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Elementos funcionales de la timba

Inicio > Música > Genres > Timba > Elements > Elementos funcionales

  • Bomba

  • Masacote

  • Gear changes

  • Gears

  • Presión

  • Solos in Timba

  • Marcha abajo

  • Marcha arriba

Estructura
Estructura formal

Diferencias clave con la forma de la salsa:

  • No hay un orden fijo: los módulos pueden ser reorganizados o repetidos según sea necesario.
  • Varias rondas de montuno: cada una con su propio coro, ritmo e intensidad.
  • Elementos funcionales en todas partes: mambo, bloques, cambios de marcha no están atados a una sola sección.
  • Improvisación y señalización: el líder de la banda y los cantantes a menudo deciden en vivo qué módulo viene a continuación.

  • Intro
    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.

  • Canto
    Canto

    The largo, canto, or verse, is where the lead vocalist sings the main lyrical content of the song. In Timba, the canto often contains a narrative or thematic element and is supported by the rhythm section and background vocals.

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

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Elementos funcionales

  • Bomba
    Bomba
    • Bass: Slides and thumps,
    • piano relaxes or drops out.
    • Dancing: Despelote, Suelta, Reggaetón
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  • Masacote
    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.

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  • Gear changes
    Gear changes

    Gear changes, or "cambios de marcha," in Timba are particularly thrilling elements that contribute to the genre's dynamism and energy. These changes are essentially shifts in rhythm, tempo, or even in the music's texture that inject excitement and often encourage dance floor responses. They are used strategically throughout a song to create tension and release, keep the audience engaged, and highlight the musicians' versatility and creativity.

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  • Gears
    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:

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  • Presión
    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.

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  • Solos
    Solos in Timba

    In timba (a Cuban popular music genre that grew out of son cubano, salsa, jazz, and funk), solos are one of the most exciting parts of the performance.

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  • Marcha abajo
    Marcha abajo

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

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  • Marcha arriba
    Marcha arriba

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

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Textural/Arrangement Elements
Textural/Arrangement Elements

Big Picture: How They Interrelate

  • Bloques
    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

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  • Champola
    Champola

    In timba, champola is musician slang for a groovy, blended, or especially tasty rhythmic section — named after a sweet Cuban smoothie that mixes different ingredients perfectly.

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  • Melaza
    Melaza

    The “sweet spot” — everything grooves perfectly (vibe descriptor).

  • Coro-pregon
  • Mambo (as horn texture)
    Mambo (as horn texture)

    Horn textures interlocking with rhythm section (can be textural too).

Vocal
Vocal

Focuses on vocal interaction and narrative — from the free opening ( Diana) to the improvised back-and-forth between lead and chorus.

  • Diana
    La diana

    A vocal improvisation or melodic gesture, sometimes used to transition between sections, often marking the move into the montuno or to reintroduce energy.

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  • Estribillo-coro
  • Pregón
  • Estribillo

Interpretive / Performative elements
Interpretive / Performative elements

How music is brought to life in performance

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