Presión

Een timba-gear die wordt gekenmerkt door de afwezigheid van een bas-tumbao, de afwezigheid van een conga-marcha en meestal ook de afwezigheid van bellen. De opbouwende muzikale spanning en kracht, vaak bereikt door lagen ritme, bloques en dynamische overgangen die de energie opstuwen.

Marcha arriba

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

Masacote

In timba (een Cubaanse muziekstijl verwant aan salsa, maar met meer invloeden uit funk, Afro-Cubaanse ritmes en jazz), verwijst een " masacote" meestal naar een krachtige, ritmische uitbarsting in de muziek. Het is een kort, intens moment waarin de instrumentatie – vooral de ritmesectie – extra groovy, syncopisch of funky wordt.

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.

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 = het Koor, zingt een herhalende frase.
• Pregón = de leadzanger zingt variërende of geïmproviseerde lijnen

Coro-Pregón

• Coro = het Koor, zingt een herhalende frase.
• Pregón = de leadzanger zingt variërende of geïmproviseerde lijnen

Couplet

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.

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.

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.