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singing lead while the others sang coro. Paulito's vocal style is characterized by razor-sharp accuracy and an ability to reinvent the melodies of his compositions with each performance. Like a basketball point guard he was able to call gear changes spontaneously and only Issac
Delgado's band was able to vary their performances as much from night to night. Paulito's band, the "Elite", was indeed an elite force, with the best or one of the best players in Havana on nearly every instrument. Many of the members had stayed on from the Opus 13 days. Paulito wrote almost all of his material and had a brilliant chemistry with arranger Juan Ceruto and his all-star rhythm section, resulting in some of the most intricate and original arrangements of the 1990s. Aesthetically, Paulito's music seems to share a kinship with Manolín's but from our point of view a more useful comparison is with Delgado. Delgado's and Paulito's were arguably the greatest live timba bands from the point of view of being able to use gears and improvisation to make each performance of a song different from one concert to the next. Each group had wonderfully complex and flexible gear systems, and each had a string of brilliant pianists. Many of the top pianists played in both bands at different points. Paulito's pianists were Emilio Morales, Sergio Noroña, Pepe Rivero, Yaniel "El Majá" Matos, Rolando Luna, and Roberto "Cucurucho" Carlos. Delgado's were Tony Pérez, Melón Lewis, Pepe Rivero, Yaniel "El Maja" Matos, Roberto "Cucurucho" Carlos, Rolando Luna and Tony Rodríguez.—Moore (2010: v. 5: 20)
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crowd. Using this basic definition, we could say that all dance music has some sort of gear system, but the Cuban music of the 1990s took the concept to an unprecedented level of complexity and creativity. In fact, when answering the obligatory question "what's the difference between salsa and timba?", the most important part of the answer revolves around the subject of gears. The Cuban bands of the 1990s came up with a much wider spectrum of gears than their predecessors, but more importantly, many of them devised visual, verbal and/or musical signals to enable them to apply the gear changes spontaneously in different ways for different performances of the same song, i.e., to improvise the form of the piece. For example, the singer or musical director might give a hand signal or cry out "bomba!", after which the bassist would begin to slide his or her right hand down the low string of the bass in a distinctive pattern, with the percussionists simultaneously changing their patterns to a pre-determined combination that works with the bass to create the tembleque-inducing bomba groove. These "gear changes" can be written into arrangements or spontaneously invoked in live performance by hand or vocal signals.—Moore (2010: v. 5: 75)
1504:" tumbao was a subconscious thing which ... came from rumba. In order to get this spontaneous and natural feel, you should know la rumba ... all the percussion, quinto improvising ... While we don't doubt for a minute where Pérez drew his inspiration from, it's difficult to rationalize his arrangement in terms of rumba, even taking into account the more extreme examples of counter-clave quinto phrases. Pérez doesn't attempt to rationalize his arrangement in terms of clave theory though. That's not where he's coming from. ... I just don't treat the clave as a study or a profound analysis conceived around where it overlaps and where it comes in. I didn't learn it in that way. ... When I conceive a tumbao, I don't stop and think or write to see where the clave fits and where it doesn't, ... in tumbaos developed in Cuba, you hear quinto hits ... for many years now in Cuba the bands have been employing different rhythmic patterns. It is amazing how the bass and piano have evolved in Cuba, and that is not something that stops ... the possibilities are infinite."—Pérez (2000: timba.com)
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play traditional charanga music each summer at a large Monte Carlo tourist hotel, hence the then-appropriate band name
Charanga Habanera. Every weekend, the band would play the opening set for touring bands such as Earth, Wind and Fire, Stevie Wonder, James Brown and Kool & The Gang, and the charangueros became huge fans of both the music and stage shows of North American R&B. In the off-season, back in Cuba, there was very little work for their traditional music and the whole country was going wild for NG La Banda. In response, Calzado and musical director/pianist Juan Carlos Gonzalez changed everything about Charanga Habanera except the name. They added three trumpets and a sax, a bongosero, a kick drum, a synthesizer, elaborate costumes and stage shows, and a completely new kind of music which didn't sound like NG La Banda or Earth, Wind and Fire, but which worked pure musical magic on all levels. The piano tumbaos and arrangements ... were nothing short of sublime.
1566:(literally meaning chaos or frenzy) that consists of rapid gyrations of the body and pelvis, thrusting and trembling motions, bending over and generating harmonic oscillations of the gluteous maximus. Those involved in the performance and popularization of timba crafted a culture of black, strong, masculine pride, and a narrative of male hypersexulaity to go with timba's so-called "masculine" sound. In a socialist society where value and identity center on labor and political citizenship, black males were representing themselves not as forces of production but of pleasure. Timba is musically complex, highly danceable, and reflects the problems and contradictions of contemporary Cuban society because it expresses a repetitive beat that relates to the repetitive day-to-day life the Cubans endured during the early 1990s. It is a dynamic evolution of salsa, full of improvisation and Afro Cuban heritage, based on son, Rumba and
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eclectic, but even the principal architects of this trend, such as
Adalberto Álvarez, added new harmonic ideas like secondary dominants and inverted triads. In any case, the timberos crashed through this partially open door and never looked back. In terms of the actual chord progressions used in timba, the harmony appendix is also very useful. A highly recommended exercise is to play through the whole list in the key of C. As dramatically different as timba harmonies sound after studying the music of the first four volumes, it ís surprising to see how many timba tumbaos recycle the same progressions with minor variations. While the first decade of the 2000s has witnessed a general simplification of harmonies not unlike the 1980s after the 1970s there are still vast untapped opportunities for further harmonic exploration. Hopefully readers of these books will be among the future explorers.—Moore (2010: v. 5: 11, 12).
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ears, compounded by the strong Afro-Cubans rhythm heritage and the inability of many North
American salsa dancers to listen to actual tempos. Nevertheless, it has found a niche among a growing number of fans and has been influential amongst Cuban-American and European salsa musicians. From the salsa dancer's perspective, timba (due to its rhythmically complex nature) is very hard to dance unless traditional Cuban salsa (also known as casino) is mastered and may require many years of practice. In the same way that musicians amalgamate salsa with funk, pop, jazz, rock & roll and even tango to create timba, dancing to timba reflects the rhythms/genre incorporated in the composition being danced to. Timba as a dance allows incorporation of moves seen in Afro-Cuban folklore, funk, pop, rock & roll etc., and the creation of new moves under the framework of Cuban casino.
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lyrics generated considerable controversy due to their use of vulgar and witty street language, and also because they made veiled references to public concerns including prostitution, crime, and the effects of tourism on the island, which had only rarely been addressed by other musicians. This was not normal in Cuban texts before. There was also a reaffirmation of the Cuban identity. The difference of opinion between the old traditionalists going abroad for success and the young bloods stuck at home – and the difference in financial rewards – was bound to lead to friction. In the subsequent time, timba has largely crossed over from an accessible, mainstream medium to one that is directed at wealthy elites in high-end venues. This places timba in contrast with rap, which has come in some ways to fill the role of the music of the masses.
1336:. Surpassing both famous relatives, Piloto won the timba.com readers poll for Best Timba Drummer and came in fourth for Best Songwriter. He left NG La Banda because it didnít afford him enough opportunity to write. As a freelancer he wrote three important songs for Charanga Habanera, including their breakthrough hit, "Me sube la fiebre." After joining Issac, he continued to write prolifically. When Piloto founded Klímax in 1995 his writing became even more melodically, harmonically and lyrically original, sometimes straying into controversial areas that resulted in songs being censored by the government and always pushing the envelope of musical creativity in wonderful and varied ways. Klímax is the most harmonically original and sophisticated popular music band in Cuban history.—Moore (2010: v. 5: 21)
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recordings also feature one of the best and most thoughtful synthesizer players, Osiris Martínez, who now plays with Los Que Son Son. Manolito has a great musical chemistry with the groupís other prolific composer, singer
Ricardo Amaray. Many of Trabuco's biggest hits result from Amaray's unabashed R&B influences being filtered through Simonet's strong Cuban aesthetic and arranging genius. Like Issac Delgado, Manolito made CDs that mixed the aggressive hardcore timba he played in concert with various other styles designed to appeal to foreign buyers cumbias targeting South American audiences for example. Manolito's many timba masterpieces are spread across his 17-year discography a few on each album.—Moore (2010: v. 5: 22)
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discovered at med school and famously dubbed "El Médico de la Salsa". Manolín's music was as different from
Charanga Habanera as Charanga Habanera was from NG La Banda. His creative team included several arrangers, including the great Luis Bu, a brilliant pianist, Chaka Nápoles ... and an incredibly powerful and creative rhythm section. As influential as Manolín was from a strictly musical point of view, his charisma, popularity and unprecedented earning power had an even more seismic impact, causing a level of excitement among musicians that had not been seen since the 1950s, if ever. To borrow a phrase from Reggie Jackson, El Médico de la Salsa was "the straw that stirs the drink."—Moore (2010: v. 5: 18)
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albums can be bought in their original form, which is fortunate because they're conceived as albums, with meticulous attention paid to artwork, track lists, and overall concept. Every note on these albums holds up under intense scrutiny. I've written extensive articles on each of the first five albums on www.timba.com and I've begun another, more technical batch of analyses of the same albums from the point of view of the rhythm section and its gear changes. Charanga
Habanera's timba.com section also includes extremely accurate transcriptions of every lyric, including guías, on each of these albums.
1010:, had already had some success writing songs for Rumbavana when Rodulfo Vaillant, one of the most recorded composers of the era, invited him come to Santiago as the musical director and pianist of a new group called Son 14. The group got off to a roaring start in 1979 with Adalberto's first massive hit, "A Bayamo en coche." Alvarez left after three classic albums (plus a fourth featuring Omara Portuondo singing songs from the other three) but Son 14 has stayed together, recording sporadically, under the leadership of Eduardo "Tiburiuni" Morales, the original singer of "A Bayamo en coche."
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include several such sections, now called mambos, but featuring horns alone with no vocals. The horn mambos would alternate with coro/guía sections. Timba arrangers put a dramatic end to this type of predictable, formulaic arranging. By the time
Charanga Habanera's David Calzado and Juan Carlos González hit their stride in 1993, no combination of horns, guías, coros and tumbao lengths was left unexplored and the possibilities were further multiplied by accompanying the hybrid mambos with a variety of rhythm section "gears."—Moore (2010: v. 5: 12, 13).
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doesn't. However, when the rhythmic pattern lasts two or four claves, it gives the creative pianist the leeway to choose where, and how strongly, to mark the clave. If you mark the clave decisively every other measure, the listeners and dancers will learn to anticipate it. As such, you can use clave polarity for artistic effect, creating tension with passages that leave the clave ambiguous or even contradict it, making the resolution to strong clave-alignment all the more satisfying when it comes" (Moore 2010: 41).
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2514:, is a "breakdown", but the two gears lie at opposite ends of the emotional spectrum. Muela lowers the energy level, allowing everyone to take a breath and the singer to set up the next section. In contrast, presión begins suddenly and majestically, surging into new material, often the most memorable material of the arrangement, and creating an orgasmic moment of arrival that exhorts the dancers to throw their hands in the air with abandon ("manos p'arriba!"). Moore, Kevin (2011: 127).
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other Latin countries. Nevertheless, many Cuban musicians seek to work abroad, and a significant number of musicians now work in exile, both in the United States and in Europe (and to a lesser extent in Latin
America), leading to a new wave of cross-breeding between the timba and salsa. While timba has gone past its peak in recent years, all major groups are still actively recording and performing, and major labels—especially in Europe—have started taking an interest in timba.
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Charanga
Habanera), and Pepito Gómez (former singer in Pupy y Los que Son, Son) but eventually decided to relocate elsewhere (to Spain, Mexico, and New York). Others include Carlos Manuel, El Pikete, Michel Calvo, Jorge Gomez and "Tiempo Libre" (who received Grammy nominations in 2005 for their album "Arroz con Mango" and in 2006 for their album "Lo que esperabas"), Los 10 de la Salsa, Chaka and his group "El Tumbao", and Tomasito Cruz and his Cuban Timba All Stars.
1794:, the drum set provided powerful funk and rock beats that added more punch to the rhythm section, and the bass players began to incorporate the playing techniques associated with funk, slapping, and pulling the strings in a percussive way. The combination of the trumpets and the saxes gave the horn section a more jazzed sound, and the harmony began to evolve on a more contemporary level.
820:, timba needs to be spoken of because of its musical, cultural, social, and political reasons; its sheer popularity in Cuba, its novelty and originality as a musical style, the skill of its practitioners, its relationship with both local traditions and the culture of the black Diaspora, its meanings, and the way its style brings to light the tension points within society. In addition to
1169:, and the entire horn section, known affectionately to fans as Los metales de terror for their flawless and aggressive execution of El Tosco's virtuosic hornlines ... El Tosco stint in the 1970s with Los Van Van. His initial concept for NG La Banda was to combine the popular music appeal of Los Van Van with the jazz influences and stupendous musicianship of Irakere.
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created by the other tumbaos. Pianist Luis Adolfo Peoalver mostly stayed within the typical style of the 1970s and 80s, locking down the groove with the violin section and Lazaga's machete-style güiro, while Perera, drummer Daniel Díaz, conguero Juan Claro Bravo and the band's extraordinary arrangers soared to unprecedented creative heights.—Moore (2010: v. 3: 33)
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1457:'s timba band of the 1990s. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his tumbaos span two or even four claves in duration, something very rarely done previously. He also made more use of muted tones in his tumbaos, all the while advancing the development of . The example on the right is one of Cruz's
1040:, an extraordinary performer who influenced almost every subsequent singer with his uncanny ability to improvise lyrics. Original de Manzanillo's pianist and leader Wilfredo "Pachy" Naranjo is still with the group and his son, Pachy Jr., is the current pianist for Orquesta Revé and has recorded with many others, including
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ongoing trend toward longer tumbaos, but overall length is only half of the story. Many of the tumbaos of the 70s and 80s applied a one-clave rhythm to a two-clave chord progression. With Latin jazz, and jazz-influenced salsa, the chord progression might extend to eight or even sixteen claves, but the basic
824:, timba drummers make use of the drum set, further distinguishing the sound from that of mainland salsa. The use of synthesised keyboard is also common. Timba songs tend to sound more innovative, experimental and frequently more virtuosic than salsa pieces; horn parts are usually fast, at times even
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in the breakdown in a more sophisticated way which does not exist in Cuba yet. Because of the available resources outside of Cuba, it is easier for musicians outside of the island to create music that has been heavily influenced by the Cubans. Meaning, it is easier for foreigners to imitate, create,
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At its most basic, timba is more flexible and innovative than salsa, and includes a more diverse range of styles, all of which could be defined as timba. The limits of what is timba and what is not are less rigid when compared to salsa, as innovation and improvisation are key concepts in Timba music.
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Paulo Fernández Gallo, aka Paulito FG, Pablo FG or Paulo FG, joined Issac Delgado and Manolìn as the three top singer-bandleaders of the 1990s. The other major bands of the era, from Los Van Van to Bamboleo, were led by musicians and featured a "front line" of two to four lead singers who took turns
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What came to be known as the "timba explosion" started not with NG La Banda, but with the debut album of La Charanga Habanera, "Me Sube La Fiebre", in 1992. This album included all the elements of what is now known as timba, and the band dominated the scene until the break-up of the original band in
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to the island helped broaden the appeal of the music and dance of timba. The stand-off between Cuba and most of the rest of the world gave timba space to breathe new life into the city, causing the nightlife and party scene to grow. Timba's danceable beat and energizing sound was popular among the
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Los Van Van developed what came to be known as the 'songo' genre, making countless innovations to traditional son, both in style and orchestration. In Latin music, genres are commonly attributed to rhythms (though of course not every rhythm is a genre), and whether or not timba is a genre of its own
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Timba rhythm sections differ from their salsa counterparts in many integral ways from the instruments themselves, to the individual patterns of each instrument, to the way those patterns are combined into gears, to the way the group navigates between those gears. The areas where salsa and timba are
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The horns were also part of the new paradigm. To review, the idea of using a horn section to play repeating riffs began with the diablo sections of Arsenio Rodríguez. Arsenio usually combined a coro and a horn riff over a one-clave tumbao. By the 1980s it had become standard for each arrangement to
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before repeating. Two-clave tumbaos became dominant in the 1970s and 80s. By the 1990s, tumbao lengths of four claves were as common as two and sometimes extended to eight. Odd lengths such as three, five and six were also occasionally used. In this sense, timba can be seen as a continuation of the
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In the broadest sense, people dance timba in a style called "casino" that was around well before 1989, but certain rhythmic elements of timba arrangements inspired new ways of dancing. In some cases, dancers would respond to changes in the music by switching between casino and the new dance styles,
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In Peru, timba is also prominent with no fewer than 30 bands dedicated to promote Cuban music, the most well known of which are Mayimbe and Team Cuba. Others include: Mangu, Camagüey, A Conquistar, Explosión Habana, N'Samble, La Novel, D'Farándula, Bembe, Son de Timba, Los Trabucos, Yambú and Yare.
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In terms of instrumentation, Charanga Habanera is about as far from being a charanga as it could possibly be, and there's an interesting story behind the band's misleading name. The group's leader, David Calzado, who had played violin for Ritmo Oriental in the 1980s, landed a multi-year contract to
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Charanga Habanera was ... catapulted to superstar status in the 1990s. Like NG La Banda, the charangueros had copious amounts of gear changes, song-specific tumbaos and attitude, but their musical style was drastically different and it kept changing and evolving with each album. Charanga Habanera's
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The rhythm section was no less virtuosic than the horns. Drummer Calixto Oviedo, Bassist Feliciano Arango, drummer Giraldo Piloto and conguero Wickly Nogueras went on to become legends on their respective instruments. Most important from our point of view was the pianist Rodulfo "Peruchín" Argudín.
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López, Cano Rubén. 2006. "Asómate por debajo de la pista: timba cubana, estrategias músico-sociales y construcción de géneros en la música popular". Actas del VII Congreso de IASPM-AL. Música popular, escena y cuerpo en la América Latina:prácticas presentes y pasadas . La Habana, Cuba, 20 al 25 de
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When a band develops a specific combination of piano, bass and percussion parts, and returns to it multiple times in multiple songs, we call this a "gear." It could be as simple as repeatedly using one groove for the cuerpos and another for the coros, or breaking down for the singer to talk to the
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The role of the bassist is also very different. Salsa bassists have standardized bombo-ponche bass tumbaos. This is sometimes used in timba, but much more often a clave-aligned tumbao is used, and it is often specific to the song in question, while the bombo-ponche tumbaos of salsa, by definition,
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If the early 1990s popularity of NG La Banda and Charanga Habanera was unprecedented, the response to the arrival of the next superstar group bordered on the unbelievable: the Cuban equivalent of Beatlemania. The unlikely star was Manuel "Manolín" Gonzalez, an amateur songwriter whom NG's El Tosco
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While timba developed at the beginning of a decade when Afro-Cuban conservatory graduates were turning to popular music catering to inner-city youth, its growth followed that of the music and tourist industries, as the state tried to address the economic challenges of the post-Soviet world. Timba
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was used in lyrics and song titles such as Casino de la Playa's "Timba Timbero" and Pérez Prado's "Timba Timba". It's also the name of a neighborhood in Havana. It came into use as a music genre name, first as timba brava, around 1988. Many, most famously NG La Banda's leader José Luis "El Tosco"
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Many salsa pianists are alarmed when they first study timba and encounter measures that either contradict the clave or fail to mark it decisively. It is an understandable concern, because when dealing with tumbaos whose rhythm patterns last only one clave, that rhythm either marks the clave or it
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Like Manolín, Bamboleo began life as one of El Tosco's pet projects. Led by pianist Lázaro Valdés Jr., one of timba's most original arrangers, they have an instantly recognizable sound, with R&B and jazz fusion elements seamlessly integrated with aggressive timba, and a complex system of hand
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Adalberto Álvarez was among the first to popularize the use of "gospel" chord progressions using major triads built on II, III and VI. Throughout the 1970s and 80s, more and more elements of the pop music harmonic palette became acceptable in Latin music and by the 1990s, anything that produced a
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and as a solo artist. Arranger Ignacio Herrera also left after 1982. We are not sure what happened to Herrera, but based on his stunning arrangements on the 1982 album, he certainly had the potential to create a brilliant spinoff band of his own. Another "missing-in-action" Revé alumnus who might
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Timba has start to become popular in the worldwide salsa scene today as commercial timba music selections are selectively accepted. However many salsa dancers consider it difficult to dance to, due to rapid rhythm and differential arrangements than traditional salsa and beats too strong to their
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band leader, hopes timba will gain popularity in the States, but he realizes that only small crowds will come to shows at first. Because of the politics surrounding Cuba, the music has not had a chance to gain exposure in the States and has not become as commercialized as traditional salsa from
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The bell played by the timbalero in salsa is sometimes played the same way by the timbalero or drummer in timba, but in timba bands where one person plays both bell patterns, a different pattern, or a much looser series of improvised patterns, is used. The time-honored standard conga marcha used
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The groups of the early 1970s opened the door to the idea of using new harmonies in Cuban music: rock and soul in the case of Los Van Van; jazz and classical music in the case of Irakere and their followers. In the 1980s there was a general trend for harmonies to become more traditional and less
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Manolito y su Trabuco's front line has included some of the best singers of the era, including Rosendo "El Gallo" Díaz, Sixto "El Indio" Llorente (who sang many of the Orquesta Aliamén ... and Carlos Kalunga, who sang many of the recommended Klímax songs in the previous section. Manolito's 1990s
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Issac Delgado's hit song "La Sandunguita" (written by Alain Pérez), is an example of an arrangement that is intentionally cruzado. The bass and chorus are in 3-2, but the bell patterns are in 2-3. ... When asked about his counter-clave (cruzado?) tumbao in "La Sandunguita", Pérez said that his
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A very dramatic difference between the two genres is that salsa bands don't use the kick drum, an essential element in all timba bands. Almost all timba bands have a trap drummer and those with a timbalero (e.g., Charanga Habanera) add a kick drum which he or she plays from a standing position.
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Zooming out a level to examine the larger mambo and coro sections built from the tumbaos, we immediately encounter a new type of arranging device which is almost entirely unique to timba. I call it the "asymmetrical coro". Instead of a one- or two-clave coro followed by a lead vocal of the same
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Charanga Habanera underwent three distinct style periods in the 1993–1997 period, represented by the three albums pictured above. An earlier album, Love Fever (Me sube la fiebre), fits stylistically with Hey You Loca and even shares two important songs : Me sube la fiebre and Para el
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Government policy favours artistic excellence and Cuban music is regarded as a source of revenue and a legitimate way to attract tourism. However, the island's most popular dance bands have been virtually ignored by Latino radio in the US and some parts of Cuba, and are absent from the charts.
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Other than in Cuba, a few timba bands appeared in Miami, Florida, where a large concentration of Cuban-Americans reside. This became possible due to members of some timba bands moving to Miami, such as Isaac Delgado, Manolín "El Médico de la Salsa", Dany Lozada (former singer and composer for
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Ritmo Oriental, often known as "La Ritmo", was one of the most popular bands in Cuba in the 1970s and 1980s. ... La Ritmo's violin tumbaos were endlessly inventive and Humberto Perera, often the arranger as well as the bassist, created bass tumbaos which were both thematic and filled the holes
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Bakuleye, known as a magic wand that awakens a deity living under the Earth, is another popular band in Cuba known for its timba. The band's creator, Pedro Pablo Vargas, describes Bakuleye as the awakening of new ideas. The music of Bakuleye is a fusion of different musical rhythms such as
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length with the same progression, timba arrangers might follow a three-clave coro with a one-clave guía, a one-clave coro interjection and then a three-clave guía, all over an eight-clave chord progression. They might also provide different chord progressions for the coro and lead vocal.
2780:("Animals of Cuban Music" is a documentary made about Cuban timba and its struggle with youth embracing reggaeton over the last decade. It features the Charanga Habanera, Gente de Zona, Manolito Y su Trabuco, Bamboleo, Tanya Pantoja, Los Van Van, Mayito Rivera. Producer Jen Paz Films)
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The high art of composing popular music in-clave began in Cuba and spread throughout Latin America and eventually, across the planet. Ironically, it is now the young Cuban musicians who are overtly defying the popular music conventions of composing/arranging in-clave.—Peñalosa (2009:
1180:, from Ritmo Oriental and Pachito Alonso, respectively. Delgado left NG to form his own band in about 1991. Piloto joined him about a year later as drummer, composer and musical director. El Tosco replaced Issac with another great singer, Antonio Mena.—Moore (2010: v. 5: 14)
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universally in salsa is also often used in timba, but many other variations are also used and some congueros actually compose specific marchas for each song. Many of these timba conga marchas are twice or even four times the length of the standard conga marcha (or
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Elio Revé Sr. was an incomparable talent scout. He may also have been a difficult man to work for, if the number of musicians who have left his band is any indication! The incredible legacy of famous Revé spinoff bands began shortly after his group relocated from
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Irakere is known largely as a Latin jazz band outside Cuba, yet much of their music can be considered to be popular dance music. Like Los Van Van, Irakere experimented with many different styles, mixing Afro-Cuban rhythms with son and jazz. While bandleader
1109:("El Tosco"), who assembled a group of highly talented musicians to form NG La Banda in the mid-1980s. NG experimented with different styles, including Latin jazz, for several years, before recording what is considered by many to be the first timba album,
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Since then a large number of bands have sprung up in Cuba and internationally, many of the best known being headed or staffed by former members of the above-mentioned bands. Some important figures and bands include: Pachito Alonso y sus Kini Kini,
681:, taking inspiration from Latin jazz, and is highly percussive with complex sections. Timba is more flexible than salsa and includes a more diverse range of styles. Timba incorporates heavy percussion and rhythms which originally came from the
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well extended to this list was Tony García, the pianist and musical director of the early 1990s and the arranger of Revé famous "Mi salsa tiene sandunga" which became the theme song of Cuba television's most important music show, Mi Salsa.
964:... Suffice it to say that the history of Revé is like the corner of Hollywood and Vine if you study it carefully enough, you'll encounter most of the important Cuban musicians of the last 50 years in the process.—Moore (2010: v. 4: 49)
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Because timba is highly aggressive and a challenge to dance to some Cuban bands in search of a broader audience have intentionally made music that a majority of Latinos will find easy to dance to, mixing Latino staples such as salsa,
669:, which is not used in salsa bands. Timba and salsa use the same tempo range and they both use the standard conga marcha. Almost all timba bands have a trap drummer. Timbas also often break the basic tenets of arranging the music in-
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of the early 1990s, timba became a significant form of expression for the cultural and social upheaval that occurred. The Special Period was a time of economic downfalls and hardships for the Cuban people. In the wake of the
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rhythms), the shifts in speed and the large number of orchestrated breaks, or "bloques". Also, owing to its many Afro Cuban origins (and, of course, to traditional Cuban music such as Son), Timba music is highly syncopated.
1562:. In general, timba is considered to be a highly aggressive type of music, with rhythm and "swing" taking precedence over melody and lyricism. Associated with timba is a radically sexual and provocative dance style known as
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signals that allow bloques to be spontaneously built from smaller units. Only Issac Delgado and Paulito FG surpass Bamboleo in terms of using gear changes to vary live performances from night to night.–Moore (2010: v. 5: 23)
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Klímax leader Giraldo Piloto is one of the most important figures in all of Cuban music history. His father and namesake was half of the great songwriting team of Piloto y Vera and his uncle was the legendary percussionist
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left Revé to form his own band, Los Van Van, taking with him many of Revé's musicians, including pianist Pupy Pedroso. His first new songs bore much in common with the music he created for Revé although he began calling it
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will be studied in this section. After five years and four classic albums which elevated Revé to Van Van-like popularity and earned them the nickname La explosión del momento, Alfonso himself left the band in 1988 to form
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In terms of its members, however, NG La Banda was far from new. They had already been playing under the name "Nueva Generación", recording several eclectic jazz albums. Five members came directly from Irakere: the leader,
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More specifically, timba differs from salsa in orchestration and arrangement. Some timba artists readily concede that they have occasionally taken inspiration from musical genres coming outside of Cuba. Thus, bands like
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always use the same rhythm from song to song. Most importantly, timba bassists stop and start their tumbaos, one of the defining aspects of timba gears. In salsa, the bass tumbao is omnipresent.—Moore (2010: v. 5: 13).
1086:("Changuito"), at the behest of Van Van bandleader Juan Formell. Since the band's creation in 1969, Los Van Van has been the most popular band in Cuba, and are themselves considered to be one of the major timba bands.
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Hernández-Reguant, Ariana (2006) Havana's Timba. A macho sound for black sex. In Deborah Thomas and Kamari Clarke, eds. Globalization and Race. Transformations in the cultural production of blackness. Duke University
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Though timba is considered to be a form of popular music, the technical mastery of timba is only possible through highly trained musicians, who have solid theoretical backgrounds in classical music, jazz, traditional
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llanto. If you catch Charanga fever, there are three important classics on Love Fever that weren't re-recorded on Hey You Loca: "Extraños ateos", "Pregón de chocolate" and "Te voy a liquidar."—Moore (2010: v. 5: 16)
673:. Timba is considered to be a highly aggressive type of music, with rhythm and "swing" taking precedence over melody and lyricism. Associated with timba is a radically sexual and provocative dance style known as
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The 1990s witnessed dramatic innovations at every level of hierarchy from the tumbaos, to the sections built over repetitions of those tumbaos, to the way the sections were combined in the overall arrangement.
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Perna, Vincenzo (2005). Timba: The Sound of the Cuban Crisis. "Music in Havana at the Dawn of the Periodo Especial. The Emergence of Timba" (pp. 54–72). Burlington, Vermont: Ashgate Publishing Company.
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Original de Manzanillo added guitar to the standard charanga instrumentation. Less adventurous than Ritmo Oriental and the other modern charangas, it was distinguished primarily by its singer and composer,
1600:, the imperative for improvisation and interaction with audiences during concerts, story-telling in the lyrics, the quoting of melodies, rhythms and/or lyrics from other sources and sustained sections of
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is debatable. Songo, however, can be considered to be a genre and is in all likelihood the only genre in the world played by only one orchestra, Los Van Van. The songo rhythm was created by percussionist
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Perna, Vincenzo (2005). Timba: The Sound of the Cuban Crisis, Music in Havana at the Dawn of the Periodo Especial. The Emergence of Timba (pp. 54-72). Burlington, Vermont: Ashgate Publishing Company.
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Perna, Vincenzo (2005). Timba: The Sound of the Cuban Crisis, Music in Havana at the Dawn of the Periodo Especial. The Emergence of Timba (pp. 54-72). Burlington, Vermont: Ashgate PublishingCompany.
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and the great art of arranging music in-clave is being lost. Others say that the young Cuban musicians are merely taking "clave license" and employing among other things, quinto-inspired concepts.
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hook became fair game, resulting in an explosion of brilliant songwriting while North American salsa continued to be constrained by the formulaic limitations of the genre.—Moore (2010: v. 4: 22)
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Though NG La Banda had huge successes in the early 1990s, and is credited with being the first timba band, the band's fortunes have been mixed, partly because they remain highly experimental.
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Perna, V. (2005) "Talking timba. On the politics of black popular music in and around Cuba". Published in 'Situating Popular Music', Proceedings from the IASPM 16th International Conference
1688:(where 2-3 son clave is the standard in salsa music, timba often leans towards 2-3 rumba clave, 3:2 Son clave and 3:2 Rumba clave). Also different from salsa is the frequent shift from
1718:, as well as other international genres. This is made possible through the high standards of government-run music schools in Cuba, as well as the strong competition between musicians.
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most similar are the tempo range and the part of the largest bell, played by the bongosero in salsa and, depending on the band, by either the bongosero, timbalero or drummer in timba.
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Timba incorporates many elements of Afro-Cuban culture and music. This includes various Afro Cuban rhythms (on all instruments), expressions or parts of lyrics in 'Lucumí' (Cuban
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providing perhaps the strongest single argument for the claim that timba is an independent genre and not simply "modern son montuno" or "Cuban salsa."—Moore (2010: v. 5: 11).
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often referred to the collection of drums in a folklore ensemble. Since the 1990s, timba has referred to Cuba's intense and slightly more aggressive music and dance form.
665:, American Funk/R&B and the strong influence of Afro-Cuban folkloric music. Timba rhythm sections differ from their salsa counterparts, because timba emphasizes the
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1608:) interaction in songs. Contrary to (early) salsa, timba makes no claim to social or political messages, partly because of the political circumstances in Cuba.
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Breakdown gears set timba apart from other salsa. The following example is Calixto Oviedo's funky drumset pattern for a type of high-energy breakdown known as
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A significant aspect of the rhythmic structure of timba is the tendency towards ignoring or intentionally breaking the basic tenets of arranging the music in-
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López, Cano Rubén. 2007. "El chico duro de La Habana. Agresividad, desafío y cinismo en la Timba cubana". Latin Amertican Music Review 28:1, pp. 24–67.
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influenced, and stretch to the extreme ranges of all instruments. Bass and percussion patterns are similarly unconventional. Improvisation is commonplace.
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1003:(Son 14). This CD is an excellent compilation of the best songs of Son 14 during the years in which Adalberto Álvarez led the band (1979–1983)
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Baker, Geoffrey. 2006. "La Habana que no conoces: Cuban rap and the social construction of urban space." Ethnomusicology Forum 15, no. 2: 219, 221.
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However, pieces of Cuban sound are beginning to reach large audiences in the USA through musical recordings produced by popular musicians, such as
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keeps repeating every clave. In the 1990s, even the two-clave tumbaos usually featured distinctly different rhythms for each half of the pattern.
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677:(literally meaning chaos or frenzy). It is a dynamic evolution of salsa, full of improvisation and Afro Cuban heritage, based on son, Rumba and
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Also, Lima is hometown for Cuban musicians such as Dantes Cardosa and Michel Maza (former lead singer for Charanga Habanera) and Caroband.
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NG La Banda, usually considered the first timba band, was among the first groups to standardize the use of gears and song-specific piano
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and others left to form Los Van Van. In the late 70s, Armando Gola, German Velazco and Pepe Maza left to form Orquesta 440. Singer
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is revered as one of the great jazz musicians of Cuba, both jazz and timba prodigies came out of the orchestra, including flutist
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Pacini Hernandez, D. (1998) "Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape" in
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López, Cano Rubén. 2005. "Del Barrio a la academia. Introducción al dossier Timba Cubana". TRANS- Transcultural Music Review 9.
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tourists at a time when the music and dance scene was indirectly helping provide some support for Cuba's struggling economy.
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or other funk bands. In terms of instrumentation, the most important innovation has been the permanent incorporation of a
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2774:("Popular!" is a documentary made about Cuban timba. It features the Charanga Habanera. Executive Producer Ryu Murakami)
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West-Duran, Alan. "A Resonant Rum for the Ears: Afro-cuban Music." Journal of Popular Music Studies 20.1 (2008): 79-91.
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for his contribution to that musical genre. In the 1970s, directed by timbalero Revé, Orquesta Revé saw innovations in
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into their arrangements, and expanded upon the instrumentation of the traditional conjunto with American drum set,
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Mauleon, Rebeca. Timba Music. "National Geographic World Music" n.d. received 4 March 2010.* Moore, Kevin (2010).
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It was Herrera's departure that led Revé to focus his talent scouting spotlight on another composer and arranger
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Cortés, claim credit for being the first to use it to describe the new musical phenomenon—Moore (2010: v. 5: 11).
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who currently incorporate timba into their songs. New York and Puerto Rican musicians have further blended the
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heritage, timba has certain qualities of its own which distinguish it from salsa, similar to the way American
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Hernandez-Reguant, Ariana. "Blackness with a Cuban Beat." NACLA Report on the Americas 38.2 (2004): 31-6.
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Davis, Hannah. "La Timba Loca Brings New Sound to Cuban Salsa Music." Philadelphia Inquirer 28 Feb. 2005.
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Hernández-Reguant, Ariana. Blackness with a Cuban Beat. "NACLA Report on the Americas" 38.2 (2004):31-36.
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Hernandez-Reguant, Ariana. "Blackness with a Cuban Beat." NACLA Report on the Americas 38.2 (2004):31-6.
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words that made their way into Spanish from African languages. Among the hundreds of other examples are
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Davis, Hannah. La Timba Loca Brings New Sound to Cuban Salsa Music. Philadelphia Inquirer 28 Feb. 2005.
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was a word with several different uses yet no particular definition, mostly heard within the
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Duany, J. (1996) "Rethinking the Popular: Recent Essays on Caribbean Music and Identity" in
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left to pursue a jazz career, which resulted in the formation of Irakere. In 1968, bassist,
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Mauleon, Rebeca. "Timba Music." National Geographic World Music n.d. received 4 March 2010.
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Webb, Alex, and Frances Stonor Saunders. "Latin Class." New Statesman 130.4524 (2001): 42.
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Moore, R. (2002) "Salsa and Socialism: Dance Music in Cuba, 1959-99" in Waxer, L. (ed.)
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Ferguson, R. J. (2003) "The Transnational Politics of Cuban Music and Cuban Culture" in
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and get their music out to the public more quickly because of the available technology.
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Calabash Music. "Bakuleye." National Geographic World Music n.d. received 4 March 2010.
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Roy, M. (2000) "La musique populaire cubaine depuis la révolution" in Borras, G. (ed.)
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Calabash Music. Bakuleye. "National Geographic World Music" n.d. received 4 March 2010.
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Matos was a Cuban musician and songwriter, a noted percussionist, born 23 June 1930 in
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Cuban Music from A to Z, by Helio Orovio, p210 (Duke University Press, Durham 2004)
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keys (and vice versa), the highly complex rhythmic arrangements (often based on
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often have horns or other instruments playing a few melodic notes from tunes by
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bands of the 1940s and 1950s, timba represents a synthesis of many folkloric (
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Cantor, Judy. "Cuban Music Goes Commercial." Billboard 20 Feb. 1999: LM-2(1).
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Beyond Salsa Percussion: v. 3 Calixto Oviedo. Drums and Timbales: Timba Gears
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Cantor, Judy. Cuban Music Goes Commercial. "Billboard" 20 Feb. 1999: LM-2(1).
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Tomás Cruz developed several adaptions of folkloric rhythms when working in
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and in timba an expanded horn section that (in addition to the traditional
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Though quite similar to salsa on the surface of things due to origins from
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Situating Salsa: Global Markets & Local Meaning in Latin Popular Music
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into the Cuban beat. By 1990, several bands had incorporated elements of
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The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
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Silverman, C. (1998) Timba – New Styles in Afro-Cuban popular music"
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This article is about the Cuban genre of music. For other uses, see
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external links, and converting useful links where appropriate into
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Llewellyn, Howell. "Timba Burns In Cuba." Billboard 111.5 (1999):1.
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Llewellyn, Howell. Timba Burns In Cuba. "Billboard" 111.5 (1999):1.
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West-Duran, Alan. A Resonant Rum for the Ears: Afro-Cuban Music.
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Some say that the new music is cruzado [incorrectly "crossed" to
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inspiration came from rumba, mentioning quinto in particular:
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to Havana in 1956. In 1958, most of the members left to form
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Watch: Calixto Oviedo play presión breakdown drumset pattern
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Silverman, Chuck; Mauleón, Rebeca; García, Richie (1994).
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Iván "Melón" Lewis, Prt. 3. Note for Note Transcriptions.
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Iván "Melón" Lewis, Prt. 2. Note for Note Transcriptions.
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Iván "Melón" Lewis, Prt. 1. Note for Note Transcriptions.
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Before it became the newest Cuban music and dance craze,
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Webb, Alex, and Frances Stonor Saunders. "Latin Class".
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Caribbean Currents: Caribbean Music from Rumba to Reggae
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may not follow Knowledge (XXG)'s policies or guidelines
1868:(2nd ed.). Philadelphia: Temple University Press.
1636:. Many timba bands have otherwise kept the traditional
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Clave Analysis of Charanga Habanera's Tremendo delirio
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
2011:, Presses universitaires de Rennes, pp. 167–183
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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Beyond Salsa Piano; The Cuban Timba Piano Revolution
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2211:Beyond Salsa Piano; The Cuban Timba Revolution
2194:Beyond Salsa Piano; The Cuban Timba Revolution
955:. Alfonso is also the brilliant pianist whose
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2486:Beyond Salsa Piano v. 8; Iván Melón Part 3
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2441:Cruz, Tomás, with Kevin Moore (2004: 25)
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1176:The original singers were Tony Calla and
2254:"Timba: National Geographic World Music"
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2009:Musiques et sociétés en Amérique Latine
1835:Delgado, A. (1999) "The Death of Salsa"
812:, and Puerto Rican folk). According to
760:At least as far back as 1943, the word
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433:
424:
408:
399:
359:
313:
304:
116:
104:
2825:Cuban musical forms, genres and styles
1640:ensemble of the 1940s, which includes
848:(1988), though many other bands (e.g.
1932:Cuban Piano Tumbaos: 1979–1989.
1922:Cuban Piano Tumbaos: 1960–1979.
1912:Early Cuban Tumbaos: 1940–1959.
1415:Most pre-Revolution tumbaos last one
902:and he became known as the Father of
7:
2232:Cuban Piano Tumbaos: 1979–1989
2215:Cuban Piano Tumbaos: 1960–1979
2198:Cuban Piano Tumbaos: 1979–1989
1999:Timba, the Sound of the Cuban Crisis
818:Timba: The Sound of the Cuban Crisis
1254:, former pianist of Los Van Van).
25:
2467:. Redway, California: Bembe Inc.
1196:1998 (they have since reformed).
425:Nationalistic and patriotic songs
2653:
2026:Journal of Popular Music Studies
2327:Moore, Kevin (2010: v. 5: 14)
1940:. v. 5. Introduction to Timba.
1264:Manolín "El Médico de la salsa"
1258:Manolín "El Médico de la salsa"
1240:Manolín "El Médico de la salsa"
1128:dissolution of the Soviet Union
854:Orquesta Original de Manzanillo
1786:format. Along with the Cuban
1:
2463:Peñalosa, David (2009: 218).
1821:From Afrocuban music to Salsa
923:. In 1965, his young pianist
698:is part of a large family of
2723:The Four Great Clave Debates
1117:Special Period (early 1990s)
468:Aruba and the Dutch Antilles
2593:"Presentations and Authors"
2445:v. 3. Pacific, MO: Mel Bay.
2443:The Tomás Cruz Conga Method
2432:Moore (2010: v. 5: 12, 13).
2423:Moore (2010: v. 5: 11, 12).
2169:Moore (2010: v. 4: 49, 50).
1989:Latin American Perspectives
1840:Latin American Music Review
1167:José Luis "El Tosco" Cortés
4394:
1819:Alén Rodríguez, O. (1998)
1312:
1295:
1278:
1261:
1188:
1146:
1093:
1052:
29:
2831:
2518:. Moore Music/Timba.com.
2484:Moore, Kevin (2010: 41).
2078:Moore, Kevin (2010: 11).
1901:The Roots of Piano Tumbao
1823:, Piranha Records, Berlin
984:Elito Revé y su Charangón
735:.—Moore (2010: v. 5: 11).
568:St Vincent and Grenadines
2209:Moore (2010: v. 3: 33).
2192:Moore (2010: v. 4: 22).
1077:.—Moore (2010: v. 3: 16)
1044:.—Moore (2010: v. 3: 33)
844:(both in the 1970s) and
796:and the sacred songs of
2497:Moore (2010: v. 5: 75).
2454:Moore (2010: v. 5: 13).
2414:Moore (2010: v. 5: 11).
2389:Moore (2010: v. 5: 21).
2380:Moore (2010: v. 5: 23).
2353:Moore (2010: v. 5: 18).
2344:Moore (2010: v. 5: 16).
2243:Moore (2010: v. 3: 16).
2226:Moore (2010: v. 4: 48)
1248:Pupy y Los que Son, Son
1019:Orquesta Ritmo Oriental
4265:List of funk musicians
2371:Moore (2010: v. 5: 22)
2362:Moore (2010: v. 5: 20)
2149:"The Drummers of Cuba"
1860:Manuel, Peter (2006).
1558:is distinguished from
1528:
1517:
1511:
1506:
1434:
1403:
1392:
1338:
1323:
1306:
1289:
1272:
1211:
1182:
1079:
1046:
1030:Original de Manzanillo
1027:
1016:
966:
767:
738:
643:
32:Timba (disambiguation)
4368:Cuban styles of music
2333:Introduction to Timba
2180:"El Niño y la Verdad"
2084:Introduction to Timba
1991:, vol. 25(3): 110-125
1970:Moore, Kevin (2010).
1960:Moore, Kevin (2010).
1950:Moore, Kevin (2010).
1936:Moore, Kevin (2010).
1926:Moore, Kevin (2010).
1916:Moore, Kevin (2010).
1906:Moore, Kevin (2010).
1523:
1512:
1502:
1329:
1318:
1301:
1298:Manolito y su Trabuco
1292:Manolito y su Trabuco
1284:
1267:
1244:Manolito y su Trabuco
1198:
1155:
1058:
1033:
1022:
997:
912:
879:. In 1956, he formed
634:
400:Media and performance
2992:Music genres in the
2674:improve this article
2021:130.4524 (2001): 42.
2001:, Ashgate, Aldershot
1842:, vol. 17(2):176-192
1744:double-hit bass drum
1622:Earth, Wind and Fire
1614:La Charanga Habanera
1252:César "Pupy" Pedroso
1191:La Charanga Habanera
1185:La Charanga Habanera
1001:Èxitos EGREM CD 0325
651:Cuban genre of music
27:Cuban genre of music
3955:Afro-Peruvian music
3278:Afro-Peruvian music
2686:footnote references
2028:20.1 (2008): 79–91.
1984:, Routledge, London
1847:The Culture Mandala
1598:Afro-Cuban religion
988:El Niño y La Verdad
953:Juan Carlos Alfonso
748:genre of rumba. A
578:Trinidad and Tobago
463:Antigua and Barbuda
3861:Charanga-vallenata
3293:Son de los Diablos
2770:2012-04-25 at the
2753:2017-08-16 at the
2622:Chucksilverman.com
1084:José Luís Quintana
644:
558:St Kitts and Nevis
508:Dominican Republic
4355:
4354:
4229:Minneapolis sound
4129:
4128:
3943:
3942:
3534:
3533:
3231:
3230:
2959:
2958:
2714:
2713:
2706:
2473:978-1-886502-80-2
2092:978-1-4505-4559-4
1997:Perna, V. (2005)
1946:978-1-4505-4559-4
1875:978-1-59213-463-2
1626:Kool and the Gang
1606:call and response
1546:Compared to salsa
1384:Dance and culture
1379:Stylistic aspects
1334:Guillermo Barreto
941:Adalberto Álvarez
629:
628:
445:
444:
420:
419:
395:
394:
360:Traditional music
93:
92:
45:Stylistic origins
16:(Redirected from
4385:
4239:Psychedelic funk
4156:
4149:
4142:
4133:
4023:Canción melódica
3868:
3637:Traditional folk
3479:
3270:Peruvian coastal
3253:Paraguayan polka
3191:
2986:
2979:
2972:
2963:
2818:
2811:
2804:
2795:
2709:
2702:
2698:
2695:
2689:
2657:
2656:
2649:
2638:
2637:
2635:
2633:
2628:on 22 April 2009
2624:. Archived from
2618:"Chucksilverman"
2614:
2608:
2607:
2605:
2603:
2589:
2583:
2582:
2580:
2578:
2564:
2558:
2555:
2538:
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2354:
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2336:
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2310:
2307:
2301:
2298:
2292:
2289:
2278:
2275:
2269:
2268:
2266:
2265:
2256:. Archived from
2250:
2244:
2241:
2235:
2224:
2218:
2207:
2201:
2190:
2184:
2183:
2176:
2170:
2167:
2161:
2160:
2144:
2138:
2135:
2126:
2123:
2114:
2111:
2094:
2076:
2067:
2064:
2051:
2048:
1879:
1867:
1768:romantic ballads
1246:, Paulo FG, and
1224:Charanga Forever
1107:José Luis Cortés
621:
614:
607:
583:Turks and Caicos
431:
406:
311:
111:Related articles
95:
83:Cultural origins
37:
21:
4393:
4392:
4388:
4387:
4386:
4384:
4383:
4382:
4358:
4357:
4356:
4351:
4243:
4165:
4160:
4130:
4125:
4097:
4006:
3980:Afro-Cuban jazz
3965:Bomba del Chota
3939:
3866:
3712:
3632:
3530:
3526:Orquesta típica
3516:Uruguayan tango
3491:Argentine tango
3477:
3441:
3369:
3362:
3324:
3264:
3227:
3189:
3151:
3044:
2996:
2990:
2960:
2955:
2827:
2822:
2772:Wayback Machine
2755:Wayback Machine
2748:La Clave Cubana
2710:
2699:
2693:
2690:
2671:
2662:This article's
2658:
2654:
2647:
2642:
2641:
2631:
2629:
2616:
2615:
2611:
2601:
2599:
2591:
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2238:
2225:
2221:
2208:
2204:
2191:
2187:
2178:
2177:
2173:
2168:
2164:
2159:: 30–33, 87–98.
2146:
2145:
2141:
2136:
2129:
2124:
2117:
2112:
2097:
2077:
2070:
2065:
2054:
2049:
2040:
2035:
1876:
1859:
1816:
1804:
1711:
1548:
1533:
1522:
1482:
1439:
1408:
1397:
1386:
1381:
1368:
1343:
1328:
1317:
1315:Bamboleo (band)
1311:
1300:
1294:
1283:
1277:
1266:
1260:
1230:, Alain Pérez,
1193:
1187:
1151:
1145:
1119:
1098:
1092:
1057:
1051:
1032:
1021:
996:
948:
945:
881:Elio Revé y su
870:
834:
772:
691:
653:based on Cuban
625:
434:National anthem
415:Beny Moré Award
314:Religious music
271:guarapachangueo
130:Afro-Cuban jazz
65:Afro-Cuban jazz
35:
28:
23:
22:
15:
12:
11:
5:
4391:
4389:
4381:
4380:
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4040:
4035:
4030:
4025:
4020:
4014:
4012:
4008:
4007:
4005:
4004:
4002:Tropical music
3999:
3994:
3989:
3984:
3983:
3982:
3972:
3967:
3962:
3957:
3951:
3949:
3945:
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3815:
3814:
3813:
3803:
3798:
3793:
3788:
3783:
3778:
3773:
3768:
3763:
3758:
3753:
3748:
3743:
3738:
3733:
3728:
3722:
3720:
3714:
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3711:
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3698:
3688:
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3671:
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3640:
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3625:
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3615:
3610:
3605:
3600:
3595:
3590:
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3575:
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3560:
3555:
3550:
3544:
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3536:
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3531:
3529:
3528:
3523:
3518:
3513:
3508:
3503:
3498:
3493:
3487:
3485:
3476:
3475:
3470:
3465:
3463:Música cebolla
3460:
3455:
3449:
3447:
3443:
3442:
3440:
3439:
3434:
3433:
3432:
3427:
3417:
3412:
3407:
3402:
3401:
3400:
3395:
3385:
3380:
3374:
3372:
3364:
3363:
3361:
3360:
3355:
3350:
3345:
3340:
3334:
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3326:
3325:
3323:
3322:
3317:
3312:
3307:
3302:
3301:
3300:
3295:
3290:
3285:
3274:
3272:
3266:
3265:
3263:
3262:
3261:
3260:
3250:
3245:
3239:
3237:
3233:
3232:
3229:
3228:
3226:
3225:
3220:
3215:
3210:
3205:
3199:
3197:
3188:
3187:
3182:
3177:
3172:
3167:
3161:
3159:
3153:
3152:
3150:
3149:
3144:
3139:
3134:
3129:
3124:
3121:Canary Islands
3117:
3112:
3111:
3110:
3105:
3100:
3098:Rumba flamenca
3095:
3090:
3085:
3080:
3070:
3065:
3060:
3054:
3052:
3046:
3045:
3043:
3042:
3037:
3032:
3027:
3022:
3017:
3012:
3006:
3004:
2998:
2997:
2991:
2989:
2988:
2981:
2974:
2966:
2957:
2956:
2954:
2953:
2948:
2943:
2938:
2933:
2928:
2923:
2918:
2913:
2908:
2903:
2898:
2893:
2888:
2883:
2878:
2873:
2868:
2863:
2858:
2853:
2848:
2843:
2838:
2832:
2829:
2828:
2823:
2821:
2820:
2813:
2806:
2798:
2792:
2791:
2786:
2784:SalsaTimba.com
2781:
2778:havanabuzz.com
2775:
2765:havanabuzz.com
2762:
2757:
2745:
2740:
2735:
2730:
2725:
2720:
2712:
2711:
2666:external links
2661:
2659:
2652:
2646:
2645:External links
2643:
2640:
2639:
2609:
2584:
2559:
2539:
2527:
2499:
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2171:
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2153:Modern Drummer
2139:
2127:
2115:
2095:
2068:
2052:
2037:
2036:
2034:
2031:
2030:
2029:
2022:
2015:
2012:
2005:
2002:
1995:
1992:
1985:
1978:
1968:
1958:
1948:
1934:
1924:
1914:
1904:
1893:
1890:
1889:junio de 2006.
1886:
1883:
1880:
1874:
1857:
1853:
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1833:
1830:
1827:
1824:
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1710:
1707:
1676:) may include
1547:
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1396:
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1327:
1324:
1313:Main article:
1310:
1307:
1296:Main article:
1293:
1290:
1279:Main article:
1276:
1273:
1262:Main article:
1259:
1256:
1189:Main article:
1186:
1183:
1147:Main article:
1144:
1141:
1123:Special Period
1118:
1115:
1094:Main article:
1091:
1088:
1053:Main article:
1050:
1047:
1031:
1028:
1020:
1017:
995:
992:
990:in June 2013.
976:and Elio jr (
921:Ritmo Oriental
869:
866:
858:Ritmo Oriental
833:
830:
814:Vincenzo Perna
778:and the Cuban
771:
768:
690:
687:
627:
626:
624:
623:
616:
609:
601:
598:
597:
596:
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588:Virgin Islands
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493:Cayman Islands
490:
485:
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475:
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465:
460:
452:
451:
450:Regional music
447:
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442:
436:
435:
427:
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422:
421:
418:
417:
411:
410:
402:
401:
397:
396:
393:
392:
391:
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388:Tumba francesa
385:
380:
375:
373:Coros de clave
370:
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361:
357:
356:
355:
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349:
344:
339:
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305:Specific forms
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105:General topics
102:
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2:
4390:
4379:
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4313:
4310:
4308:
4305:
4303:
4300:
4298:
4295:
4291:
4288:
4286:
4283:
4281:
4280:Funk paulista
4278:
4276:
4273:
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4157:
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4122:
4119:
4115:
4112:
4111:
4110:
4107:
4106:
4104:
4100:
4094:
4091:
4089:
4086:
4084:
4083:Spanish opera
4081:
4079:
4076:
4074:
4073:Punto guajiro
4071:
4069:
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4064:
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4059:
4056:
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3649:Gaita zuliana
3647:
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3454:
3451:
3450:
3448:
3446:Southern Cone
3444:
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3423:
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3354:
3353:Nueva canción
3351:
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3333:
3331:
3327:
3321:
3318:
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3308:
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3267:
3259:
3256:
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3254:
3251:
3249:
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3240:
3238:
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3224:
3221:
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3216:
3214:
3211:
3209:
3206:
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3201:
3200:
3198:
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3192:
3186:
3183:
3181:
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3173:
3171:
3168:
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3128:
3125:
3122:
3118:
3116:
3113:
3109:
3106:
3104:
3101:
3099:
3096:
3094:
3093:Flamenco jazz
3091:
3089:
3086:
3084:
3081:
3079:
3076:
3075:
3074:
3071:
3069:
3066:
3064:
3061:
3059:
3058:Catalan rumba
3056:
3055:
3053:
3051:
3050:Spaniard folk
3047:
3041:
3038:
3036:
3033:
3031:
3028:
3026:
3023:
3021:
3018:
3016:
3013:
3011:
3008:
3007:
3005:
3003:
2999:
2995:
2994:Hispanosphere
2987:
2982:
2980:
2975:
2973:
2968:
2967:
2964:
2952:
2949:
2947:
2944:
2942:
2939:
2937:
2934:
2932:
2929:
2927:
2926:punto guajiro
2924:
2922:
2919:
2917:
2914:
2912:
2909:
2907:
2904:
2902:
2899:
2897:
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2864:
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2837:
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2830:
2826:
2819:
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2812:
2807:
2805:
2800:
2799:
2796:
2790:
2787:
2785:
2782:
2779:
2776:
2773:
2769:
2766:
2763:
2761:
2760:Cubamusic.com
2758:
2756:
2752:
2749:
2746:
2744:
2743:TimbaGeek.com
2741:
2739:
2736:
2734:
2731:
2729:
2726:
2724:
2721:
2719:
2718:www.TIMBA.com
2716:
2715:
2708:
2705:
2697:
2694:December 2016
2687:
2683:
2682:inappropriate
2679:
2675:
2669:
2667:
2660:
2651:
2650:
2644:
2627:
2623:
2619:
2613:
2610:
2598:
2594:
2588:
2585:
2573:
2572:Sibetrans.com
2569:
2563:
2560:
2554:
2552:
2550:
2548:
2546:
2544:
2540:
2534:
2532:
2528:
2525:
2521:
2517:
2513:
2509:
2503:
2500:
2494:
2491:
2487:
2481:
2478:
2474:
2470:
2466:
2460:
2457:
2451:
2448:
2444:
2438:
2435:
2429:
2426:
2420:
2417:
2411:
2408:
2402:
2400:
2398:
2396:
2392:
2386:
2383:
2377:
2374:
2368:
2365:
2359:
2356:
2350:
2347:
2341:
2338:
2334:
2330:
2324:
2321:
2315:
2312:
2306:
2303:
2297:
2294:
2288:
2286:
2284:
2280:
2274:
2271:
2260:on 2008-07-04
2259:
2255:
2249:
2246:
2240:
2237:
2233:
2229:
2223:
2220:
2216:
2212:
2206:
2203:
2199:
2195:
2189:
2186:
2181:
2175:
2172:
2166:
2163:
2158:
2154:
2150:
2143:
2140:
2134:
2132:
2128:
2122:
2120:
2116:
2110:
2108:
2106:
2104:
2102:
2100:
2096:
2093:
2089:
2085:
2081:
2075:
2073:
2069:
2063:
2061:
2059:
2057:
2053:
2047:
2045:
2043:
2039:
2032:
2027:
2023:
2020:
2019:New Statesman
2016:
2013:
2010:
2006:
2003:
2000:
1996:
1993:
1990:
1986:
1983:
1979:
1977:
1973:
1969:
1967:
1963:
1959:
1957:
1953:
1949:
1947:
1943:
1939:
1935:
1933:
1929:
1925:
1923:
1919:
1915:
1913:
1909:
1905:
1902:
1898:
1894:
1891:
1887:
1884:
1881:
1877:
1871:
1866:
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1858:
1854:
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1844:
1841:
1837:
1834:
1831:
1828:
1825:
1822:
1818:
1817:
1813:
1809:
1806:
1805:
1801:
1799:
1795:
1793:
1789:
1785:
1781:
1777:
1773:
1769:
1765:
1759:
1756:
1755:La Timba Loca
1752:
1748:
1745:
1741:
1737:
1733:
1732:New York City
1729:
1725:
1724:Willy Chirino
1719:
1717:
1708:
1706:
1703:
1699:
1695:
1691:
1687:
1683:
1679:
1675:
1671:
1667:
1663:
1659:
1655:
1651:
1647:
1643:
1639:
1635:
1631:
1627:
1623:
1619:
1615:
1609:
1607:
1603:
1599:
1595:
1590:
1588:
1584:
1581:According to
1578:
1576:
1573:
1569:
1565:
1561:
1557:
1553:
1545:
1543:
1542:
1538:
1530:
1527:
1519:
1516:
1510:
1505:
1501:
1497:
1495:
1489:
1487:
1479:
1477:
1473:
1469:
1468:
1464:
1460:
1456:
1451:
1449:
1443:
1436:
1433:
1429:
1425:
1423:
1422:rhythmic cell
1418:
1413:
1405:
1402:
1394:
1391:
1383:
1378:
1376:
1372:
1365:
1363:
1361:
1357:
1353:
1349:
1340:
1337:
1335:
1325:
1322:
1316:
1308:
1305:
1299:
1291:
1288:
1282:
1274:
1271:
1265:
1257:
1255:
1253:
1250:(directed by
1249:
1245:
1241:
1237:
1233:
1232:Issac Delgado
1229:
1225:
1221:
1217:
1210:
1206:
1202:
1197:
1192:
1184:
1181:
1179:
1178:Issac Delgado
1174:
1170:
1168:
1162:
1160:
1154:
1150:
1142:
1140:
1136:
1133:
1129:
1124:
1116:
1114:
1112:
1108:
1104:
1103:Chucho Valdés
1097:
1089:
1087:
1085:
1078:
1076:
1075:
1070:
1069:
1063:
1056:
1048:
1045:
1043:
1039:
1038:Candido Fabré
1029:
1026:
1018:
1015:
1011:
1009:
1004:
1002:
993:
991:
989:
985:
981:
980:
975:
974:Oderquis Reve
971:
965:
963:
958:
954:
949:
946:
942:
938:
934:
930:
926:
925:Chucho Valdés
922:
918:
911:
909:
905:
901:
897:
893:
889:
888:Orquesta Revé
885:
884:
878:
874:
868:Orquesta Revé
867:
865:
863:
862:Orquesta Revé
859:
855:
851:
847:
843:
839:
831:
829:
827:
823:
819:
815:
811:
807:
803:
799:
795:
794:batá drumming
791:
787:
783:
782:
777:
769:
766:
763:
757:
755:
751:
747:
743:
737:
736:
734:
730:
726:
722:
718:
714:
710:
705:
701:
697:
688:
686:
684:
680:
676:
672:
668:
664:
663:
658:
657:
652:
648:
641:
637:
633:
622:
617:
615:
610:
608:
603:
602:
600:
599:
594:
591:
589:
586:
584:
581:
579:
576:
574:
571:
569:
566:
564:
561:
559:
556:
554:
551:
549:
546:
544:
541:
539:
536:
534:
531:
529:
526:
524:
521:
519:
516:
514:
511:
509:
506:
504:
501:
499:
496:
494:
491:
489:
486:
484:
481:
479:
476:
474:
471:
469:
466:
464:
461:
459:
456:
455:
454:
453:
448:
441:
438:
437:
432:
429:
428:
423:
416:
413:
412:
407:
404:
403:
398:
389:
386:
384:
381:
379:
376:
374:
371:
369:
366:
365:
364:
363:
358:
353:
350:
348:
345:
343:
340:
338:
335:
333:
330:
328:
325:
323:
320:
319:
318:
317:
312:
309:
308:
303:
298:
295:
293:
290:
288:
285:
282:
278:
275:
272:
268:
264:
260:
256:
252:
249:
247:
244:
242:
241:Punto guajiro
239:
237:
234:
232:
229:
227:
224:
222:
219:
217:
214:
212:
209:
207:
204:
202:
199:
197:
194:
192:
189:
187:
184:
182:
179:
177:
174:
171:
168:
166:
163:
161:
158:
156:
153:
151:
148:
145:
141:
138:
136:
133:
131:
128:
126:
123:
122:
121:
120:
115:
112:
109:
108:
103:
100:
99:Music of Cuba
97:
96:
89:
85:
81:
78:
74:
70:
66:
62:
58:
54:
50:
47:
43:
38:
33:
19:
4341:
4270:Funk carioca
4088:Spanish jazz
4011:Other genres
3846:
3613:Puerto Rican
2945:
2700:
2691:
2676:by removing
2663:
2630:. Retrieved
2626:the original
2621:
2612:
2600:. Retrieved
2596:
2587:
2575:. Retrieved
2571:
2562:
2515:
2511:
2507:
2502:
2493:
2485:
2480:
2464:
2459:
2450:
2442:
2437:
2428:
2419:
2410:
2385:
2376:
2367:
2358:
2349:
2340:
2332:
2328:
2323:
2314:
2305:
2296:
2273:
2262:. Retrieved
2258:the original
2248:
2239:
2231:
2227:
2222:
2214:
2210:
2205:
2197:
2193:
2188:
2174:
2165:
2156:
2152:
2142:
2083:
2079:
2025:
2018:
2008:
1998:
1988:
1981:
1975:
1971:
1965:
1961:
1955:
1951:
1937:
1931:
1927:
1921:
1917:
1911:
1907:
1900:
1896:
1863:
1846:
1839:
1820:
1796:
1784:two-keyboard
1760:
1751:Gonzalo Grau
1749:
1720:
1712:
1610:
1591:
1583:Juan Formell
1579:
1575:Oscar D'León
1549:
1536:
1534:
1524:
1513:
1507:
1503:
1498:
1491:
1483:
1480:Clave schism
1474:
1470:
1462:
1458:
1452:
1444:
1440:
1430:
1426:
1414:
1410:
1399:
1388:
1373:
1369:
1366:Outside Cuba
1344:
1330:
1319:
1302:
1285:
1268:
1236:Tirso Duarte
1216:Azúcar Negra
1212:
1207:
1203:
1199:
1194:
1175:
1171:
1163:
1156:
1152:
1137:
1120:
1110:
1099:
1080:
1072:
1066:
1059:
1034:
1023:
1012:
1005:
1000:
998:
987:
977:
967:
950:
947:
933:Pupy Pedroso
929:Juan Formell
913:
887:
880:
871:
835:
817:
816:, author of
779:
773:
761:
759:
753:
749:
741:
739:
707:
703:
699:
695:
693:
660:
654:
646:
645:
409:Music awards
291:
4378:Salsa music
4373:Funk genres
4322:Rare groove
4302:Liquid funk
4297:Funky house
4290:Rasteirinha
4275:Funk melody
4209:Funktronica
4109:Latin music
4033:Contradanza
3925:Tecnocumbia
3900:New Chilean
3885:Bullerengue
3741:Cha-cha-cha
3674:jalisciense
3664:Mexican Son
3548:Alternative
3511:Nuevo tango
3410:Duranguense
3358:Nueva trova
3203:Alternative
3157:Latin urban
3015:Carnavalito
2936:son montuno
2841:cha-cha-chá
2738:Timba Radio
1849:, vol. 6(1)
1740:Puerto Rico
1716:Cuban music
1642:double bass
1634:synthesiser
1602:coro-pregon
1149:NG La Banda
1143:NG La Banda
1121:During the
1113:, in 1989.
1111:En La Calle
1071:instead of
1055:Los Van Van
1049:Los Van Van
1042:Angel Bonne
937:Félix Baloy
846:NG La Banda
838:Los Van Van
638:dancers in
636:Cuban salsa
553:Puerto Rico
440:La Bayamesa
221:Nueva trova
170:Contradanza
155:Cha-cha-chá
61:Nueva trova
53:Son montuno
4362:Categories
4337:Swamp rock
4327:Samba rock
4317:Post-disco
4202:Funk metal
4177:Avant-funk
4163:Funk music
4093:Villancico
3975:Latin jazz
3948:Afro-Latin
3905:Panamanian
3835:Son cubano
3628:Venezuelan
3588:Latin rock
3583:Ecuadorian
3243:Chamarrita
3236:Litoraleña
3223:Panamanian
3213:Moombahton
3119:Isa (from
2906:mozambique
2524:145634398X
2264:2010-06-18
1814:References
1780:saxophones
1678:saxophones
1572:Venezuelan
1531:Breakdowns
1455:Paulito FG
1348:Latin jazz
1281:Paulito FG
1275:Paulito FG
1238:, Klímax,
917:Guantanamo
877:Guantánamo
832:Precursors
746:Afro-Cuban
548:Montserrat
543:Martinique
518:Guadeloupe
267:batá-rumba
216:Mozambique
172:(habanera)
49:Son Cubano
4307:Neurofunk
4285:Proibidão
4255:Acid jazz
4224:Jazz-funk
4197:Funk rock
4192:Free funk
4187:Deep funk
4182:Brit funk
4114:subgenres
4053:Pasacalle
4028:Christian
4018:Aguinaldo
3890:Colombian
3880:Argentine
3857:Vallenato
3828:romántica
3811:Guaguancó
3691:Zamacueca
3644:Chacarera
3623:Uruguayan
3603:Nueva ola
3578:Dominican
3568:Colombian
3553:Argentine
3521:Bandoneon
3343:Colombian
3330:Latin pop
3320:Zamacueca
3298:Toro Mata
3218:Neoperreo
3195:Reggaeton
3142:Tajaraste
3137:Pasodoble
3132:Malagueña
2881:guaguancó
2871:danzonete
2678:excessive
2597:Iaspm.net
1674:trombones
1589:of Cuba.
1564:despelote
1406:Arranging
1060:In 1969,
910:playing.
900:Batá drum
896:Trombones
894:included
890:. Revé's
883:Charangón
873:Elio Revé
790:guaguancó
694:The word
689:Etymology
685:of Cuba.
675:despelote
667:bass drum
593:Venezuela
538:Louisiana
255:guaguancó
18:Elio Revé
4260:Afrobeat
3970:Candombe
3910:Peruvian
3801:Pachanga
3796:Méringue
3791:Merengue
3781:Guaracha
3766:Cuarteto
3756:Charanga
3746:Champeta
3718:Tropical
3701:Marinera
3669:huasteco
3608:Peruvian
3506:Neotango
3453:Candombe
3430:Ranchera
3420:Mariachi
3383:Conjunto
3368:Regional
3305:Marinera
3248:Guarania
3208:Bachatón
3147:Zarzuela
3088:Cantiñas
3083:Bulerías
3073:Flamenco
3068:Fandango
3030:Morenada
3020:Diablada
2911:pachanga
2896:habanera
2886:guaracha
2851:columbia
2768:Archived
2751:Archived
1974:. v. 8.
1964:. v. 7.
1954:. v. 6.
1930:. v. 4.
1920:. v. 3.
1910:. v. 2.
1899:. v. 1.
1802:See also
1792:timbales
1764:merengue
1698:santería
1670:trumpets
1638:charanga
1630:drum kit
1618:Bamboleo
1459:inventos
1341:Bakuleye
1309:Bamboleo
1220:Bamboleo
1132:tourists
1008:Camagüey
999:Grandes
908:timbales
892:Charanga
822:timbales
798:santería
781:conjunto
573:Suriname
563:St Lucia
503:Dominica
478:Barbados
458:Anguilla
347:Santería
259:columbia
226:Pachanga
201:Guaracha
191:Descarga
160:Charanga
4347:Zamrock
4248:Related
4234:Nu-funk
4102:Related
4058:Pasillo
4038:Criolla
3992:Milonga
3935:Cachaca
3930:Villera
3895:Mexican
3840:montuno
3776:Guajira
3751:Changüí
3736:Calypso
3726:Bachata
3679:jarocho
3618:Spanish
3598:Mexican
3563:Chilean
3558:Chicano
3496:Milonga
3468:Milonga
3405:Grupera
3388:Norteño
3378:Corrido
3370:Mexican
3348:Mexican
3310:Tondero
3283:Festejo
3258:Chamamé
3180:R&B
3165:Hip hop
3078:Alboreá
3010:Bambuco
2891:guajira
2861:criolla
2846:changüí
2672:Please
2664:use of
2632:7 April
2602:7 April
2577:7 April
2510:, like
2508:Presión
2331:. v. 5
2230:. v. 4
2213:. v. 3
2196:. v. 4
2082:. v. 5
1776:hip-hop
1730:, from
1728:Qbadisc
1662:violins
1650:cowbell
1587:barrios
1556:R&B
1537:presión
1520:"Gears"
1437:Rhythms
1395:Harmony
1360:bachata
1356:ballads
1352:boleros
1228:Dan Den
1159:tumbaos
1096:Irakere
1090:Irakere
1074:changüí
1062:Formell
962:Dan Den
957:tumbaos
904:Changüí
842:Irakere
770:History
750:timbero
721:kalimba
717:marimba
683:barrios
533:Jamaica
513:Grenada
498:Curaçao
488:Bonaire
483:Bermuda
473:Bahamas
368:Changüí
281:montuno
206:Hip hop
196:Guajira
181:Cubatón
176:Criolla
150:Canción
4332:Skweee
4312:P-Funk
4214:G-funk
4170:Genres
4068:Pregón
4048:Décima
3997:Tambor
3987:Mapalé
3872:Cumbia
3771:Danzón
3731:Bolero
3686:Tonada
3659:Joropo
3437:Trival
3425:Jarabe
3398:Tejano
3393:Nortec
3338:Ballad
3175:Reggae
3025:Huayno
3002:Andean
2921:pregón
2866:danzón
2836:bolero
2522:
2471:
2090:
1944:
1872:
1856:Press.
1808:Tumbao
1788:congas
1782:and a
1766:, and
1738:, and
1709:Status
1702:abakuá
1632:and a
1594:Yoruba
1463:makuta
1448:tumbao
1326:Klímax
994:Son 14
970:Yumurí
850:Son 14
731:, and
640:Havana
523:Guyana
383:Nengón
378:Kiribá
337:Makuta
322:Abakuá
236:Pregón
186:Danzón
140:Bolero
135:Bakosó
117:Genres
86:1988,
4342:Timba
4219:Go-go
4063:Plena
4043:Danza
3960:Bomba
3915:Porro
3852:Trova
3847:Timba
3818:Salsa
3806:Rumba
3786:Mambo
3761:Conga
3706:Zamba
3696:Cueca
3593:Metal
3573:Cuban
3483:Tango
3473:Murga
3458:Cueca
3415:Banda
3288:Landó
3170:House
3115:Folia
3108:Soleá
3103:Saeta
3063:Copla
3040:Tinku
2951:yambú
2946:timba
2941:songo
2916:pilón
2901:mambo
2876:filin
2856:conga
2512:muela
2033:Notes
1736:Miami
1694:minor
1690:major
1686:clave
1666:flute
1658:piano
1654:clave
1646:conga
1568:mambo
1509:218).
1494:clave
1486:clave
1417:clave
1068:songo
979:Elito
826:bebop
786:rumba
762:timba
754:timba
742:timba
733:bongo
729:conga
725:mambo
713:rumba
709:tumba
696:timba
679:mambo
671:clave
662:salsa
659:with
649:is a
647:Timba
528:Haiti
332:Iyesá
327:Arará
297:Trova
292:Timba
287:Songo
263:yambú
251:Rumba
231:Pilón
211:Mambo
165:Conga
144:filin
77:Disco
69:Salsa
57:Songo
40:Timba
4078:Seis
3823:dura
3654:Gato
3540:Rock
3501:Vals
3315:Vals
3185:Trap
3127:Jota
3035:Saya
2634:2018
2604:2018
2579:2018
2520:ISBN
2469:ISBN
2088:ISBN
1942:ISBN
1870:ISBN
1790:and
1774:and
1772:funk
1726:and
1682:Bach
1672:and
1560:soul
898:and
886:aka
810:funk
806:jazz
802:rock
702:and
352:Yuka
342:Palo
246:Rock
125:Afro
88:Cuba
73:Funk
3920:Rap
2931:son
2680:or
2157:175
1700:or
1692:to
1616:or
1552:son
1450:).
776:son
656:son
277:Son
4364::
2620:.
2595:.
2570:.
2542:^
2530:^
2394:^
2282:^
2155:.
2151:.
2130:^
2118:^
2098:^
2086:.
2071:^
2055:^
2041:^
1753:,
1734:,
1664:,
1660:,
1656:,
1652:,
1648:,
1644:,
1624:,
1539:.
1358:,
1354:,
1350:,
1242:,
1234:,
1226:,
1222:,
1218:,
931:,
860:,
856:,
852:,
840:,
808:,
804:,
792:,
788:,
727:,
723:,
719:,
715:,
711:,
704:ng
700:mb
269:,
265:,
261:,
257:,
75:-
71:-
67:-
63:-
59:-
55:-
51:-
4155:e
4148:t
4141:v
3863:)
3859:(
3123:)
2985:e
2978:t
2971:v
2817:e
2810:t
2803:v
2707:)
2701:(
2696:)
2692:(
2688:.
2670:.
2636:.
2606:.
2581:.
2506:"
2488:.
2475:.
2335:.
2267:.
2234:.
2217:.
2200:.
2182:.
1903:.
1878:.
1604:(
642:.
620:e
613:t
606:v
283:)
279:(
273:)
253:(
146:)
142:(
34:.
20:)
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