Coro-Pregón - structure
- Coro = the Choir, sings a repeating phrase.
- Pregón = the lead singer sings varying or improvised lines
- Coro = the choir (usually the coristas and sometimes brass) sings a repeating phrase.
- Often short, catchy and easy to remember.
- Musically stable, so that the dancers and listeners have a hold.
- Pregón = the lead singer sings varying or improvised lines between the coros.
- Can textually respond to the coro, add stories, or address the audience.
- Often rhythmically freer and melodically looser.
Example in timba
Coro: “No me pare, sigue sigue”
Pregón: “¡Así mismo, mi gente, vamos pa’lante!”
The choir remains the same, while the pregón changes constantly — this makes it a call-and-response.
Important:
In timba, coro– pregón is almost always on top of a montuno section.
- The montuno is the musical bedding ( piano, bass, percussion).
- The coro– pregón is the vocal interaction above it.
Origins
Inventor: Bartolomeo Cristofori (1655–1731), an Italian instrument maker in Florence.
Date: Around 1700, Cristofori built the first instrument he called a “gravicembalo col piano e forte” — meaning harpsichord with soft and loud.
Lees meer >Timba, the explosive and rhythmically rich genre of Cuban dance music, transformed how the bass functions in popular music. In Timba, the bass is not just foundational — it’s fiery, funky, and free.
Lees meer >
- Coro = the Choir, sings a repeating phrase.
- Pregón = the lead singer sings varying or improvised lines
Lees meer >
- Coro = the Choir, sings a repeating phrase.
- Pregón = the lead singer sings varying or improvised lines
Lees meer >Montuno
The cowbell
🛎️ 1. General Role of the Cowbell
🎹 2. Montuno Section
The montuno is the call-and-response section near the end of a salsa or son tune, where everything opens up rhythmically.
- The cowbell pattern becomes steady and driving, often the “salsa bell” pattern:
(Hits on 1, the “&” of 2, 4, and the “&” of 4)
- The bongocero switches from hand drums to cowbell at this point.
- The cowbell keeps time over the clave and supports the montuno piano pattern, bass tumbao, and horn riffs.
So:
🕐 Cowbell = timekeeper
🎹 Piano = syncopation
🎺 Horns/voices = call & response
🔻 3. Marcha Abajo (Down Section)
- Literally “march down” — this section is calmer, often before the montuno.
- The cowbell is not usually played here.
Instead, you mostly hear congas, bongos, and timbales on softer instruments like the cáscara (timbale shell pattern).
- The rhythm is more subtle, leaving space for vocals or melodic content.
So:
In marcha abajo, the cowbell rests or plays lightly (if at all), and rhythmic emphasis is on cáscara or bongó martillo.
🔺 4. Marcha Arriba (Up Section)
- “March up” — this means the groove intensifies.
- The cowbell comes in strong, providing the main pulse.
- The timbalero usually plays the large cowbell (campana), while the bongocero might play the smaller bell for contrast.
- This section is about energy and drive — dance climax.
So:
In marcha arriba, the cowbell leads the rhythm section, locking in with the bass and clave to propel the music forward.
🧭 Summary Table
| Section |
Cowbell Player |
Function |
Typical Pattern |
Energy |
| Marcha abajo |
Usually silent or light (cáscara instead) |
Keeps groove subtle |
Cáscara on timbales |
Low–Medium |
| Montuno |
Bongocero (small bell) |
Keeps steady timeline for montuno section |
Salsa bell pattern |
Medium–High |
| Marcha arriba |
Timbalero (big bell) |
Drives rhythm, peak energy |
Salsa bell (louder, heavier) |
High |
Would you like me to add rhythmic notation (in 2–3 and 3–2 clave alignment) for each section’s cowbell pattern? That can make it easier to visualize how it fits with the rest of the rhythm section.