salsa, that provided the major and enduring influences—the ones that went deeper than earlier imitation or passing fashion. [70] John Amria describes the rhythmic sequence of clave: [With] clave ... the two measures are not at odds, but rather, they are balanced opposites like positive and negative, expansive and contractive or the poles of a magnet. Is a musical genre from Nigeria in Yoruba tribal style to wake up the worshippers after fasting during the 6. It comprises various musical genres including the Cuban son 1939 p. XV. [67] When clave is written in two measures, each cell or clave half is represented within a single measure. Most salsa is in two-three clave, and most salsa piano guajeos are based on the two-three onbeat/offbeat motif. [86] Some of the older, established band leaders took a stab at recording boogaloos—Tito Puente, Eddie Palmieri, and even Machito and Arsenio Rodríguez. In Colombia, a new generation of musicians began to combine salsa with elements of cumbia and vallenato; this fusion tradition can be traced back to the 1960s work of Peregoyo y su Combo Vacana. We feel it, we don't talk about such things"—quoted by Washburne 2008 p. 190. Salsa Salsa music is Cuban, Puerto Rican, and Colombian dance music. The Africans adapted guajeos to electric guitars, and gave them their own regional flavor. However, for the most part, the music of the BVSC and its spin-offs was from the pre-mambo era. This is most likely an influence of jazz conventions.[77][78]. The two bands were the main proponents of NY-style Mozambique, drew inspiration from the classic Cuban composers, and Afro-Cuban folkloric rhythms, while pushing the limits of salsa, and incorporating jazz elements. Several Cuban New York musicians who had already been performing Cuban dance music for decades when salsa was popularized initially scoffed at the term. [89] Some of the young boogaloo artists, like Willie Colón, were able to transition into the next phase—salsa. His show won several awards from the readers of Latin New York magazine, Izzy Sanabria's Salsa Magazine at that time and ran until late 1980 when Viacom changed the format of WRVR to country music.[93]. Peñalosa 2010 p. 248. [62] The single tone coinciding with the third stroke of clave is known as ponche, an important syncopated accent. In this way, multiple instrumentalists can improvise simultaneously while reinforcing the rhythmic/melodic momentum of the rhythm section.[84]. It comprises various musical genres including the Cuban son montuno, guaracha, chachacha, mambo and bolero. This comment caused an uproar both in Puerto Rico and New York. By that time, Cuban popular music had moved way beyond the old Cuban templates used in salsa. Jerry Gonzalez founded the jazz group the Fort Apache Band, which included his brother Andy and established a new standard for Latin jazz. Those chords move in accordance with the basic tenets of Western music theory. For example, Cuban-born Machito declared: "There's nothing new about salsa, it is just the same old music that was played in Cuba for over fifty years. Clave resolves in the second measure when the last stroke coincides with the last main beat of the cycle. Mongo Santamaría also had a charanga during this period. I have done research on this with many of the legendary figures in this tradition, most notably Mario Bauzá, who I played with for eight years."
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