Percussions.org

[Daniel Genton]

The "Son", precursor of the modern rhythmic styles is defined as the popular dance music of the peasants and the cuban working class. This musical form made its appearance towards the second half of the 19th century corresponding to the end of slavery whereas the integration of the cultures accelerated. One speaks of the "Changui"originated in Guantanamo as the ancestor of the Son, which then seems to have progressed from the cuban Oriente (south of the island) towards Havana, in a movement parallel with that of the independence armies (or Mambises) which quicked out the Spanish colonial armies in 1898.

From the very start of the century, the Son made its entrance in the "Salons" of Havana,and gradually influenced and transformed literally the way certain styles or certain instruments were played there.

One of great Sonero (master of the style) "Ignacio Pineiro" (bass player) was credited so much for prolixity in his compositions than for the evolution of the Son groups.

The pianist composer Luis Martin Griñan and the player Arsenio Rodriguez did, ten years later, bring by their co-operation,one of the major change to the Son style by transposing and adapting the rhythmic phrases of Tres on the piano.

The traditional instrumentation of the early Son was featuring :

Tres, Bongos, Maracas, Clave, Guiro, Vocal and the "Marimbula" or "Botija", which played the bass line until the introduction, around 1920 of the double bass.

Structure of the traditional Son

Schematically: The Son is composed of an Introduction in the form of a melody played by the Piano or sometimes by the Tres or and Horns.

Then, comes the Cuerpo, sung, sometimes in the form of Decima.

Then,comes the Estribillo (Vocal solo and chorus) where the rhythm section goes to the Montuno.

The Estribillo can start with a part of Soneo (vocal impro) before arriving to the Guia, part where the vocal solo improvises on a regular sequence, (two, four Clave) to which answers the Coro..

APiano or Tres Solo comesthen. There, the rhythmic section leaves the Montuno to return to the introduction climax: (Marcha, Cascara and Bongos)

The Piano or Tres solo is generally followed by a Mambo.

The Mambo is the part of instrumental improvisation. The percussions (all the rhythm section) when playing the Mambo use the same patterns and rhythmic intentions of the Montuno, with perhaps more creativity, more fire, stimulating the soloist.

Usually the arrangement adds dynamics with some Riffs accentuated by the Timbales to inspire and provoque the soloist.

Mambo often ends with a break or Cierre. Comes then a Second Estribillo (Guia, Coros). The Final or Coda often uses the introduction with a Cierre to finish.

Extract of Les Tumbaos de la Salsa

Daniel Genton