The music of Paraguay has a long history.
The Paraguayan polka combines ternary and binary rhythms, whereas the European only uses binary. The most famous style of music is the Guarania, created by the Paraguayan musician José Asunción Flores in 1925. The Guarania accomplishes this by using a combination of slow rhythms and melodies of melancholia character. Other popular genres of traditional music in Paraguay are the zarzuela and the "Paraguayan Songs", which are derived from the Paraguayan polka. Examples of Paraguayan Guarania are Juan B. Mora - Imposible, Duo Ñamandu - Che Rope'a Vype, Lorenzo Perez - Mi Dicha Lejana, Los Indianos - Mis Noches Sin Ti and others.
The Spanish guitar and European harp are among the most popular instruments, while dances include the lively polka and distinctive bottle dance, which involves the performer twirling a bottle around her head. Composer and guitarist Agustín Barrios is perhaps the country's best known export.
The Paraguayan harp deserves special mention as a popular instrument with a national style associated with it. The harp in South America dates back to at least 1556-7, possibly as early as the beginning of the 16th century. These harps had 26 to 38 strings, though most typically no fewer than 36. It was frequently used in church music in place of the organ or harpsichord. The Paraguayan harp is a simplified variation of the instrument, with 38 strings tuned to one major diatonic scale.
Several world-popular genres of music, such as rock are fairly new in the Paraguayan music scene. This is because of the fierce dictatorship enforced by former President Alfredo Stroessner during his mandate from 1954 to 1989, in which he banned all forms of liberal expressions. Despite that, a few rock groups were formed in the 1970s such as The Aftermad's and The Blue Caps. It wasn't until Stroessner's downfall in 1989 that rock groups emerged. In the 1990s groups such as Chris Patik, Enemigos de la Klase, Deliverans, El Templo, Dogma, Shamán, Turkish Blend and Slow Agony became popular. In the new millennium, Paraguayan rock bands have gained a strong following thanks to the big rock festivals such as "Pilsen Rock" and "Quilmes Rock", which gather around 60,000 spectators for every edition. The bands have even gathered some international success by touring throughout Latin America and even making small gigs in the United States. The most popular rock bands as of now are Rolando Chaparro, Flou, Revolber, Ripe Banana Skins, Area 69, Paiko, Salamandra, Gaia, and NOD. The real rock bands are 220 Voltios, Sucios y Desprolijos, Steinkrug, Linaje, Black Manzana, and Alto Voltaje.
There is a small but vibrant jazz community in Paraguay. Key players include: Palito Miranda (alto sax), Remigio Pereira (trombone), Victor "Toti" Morel (drums), Oswal Gonzalez (drums), Riolo Alvarenga (drums), Jorge "Lobito" Martinez (piano), Carlos Schvartzman (guitar), Carlos Centurión (piano), Gustavo Viera (guitar), Eduardo "Tato" Zilli (bass), Nene Salerno (bass), Ariel Burgos (bass), Victor Morel Jr. (drums), German Lema (organ), Jose Villamayor (guitar), Bruno Muñoz (tenor and alto sax) and others.
The main exponents are Agustín Barrios Mangoré, José Asunción Flores and Juan Carlos Moreno. Silva studied abroad and reproduced, in the guarani vocal form, the indigenous music, based on the European technique. Moreno composed works inspired on popular themes in a romantic classical path.
Tuesday, June 26, 2012
Music of Panama - AH Smeets
Panama is a Central American country, inhabited mostly by mestizos (persons of mixed African, European and indigenous ancestry). The music of Panama was influenced first by the indigenous populations of Kunas, Teribes, Nobe Bugle and others, and then by the black population who were brought over, first as slaves from Africa, and also Colombia between the 16th century and the 19th century, and then voluntarily (especially from Jamaica, Barbados, Martinique, Guadeloupe, Trinidad, Saint Lucia) to work on the Panamanian Railroad and Canal projects between the 1840s and 1914.
With this heritage, Panama has a rich and diverse music history, and important contributions to Cumbia, Saloma, Pasillo, Punta, Tamborito, Mejorana, Bolero, Jazz, Salsa, Reggae, Calypso, Rock and other musical genres.
The Saloma and Mejorana feature a distinctive vocal style said to derive from Sevillians. The most important native instruments used to play these musics are the mejoranera, a five-stringed guitar accompanying songs called mejoranas as well as torrentes, and the rabel, a violin with three strings used to play cumbias, puntos and pasillos in the central provinces of Coclé, Herrera, Los Santos and Veraguas.
Cumbia
Closely related to its more well-known Colombian cousin, Panamanian cumbia, especially amanojá and atravesao styles, are domestically popular. Another important music is punto and the salon dances like pasillo, danza and contradanza. During the nineteenth and 20th centuries, the Pasillo music was very popular.
A folk dance, called tamborito is very popular. Danced by men and women in costumes, the tamborito is led by a cantalante, a female lead singer, who is backed by a clapping chorus (the "estribillo") that sings four-line stanzas of copla (a lyrical form related to Spanish poetry) as well as three drums.
A somewhat similar genre called congo is popular among the black communities of the northern coast in Costa Arriba, which includes Portobelo, a province of Colón; it is distinguished by using upright drums and wild, lascivious movements and lyrics.
Tipico
Contemporary popular Panama folkloric music is generally called música típico, or pindín, which since the 1940s has included instruments such as the guiro, conga and especially the accordion, among others. Some famous Panamanian artists in this genre are Ulpiano Vergara, Lucho De Sedas y Juan De Sedas, Dorindo Cárdenas, Victorio Vergara, Roberto "Papi" Brandao, Nenito Vargas, Yin Carrizo, Abdiel Núñez, Manuel de Jesús Abrego, and Samy y Sandra Sandoval, just to name a few.
Panama's leading salsa musician, Ruben Blades, has achieved international stardom, after collaborating with other local musicians like Rómulo Castro and Tuira. Other world famous musicians from Panama included Luis Russell, who played with Louie Armstrong in the 1920s, Mauricio Smith, a noted saxophone and flute player who played with Chubby Checker, Charles Mingus, Dizzy Gillespie, Machito and Mongo Santamaría, among others. Victor "Vitin" Paz, a pillar of the Latin jazz trumpet, was a cornerstone of the Fania All Stars for many years.
Meanwhile, Panama has a long history in jazz, beginning with Luis Russell, pianist, composer and director, who travel to New Orleans in 1919 and made important contributions. By the 1940s the port city of Colón boasted at least ten local jazz orchestras. Legends of Jazz in Panama included pianist and composer Victor Boa, Bassist Clarence Martin, Singer Barbara Wilson and French Horn player John "Rubberlegs" McKindo. This Jazz legacy was recently reinvigorated when the US-based Panamanian pianist Danilo Perez organized the first Jazz Festival in January 2004.
Panama also boasts a vibrant history of Calypso and Mento music sung by nationally well-known musicians such as Lord Panama, Delicious, Two-Gun Smokey, Lady Trixie, Lord Kitty, and Lord Cobra and the Pana-Afro sounds.
By the 1960s, local doo-wop groups were evolving into what became known as the Combos Nacionales, five to ten musician groups using electric instruments and incorporating the diverse sounds of jazz, calypso, salsa, vallenato, doo wop, soul and funk. Famous Combos Nacionales included The Silvertones, The Exciters, The Fabulous Festivals, The Beachers, The Soul Fantastics, Los Mozambiques, The Goombays, Los Juveniles, Roberto y su Zafra and Bush y sus Magnificos. By 1970, the dynamic Combos Nacionales sound dominated Panamanian popular music, only winding down toward the late 1970s.
Reggae en Español originated in Panama, known as Spanish Reggae is very popular among youth, and spawned the Spanish language dancehall also known as Reggae en Español (Spanish dancehall) style known as the predecessor to Reggaeton, which originated with such artists as El General, Nando Boom, Renato, Aldo Ranks, Kafu Banton, Jam & Suppose, and Chicho Man, before becoming popular in Puerto Rico, the Dominican Republic and eventually amongst youth in the United States. As of 2006, Panama has become a major source and contributor to reggaeton and, especially as Reggaeton from Panama is on the rise and continues to dominate charts in the United States and abroad.
Reggae influences in Panama have also spawned several popular Reggae Roots bands, such as Pureza Natural, Raices y Cultura, Inspiración Mística, Panta Rey, among others.
A thriving and very popular Rock en español scene has produced such groups as Orquesta Garash, Radicales Libres, Filtro Medusa, Skamilonga, Los Rabanes, Xantos Jorge, Cage 9, Factor VIII, Os Almirantes, Nervial, Los 33, Señor Loop, Roba Morena, Out-Reazon, Lemmiwinks, Skraped Knees, Calibre 57 just to name a few.
This list would not be complete without mentioning Pedro Altamiranda and his historically popular music spanning several generations and political moments. Many popular phrases and slang used in Panama are lyrics from Altamiranda's songs.
Composer
Vicente Gómez Gudiño, pasillo
César Alcedo, pasillo
José Luis Rodríguez Vélez, cumbia, bolero, pasillo
Rodrigo Escobar Tamayo, cumbia, décimas, pasillo, vallenato
Carlos Cedeño, cumbia
Carlos Cleghorn, cumbia
Didio Borrero, cumbia, bolero
Mavin Moreno, cumbia
Ricardo Fábrega, bolero, pasillo
Eduardo Charpentier, pasillo
Alberto Galimany, pasillo
Luis "Lucho" Azcárraga, pindín
Ruben Blades, salsa
Omar Alfano, salsa
Lord Panama, calypso
Nando Boom, reggae
Luis Russell, jazz, swing
Danilo Perez, jazz
Roque Cordero, classical
Samuel Robles, classical (website)
Emiliano Pardo, classical (website)
Andrés Carrizo, Classical
Music Director
Aurelio Escudero
José Luis Rodríguez Vélez
Armando Boza
Luciano Muñóz
Luis Russell
Singers
Flex, reggaeton
Makano, reggaeton
Barbara Wilson, jazz
Sandra Sandoval, pindín
Catalina "Catita" Carrasco, cumbia
Lucho De Sedas
Accordion
Rogelio "Gelo" Córdoba
Ulpiano Vergara
Juan De Sedas
Dorindo Cárdenas
Victorio Vergara
Yin Carrizo
Samy Sandoval
Osvaldo Ayala
Ceferino Nieto
Roberto "Fito" Espino
Papi Brandao
Alfredo Escudero
Isaac De León
Trumpet
Victor "Vitin" Paz
Mejoranera
Juan Andrés Castillo
Organist
Luis "Lucho" Azcárraga
Guitar
Emiliano Pardo Tristán
Daniel Ritter
Violin
Samuel Ramos
Clímaco Batista
With this heritage, Panama has a rich and diverse music history, and important contributions to Cumbia, Saloma, Pasillo, Punta, Tamborito, Mejorana, Bolero, Jazz, Salsa, Reggae, Calypso, Rock and other musical genres.
The Saloma and Mejorana feature a distinctive vocal style said to derive from Sevillians. The most important native instruments used to play these musics are the mejoranera, a five-stringed guitar accompanying songs called mejoranas as well as torrentes, and the rabel, a violin with three strings used to play cumbias, puntos and pasillos in the central provinces of Coclé, Herrera, Los Santos and Veraguas.
Cumbia
Closely related to its more well-known Colombian cousin, Panamanian cumbia, especially amanojá and atravesao styles, are domestically popular. Another important music is punto and the salon dances like pasillo, danza and contradanza. During the nineteenth and 20th centuries, the Pasillo music was very popular.
A folk dance, called tamborito is very popular. Danced by men and women in costumes, the tamborito is led by a cantalante, a female lead singer, who is backed by a clapping chorus (the "estribillo") that sings four-line stanzas of copla (a lyrical form related to Spanish poetry) as well as three drums.
A somewhat similar genre called congo is popular among the black communities of the northern coast in Costa Arriba, which includes Portobelo, a province of Colón; it is distinguished by using upright drums and wild, lascivious movements and lyrics.
Tipico
Contemporary popular Panama folkloric music is generally called música típico, or pindín, which since the 1940s has included instruments such as the guiro, conga and especially the accordion, among others. Some famous Panamanian artists in this genre are Ulpiano Vergara, Lucho De Sedas y Juan De Sedas, Dorindo Cárdenas, Victorio Vergara, Roberto "Papi" Brandao, Nenito Vargas, Yin Carrizo, Abdiel Núñez, Manuel de Jesús Abrego, and Samy y Sandra Sandoval, just to name a few.
Panama's leading salsa musician, Ruben Blades, has achieved international stardom, after collaborating with other local musicians like Rómulo Castro and Tuira. Other world famous musicians from Panama included Luis Russell, who played with Louie Armstrong in the 1920s, Mauricio Smith, a noted saxophone and flute player who played with Chubby Checker, Charles Mingus, Dizzy Gillespie, Machito and Mongo Santamaría, among others. Victor "Vitin" Paz, a pillar of the Latin jazz trumpet, was a cornerstone of the Fania All Stars for many years.
Meanwhile, Panama has a long history in jazz, beginning with Luis Russell, pianist, composer and director, who travel to New Orleans in 1919 and made important contributions. By the 1940s the port city of Colón boasted at least ten local jazz orchestras. Legends of Jazz in Panama included pianist and composer Victor Boa, Bassist Clarence Martin, Singer Barbara Wilson and French Horn player John "Rubberlegs" McKindo. This Jazz legacy was recently reinvigorated when the US-based Panamanian pianist Danilo Perez organized the first Jazz Festival in January 2004.
Panama also boasts a vibrant history of Calypso and Mento music sung by nationally well-known musicians such as Lord Panama, Delicious, Two-Gun Smokey, Lady Trixie, Lord Kitty, and Lord Cobra and the Pana-Afro sounds.
By the 1960s, local doo-wop groups were evolving into what became known as the Combos Nacionales, five to ten musician groups using electric instruments and incorporating the diverse sounds of jazz, calypso, salsa, vallenato, doo wop, soul and funk. Famous Combos Nacionales included The Silvertones, The Exciters, The Fabulous Festivals, The Beachers, The Soul Fantastics, Los Mozambiques, The Goombays, Los Juveniles, Roberto y su Zafra and Bush y sus Magnificos. By 1970, the dynamic Combos Nacionales sound dominated Panamanian popular music, only winding down toward the late 1970s.
Reggae en Español originated in Panama, known as Spanish Reggae is very popular among youth, and spawned the Spanish language dancehall also known as Reggae en Español (Spanish dancehall) style known as the predecessor to Reggaeton, which originated with such artists as El General, Nando Boom, Renato, Aldo Ranks, Kafu Banton, Jam & Suppose, and Chicho Man, before becoming popular in Puerto Rico, the Dominican Republic and eventually amongst youth in the United States. As of 2006, Panama has become a major source and contributor to reggaeton and, especially as Reggaeton from Panama is on the rise and continues to dominate charts in the United States and abroad.
Reggae influences in Panama have also spawned several popular Reggae Roots bands, such as Pureza Natural, Raices y Cultura, Inspiración Mística, Panta Rey, among others.
A thriving and very popular Rock en español scene has produced such groups as Orquesta Garash, Radicales Libres, Filtro Medusa, Skamilonga, Los Rabanes, Xantos Jorge, Cage 9, Factor VIII, Os Almirantes, Nervial, Los 33, Señor Loop, Roba Morena, Out-Reazon, Lemmiwinks, Skraped Knees, Calibre 57 just to name a few.
This list would not be complete without mentioning Pedro Altamiranda and his historically popular music spanning several generations and political moments. Many popular phrases and slang used in Panama are lyrics from Altamiranda's songs.
Composer
Vicente Gómez Gudiño, pasillo
César Alcedo, pasillo
José Luis Rodríguez Vélez, cumbia, bolero, pasillo
Rodrigo Escobar Tamayo, cumbia, décimas, pasillo, vallenato
Carlos Cedeño, cumbia
Carlos Cleghorn, cumbia
Didio Borrero, cumbia, bolero
Mavin Moreno, cumbia
Ricardo Fábrega, bolero, pasillo
Eduardo Charpentier, pasillo
Alberto Galimany, pasillo
Luis "Lucho" Azcárraga, pindín
Ruben Blades, salsa
Omar Alfano, salsa
Lord Panama, calypso
Nando Boom, reggae
Luis Russell, jazz, swing
Danilo Perez, jazz
Roque Cordero, classical
Samuel Robles, classical (website)
Emiliano Pardo, classical (website)
Andrés Carrizo, Classical
Music Director
Aurelio Escudero
José Luis Rodríguez Vélez
Armando Boza
Luciano Muñóz
Luis Russell
Singers
Flex, reggaeton
Makano, reggaeton
Barbara Wilson, jazz
Sandra Sandoval, pindín
Catalina "Catita" Carrasco, cumbia
Lucho De Sedas
Accordion
Rogelio "Gelo" Córdoba
Ulpiano Vergara
Juan De Sedas
Dorindo Cárdenas
Victorio Vergara
Yin Carrizo
Samy Sandoval
Osvaldo Ayala
Ceferino Nieto
Roberto "Fito" Espino
Papi Brandao
Alfredo Escudero
Isaac De León
Trumpet
Victor "Vitin" Paz
Mejoranera
Juan Andrés Castillo
Organist
Luis "Lucho" Azcárraga
Guitar
Emiliano Pardo Tristán
Daniel Ritter
Violin
Samuel Ramos
Clímaco Batista
Music of Nicaragua
Nicaraguans enjoys their local artist's music but also enjoy music from around the world. They enjoy the Dominican Republic's bachata and merengue, Jamaica's reggae, Panama's reggaeton and Colombia's Cumbia among other genres including pop. Among the younger crowds heavy metal and rock has become very popular.
Nicaraguan music is a mixture of different cultures from indigenous tribes, European conquerors, and slaves. Styles of music vary throughout the different regions in the country. In the Caribbean coast music with African and indigenous influence are heard, in the Pacific coast the music is considered to be a mixture of the indigenous and Spanish culture and in the North/Central region of Nicaragua the music has more of a European flavor, this is because of the significant wave of Europeans, mostly Germans, that live in the region. European influenced dances like the polka and Mazurka are also danced in this region.
The Caribbean coast of Nicaragua is known for its Palo de Mayo, which is a lively and sensual form of dance music that is especially loud and celebrated during the Palo de Mayo festival. The Garifuna community exists in Nicaragua and is known for its popular music called Punta. Also, Soca, Reggaeton and Reggae is popular throughout the country.
Rhythms like the trova became essential to writers in the post-war scenario of the 70s and 80s. Writers used trova to express social injustice, their hope for a better tomorrow, patriotism, and ecological conservation. This, in time, became a rhythm used in artistic Nicaraguan creations, and it therefore also became part of the culture. Well known in this category is Duo Guardabarranco, formed by the brothers Salvador and Katia Cardenal.
Another popular musical genre in Nicaragua is the Chicheros, often consisting of a trumpet and trombone or other brass instruments, with additional musicians playing various percussions. This is often to be heard in private parties around the country.
The marimba of Nicaragua distinguishes itself from the other forms of marimba in Central America by the way it is played. Nicaragua's marimba is played by a sitting performer holding the instrument on his knees. They are usually accompanied by a bass fiddle, guitar and guitarrilla (a small guitar similar to a mandolin). This music is played at social functions as a sort of background music. The marimba is made with hardwood plates, placed over bamboo or metal tubes of varying lengths. It is played with two or four hammers.
Indigenous theater groups performed with music and dance. Theatrical manifestations include the Elegant Knights of Huaco Bull and the UNESCO proclaimed masterpiece, "El Güegüense", among many others.
Nicaraguans in Music
The most prominent Nicaraguan composers are José de la Cruz Mena (1874-1907), a classical composer born in León, creator of varied romantic waltzes and sounds inspired by everyday experiences like The Nacatamal, The Turkeys, or Ruins; by Bible characters like Loves of Abraham; or by his aristocratic patrons' wives and daughters like Beautiful Margaret, Rosalía, etc. Mena's became famous in America where it influenced other American composers. It reached Europe, and Asia in the late 1800's and became so popular, particularly in Germany, and Italy that inspired composer Giacomo Puccini for his opera La Boheme. Luis Abraham Delgadillo, with several symphonies, stage works, orchestral pieces, chamber music, songs, and piano music to his credit, and Camilo Zapata, creator of the Nicaraguan Sound. Erwin Krüger, creator of Barrio de Pescadores (Fisherman's District). Justo Santos creator of La Mora Limpia (A Clean Coffee Bean), considered Nicaragua's popular anthem.
Other prominent national musicians, groups, and songwriters include Carlos Mejia Godoy, Luis Enrique Mejia Godoy, Luis Enrique Mejía López (known as Luis Enrique), Sergio Tapia, Hernaldo Zúñiga, Macolla, Dimension Costeña, Los Mokuanes, Lía Barrios, Norma Elena Gadea, Catia Cardenal, Salvador Cardenal and from Somoto Nicaragua Marcio Brenes Mejia.
Of the younger generation of Nicaraguan singer-songwriters there are a few notable such as Latin Grammy Nominee Ramon Armando Mejia (Perrozompopo), Arturo Vaughan, Moisés Gadea, Junior Escobar, Elsa Basil, Cecilia Ferrer, Alejandro Carlos Mejia, Clara Grun, Noel Portocarrero, Duo Guardabarranco, Juan Solorzano, and Marcio Brenes JR.. Also, rock bands such as Necrosis, Grupo Armado, Crisis, Monroy y Surmenage, Mano de Vidrio, Contrapeso, Q69K, Kerfodermo, Carga Cerrada and Cecilia & The Argonauts.
Hip Hop and Reggaeton artist include Torombolo, J Smooth, Mr. Meli, Nello Style, Nica and Lingo Nicoya.
Nicaragua's Caribbean coast is home to prominent reggae singers and groups such as Philip Montalban, Carlos de Nicaragua, Kali Boom, Sabu, Sabu Sr. and Osberto Jerez y los Gregory's
Also notable instrumentalists such as guitarists Tony Melendez, Arturo Vaughan, Roberto Vaughan, Eduardo Araica, Omar Suazo, Arnulfo Oviedo, Saulo Pérez, and Andrés Sánchez, marimba player Carlos Luis Mejia, batterists Jorge Lanzas, Bikentios Chávez, and percussionist José Areas who was inducted in the Rock & Roll Hall of Fame with the band Santana.
Smeets Music of Mexico
The music of Mexico is very diverse and features a wide range of musical genres and performance styles. It has been influenced by a variety of cultures, most notably indigenous Mexican and European, since the Late Middle Ages. Many traditional Mexican songs are well-known worldwide, including Bésame Mucho (Kiss Me a Lot), La Bamba (The Bamba), Solamente una vez (English version "You Belong to My Heart"), La Bikina (The Bikina), Cielito Lindo (Beautiful Sweetheart), Somos Novios (We Are Lovers; English version "It's Impossible"), El Rey (The King), María Bonita (Pretty María), México Lindo y Querido (Beautiful, Beloved Mexico).
La Cucaracha (The Cockroach), although popularized during the Mexican Revolution, is a Spanish corrido.
Banda music was created with the imitation of military bands that were imported during the Second Mexican Empire, headed by emperor Maximillian I of Mexico in the 1860s. Banda sounds very similar to polka music. Polish immigrants established themselves in the state of Sinaloa. It was further popularized during the Mexican Revolution when local authorities and states formed their own bands to play in the town squares. Revolutionary leaders like Pancho Villa, also took wind bands with them wherever they went. Banda has to this day remained popular throughout the central and northern states. It has, however, diversified into different styles due to regions, instruments and modernization. Today people associate banda with Sinaloense. This originated in the 1940s when the media distributed Banda el Recodo repertoire as exclusively from Sinaloa when it was actually regional music from all over Mexico.
Although banda music is played by many bands from different parts of Mexico, its original roots are in Sinaloa, made popular by bands such as Banda el Recodo from Sinaloa.
Banda Sinaloense experienced international popularity in the 1990s. The most prominent band was Banda el Recodo which is renowned as "the mother of all bands". Unlike tamborazo Zacatecano, Sinaloense's essential instrument is the tuba. Sometimes an accordion is also included.
Tamborazo Zacatecano originated in the state of Zacatecas and translates to drum-beat from Zacatecas. This banda style is traditionally composed of 2 trumpets,2 saxophone, a trombone and the essential bass drum. La Marcha de Zacatecas (The March of Zacatecas) by Genaro Codina is a perfect example of this type of music. La March de Zacatecas is a Mexican patriotic song, the anthem of the State of Zacatecas and considered the 2nd national anthem of Mexico.
In recent years the genre has been tainted with blood and violence, with the deaths of: Valentín Elizalde (known as "El Gallo de Oro" (golden rooster)), Sergio Vega "el shaka", and the lead singer of the band K-paz de la Sierra, Sergio Gomez. All these murders have been linked to drug dealers bands.
The Mariachi-style of music originated in the state of Jalisco, particularly in the city of Cocula, near Guadalajara, as well as surrounding states of western Mexico. Mariachi is now popular throughout Mexico and the Southwest United States, and is considered representative of Mexican music and culture. This style of music is played by a group consisting of five or more musicians that wear charro suits.
Origins of the word Mariachi: There are different theories as to the provenance of the word mariachi. Some say it comes from the French word mariage because it was the type of music played at weddings, other refute this theory (apparently the word was in use in Mexico before the arrival of the French). Others claim that it comes from a native language, Coca; in this language mariachi is the name of the type of wood used to make the platform on which musicians would stand to perform.
Mariachi instruments: The traditional mariachi band was made up of at least two violins, a guitar, a guitarrón (large bass guitar) and a vihuela (similar to a guitar but with a round back that plays at a higher pitch than the traditional guitar). Nowadays mariachi bands also usually include trumpets, and sometimes a harp.
La Cucaracha (The Cockroach), although popularized during the Mexican Revolution, is a Spanish corrido.
Banda music was created with the imitation of military bands that were imported during the Second Mexican Empire, headed by emperor Maximillian I of Mexico in the 1860s. Banda sounds very similar to polka music. Polish immigrants established themselves in the state of Sinaloa. It was further popularized during the Mexican Revolution when local authorities and states formed their own bands to play in the town squares. Revolutionary leaders like Pancho Villa, also took wind bands with them wherever they went. Banda has to this day remained popular throughout the central and northern states. It has, however, diversified into different styles due to regions, instruments and modernization. Today people associate banda with Sinaloense. This originated in the 1940s when the media distributed Banda el Recodo repertoire as exclusively from Sinaloa when it was actually regional music from all over Mexico.
Although banda music is played by many bands from different parts of Mexico, its original roots are in Sinaloa, made popular by bands such as Banda el Recodo from Sinaloa.
Banda Sinaloense experienced international popularity in the 1990s. The most prominent band was Banda el Recodo which is renowned as "the mother of all bands". Unlike tamborazo Zacatecano, Sinaloense's essential instrument is the tuba. Sometimes an accordion is also included.
Tamborazo Zacatecano originated in the state of Zacatecas and translates to drum-beat from Zacatecas. This banda style is traditionally composed of 2 trumpets,2 saxophone, a trombone and the essential bass drum. La Marcha de Zacatecas (The March of Zacatecas) by Genaro Codina is a perfect example of this type of music. La March de Zacatecas is a Mexican patriotic song, the anthem of the State of Zacatecas and considered the 2nd national anthem of Mexico.
In recent years the genre has been tainted with blood and violence, with the deaths of: Valentín Elizalde (known as "El Gallo de Oro" (golden rooster)), Sergio Vega "el shaka", and the lead singer of the band K-paz de la Sierra, Sergio Gomez. All these murders have been linked to drug dealers bands.
The Mariachi-style of music originated in the state of Jalisco, particularly in the city of Cocula, near Guadalajara, as well as surrounding states of western Mexico. Mariachi is now popular throughout Mexico and the Southwest United States, and is considered representative of Mexican music and culture. This style of music is played by a group consisting of five or more musicians that wear charro suits.
Origins of the word Mariachi: There are different theories as to the provenance of the word mariachi. Some say it comes from the French word mariage because it was the type of music played at weddings, other refute this theory (apparently the word was in use in Mexico before the arrival of the French). Others claim that it comes from a native language, Coca; in this language mariachi is the name of the type of wood used to make the platform on which musicians would stand to perform.
Mariachi instruments: The traditional mariachi band was made up of at least two violins, a guitar, a guitarrón (large bass guitar) and a vihuela (similar to a guitar but with a round back that plays at a higher pitch than the traditional guitar). Nowadays mariachi bands also usually include trumpets, and sometimes a harp.
Honduras Music
The Garifuna came from and escaped Island Caribs who were deported from St. Vincent to Central America (especially Honduras, Belize, Guatemala, and also in Nicaragua in 1802) by the British when they conquered St. Vincent. The Garifunas kept themselves apart from the social system then dominant, leading to a distinctive culture that include chumba and hunguhungu, a circular dance in a three beat rhythm, which is often combined with punta. There are other songs typical to each gender, women having eremwu eu and abaimajani, rhythmic a cappella songs, and laremuna wadauman, men's work songs. Other forms of dance music include matadfgmuerte, gunchei, charikawi and sambai.
Though American music has produced most of the popular music in modern Honduras, the country has produced several well-known musicians such as; Curtis Jackson, Diablos Negros and Victors Cereal Band (A.D.N.), Delirium, Sueño Digviana, Pez Luna, Sol Caracol, Khaoticos,ANIMA, URANIA, Ytterbium, Karpenter's Kids, El Pez, Montuca SoundSystem and Evolucion Neutra. A few famous bands originally from Honduras are The Dung Beetles, The Fruit Loops, and Extreme Latino Rock!
Reggaeton has also been growing in popularity in recent years, and Honduras has emerged as a leading producer of artists. Notable artists include Raggamofin Killas, El Pueblo, Los Bohemios Del Reggaeton and DJ Slyfox.
Smeets Haiti
Haiti has a rich blend of African and European music; Cuban and Dominican influences also blend to create Haiti's diverse music. The most notable styles are Kompa and méringue. Evolving in Haiti during the 1850s, the Haitian merengue (known as the mereng in Haitiean Creole and méringue in French) is regarded as the oldest surviving form of merengue performed today and is a national symbol. According to Jean Fouchard, mereng evolved from the fusion of slave music genres (such as the chica and calenda) with ballroom forms related to the French contredanse. Mereng's name, he says, derives from the mouringue music of the Bara, a Bantu people of Madagascar. That few Malagasies came to the Americas casts doubt on this etymology, but it is significant because it emphasizes what Fouchard (and most Haitians) consider the African-derived nature of their music and national identity. Dominican merengue, Jean Fouchard suggests, developed directly from Haitian mereng.
Dominicans are not inclined to highlight African and Haitian influences on their culture. As ethno-musicologist Martha Davis points out, many Dominican scholars "have, at the least, ignored African influence in Santo Domingo. At the worst, they have bent over backwards to convince themselves and their readers of the one hundred percent Hispanic content of their culture. This is not an uncommon Latin American reaction to the inferiority complex produced by centuries of Spanish colonial domination"
Dominicans are not inclined to highlight African and Haitian influences on their culture. As ethno-musicologist Martha Davis points out, many Dominican scholars "have, at the least, ignored African influence in Santo Domingo. At the worst, they have bent over backwards to convince themselves and their readers of the one hundred percent Hispanic content of their culture. This is not an uncommon Latin American reaction to the inferiority complex produced by centuries of Spanish colonial domination"
The Music of Guatemala
Guatemala also has an almost five-century-old tradition of art music, spanning from the first liturgical chant and polyphony introduced in 1524 to contemporary art music. Much of the music composed in Guatemala from the 16th century to the 19th century has only recently been unearthed by scholars and is being revived by performers.
The marimba's first documentary evidence of existence comes from an account of a performance in front of the cathedral of Santiago de Guatemala, present-day Antigua Guatemala, in 1680. Later, historian Juan Domingo Juarros mentioned and described it in his Compendium of the History of Guatemala. The instrument however may be probably much older, as an attempt at recreating an older West African instrument, and could have been introduced by Afro-Caribbean slaves as early as 1550. The arch marimba was probably the first, followed by a simple instrument with a diatonic row of wood bars played with mallets, with gourd resonators, placed on a wooden a stand. In 1894 came a major breakthrough, when Julián Paniagua Martínez and Sebastián Hurtado developed the chromatic marimba, by adding to the diatonic row of sound bars, comparable to the white keys of the piano, a second row equivalent to the black keys. By the early 20th century, wooden-box resonators had replaced the gourd resonators. Modern marimba bands include a smaller marimba for three players, a larger marimba for four players, plus a drum kit or other percussion and a string bass. Some bands have occasionally employed one or two saxophones, as well as one or two trumpets and a trombone. Much of the older repertoire of salon music was learned and adopted by the marimba bands, while a sizable amount of new dance pieces was newly composed for the marimba by such composers and marimba players as Domingo Bethancourt (1906–82), the Ovalle brothers, the Hurtado brothers, as well as the famous Mariano Valverde (1884–1956), Wotzbelí Aguilar (1897–1940) and Belarmino Molina (1879–1950), to name but a few. Singer Paco Pérez (1917–1951) was catapulted to fame with his waltz "Luna de Xelajú", one of best-known marimba pieces which is regarded by many Guatemalans as a sort of unofficial national anthem.
Cutumay Camones
Cutumay Camones was a band from El Salvador, formed in 1982. Its stated objective was to recover Salvadorean cultural roots and to provide popular music for the national liberation movement.
In May 1982, Cutumay Camones was formed by a directive from the People's Revolutionary Army of El Salvador, a part of the FMLN, as cultural ambassadors for the national liberation movement. The name comes from the Nahuatl for a town in Santa Ana in western El Salvador, where the FMLN had an uprising in January 1981.
The group originally had three members: Eduardo, Gabino, and Ricardo, and two months later Paco and Israel joined. By 1984, Lolo had joined, and eventually the group consisted of five permanent members: Lolo, Paco, Ricardo, Eduardo, and Teresa. The members used pseudonyms for security. Except for Eduardo, none of the members were musicians prior to joining. Cutumay Camones used traditional rhythms such as cumbia and ranchera, and instruments such as marimba, accordion, and guitarrón.
In 1988, the group officially disbanded. Lolo left El Salvador in 1990 and later played in the band Los Jornaleros del Norte. Paco was assassinated in 1993 by the National Civil Police, and Eduardo died in 2007 from cancer.
In May 1982, Cutumay Camones was formed by a directive from the People's Revolutionary Army of El Salvador, a part of the FMLN, as cultural ambassadors for the national liberation movement. The name comes from the Nahuatl for a town in Santa Ana in western El Salvador, where the FMLN had an uprising in January 1981.
The group originally had three members: Eduardo, Gabino, and Ricardo, and two months later Paco and Israel joined. By 1984, Lolo had joined, and eventually the group consisted of five permanent members: Lolo, Paco, Ricardo, Eduardo, and Teresa. The members used pseudonyms for security. Except for Eduardo, none of the members were musicians prior to joining. Cutumay Camones used traditional rhythms such as cumbia and ranchera, and instruments such as marimba, accordion, and guitarrón.
In 1988, the group officially disbanded. Lolo left El Salvador in 1990 and later played in the band Los Jornaleros del Norte. Paco was assassinated in 1993 by the National Civil Police, and Eduardo died in 2007 from cancer.
Smeets Music of El Salvador
The music of El Salvador has a mixture of Mayan, African, Pipil, Lenca and Spanish influences. This music includes religious songs (mostly Roman Catholic) used to celebrate Christmas and other holidays, especially feast days of the saints. Satirical and rural lyrical themes are common. Popular styles in modern El Salvador include salsa, cumbia, hip hop and reggaeton.
Musical repertoire consists of Xuc, danza, pasillo, marcha and canciones. Marimba is a representative folk music instrument.
Popular music in El Salvador uses marimba tehpe'ch, flutes, drums, scrapers and gourds, as well more recently imported guitars and other instruments. Colombian mainly and other Caribbean, South American and Central American music has infiltrated the country, especially salsa and cumbia. For example, the very famous Favorited La Sonora Dinamita is a Colombian salsa group with one Salvadoran vocalist (Susana Velasques). As one of the first Cumbia groups to reach international success, it is credited with helping to popularize the genre throughout Latin America, and the world.
Political chaos tore the country apart in the early 20th century, and music was often suppressed, especially those with strong native influences. In the 1940s, for example, it was decreed that a dance called "Xuc" was to be the "national dance" which was created and led by Paquito Palaviccini's and his "Orquesta Internacional Polio." That was one of the many orchestras he led during and in the mid 40's, his other hit was known throughout the country. "Carnaval En San Miguel" was commonly known to the whole country as the first Salvadoran band that went on to receive numerous awards in the years to come. Paquito Palaviccini, being known throughout Central and South America, made tours to Cuba, Buenos Aires, where Paquito Studied, and other Latin American countries. The inspiration came to Paquito to develop the "Xuc" and "El Baile del Torito" in a tour they had in Cuba. The 1960s saw an influx of American and British pop and rock, inspiring like-minded Salvadoran bands, while the following two decades were dominated by a wave of popular genres from across Latin America, mostly folk-based singer-songwriter genres like Chile and Nueva Canción. This new type of Salvadoran rock music was called "Guanarock" (portmanteau of Guanaco, an animal closely related to the Andean Llama and the Alpaca, a misgiven name by the Spanish for a person from El Salvador), which inspired bands such as Ayutush.
Dominican merengue and Bachata also became very popular. In the last ten years, hip hop and reggaeton has influenced the majority of the Salvadoran youth, which has formed groups like Pescozada and Mecate. Also former Reggaeton producers like Wilfredo Rivas (Dj Emsy) and Jose Castaneda (Mambo King) who had worked with vary of famous Reggaeton and Hip hop artists such as: Dj Flex, Cheka, The Black Eyed Peas, Nicky Jam, El Torito and many others.
Salvadoran cumbia is related to but very distinct from Colombian cumbia, which is better known outside of El Salvador. Chanchona ensembles, led by a pair or a single violin, are popular, especially among the immigrant community in the Washington D.C. area.
El Salvador has prominent heavy metal, reggae, ska, dubstep, punk and electronic dance scenes due to its prolific local bands and venues; and the recent increase in local concerts by international bands that include San Salvador as a frequent destination in their international tours.
The main composer of the 19th century was José Escolástico Andrino (born in Guatemala). Wenceslao García was the first native composer. Important militar bands composers and arrangers include Jesús Alas, Alejandro Muñoz and Domingo Santos. María de Baratta was the main ethnomusiclogist and composer in the 20th century.
Musical repertoire consists of Xuc, danza, pasillo, marcha and canciones. Marimba is a representative folk music instrument.
Political chaos tore the country apart in the early 20th century, and music was often suppressed, especially those with strong native influences. In the 1940s, for example, it was decreed that a dance called "Xuc" was to be the "national dance" which was created and led by Paquito Palaviccini's and his "Orquesta Internacional Polio." That was one of the many orchestras he led during and in the mid 40's, his other hit was known throughout the country. "Carnaval En San Miguel" was commonly known to the whole country as the first Salvadoran band that went on to receive numerous awards in the years to come. Paquito Palaviccini, being known throughout Central and South America, made tours to Cuba, Buenos Aires, where Paquito Studied, and other Latin American countries. The inspiration came to Paquito to develop the "Xuc" and "El Baile del Torito" in a tour they had in Cuba. The 1960s saw an influx of American and British pop and rock, inspiring like-minded Salvadoran bands, while the following two decades were dominated by a wave of popular genres from across Latin America, mostly folk-based singer-songwriter genres like Chile and Nueva Canción. This new type of Salvadoran rock music was called "Guanarock" (portmanteau of Guanaco, an animal closely related to the Andean Llama and the Alpaca, a misgiven name by the Spanish for a person from El Salvador), which inspired bands such as Ayutush.
Dominican merengue and Bachata also became very popular. In the last ten years, hip hop and reggaeton has influenced the majority of the Salvadoran youth, which has formed groups like Pescozada and Mecate. Also former Reggaeton producers like Wilfredo Rivas (Dj Emsy) and Jose Castaneda (Mambo King) who had worked with vary of famous Reggaeton and Hip hop artists such as: Dj Flex, Cheka, The Black Eyed Peas, Nicky Jam, El Torito and many others.
Salvadoran cumbia is related to but very distinct from Colombian cumbia, which is better known outside of El Salvador. Chanchona ensembles, led by a pair or a single violin, are popular, especially among the immigrant community in the Washington D.C. area.
El Salvador has prominent heavy metal, reggae, ska, dubstep, punk and electronic dance scenes due to its prolific local bands and venues; and the recent increase in local concerts by international bands that include San Salvador as a frequent destination in their international tours.
The main composer of the 19th century was José Escolástico Andrino (born in Guatemala). Wenceslao García was the first native composer. Important militar bands composers and arrangers include Jesús Alas, Alejandro Muñoz and Domingo Santos. María de Baratta was the main ethnomusiclogist and composer in the 20th century.
Smeets Music of Ecuador
Today, it has incorporated more European features of classical dance, such as a waltz. As it spread during the Gran Chaco period, pasillo also absorbed the individual characteristics of isolated villages. This gives it an eclectic feel; however, the style, tone, and tempo of the music differ in each village.
In its waltz, pasillo alters the classically European dance form to accompany guitar, mandolin, and other string instruments.
The pacific coast of Ecuador is known for the Amor Fino, a popular type of song, as well as a variety of dance music.
Pasillo, Pasacalle and Yarabi are popular folk songs. El pasillo is played with guitar and rondin, the latter being similar to a flute, and is usually downtempo; it is descended from the walz. El pasacalle is a form of dance music, while the sentimental el yarabi is probably the most popular form in Ecuador.
The instrument of the indigenous communities of the Ecuadorian highlands is largely flute. Guitar and brass bands are also found throughout the area. Popular performers include Peguche, Benitez-Valencia and Ñanda-Mañachi.
Andean music (La Sierra)
The mountainous, Andean region of Ecuador, the Sierra, is home to a style of music called Sanjuanito. The music of the Otavalo people are well-known worldwide. A small panpipe called the rondador is the most distinctive instrument, but ensembles are typically groups of wind instruments, guitar trios or brass bands. Folk rhythms include cachullapi, yumbo and danzante Musicians like Huayanay, Jatari, Pueblo Nuevo and Andes Manta have helped to popularize Andean-Ecuadoran music.
Musica Costeña (Music of the Coast)
People from the Coast of Ecuador or Costeños listen to music of Afro-Ecuadorian or Afro-Caribbean descent such as Salsa, Merengue and Mapalé all the cities in the coast of Ecuador listen to this type of music, cities such as Guayaquil and Esmeraldas.
Dominican Rock
Dominican rock, (known as "Rock Dominicano" in Dominican Republic), is rock music created by Dominican groups and soloists. Originating in the 1980s with the start of Luis Dias band Transporte Urbano, successful bands such as Tribu Del Sol, Toque Profundo and Tabu Tek began to emerge. Dominican rock is listened to by the youth of the Dominican Republic who have embraced the music, sometimes over merengue and bachata, two other very popular genres in the Dominican Republic, and most recently Puerto Rican reggaeton. Rita Indiana y los Misterios are a musical group known for their blend of traditional merengue music with rock.
The styles of rock bands from the Dominican Republic differ greatly. Not only is there regular Spanish pop rock, there are also sub-genres such as alternative, punk, emo, and metal. Most songs are sung in Spanish, though some bands (like ALF, Mithril, for instance) also sing in English.
Although the rock scene stays local and rarely goes international, it is large within the Dominican Republic, especially in the nation's capital, Santo Domingo. Just few bands as 'JLS (Spain), Transporte Urbano (U.S.A & Cuba)Sister Madness (Canada), ALF (USA), Pericles (USA, Costa Rica), Dark Miracle (USA), Los Pérex (USA, Mexico, Puerto Rico) La Armada Roja (USA, Puerto Rico) and Santuario (Puerto Rico) have traveled to other countries to play. Many concerts are held in the indoor auditorium of the Domínico Americano, a local school. Bands of many different genres of Dominican rock play there. Some artists who have played there are "spam", González, Sociedad Tabú, Shido, TKR, Toque Profundo, Cronicas del Eco, and Nux. Within the punk scene, there are a few venues which are regularly used for concerts. One of the most popular venues is Donde L'Abuela, a house which is regularly volunteered for concerts, as well as a small bar called Stilo Club, where bands such as Los Pérex, La Reforma, La Armada Roja, Pericles, Shido and Mulligan have played.
The Premios Cassandra, an award ceremony, is held yearly. There have also been many successful music videos in production. The most popular and considered best video is "Suele Pasar" by La Siembra, directed by Tabare Blanchard, who also directed "Pa´ Que No Pienses" by Calor Urbano. Dominican rock videos are played on many local music channels, and are also played in some other South American countries.
The styles of rock bands from the Dominican Republic differ greatly. Not only is there regular Spanish pop rock, there are also sub-genres such as alternative, punk, emo, and metal. Most songs are sung in Spanish, though some bands (like ALF, Mithril, for instance) also sing in English.
Although the rock scene stays local and rarely goes international, it is large within the Dominican Republic, especially in the nation's capital, Santo Domingo. Just few bands as 'JLS (Spain), Transporte Urbano (U.S.A & Cuba)Sister Madness (Canada), ALF (USA), Pericles (USA, Costa Rica), Dark Miracle (USA), Los Pérex (USA, Mexico, Puerto Rico) La Armada Roja (USA, Puerto Rico) and Santuario (Puerto Rico) have traveled to other countries to play. Many concerts are held in the indoor auditorium of the Domínico Americano, a local school. Bands of many different genres of Dominican rock play there. Some artists who have played there are "spam", González, Sociedad Tabú, Shido, TKR, Toque Profundo, Cronicas del Eco, and Nux. Within the punk scene, there are a few venues which are regularly used for concerts. One of the most popular venues is Donde L'Abuela, a house which is regularly volunteered for concerts, as well as a small bar called Stilo Club, where bands such as Los Pérex, La Reforma, La Armada Roja, Pericles, Shido and Mulligan have played.
The Premios Cassandra, an award ceremony, is held yearly. There have also been many successful music videos in production. The most popular and considered best video is "Suele Pasar" by La Siembra, directed by Tabare Blanchard, who also directed "Pa´ Que No Pienses" by Calor Urbano. Dominican rock videos are played on many local music channels, and are also played in some other South American countries.
Smeets Bachata Music
Bachata is a genre of music that originated in the Dominican Republic in the early parts of the 20th Century and spread to other parts of Latin America and Mediterranean Europe. It became popular in the countryside and the rural neighborhoods of the Dominican Republic. Its subjects are often romantic; especially prevalent are tales of heartbreak and sadness. In fact, the original term used to name the genre was amargue ("bitterness," or "bitter music"), until the rather ambiguous (and mood-neutral) term bachata became popular. The form of dance, Bachata, also developed with the music.
The earliest bachata was originally developed in the Dominican Republic around the early part of the 20th century, with mixed Cuban boleros and, which originated from Son. With African elements, it combined with traditional Latin/Caribbean rhythms, and is a guitar based music which recently evolved from bolero and it was also influenced largely by Puerto Rican jibaro music and baladas/boleros. During much of its history Bachata music was denigrated by Latino/Caribbean society and associated with rural backwardness and delinquency. As recently as 1988 Bachata was considered too vulgar, crude and musically rustic to enter mainstream music. In the 1990s, bachata's instrumentation changed from acoustic guitar to electric steel string. The new electric bachata soon became an international phenomenon, and today bachata is as popular as salsa and merengue in some Latin American dance-halls.
The earliest bachata was originally developed in the Dominican Republic around the early part of the 20th century, with mixed Cuban boleros and, which originated from Son. With African elements, it combined with traditional Latin/Caribbean rhythms, and is a guitar based music which recently evolved from bolero and it was also influenced largely by Puerto Rican jibaro music and baladas/boleros. During much of its history Bachata music was denigrated by Latino/Caribbean society and associated with rural backwardness and delinquency. As recently as 1988 Bachata was considered too vulgar, crude and musically rustic to enter mainstream music. In the 1990s, bachata's instrumentation changed from acoustic guitar to electric steel string. The new electric bachata soon became an international phenomenon, and today bachata is as popular as salsa and merengue in some Latin American dance-halls.
Modern Bachata artists
- Romeo Santos - Former lead singer of Aventura, and known singularly as the "King of modern Bachata".
- Aventura - Known as "K.O.B." (Kings of Bachata)
- Prince Royce- known singularly as the "Prince of Bachata/Pop".
- Toby Love- known singularly as the "King of Crunk-Bachata".
- Ivy Queen - Known singurlarly as the "Queen of Reggaeton"
- Monchy y Alexandra
- Elvis Martinez
- Frank Reyes
- Andy Andy
- Carlos & Alejandra
- Xtreme
Classic Bachata artists
- Edilio Paredes One of bachata's founding fathers.
- Eladio Romero Santos, a pioneer of bachata's merengue de guitarra.
- Leonardo Paniagua, father of romantic bachata.
- José Manuel Calderón, the first artist to record a bachata.
- Raulín Rodríguez
- Antony Santos
- Luis Vargas
- Zacarías Ferreira
- Yoskar Sarante
- Joan Soriano
Smeets Music Merengue Tipico
- La Chiflera (accordion)
- Arturo Almonte (accordion)
- Negro Cruz y Tono Colon (güira, tambora, accordion)
- A llorar mis penas (accordion)
- Comiendo Gallina (accordion)
- El Diente de Oro (accordion)
- Se Murio mi Padre (accordion)
- Pato Perdio Algo Cojio (saxophone, accordion)
- La Culebra (accordion, tambora)
- La Mala Mana (accordion)
- La Jiguera (accordion)
- El Puente Seco (accordion)
- El Hombre mas guapo (accordion)
- La Parrandera (accordion)
- Chanflin (accordion)
- Pena Profunda (accordion)
- Me Gustan Todas (accordion)
- Juanita Morel (accordion)
- Las 7 pasadas (accordion)
Merengue Terminology
In merengue, various slang is used to signify instruments, quality, the act of playing, etc. Below are a list of terms.
- Botao- slang for a solo or the act of doing a solo. Usually on tambora, güira, accordion, or conga.
- Guallo- means "grater", another word for the güira instrument.
- Mambo- not to be confused with the Cuban music style of the same name, "Mambo" in a merengue context can be either merengue de orquestra or merengue tipico, but a style of playing that involves heavy emphasis on conga, tambora, and cowbell riffs. Believed to be first popularized by accordionist Agapito Pascual, Merengue con Mambo sometimes involves solos, but is essentially a riff of saxophone or accordion repeating over a heavy rhythm. Most songs have a section within it dedicated to the Mambo, either nearing towards the end of the track or past the second verse of the song, but some songs are completely based on this style. Merengue con mambo is almost always played with a merengue derecho rhythm on the tambora, but güira rhythms can vary. The Pambiche rhythm is rarely seen because an average tambora player cannot play a pambiche as fast as a merengue derecho rhythm, because the former has more strokes on the drum involved in play than the latter. Also can be used to shout out in songs, popularized by the likes of Geovanny Polanco, Aguakate, and El Prodigio.
- Golpe- a rhythm for güira, tambora, or conga.
- Cuero- generally means cowhide in Spanish, but in merengue refers most of the time to a tambora skin.
- Chivo- means goat, but refers to a goatskin for tambora.
- Merengue derecho- "straight" merengue, the kind which most are familiar with. Also the simplest rhythm for tambora, essentially rim-slap-rim-open, but sometimes played even simpler. Can be played the fastest.
- Pambiche- another dance similar to merengue, which most merengue bands perform at some point. Also a tambora rhythm usually played slow, but occasionally fast when a combination of rhythms are used in the song. Goes slap-low-low-high-low-rim-rim-slap-rim-rim-slap. Has a few variations, also.
Merengue Típico
Merengue típico is the oldest style of merengue still performed today (usually in the Dominican Republic and the United States), its origins dating back to the 1850s. It originated in the rural, northern valley region around the city of Santiago called the Cibao, resulting in the term "merengue cibaeño". Originally played on the metal scraper called güira, the Tambora, and a stringed instrument (usually a guitar or a variant such as the tres). Stringed instruments were replaced with two-row diatonic button accordions when Germans began to travel to the island in the 1880s as part of the tobacco trade. Later, the marimbula, a bass lamellophone related to the African mbira, was added to fill out the sound
Merengue first appears in the Caribbean in the 1850s. The earliest documented evidence of merengue in the Dominican Republic are newspaper articles complaining about this "lascivious" dance's displacement of the earlier tumba.
Early merengue was played on stringed instruments, but the accordion came to the island in the 1880s, introduced by German traders, and quickly became the primary instrument in merengue.
Up to the 1930s, the music was considered immoral. Its more descriptive and colorful name, perico ripiao (literally "ripped parrot" in Spanish) is said to have been the name of a house of ill repute in Santiago where the music was played. Moralists tried to ban the music and the provocative dance done to it, with little success. Dictator Rafael Leónidas Trujillo brought accordionists with him on the campaign trail, and once he took power, he ensured that merengue was embraced as a national music by all classes of Dominicans.
Much controversy exists over the exact origins of merengue tipico. Official versions promote the three-cultures origin myth, using the European accordion together with the supposedly African and Taino tambora and güira/güiro (respectively) as support. Afro-Dominican influence on the merengue has long been denied due to the racist legacy of the Trujillo regime. Similarly, debate over the either European or African etymology of the word merengue continues to rage.
After Trujillo's assassination, Dominican society changed rapidly as processes of urbanization and migration accelerated. Merengue tipico changed too. Through the efforts of artists like Fefita la Grande, El Ciego de Nagua, and particularly Tatico Henriquez, the music became faster and more technically demanding, while incorporating new instruments. They replaced marimba with electric bass, and added saxophone and congas.
In the 1990s a new generation of musicians added a bass drum, played with a foot pedal by the guirero, and timbales, played by the tamborero for fills (timbales in merengue tipico were believed to have been first incorporated by Ray "Chino" Diaz, a famous Dominican percussionist and tambora player). Agapito Pascual is credited with creating the new style termed "merengue con mambo" in 1987 with his recording, "La Vieja y su Pipa." Merengue con mambo refers to a merengue with a second section based on hard driving rhythms and riffs played by the accordion and saxophone together. This is the dominant style today that has been further explored by artists like Ricardo Gutierrez (El rey joven del acordeon) El Prodigio, Geovanny Polanco, Raul Roman (son of accordion legend Rafaelito Roman), and Kerubanda. Artists like Krisspy and Aguakate have pushed genre boundaries even further with more mambo and fusions with other rhythms like reggaeton, and many artists like Fulanito have fused merengue-style accordion playing with rap music. A new crop of merengue musicians, notably Limi-T 21, have attempted to create an orchestra merengue and perico ripiao fusion on songs like "Que Lo Bailen". The bpm of the music has also transformed, originally between 130 to 140 [tempo], but today is sometimes sped up from 160 to190 tempo.
Rhythms
Today merengue tipico actually consists of several different rhythms. Merengue derecho, or straight-ahead merengue, is the kind of fast-paced, march-like merengue Americans are most used to hearing. Pambiche or merengue apambichao is said to have developed during the American occupation of the Dominican Republic (1916–1924), taking its name from the "Palm Beach" fabric worn by American soldiers. Its tempo is usually slower than merengue derecho, and it can be recognized by the more syncopated rhythms in both bass and tambora. It is probably the rhythm most beloved by típico aficionados: dancing to it is said to require more skill since it is more complicated and syncopated than merengue derecho, and it helps to set the típico genre apart since it is used infrequently by orquesta groups. Guinchao is a third and more recently-developed rhythm that is a combination of the other two. The once-common paseo, a slow introduction during which couples would promenade around the dance floor, is now common only in folkloric presentations. In the past, other dances like the mangulina, carabiné, polka, guarapo, and zarambo were also played on accordion, but are now generally heard only at folkloric presentations.
Merengue Music
Merengue was created by Ñico Lora, a Dominican of Spanish descent, in the 1920s. In the Dominican Republic it was promoted by Rafael Trujillo, the dictator from the 1930 to 1961, and became the country's national music and dance style, while in the United States it was popularized by Angel Viloria and his band Conjunto Típico Cibaeño. It was during the Trujillo era that the popular merengue song "Compadre Pedro Juan", by Luis Alberti, became an international hit.
Internationally known merengue singers and groups include Fernando Villalona, Juan Luis Guerra, Eddy Herrera, Toño Rosario & Los Hermanos Rosario, Los Toros Band, Sergio Vargas, Wilfrido Vargas, Johnny Ventura, Bonny Cepeda, Miriam Cruz & Las Chicas Del Can, Joseito Mateo, Luis Ovalles, the aforementioned Angel Viloria, El Cieguito de Nagua, Kinito Mendez, Ravel, Jossie Esteban y la Patrulla 15, Pochy y su Cocoband, Cuco Valoy, The Freddie Kenton Orquestra, Ramón Orlando, Sandy Reyes, Rasputin, Peter Cruz, Alex Bueno, Aramis Camilo, Jochy Hernández, El Zafiro, Dioni Fernandez, The New York Band, Anibal Bravo, Conjunto Quisqueya, Olga Tañón, Gisselle, and Grupomanía. Milly Quezada is known as the Queen of Merengue. The popularity of Merengue is growing fast in Venezuela. Venezuelan merengueros include Roberto Antonio, Miguel Moly, Natusha, Los Melodicos. Merengue is also popular in the coastal city of Guayaquil in Ecuador. The merengue produced in New York has become very popular among the lovers of this rhythm. Some of the New Yorkers who produce this new merengue sound are Mala Fe, Henry Jimenez, and Aybar,
Smeets - Music of the Dominican Republic
Merengue is a musical genre native to the Dominican Republic. Swift beats from güira or maracas percussion sections, and drums such as the tambora. The accordion is also common, Republic on the island of Hispaniola, most notably that of Haitian méringue and that of Haiti's national music compas. Traditional, acoustic merengue is best-represented by the earliest recorded musicians, like Angel Viloria and Francisco Ulloa. More modern merengue incorporate electric instruments and influences from salsa, and rock and roll. Choruses are usually in groups of three and are often used in a call and response pattern. Live, wild dancing has long been commonplace, and is a staple of many of the genre's biggest stars. Lyrically, irony and oblique references to issues of sexuality and politics.
Merengue continued to be limited in popularity to the lower-classes, especially in the Cibao area, in the early 20th century. Artists like Juan F. García, Juan Espínola and Julio Alberto Hernández tried to move merengue into the mainstream, but failed, largely due to risque lyrics. Some success occurred after the original form (then called merengue típico cibaeño) was slowed down to accommodate American soldiers (who occupied the country from 1916–1924) and couldn't dance the difficult steps of the merengue; this mid-tempo version was called pambiche. Major mainstream acceptance started with the rise of Rafael Trujillo in the early 1930s.
Rafael Trujillo, who seized the presidency of the Dominican Republic in 1930, helped merengue to become a national symbol of the island up until his assassination in 1961. Being that he was of humble origins, he had been barred from elite social clubs. He therefore resented these elite sophisticates and began promoting the Cibao-style merengue as the populist symbol. The text of merengue songs covers an array of topics, including politics. This is evidenced by the hundreds of songs that were made, which were focused on political aspects of Trujillo's dictatorship, praising certain guidelines and actions of his party. Trujillo even made it mandatory for urban dance bands to include merengue in their routines. Also, piano and brass instruments were added in large merengue orchestras. On the other hand, merengue that continued to use an accordion became known as perico ripiao (ripped parrot). It was because of all this that merengue became and still is the Dominican Republic’s national music and dance.
In the 1960s, a new group of artists (most famously Johnny Ventura) incorporated American R&B and rock and roll influences, along with Cuban salsa music. The instrumentation changed, with accordion replaced with electric guitars or synthesizers, or occasionally sampled, and the saxophone's role totally redefined. In spite of the changes, merengue remained the most popular form of music in the Dominican Republic. Ventura, for example, was so adulated that he became a massively popular and influential politician on his return from a time in the United States, and was seen as a national symbol.
The 1980s saw increasing Dominican emigration to Europe and the United States, especially to New York City and Miami. Merengue came with them, bringing images of glitzy pop singers and idols. At the same time, Juan Luis Guerra slowed down the merengue rhythm, and added more lyrical depth and entrenched social commentary. He also incorporated bachata and Western musical influences with albums like 1990's critically acclaimed Bachata Rosa.
Colombian Rock Music
The exact moment in which Colombian rock was born is difficult to trace. However, it is clear that at some time in the 1960s a boom in rock music happened in Colombia, as a result of globalization, the influence of the foreign music of that decade, and opposition to the Vietnam war. From that moment in time came the first rock bands in the country. The most famous band in those years where Los Speakers from Bogotá. Their last and most famous album was The Speakers en el maravilloso mundo de Ingeson edited in 1968.
Some bands of the sixties: Los Speakers (1963 - 1968), Los Flippers (1965 - 1973), Los Yetis (1965 - 1969), Los Ampex (1965 - 1967), Los Young Beats (1966), Los Streaks (1967), Time Machine (1967), The Walflower Complextion (founded by americans 1966 - 1967).
After founding Los Speakers, Humberto Monroy also found Siglo Cero (1969 - 1970) and the mythical band Géne-sis (1972 - 1992), that edited some works through the 70's and 80's.
In the 80s, Kraken became the first known heavy metal band in Colombia, as well as the oldest still active band of the country, becoming the progenitors of many rising bands until today. Those included Ekhymosis, from which Juanes split for a solo career.
Bogotá, Medellín and Cali were the cities where this movement started to grow, and they remain today as the main cradles for new groups and styles. Colombian rock is grouped with all Rock en español, a movement led by Argentinian rock and Mexican rock.
In the 1950s, Medellín, Antioquia, was a middle-sized city in a fast process of industrialization. Elvis Presley and Chuck Berry were the first ambassadors of American rock music. The society of the region, more familiar with one of the main folk musics of Colombia, bambuco, received it with mixed opinions until it became established as part of youth culture.
This musical movement was almost unrecognized in other parts of the country, due to the ongoing boom in literature which marked a "new age" in Colombian culture for the next half century.
Bands like Aterciopelados, Superlitio, 1280 Almas, La Derecha, La Pestilencia, Ultrageno, La severa matacera, Los de Adentro, La Prole, and Leon Bruno have some famous achievements in Latin-American music. The rock scene is beginning to grow as an important part of the Latin American and world music industry.
Metal Medallo and Ultra Metal
Along eighties it emerged one of the most representatives Colombian Underground metal scenes known as "Metal Medallo", this one arose in Medellin Colombia, creating a representative kind of local metal known as Ultra Metal (Extreme and Anti-technical metal music). This musical scene was characterized by gathering several genres of metal music such as Death Metal, Thrash Metal, Black Metal, and so on; the most representatives bands of this world-class scene were Parabellum, Masacre and Reencarnacion, among others. This metal scene was widely known in this decade in Europe, particularly in Sweden, Norway, Finland and Germany, even Parabellum and Reencarnacion influenced the Early Norwegian black metal scene, moreover was and is broadly known in Japan and North America. Nowadays, this Colombian scene is respected in several countries particularly in underground and old school scenes.
Colombian Indie & Alternative Rock
Since 2005, Colombia has seen a growth of new punk rock, pop punk, and alternative rock bands. Despite the problems of gaining radio play, bands like Tres De Corazon, The Mills, The Hall Effect, Don Tetto, Donna Joe Radio, Zarco, Stayway, The Radio Flyer, the Ghetto Muppets, Proper Strangers (based in UK), La Linea and Thunderskin are starting to become more popular.
Internationally, new artists such as Locos por Juana (Based in Miami) recently nominated to a Grammy award , and Intrudia (based in Texas) have gained notoriety and represent the Colombian Rock in USA.
Smeets - Columbian - Vallenato
Vallenato, along with cumbia, is currently a popular folk music of Colombia. It primarily comes from the Colombia's Caribbean region. Vallenato literally means "born in the valley". The valley influencing this name is located between the Sierra Nevada de Santa Marta and the Serranía de Perijá in northeast Colombia. The name also applies to the people from the city where this genre originated: Valledupar (from the place named Valle de Upar - "Valley of Upar"). In 2006 Vallenato and cumbia were added as a category in the Latin Grammy Awards.
This form of music originated from farmers who, keeping a tradition of Spanish minstrels (Juglares in Spanish), mixed also with the West African-inherited tradition of griots (African version of juglar), who used to travel through the region with their cattle in search of pastures or to sell them in cattle fairs. Because they traveled from town to town and the region lacked rapid communications, these farmers served as bearers of news for families living in other towns or villages. Their only form of entertainment during these trips was singing and playing guitars or indigenous gaita flutes, known as kuisis in the Kogi language, and their form of transmitting their news was by singing their messages.
The first form of Vallenato was played with gaita flutes, guacharaca, and caja, and later adopted other instruments like guitars. These troubadors were later influenced by Europe's instruments: piano and accordion. Shocked with the sound from the accordion, troubadors probably obtained later on accordions from Aruba and Curaçao. Vallenato was considered music of the lower class and farmers, but gradually started penetrating through every social group during the mid-20th century.
Don Clemente Quintero—a prominent member from the region's elite—was a lover of this music, usually accompanied by liquor, was a form of entertainment for this almost isolated region. He then decided to start a parranda (party) inside the very strict Valledupar Social Club with friends. This triggered an acceptance for the music and it became a regular feature at parties, carnivals and reunions, not for dancing, but for listening to these juglares stories.
Alfonso López Michelsen, a prominent Colombian politician, showed interest in the region as his ancestors and wife were born there. While a Senator, he pushed for the creation of the Department of Cesar and became, in 1966, its first governor. Once in office and together with writer and reporter Consuelo Araújo Noguera and vallenato composer Rafael Escalona, they created the Vallenato Legend Festival.
This form of music originated from farmers who, keeping a tradition of Spanish minstrels (Juglares in Spanish), mixed also with the West African-inherited tradition of griots (African version of juglar), who used to travel through the region with their cattle in search of pastures or to sell them in cattle fairs. Because they traveled from town to town and the region lacked rapid communications, these farmers served as bearers of news for families living in other towns or villages. Their only form of entertainment during these trips was singing and playing guitars or indigenous gaita flutes, known as kuisis in the Kogi language, and their form of transmitting their news was by singing their messages.
The first form of Vallenato was played with gaita flutes, guacharaca, and caja, and later adopted other instruments like guitars. These troubadors were later influenced by Europe's instruments: piano and accordion. Shocked with the sound from the accordion, troubadors probably obtained later on accordions from Aruba and Curaçao. Vallenato was considered music of the lower class and farmers, but gradually started penetrating through every social group during the mid-20th century.
Don Clemente Quintero—a prominent member from the region's elite—was a lover of this music, usually accompanied by liquor, was a form of entertainment for this almost isolated region. He then decided to start a parranda (party) inside the very strict Valledupar Social Club with friends. This triggered an acceptance for the music and it became a regular feature at parties, carnivals and reunions, not for dancing, but for listening to these juglares stories.
Alfonso López Michelsen, a prominent Colombian politician, showed interest in the region as his ancestors and wife were born there. While a Senator, he pushed for the creation of the Department of Cesar and became, in 1966, its first governor. Once in office and together with writer and reporter Consuelo Araújo Noguera and vallenato composer Rafael Escalona, they created the Vallenato Legend Festival.
Cumbia
Cumbia is a Colombian and Panamanian music genre popular throughout Latin America.
The Cumbia originated in Colombia's Caribbean coastal region, from the musical and cultural fusion of Native Colombians, slaves brought from Africa, and the Spanish during colonial times in the old country of Pocabuy, which is located in Colombia's Momposina Depression.
Cumbia began as a courtship dance practiced among the African slave population, which was later mixed with European instruments and musical characteristics. Cumbia is very popular in the Andean region and the Southern Cone, and it's still more popular than the salsa in many parts of these regions.
It is mainly asserted that cumbia's basic beat evolved from Guinean cumbé music. However, this basic beat can be found in music of Yoruba (in the rhythm associated with the god Obatala), and in other musical traditions across West Africa. Cumbia started in the Caribbean coast of South America, in what is now the northern coast of Colombia, mainly in or around the Momposina Depression during the period of Spanish colonization. Spain used its ports to import African slaves, who tried to preserve their musical traditions and also turned the drumming and dances into a courtship ritual. Cumbia was mainly performed with just drums and claves.
The slaves were later influenced by the sounds of New World instruments from the Kogui and Kuna tribes, who lived between the Sierra Nevada de Santa Marta and the Montes de María in Colombia. Millo flutes, Gaita flutes, and the guacharaca (an instrument similar to the güiro) were instruments borrowed from these New World tribes. The interaction between Africans and Natives of the New World under the Spanish caste system created a mixture from which the gaitero (cumbia interpreter) appeared, with a defined identity by the 1800's. (These gaiteros' are not the same as the Venezuelan Zulian gaiteros.) The European guitars were added later through Spanish influence. According to legend, the accordion was added after a German cargo ship carrying the instruments sank as a of accordions washed ashore on the northwest coast of Colombia. However, it's more likely that German immigrants brought the instrument to Barranquilla in the 19th century, and it was later adopted by the local population.
In Panama, the processes that shaped the culture and idiosyncrasies of the Colombian Caribbean through the three aspects (Hispanic, black and Indian) from the Spanish colonial period until today, also occurred in the isthmus. Research in the field talks about their appearance in the Colonial era. In the evenings, Creole families would gather to recite poetry and perform music typical of Spain and other parts of Europe. Other nights, they would bring their slaves to play their traditional drums and dances. Among the favorite African dances was El Punto. It consisted of intrinsic and abdominal movements and an African woman dancing alone. Another dance was the Cumbia. For this one, the couples advanced to the center of the room, both men and women, and gradually formed a circle of couples. The dance step of the man was a kind of leap backwards as the woman slid forward carrying a lighted candle in her hand holding a colored handkerchief.
The Cumbia originated in Colombia's Caribbean coastal region, from the musical and cultural fusion of Native Colombians, slaves brought from Africa, and the Spanish during colonial times in the old country of Pocabuy, which is located in Colombia's Momposina Depression.
Cumbia began as a courtship dance practiced among the African slave population, which was later mixed with European instruments and musical characteristics. Cumbia is very popular in the Andean region and the Southern Cone, and it's still more popular than the salsa in many parts of these regions.
The slaves were later influenced by the sounds of New World instruments from the Kogui and Kuna tribes, who lived between the Sierra Nevada de Santa Marta and the Montes de María in Colombia. Millo flutes, Gaita flutes, and the guacharaca (an instrument similar to the güiro) were instruments borrowed from these New World tribes. The interaction between Africans and Natives of the New World under the Spanish caste system created a mixture from which the gaitero (cumbia interpreter) appeared, with a defined identity by the 1800's. (These gaiteros' are not the same as the Venezuelan Zulian gaiteros.) The European guitars were added later through Spanish influence. According to legend, the accordion was added after a German cargo ship carrying the instruments sank as a of accordions washed ashore on the northwest coast of Colombia. However, it's more likely that German immigrants brought the instrument to Barranquilla in the 19th century, and it was later adopted by the local population.
In Panama, the processes that shaped the culture and idiosyncrasies of the Colombian Caribbean through the three aspects (Hispanic, black and Indian) from the Spanish colonial period until today, also occurred in the isthmus. Research in the field talks about their appearance in the Colonial era. In the evenings, Creole families would gather to recite poetry and perform music typical of Spain and other parts of Europe. Other nights, they would bring their slaves to play their traditional drums and dances. Among the favorite African dances was El Punto. It consisted of intrinsic and abdominal movements and an African woman dancing alone. Another dance was the Cumbia. For this one, the couples advanced to the center of the room, both men and women, and gradually formed a circle of couples. The dance step of the man was a kind of leap backwards as the woman slid forward carrying a lighted candle in her hand holding a colored handkerchief.
Smeets The Music of Colombia
The music of Colombia is an expression of the Colombian culture, which contains diverse music genres, traditional and moderns according with the features of each geographic region; although it is frequent to find different musical styles in the same region. The diversity in musical expressions found in Colombia can be seen as the result of a mixture of African, native Indigenous, European (especially Spanish) influences, as well as more modern American and Caribbean musical forms, Cuban, and Jamaican.
In a globalised world, many musicians are fusing traditional music with other styles (usually styles from the popular music genres). While this is not necessarily a bad thing, it is no longer traditional music since it is not entirely based on local culture, being influenced by the music that it has been fused with. As a result traditional music tends to be found in a pre-commercial setting. While traditional music continues to evolve today, but generally as a continuation of the music from a pre-globalised culture.
Styles like vallenato and porro were especially influential. When the waltz became popular in the 19th century, a Colombian version called pasillo was created.
Some of the best known genres are cumbia and vallenato. The most recognized interpreters of traditional caribbean and afrocolombian music are Totó la Momposina and Francisco Zumaqué.
Cumbia is a complex, rhythmic music which arose on Colombia's Atlantic coast. In its original form, cumbia bands included only percussion and vocals; modern groups include saxophones, trumpets, keyboards and trombones as well. It evolved out of native influences, combining both traditions. Some observers have claimed that the dance originally associated with iron chains around the ankle. Still others believe it is a direct import from Guinea, which has a popular dance form called cumbe.
Cumbia's form was solidified in the 1940s when it spread from the rural countryside to urban and middle-class audiences. Mambo, big band and porro brass band influences were combined by artists like Lucho Bermúdez to form a refined form of cumbia that soon entered the Golden Age of Cumbia during the 1950s. Discos Fuentes, the largest and most influential record label in the country, was founded during this time. Fruko, known as the Godfather of Salsa, introduced Cuban salsa to Colombia and helped bring Discos Fuentes to national prominence by finding artists like La Sonora Dinamita, who brought cumbia to Mexico, where it remains popular.
It is worth pointing out that the "classic" cumbia known throughout Colombia is the Cumbia Cienaguera. This song reflects a uniquely Colombian feel known as "sabor" (flavour) and "ambiente" (atmosphere). Arguably, this song has remained a Colombian staple through the years and is widely known as Colombia's unofficial national anthem. Some artists are Los Gaiteros de San Jacinto, Los Graduados, Los Black Stars, Los Golden Boys, Los Teen Agers, and Los Corraleros de Majagual.
In a globalised world, many musicians are fusing traditional music with other styles (usually styles from the popular music genres). While this is not necessarily a bad thing, it is no longer traditional music since it is not entirely based on local culture, being influenced by the music that it has been fused with. As a result traditional music tends to be found in a pre-commercial setting. While traditional music continues to evolve today, but generally as a continuation of the music from a pre-globalised culture.
Styles like vallenato and porro were especially influential. When the waltz became popular in the 19th century, a Colombian version called pasillo was created.
Some of the best known genres are cumbia and vallenato. The most recognized interpreters of traditional caribbean and afrocolombian music are Totó la Momposina and Francisco Zumaqué.
Cumbia is a complex, rhythmic music which arose on Colombia's Atlantic coast. In its original form, cumbia bands included only percussion and vocals; modern groups include saxophones, trumpets, keyboards and trombones as well. It evolved out of native influences, combining both traditions. Some observers have claimed that the dance originally associated with iron chains around the ankle. Still others believe it is a direct import from Guinea, which has a popular dance form called cumbe.
Cumbia's form was solidified in the 1940s when it spread from the rural countryside to urban and middle-class audiences. Mambo, big band and porro brass band influences were combined by artists like Lucho Bermúdez to form a refined form of cumbia that soon entered the Golden Age of Cumbia during the 1950s. Discos Fuentes, the largest and most influential record label in the country, was founded during this time. Fruko, known as the Godfather of Salsa, introduced Cuban salsa to Colombia and helped bring Discos Fuentes to national prominence by finding artists like La Sonora Dinamita, who brought cumbia to Mexico, where it remains popular.
It is worth pointing out that the "classic" cumbia known throughout Colombia is the Cumbia Cienaguera. This song reflects a uniquely Colombian feel known as "sabor" (flavour) and "ambiente" (atmosphere). Arguably, this song has remained a Colombian staple through the years and is widely known as Colombia's unofficial national anthem. Some artists are Los Gaiteros de San Jacinto, Los Graduados, Los Black Stars, Los Golden Boys, Los Teen Agers, and Los Corraleros de Majagual.
Smeets Colombian Music
Colombian music can be divided into four musical zones: the Atlantic coast, the Pacific coast, the Andean region and Los Llanos. The Atlantic music features rhythms such as the cumbia, porros and mapalé. Music from the Pacific coast, with drums predominating (such as the currulao) is tinged with Spanish influence. Colombian Andean has been strongly influenced by Spanish rhythms and instruments, and differs noticeably from the Indian music of Peru or Bolivia. Typical forms include the bambuco, pasillo guabina and torbellino, played with pianos and string instruments such as the tiple guitarra. The music of Los Llanos, música llanera, is usually accompanied by a harp, a cuatro (a type of four-string guitar) and maracas. It has much in common with the music of the Venezuelan Llanos.
Apart from these traditional forms, two newer musical styles have conquered large parts of the country: la salsa, which has spread throughout the Pacific coast and the vallenato, which originated in La Guajira and César (on the northern Caribbean coast). The latter is based on European accordion music. Merengue music is heard as well. More recently, musical styles such as reggaeton and bachata have also become popular.
Apart from these traditional forms, two newer musical styles have conquered large parts of the country: la salsa, which has spread throughout the Pacific coast and the vallenato, which originated in La Guajira and César (on the northern Caribbean coast). The latter is based on European accordion music. Merengue music is heard as well. More recently, musical styles such as reggaeton and bachata have also become popular.
Habanera
The habanera rhythm is an embellishment of tresillo, and one of the most basic rhythmic cells in Afro-Latin music, and sub-Saharan African music traditions. In sub-Saharan rhythmic structure, every triple-pulse pattern has its duple-pulse correlative; the two pulse structures are two sides of the same coin. The habanera rhythm is the duple-pulse correlative of the most basic triple-pulse cell—the three-against-two cross-rhythm (3:2), or vertical hemiola.
The habanera rhythm is known by several names, such as the congo, tango-congo, and tango. Thompson identifies the rhythm as the Kongo mbilu a kakinu, or 'call to the dance.' The pattern is in fact, heard throughout Africa, and in many Diaspora musics. It is constructed from multiples of a basic durational unit, and grouped unequally so that the accents fall irregularly in a one or two bar pattern. Put another way, the pattern is generated through cross-rhythm.
Some vocalizations of the habanera include "boom...ba-bop-bop", and "da, ka ka kan." When sounded with the Ghanaian beaded gourd instrument axatse, the pattern is vocalized as: "pa ti pa pa." The "pa's" sound tresillo by striking the gourd against the knee, and the "ti" sounds main beat two by raising the gourd in an upward motion and striking it with the free hand. As is common with many African rhythms, the axatse part begins (first "pa") on the second stroke of the habanera (one-ah), and the last "pa" coincides with beat one. By ending on the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm.
Early Cuban
Early Cuban bands played popular music for dances and theatres during the period 1780–1930. During this period Cuban music became creolized, and its European and African origins gradually changed to become genuinely Cuban. Instrumentation and music continually developed during this period. The information listed here is in date order, and comes from whatever records survive to the present day.
Típicas
For about a hundred years, from early in the nineteenth century to about 1920, the main orchestral format for popular music was the típica based on wind instruments, usually about 8–10 members. At the same time, there were also itinerant musicians, duos and trios: for them, see trova.
Orquesta Concho de Oro
Founded early in the 19th century by the black violinist and double bass player Claudio Brindis de Salas (1800–1872). It played the dance music of the epoch at the balls of the island's aristocracy: contradanzas, minuets, rigadoons, quadrilles, lancers. It was basically a típica, or wind orchestra, which was sometimes augmented to 100 players for special occasions such as fiestas.
Brindis de Salas, a disciple of the maestro Ignacio Calvo, was also a composer of creole danzas and the author of an operetta, Congojas matrimoniales. In 1844 his musical career was interrupted by his involvement in the Escalera Conspiracy, for which whites were absolved, but blacks paid dearly. Brindis de Salas was arrested and tortured. He was banished from the island by the Governor, O'Donnell. Returning in 1848, he was imprisoned for two years, and when he eventually was free to think about reorganizing his band, he found out that most of them had been executed.
Apart from the operetta, he is known for a melody dedicated to the General Concha, printed in 1854. His son, Claudio Brindis de Salas Garrido (Havana, 4 August 1852 – Buenos Aires, 1 June 1911) was an even better violinist, of world renown.
Orquesta Flor de Cuba
Founded by Juan de Dios Alfonso (1825–1877), clarinetist and composer. He moved to Havana, where he played clarinet in Feliciano Ramos's band La Unión in 1856, and directed La Almendares in 1859. It is not quite clear when he formed La Flor de Cuba, which became one of the most popular in the middle of the 19th century. They played contradanzas, and other dances of the time. The orchestra was a típica, with cornet, trombone, figle, two clarinets, two violins, double bass, kettle drum, and güíro. The figle (ophicleide) was a sort of bass bugle with keys, invented in 1817; the t-bone would be a valve trombone.
For about a hundred years, from early in the nineteenth century to about 1920, the main orchestral format for popular music was the típica based on wind instruments, usually about 8–10 members. At the same time, there were also itinerant musicians, duos and trios: for them, see trova.
Orquesta Concho de Oro
Founded early in the 19th century by the black violinist and double bass player Claudio Brindis de Salas (1800–1872). It played the dance music of the epoch at the balls of the island's aristocracy: contradanzas, minuets, rigadoons, quadrilles, lancers. It was basically a típica, or wind orchestra, which was sometimes augmented to 100 players for special occasions such as fiestas.
Brindis de Salas, a disciple of the maestro Ignacio Calvo, was also a composer of creole danzas and the author of an operetta, Congojas matrimoniales. In 1844 his musical career was interrupted by his involvement in the Escalera Conspiracy, for which whites were absolved, but blacks paid dearly. Brindis de Salas was arrested and tortured. He was banished from the island by the Governor, O'Donnell. Returning in 1848, he was imprisoned for two years, and when he eventually was free to think about reorganizing his band, he found out that most of them had been executed.
Apart from the operetta, he is known for a melody dedicated to the General Concha, printed in 1854. His son, Claudio Brindis de Salas Garrido (Havana, 4 August 1852 – Buenos Aires, 1 June 1911) was an even better violinist, of world renown.
Orquesta Flor de Cuba
Founded by Juan de Dios Alfonso (1825–1877), clarinetist and composer. He moved to Havana, where he played clarinet in Feliciano Ramos's band La Unión in 1856, and directed La Almendares in 1859. It is not quite clear when he formed La Flor de Cuba, which became one of the most popular in the middle of the 19th century. They played contradanzas, and other dances of the time. The orchestra was a típica, with cornet, trombone, figle, two clarinets, two violins, double bass, kettle drum, and güíro. The figle (ophicleide) was a sort of bass bugle with keys, invented in 1817; the t-bone would be a valve trombone.
AH Smeets - Danzón
Originally, the contradanza was of English origin and was most likely introduced by three different ways to Cuba in 1762 with the invasion of the British to Havana, Spanish colonists, and French colonists (who were fleeing the Haitian Revolution of 1791 to 1804).
In Cuba, these dances were influenced by African rhythmic and dance styles and so became a genuine fusion of European and African influences.
The danzón developed in 1879, and has been an important root for Cuban music up to the present day. The precursor of the danzón is the Habanera, which is a creolized Cuban dance form. The danzón was developed, according to one's point of view, either by Manuel Saumell or by Miguel Faílde in Matanzas.
The English contradanza was the predecessor of the ("habanera") also known as danza criolla, of this Creole genre Habanera born in 1879 another Cuban genre, called danzon, were sequence dances, in which all danced together a set of figures.[6] The first use of the term danzón, which dates from the 1850s, is for just such a dance. Havana's daily paper, El Triunfo, gave a description of this earlier danzón. It was a co-ordinated dance of figures performed by groups of Matanzas blacks. The dancers held the ends of colored ribbons, and carried flower-covered arches. The group twisted and entwined the ribbons to make pleasing patterns. This account can be corroborated by other references, for example, a traveler in Cuba noted in 1854 that black Cubans "do a kind of wreath dance, in which the whole company took part, amid innumerable artistic entanglements and disentanglements". This style of danzón was performed at carnival comparsas by black groups: it is described that way before the late 1870s.
The interesting thing is that Faílde's first danzóns were created for just such sequence dances. Faílde himself said "In Matanzas at this time there was a kind of square dance for twenty couples who carried arches and flowers. It was really a dance of figures (sequence dance), and its moves were adapted to the tempo of the habanera, which we took over for the danzón."
Cha-cha-cha
As a dance music genre, cha-cha-chá is unusual in that its creation can be attributed to a single composer, Enrique Jorrín, then violinist and songwriter with the charanga band Orquesta América. (Orovio 1981:130)
As to how the cha-cha-chá came about, Jorrín said:
"I composed some danzones in which the musicians of the orchestra were singing short refrains. The audiences liked it, so I kept it up. In the danzón 'Constancia,' I inserted some well-known montunos and when the audience joined in singing the refrains; it led me to compose more danzones in this style. I asked all the members of the orchestra to sing in unison. This accomplished three things: the lyrics were heard more clearly and had greater impact and also the [poor] vocal quality of the [instrumental] musicians (who were not actually singers) was masked. In 1948, I changed the style of 'Nunca,' a Mexican song by Guty de Cárdenas. I left the first part in the original style and I gave a different feeling to the melody in the second part. I liked it so well that I decided to separate the last part, that is to say, the third trio or montuno, from the danzón. Then I came up with pieces like 'La Engañadora' (1951), which had an introduction, a part A (repeated), a part B, a return to part A and finally, a coda in the form of a rumba. From nearly the beginning of my career as a composer of dance songs, I watched how the dancers danced the danzón-mambo. I noted that most of them had difficulty with syncopated rhythms, owing to the fact that their steps fell on the upbeat (contratiempo), or in other words, the second and fourth eighth notes of the (2/4) measure. The dancers dancing on the upbeat and the syncopated melodies made it very difficult to coordinate the steps with the music. I began to compose melodies to which one could dance without instrumental accompaniment, trying to use as little syncopation as possible. I moved the accent from the fourth eighth note- where it was normally found in the mambo- to the first beat of the cha-cha-chá. And so the cha-cha-chá was born- from melodies that were practically danceable by themselves and a balance between melodies on the downbeat and the upbeat." (Orovio 1981:130-2)
Bolero
Spain - The bolero is a 3/4 dance that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. Dancer Sebastiano Carezo is credited with inventing the dance in 1780. It is danced by either a soloist or a couple. It is in a moderately slow tempo and is performed to music which is sung and accompanied by castanets and guitars with lyrics of five to seven syllables in each of four lines per verse. It is in triple time and usually has a triplet on the second beat of each bar.
In Cuba, the bolero is perhaps the first great Cuban musical and vocal synthesis to win universal recognition. In 2/4 time, this dance music spread to other countries, leaving behind what Ed Morales has called the "most popular lyric tradition in Latin America".
The Cuban bolero tradition originated in Santiago de Cuba in the last quarter of the 19th century;[8] it does not owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar.
Pepe Sanchez is known as the father of the trova style and the creator of the Cuban bolero. Untrained, but with remarkable natural talent, he composed numbers in his head and never wrote them down. As a result, most of these numbers are now lost, but two dozen or so survive because friends and disciples wrote them down. He was the model and teacher for the great trovadores who followed.
The Cuban bolero has traveled to Mexico and the rest of Latin America after its conception, where it became part of their repertoires. Some of the bolero's leading composers have come from nearby countries, most especially the prolific Puerto Rican composer Rafael Hernández; another example is Mexico's Agustín Lara. Some Cuban composers of the bolero are listed under Trova.
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