Me Mantengo - Los Van Van

Charanga

Dances

• Danzón – The quintessential Cuban ballroom dance, elegant and formal, often seen as the "national dance of Cuba."
• Danzonete – A sung variant of danzón that became popular in the 1920s–30s.
• Cha-cha-chá – Created in the 1950s by Enrique Jorrín while playing with a charanga; specifically designed for charanga orchestras.
• Pachanga – A playful dance and rhythm from the late 1950s/early 1960s, closely linked to charanga bands.
• Mambo (in its earlier Cuban form) – Before the big-band New York mambo, charangas also played early mambo-style danzones.
• Charanga is a Cuban ensemble style and musical tradition that dates back to the early 20th century. It became especially popular in the 1940s–50s and played a crucial role in the evolution of salsa, timba, and Latin jazz.

Timba

Timba is the music this site is dedicated to exploring. It emerged as a distinct genre in the late 1980s and crystallized in the early 1990s — born in a moment of social crisis, built on the full accumulated history of Cuban music, and still evolving today.

Conga

The conga (also called tumbadora) is the primary hand drum of Cuban music and the rhythmic backbone of timba, son, rumba, and salsa.

Cáscara

In timba (and also in salsa and son), cáscara refers to a rhythmic pattern played on the side (shell) of the timbales with the stick.

Piano

The piano is the harmonic and rhythmic heart of Cuban popular music. In timba, it is one of the most demanding and expressive instruments in the ensemble.

Tumbao

A tumbao is a rhythmic and melodic pattern that is repeated over and over, usually in a cycle of two, four or eight bars. Piano, bass, tres, guitar and percussion each have their own tumbao; together they make up the groove a song rests on.

The Bass

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.

Gears

Known for its complexity and rich fusion of musical influences, incorporates a variety of rhythmic and stylistic shifts known as "gears" or "cambios de marcha". These gear changes are pivotal in adding dynamism and excitement to the music, often leading to a heightened response from the audience, especially dancers. While Timba gears can vary widely from one band or song to another, reflecting the genre's emphasis on creativity and innovation, there are several identifiable types that are commonly employed:

Marcha abajo

The terms "marcha abajo" and "marcha arriba" describe different energy levels or sections within the montuno.

Marcha arriba

The terms "marcha abajo" and "marcha arriba" describe different energy levels or sections within the montuno.

Masacote

In timba (a Cuban music style related to salsa, but with stronger influences from funk, Afro-Cuban rhythms and jazz), a "masacote" usually refers to a powerful, rhythmic burst in the music. It is a short, intense moment where the instrumentation — especially the rhythm section — becomes extra groovy, syncopated or funky.

Coro

• Who sings it Chorus (the coristas, sometimes the horns too)
• Purpose Repetition, hook and rhythmic anchor
• Characteristics Short, catchy, often syncopated

Introducción / Diana

This is the opening section of the song, which sets the mood and introduces the musical motifs. It often features a horn section and can include elements from the song's main themes.

Bridge

The bridge (Spanish: puente) is a short transitional section, usually between the verse and the montuno. The band prepares the jump into the montuno: the groove changes and the energy rises.