Rumba:

Rumba is a musical genre and dance of Afro-Cuban origin that emerged in Solares of Havana after the abolition of slavery. It is characterized by a strong percussive component, improvised singing and a dynamic interaction between dancers. Within rumba, variants such as guaguancó, Columbia and yambú are distinguished, which differ in tempo and dance style. (Gandía, 1976; Boggs, 1987)

Columbia:

Columbia is a variant of Afro-Cuban rumba, in which the main dancer competes with the drummers through fast and acrobatic movements. Traditionally, it is performed only by men and has a strong improvisational component. ( to Boggs, 1987)

Rumba Columbia - Rumberos de Cuba

Guaguanco:

Guaguancó is the most expressive and socially charged variant of the rumba. It is characterized by the game of seduction between a male and a female dancer (or the lead and the follower), in which the lead tries to “vaccinate” the follower through pelvic movements and the follower responds with gestures of evasion. This style reflects the resistance and popular identity in Cuban culture. ( to Gandía, 1976)

Rumba Guaguancó - “El Solar de los 6” - Casa de Amado - La Habana 2011

Yambú:

Yambú is the slowest form of rumba and is associated with a more leisurely and reflective dance, imitating the dignity and wisdom of older dancers. It differs from guaguancó in that it does not incorporate seductive gestures; instead, its atmosphere is more contemplative and traditional. (Gandía, 1976)

Rumba Yambú - “El Solar de los 6” - Cultura de Cuba - Case de Amado, La Habana

Tres:

The tres is a string instrument typical of Cuba, similar to a small guitar but with three pairs of double strings. It is fundamental in the Cuban son, as it provides the harmonic and rhythmic base that would later influence the structure of salsa. (Gandía, 1976)

Probando como suena mi Tres Cubano - Renesito Avich

Maracas:

Maracas are percussion instruments of indigenous origin, made from dried gourds filled with seeds or pebbles. In Caribbean music and in salsa, they are used to keep time and to provide a characteristic timbre that complements other percussion instruments. ( Ariza, 2022)

Maracas Solo / Demo - Advanced Techniques - Meinl Percussion

Congas:

Congas, also called tumbadoras, are cylindrical drums of African origin, with a leather head, which are played with the hands. They are essential in salsa, as they establish the groove and allow for rhythmic improvisations that define the sound identity of the genre. (Gandía, 1976; Boggs, 1987)

CONGAS - PATRON BASICO PARA CUMBIA COLOMBIANA

Bongos:

Bongos are small drums of Afro-Cuban origin, consisting of two joined drums. They are played with the hands and are responsible for setting precise and energetic rhythmic patterns, complementing the congas in salsa percussion. (Ariza, 2022)

Bongos: ritmo de Son / Salsa. (Nivel medio-alto)

Timbales:

Timbales are metallic percussion instruments, played with drumsticks, which provide a dry and bright sound. In salsa, they have a prominent role in the performance of solos and in the definition of rhythmic sections, contributing to the dynamics and energy of the ensemble. (Gandía, 1976)

Solo de timbal “Timbalero” - El gran combo de Puerto Rico

Güiro

The güiro is a percussion instrument of indigenous origin, made from a gourd with grooves that are scraped with a stick. Its harsh, scratchy sound is used to mark the beat and add rhythmic texture to the music, and is fundamental in salsa and other Caribbean genres. (Ariza, 2022)

LP | Cuban Style Guiro (LP249)

Cuatro:

The cuatro is a string instrument of Puerto Rican origin, similar to a small guitar, with four pairs of double strings. It has been an important symbol in Latin music, and in salsa it is used to provide melodic and rhythmic lines that complement percussion and singing. (Gandía, 1976)

Larry Harlow Descarga Yomo Toro

Bomba:

Bomba is a musical genre and dance of Afro-Puerto Rican origin, where percussion (especially the drum) plays a central role and the dance involves a game of power and seduction. Traditionally, bomba has been a space for resistance and expression of Afro identity, serving as a cultural banner for Afro-descendant communities in Puerto Rico and in the diaspora. ( to Rivera, 2024)

Bomba en Loiza, Puerto Rico

Plena:

La plena is a Puerto Rican musical genre known as “the sung newspaper” because its lyrics narrate everyday events and news. It is characterized by a moderate rhythm and the use of instruments such as the tambourine and maracas, and has had a notable influence on the formation of Latino cultural identity. (Rivera, 2024)

Danzón:

Danzón is a musical and dance genre originating in Cuba that evolved from the contradanza. It is known for its elegance and formal structure, and was very popular in dance halls before the rise of salsa. Danzón laid the foundation for later fusions and the rhythmic evolution that culminated in Cuban son and salsa. (Gandía, 1976)

Rutina Masiva de Danzón “Nereidas”

Cencerro:

The cencerro is a metallic percussion instrument that is struck with a drumstick to mark rhythmic patterns. It is widely used in salsa and other Afro-Caribbean genres, standing out in montuno sections and timbales solos. (Ariza, 2022)

COMO TOCAR LA CAMPANA(COWBELL) EN SALSA

Contrabajo:

The Contrabajo is the instrument responsible for the bass line in salsa, providing the harmonic and rhythmic basis of the songs. Its interpretation is based on the “tumbao” pattern, a syncopated style that maintains the clave structure. (Gandía, 1976; Manuel, 1991)

Técnica y estilo salsa en el Contrabajo.

Boogaloo:

Boogaloo is a musical genre that emerged in New York in the 1960s, fusing Latin rhythms with elements of R&B and soul. It is characterized by its festive energy and its ability to mix diverse cultural influences, being a precursor of salsa and representing the creativity and adaptability of the Latino community in the United States. (Manuel, 1991; Waxer, 2000)}

Pete Rodríguez - I Like It Like That (Audio Oficial)(Famous example of Boogaloo song)

Salsa Consciente:

Salsa consciente is a subgenre of salsa characterized by its lyrics with social and political messages and criticism of Latin American reality. It differs from commercial or romantic salsa in that it addresses issues such as inequality, racism, cultural identity and the struggle of the working classes. This style was popularized by artists such as Rubén Blades, who with his album Siembra (1978) introduced narratives about everyday life and social injustices in Latin America and urban areas. Musicians such as Willie Colón and Eddie Palmieri also contributed to this movement with lyrics of political content and social awareness. (Cabrera, 2023)

Moña:

The moña is a musical section in salsa where the wind instruments play short, repetitive phrases, generally with a high rhythmic intensity. (Ariza, 2022)

Pregón:

The pregón is a style of improvised singing, based on the tradition of street vendors in the Caribbean. In salsa, singers often use pregones in the montuno section to interact with the audience and backing singers. (Gandía, 1976)

homenaje oscar d´leon jose alberto el canario salsa luvier ga as(My favourite example of pregones, Oscar D’Leon and his friend el Canario improvise and show their friendship on stage)

Planchao:

A style of singing in salsa romantica characterized by long, melodic vocal lines, with less emphasis on improvisation and more on emotion. (Ariza, 2022)