Instruments Archives: Maracas

Guaracha (Cuba, Puerto Rico)

Guaracha is a form of music with bawdy lyrics originally meant to accompany dances that blended Spanish and African moves. The guaracha appeared first in Spain and became a staple of Cuban theater groups that toured Puerto Rico in the 1800s, which would play clever guaracha songs between acts of their performances to keep the audience entertained.

COUNTRY: Cuba, Puerto Rico (U.S.)
KEY INSTRUMENTS: Bass, Bongo, Congas, Cuatro, Guiro, Maracas, Piano, Tres, Trumpet

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Bachata

COUNTRY: Dominican Republic

Over the last several decades another music of the people, bachata, a form of bolero-based Dominican blues, has developed in neighborhood bars and brothels. BACHATA musicians sing about pain, struggle and the troubles of daily life, most often with a hearty string of double entendres. The original Dominican bachata dance involves a lot of hip swaying and emphasizes the 1-2-3 and 5-6-7 counts of an eight count pattern, with the hips “popping” on beats 4 and 8.
See the King of BACHATA, Luis Vargas, performing a song called “Venom”

“The typical bachata group consists of five instruments: lead guitar, rhythm guitar, electric bass guitar, bongos and güira.The rhythm guitar is also known as a Segunda and serves the purpose of adding syncopation to the music. Bachata groups mainly play a simple style of bolero (lead guitar instrumentation using arpeggiated repetitive chords is a distinctive characteristic of bachata), but when they change to merengue based bachata, the percussionist will switch from bongo to a tambora drum. In the 1960s and 70s, maracas were used instead of güira. The change in the 1980s from maracas to themore versatile güira was made as bachata was becoming more dance oriented.”

Maracas

Maracas are nearly ubiquitous throughout Latin America and the Caribbean–they appear almost everywhere. Traditionally maracas are made of a dried calabash, shell of a gourd or a coconut shell filled with beans or seeds, though today maracas can be made of plastic, leather, wood or almost anything. Maracas come in pairs–one with a higher pitch than the other. The best maraca players are able to make use of the pitch differences and anticipate the distinct rhythmic nature of each maraca to make maraca magic.

COUNTRY: All over Latin America
KEY GENRES: So many!

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Mayan (Mexico, Guatemala)

The Maya civilization, dominant for over a thousand years–most so from the years 200 to 900 A.D.–in the lands we now know as Mexcio and Guatemala, was full and rich and certainly included volumes of Many music, but since there was no recording mechanism at the time, and because the Maya didn’t use musical notation, almost all of it has been lost. Spanish conquerors from the 16th century did note some Mayan music and learned enough about lingering Mayan rituals that ethnomusicoligists and anthropologists are confident that music was central to Mayan ceremonies and life events. The Maya favored flutes and drums and built their instruments from the nature around them–they used conch shells for trumpets and turtle shells as drums. The Mayan song Xtoles is believed to be one of the world’s oldest continually sung melodies. Watch a performance by Mexico’s Coro Universitario Estudiantil.

COUNTRY: Guatemala, Mexico
KEY INSTRUMENTS: Conches and other natural trumpets, Flutes, Maracas, Tortoisehell drums, Whistles


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Calypso

 

CALYPSO is Trinidadian folk music that most likely derived from a West African musical/narrative style called kaiso and developed as a way for slaves to communicate. CALYPSO musicians sang in French creole and told stories with their songs–often with off-color lyrics full of double entendres. The style originated in the 1830s and was well-known throughout the Caribbean but only became internationally popular in the 1950s when Jamaican-born Harry Belafonte brought it to America. Enthusiasts accused Belafonte of watering down the genre and pointed to lyrically bolder (and much more awesomely named) artists such as Lord Kitchener, Mighty Sparrow and Roaring Lion as the true “calypsonians.” CALYPSO emphasizes the first half of the 3-2 son clave, putting special focus on the clave’s second beat. Or, if you want to count it out, “1 & 2 AND 3 & 4 &”.

More information:
A guide to traditional CALYPSO: “The best calypso options” | Exetempo: an improvised CALYPSO “war” | Check out this 1987 extempo battle between Relator and Superior | Mighty Sparrow’s “Maria” | You too can dance the Caribbean CALYPSO

 

More information:

National Geographic on Calypso | A guide to traditional calypso: “The best calypso options” | Exetempo: an improvised calypso “war” | Check out this 1987 extempo battle between Relator and Superior | Mighty Sparrow’s “Maria” | You too can dance the Caribbean Calypso

 

Salsa (U.S., Puerto Rico, Cuba)

Salsa is Puerto Rico’s most danceable musical export. The musical progeny of Cuban son from which it borrows its signature 3-2 and 2-3 clave patterns, the genre may have started in Cuba and Puerto Rico but really took root in the ’60s and ’70s in New York City where Puerto Rican immigrants fused son, mambo and little guaracha to make an extraordinary new musical form. Stars like Frankie Ruiz, Willie Colon, and Panamanian superstar Rubén Blades brought the music to the U.S., to Latin America, and by the mid ’70s to the world. Salsa bands are usually ambitions affairs, featuring many percussion instruments and horns, though the basic stripped-down ensemble consists of just claves, güiro, timbale, cowbell and congas. If you want to build your own rhythm, take a look at Stephen’s salsa page or the Salsa Beat Machine where you’ll be able to turn on and off the instruments as if you were leading your own big band. Speaking of which, see Colon and Blades together make a powerful duo on “Tiburon.”

COUNTRY: United States, Puerto Rico (U.S.), Cuba
KEY INSTRUMENTS: Bass, Bongo, Claves, Congas, Cowbell, Guiro, Maracas, Saxophone, Timbales, Trombone, Trumpet
SONG ON AATW: LATIN AMERICA CD: Un Barco Chiquitito (Cuban salsa)

 

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Bomba (Puerto Rico)

COUNTRY: Puerto Rico (U.S.)
KEY INSTRUMENTS: Barilles, Cuá, Maracas, Palitos

Bomba is an African-inspired folk music style of Puerto Rico that is deeply intertwined with dance. The Bomba percussion ensemble consists mainly of maracas, palitos (clave-like sticks struck together), a cua (a bamboo tube struck with wooden sticks), and hand drums known as “bariles,” because they were traditionally made from the wood of barrels. There are low-pitched hand drums like the “buleador” (the “segundo”), which lays the foundation of the beat, and the high-pitched “subidor” (the “primo”) which improvises. The dancers move their bodies in time with the drum beats, with the drummers challenging the dancers to dance with more and more intensity. If you want to learn how to play some “ritmos de la bomba” check out some music online, such as Paoli Mejias playing this subidor solo, bomba dancing in Loiza (shake it, dude in yellow tank top!) and old time bomba in black and white (shake it, dude in a white suit!).

 

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Timba

 

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TIMBA is upbeat dance music that developed in the 1990s as a synthesis of Cuban jazz, rock, rumba, disco and funk. It’s a”street level” form whose lyrics focus on urban issues among Cuban youth. TIMBA has a similar tempo and rhythm to salsa and uses many of the same instruments, but the instruments are used somewhat differently. For example, so says Wikipedia’s entry on timba, “Salsa bassists have standardized on bombo-ponche bass tumbao. 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, 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.” Couldn’t be clearer! Seriously, while salsa bands rarely have a drum kit with a kick drum, in timba a drum kit is essential, or at least a timbale player adds a kick drum, which s/he plays while standing. Also, TIMBA is known for “crossing the clave,” meaning that some of the instruments may be playing the 3-2 clave while others will simultaneously be playing the 2-3 (look above for an overview of clave). Scandalous. Listen to La Timba Loca for an example.

Son (Cuba)

Son, which means “sound” in Spanish, powerfully forged African rhythms with instruments and folk melodies of Cuba’s Spanish community. Son music arose in the early 20th century, became known internationally in the ’30s and ’40’s when conjunto ensembles added instruments like conga drums to the mix, and fell from popularity when Cuban big bands playing a variety of styles began to draw tourist crowds in Havana the ’50s. Son worked its way into many other forms of Cuban music and all but disappeared as its own distinct style until about two decades ago when a group of well-known Cuban musicians recorded an album of classic Cuban music, including some son songs, called “The Buena Vista Social Club,” inspiring an international son revival.

COUNTRY: Cuba
KEY INSTRUMENTS: Bass, Bongo, Claves, Guiro, Maracas
SONG ON AATW: LATIN AMERICA CD: Los Pollitos

About Cuban son | About son conjuntos

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Cuban Bolero (Cuba)

Cuban bolero–not to be confused with the Spanish music of the same name–originated in the 19th century as lyrical romantic music, performed on two Mexican-style guitars to Haitian rhythms. About the Cuban bolero | bolero on the front porch stoop in Santiago de Cuba

COUNTRY: Cuba
KEY INSTRUMENTS: Guitar, Claves, Congas, Maracas, Piano
SONG ON AATW: LATIN AMERICA CD: Azulão

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