Definition of Afro-Carribean Musical Rhythms

Source credit: www.descarga.com  - glossary of terms relating to afro-carribean music

abakuá --  A secret fraternal society formed in Cuba by descendants of the Calabar tribe, referred to as the Carabalí. 2. The ritual music and dance of the Abakuá sect, which has greatly influenced Cuban secular forms such as rumba .

afro -- A rhythmic style combining adaptations of sacred batá drum rhythms popularized in Cuba in the 1940s, and often used to interpret lullabies.

areíto -- A term derived from the native, indigenous tribes living in Cuba before colonization, (such as the Siboney, Taíno and Guanajatabibe tribes), referring to elaborate religious celebrations of music, dance and theatre; 2. A rhythmic style combining several elements of Cuban carnaval rhythms with the son and rumba , as well as several North American influences, resulting in a free-style, highly-syncopated style. The areíto later evolved into what is now known as songo .

baqueteo -- The rhythmic pattern played by the timbales in the Cuban style known as danzón .

bolero -- A slow, lyrical ballad.

bomba -- A barrel-shaped drum of Afro-Puerto Rican origin, similar to the Cuban tumbadora ( conga drum ), although shorter; 2. A style of Afro-Puerto Rican music and dance which is also commonly found in salsa repertoires.

buleador -- One of the rhythmic parts for the Afro-Puerto Rican style of bomba , which may be interpreted on congas as well as the Puerto Rican bomba drums.

canción -- A simple yet fundamental musical form consisting mainly of lyrics, harmony and melody, with very basic rhythmic accompaniment. The most common setting for this style is voice and guitar, and is often referred to as trova .

cha-cha-chá -- A rhythmic style derived from the early Cuban danzón -mambo, created by violinist Enrique Jorrín (who named the style upon hearing the scraping sounds of dancers'feet). The cha-cha-chá eventually became a separate musical style from the danzón.

changüi -- An early style of the Cuban son , featuring an instrumentation which includes the tres , bongos , güiro , maracas , and the marímbula .

charanga -- A specific style of instrumentation consisting of rhythm section (contrabass, timbales , and güiro ), strings (from two to four violins, or any number of violins with a cello), and one wood flute. The piano and conga drum were added in the 1940s. This term (and style of instrumentation) evolved from the charanga francesa, developed in the early 20th century.

charanga francesa -- The original term for what is now known as the charanga instrumentation (see above).

charanga vallenata -- A style of instrumentation combining elements of the Cuban charanga and conjunto styles with the Colombian vallenato style featuring the accordion.

clave -- A five-note, bi-measure pattern which serves as the foundation for all of the rhythmic styles in salsa music. The clave consists of a "strong" measure containing three notes (also called the tresillo ), and a "weak" measure containing two notes, resulting in patterns beginning with either measure, referrred to as "three-two" or two-three." There are two types of clave patterns associated with popular (secular) music: son clave and rumba clave. Another type of clave - 6/8 clave - originated in several styles of West African sacred music.

columbia -- A rural style of Cuban rumba containing many African elements in its lyrics, polyrhythmic structure and dance style.

conga habanera -- The style of the Cuban carnaval rhythm called conga, which is played in Havana .

conga santiaguera -- The style of the Cuban carnaval rhythm called conga, which is played in Santiago .

contradanza criolla -- An 18th century style derived from the European court and country dances, and a predecessor to the Cuban danzón , containing many Creole musical elements in its instrumentation and interpretation.

danza -- A 19th century musical and dance form which serves as a precursor to the Cuban danzón .

danzón -- A Cuban musical and dance form developed in the late 19th century, which is derived from the European Court and Country dances, as well as the contradanza and the danza . The instrumentation which generally interprets this style is known as the charanga orchestra, featuring strings and flute with a rhythm section. The danzón form consists of: an introduction called the paseo (A), the principal flute melody (B), a repeat of the introduction (A), and the violin trio (C). Innovations by several composers led to the addition of a fourth section (D) called nuevo ritmo , later known as mambo. This section added elements of the Cuban son , and established an open vamp over which the flute, violin or piano would improvise.

descarga -- "Unloading" (lit.); a jam session, as well as an improvised tune.

guaguancó -- One of three styles of Cuban rumba , featuring a heightened polyrhythmic structure, and danced by male-female couples (in its traditional folkloric setting). The typical instrumentation (used by all styles) includes: tumbadoras (congas) or cajones (boxes), palitos (sticks) or cucharas (spoons), claves , and marugas (shakers).

guajira -- An arpeggiated and floral song form, derived from the Cuban son with elements of the canción form.

guaracha -- Traditionally a form of música campesina (peasant or country music) which developed as a form of street music, originally featuring satirical lyrics. Now generaly associated with tunes of moderate tempo.

güiro (6/8 rhythm) -- A rhythmic style, so-named because of its interpretation on the beaded gourds known (at first) as güiros, and later, chékeres. In addition to the chékeres, a bell and a tumbadora may be added.

kachimbo -- The chékere part - in a güiro rhythm - which holds the pulse (or beat).

mambo (rhythm) -- 1. The section added to the danzón form (in the 1940s) which featured an open vamp and instrumental improvisation. 2. An up-tempo dance style, developed through the 40s and 50s, which blended several elements of North American instrumentation and harmony with elements of the Cuban son .

mambo (section) -- The section of an arrangement which features new material, including layered horn lines called moñas.

merengue -- A rhythmic style from the Dominican Republic , which is a fast two-step, and is traditionally played on tambora , güira and accordion.

montuno (piano) -- The repeated, syncopated vamp secton played by the piano in an ensemble.

montuno (section) -- The open vamp section of a song, which features the coro / pregón (call-and-response singing) and instrumental solos.

mozambique -- A rhythmic style created in the 1960s by Pedro Izquierdo - also known as Pello el Afrokán - which is a style of Cuban carnaval music, traditionally played only on percussion instruments. The mozambique was popularized in North American salsa music by Eddie Palmieri, and was adapted into ensemble interpretations.

música campesina -- "Country" or "peasant" music, containing many elements of regional Spanish troubador styles, which greatly shaped the popular music throughout Latin America .

nuevo ritmo -- "New rhythm" (lit.), referring to the added section of the danzón form in the 1940s by Orestes and Israel "Cachao" López. This section later became known as mambo.

pachanga -- A rhythmic style and rigourous dance (featuring skipping and jumping movements), very popular during the 1950s, and originating in the charanga instrumentation.

plena -- An Afro-Puerto Rican rhythm, traditionally played on panderetas, which is an important form of popular music. The plena often serves as a vehicle for the expression of social and politically relevant themes.

rumba -- A Cuban folkloric secular form, consisting of drumming, dancing and call-and-response singing which contains both African and Spanish roots. There are three styles of rumba : the yambú, guaguancó and columbia .

rumba flamenca -- The style of rumba from southern Spain , also called rumba gitana (gypsy rumba), which influenced the Cuban rumba form.

son -- A style of popular dance music of the peasant or working-class, combining several Spanish and African elements. The son began to take shape in the latter half of the 19th century in Cuba 's Oriente province, and gave birth to several hybrids including the afro -son, guajira -son, son- pregón and son-montuno. The son is perhaps the most important form at the root of today's popular salsa music.

songo -- A contemporary, eclectic rhythm which blends several styles, including rumba , son , conga and other Cuban secular as well as sacred styles, with elements of North American jazz and funk.

trova -- A term referring to the style known as cancíon, stemming from the troubador style of singing, featuring such styles as the bolero , guaracha and the son .

tumba francesa -- A style of folkoric music, as well as the name of the drums used in the style, created in Cuba's Oriente province by Africans of Dahomean descent, and particularly those Dahomeans who arrived in Cuba following the Haitian Revolution in 1791.

yambú -- The oldest style of rumba , dating back to Cuba 's colonial period, often interpreted on cajones (boxes), and danced by male-female couples. It is the slowest style of rumba.