Despelote on Bomba

Despelote is a move done in bomba.

Cuban rumba

Cuban rumba is an Afro-Cuban music and dance genre characterized by complex rhythms, call-and-response vocals, and expressive, often flirtatious movements, rooted in African and Spanish traditions.

Clave

The clave is a fundamental rhythmic pattern and organizing principle in Cuban music. It serves as both a musical pattern and a guiding concept, deeply rooted in Afro-Cuban traditions.

Conga

Conga Drums

Used in rumba, timba, etc.

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.

Presión

La familia de instrumentos de timba se caracteriza por la ausencia de un tumbao de bajo, la ausencia de una marcha de conga y, generalmente, la ausencia de campanas. La construcción de intensidad musical y energía se logra a menudo mediante ritmos superpuestos, bloques y cambios dinámicos que elevan la energía progresivamente.

Masacote

En timba (un estilo de música cubana relacionado con la salsa, pero con influencias más fuertes del funk, ritmos afrocubanos y jazz), un " masacote" se refiere típicamente a una explosión rítmica poderosa en la música. Es un momento corto e intenso donde la instrumentación, especialmente la sección rítmica, se vuelve extra groovy, sincopada o funky.

Bloques

Rhythmic breaks or unison hits played by the whole band, often interrupting the flow to create surprise and tension. These are choreographed and add drama, excitement, and syncopation.

• Interruptive role: The bloque is a sudden, tightly coordinated rhythmic break. It disrupts the ongoing groove (tumbao, coro, or guías).

• Cue for change: Right after the bloque, the band often launches into a new “gear” (a new rhythmic feel, coro, or piano tumbao). In this sense, the bloque

Coro-Pregón

• Coro = el Coro, canta una frase repetitiva.
• Pregón = el cantante principal canta líneas variadas o improvisadas

Coro-Pregón

• Coro = el Coro, canta una frase repetitiva.
• Pregón = el cantante principal canta líneas variadas o improvisadas

Coda / Cierre / Outro

The conclusion of the song, which often mirrors the intro or brings the song to a close with a final statement by the band.

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

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.